- Wow… so you know how sometimes you hear the argument, “Wind power? Wind?? Why on Earth would use hundreds year old technology to power anything in the 21st century?”. Well I just read on Phys.org that new information from Australia states — obviously in certain regions — wind is cheaper and generates as much or more energy as traditional forms. The study found that down under wind cost $80 per MWh (that’s “Megawatt Hour” or one million watts/hour), whereas it costs $116 for the same amount from a new gas plant, and $143 for the same amount of energy from a new coal plant. Coal is much higher, however, because of the government’s carbon tax… but the article notes that even without any sort of carbon tax, Coal comes down to the Gas plant numbers (still not close to Wind’s $80/MWh). Apparently this can be mostly attributed to the cost of renewables (mostly wind and solar) dropping hard in the past few years and the cost of traditional forms of energy continuing to increase. The article also notes that, “large solar photovoltaic installations will be cheaper than coal or gas by 2020, and solar thermal and biomass systems will be at least competitive by 2030.”
- I generally don’t like to talk about my life on here — me smart, doing this 2nd — but a little update on the current batch of tunes:
I have 22 songs, about 70% of which are “done” but not done-done. Before you think “wait… that’s like an hour and 20 minutes worth of music”, most of the songs are between 2 and 2.5 minutes. The first song, and two others (so far), are between 1 and 2 minutes. And the last song will probably clock in at about 5 or 6. Why am I doing this? It was sort of sparked by listening to Kareem Riggins’ excellent piece of work last Fall, “Alone Together“. The album is 34 tracks, only 8 of which break the 2 minute mark. When I heard this album straight through for the first time it had been a few months since I’d wrapped an album I called “Hills Run Red“; a western concept album that had 3 tracks: the first two were 16.5 and the last was 20 mins. So when I was getting to about track 23 on “Alone Together” I thought… “dang, maybe I should do something like this?” At the very least it would provide a new challenge for me, and if people think a song sucks at least it’ll be over soon. Ha. And it isn’t like I’m self-imposing rules, saying “all songs need to be 2:15 long”, hence the minute long tracks and the much longer track. I just was quite inspired by “Alone Together” (and, before I knew it, El-P’s “megggamixxx3″), how the song comes together, shows you what it’s got, and moves on. Also, for as proud as I am of some of the arrangements and instrumentation on “Hills“, I was going to go back to a more sample based album anyhow, and you have to be really good (much, much better than me) at sampling to make 5 minute tracks and have them stay fresh and never get dull. So yeah. Also, I would say a good 80% of the samples (for the song foundation; I’m not counting using Dinah Washington or someone like that for vocals, which I’m doing a lot on this) are classical samples. Mostly, from these two records:
But there’s still synths, too. And I have a concept, but I’m not sure yet the level of how obvious it’ll be. I dunno, I’M EXCITED. I guess so, Rambles McGee.
- So I gave that Damon Albarn/Tony Allen/Flea project a try last night in my car and I’m digging it so far. It’s called Rocket Juice & The Moon.
It manages to balance Jazz and African rhythms quite well with Funk bass; then it splashes Reggae sampled horns or just plain old Noise Rock over the top and suddenly you aren’t sure what you’re listening to, you just know you like it. The cross pollination doesn’t mean it’s simply a hodge podge of genre and noise though, that I don’t mean. The entire thing has a very distinct sound and the songs all tie together nicely (probably courtesy of the awesome and consistent rhythm section). One of those albums or projects that seems to take from such varied and distinct sources that it really can only sound like itself. The features are lovely too: M.anifest is always a treat (the most frequent, appearing on 5 songs), and Erykah Badu and Fatoumata Diawara can both sing their asses off. Albarn only sings on one track, which is more than fine because a few of the instrumental tracks are the best on the disc. Definitely recommending this… if anything, just because you probably won’t buy (sorry, download) anything else like it all year.
- Joebot’s got a gallery of Hitchcockian NES video game covers for an upcoming show. I like the North By Northwest one a lot (top 3 Hitchcock film for me; and probably for most people I guess):
- Last Call W/ Carson Daly isn’t nearly as bad a show as everyone probably thinks it is. It had been a while since I saw an episode — as in, oh probably at least 6 months — but I tuned in last night while lying in bed and it brought to my attention a band I’d never heard of before:
- KYLESA. They’re a Georgian based metal band who apply the two-singer approach (uniquely, one male/one female), sludgy, downtuned riffage, and elements of psychedelica. They’ve been around for some time now; it has been 10 years since their self-titled, debut album. The band has been through some amount of lineup changes, unfortunately. But sometimes there are those rare cases where the project trumps the members. The entity exists independently, and the musicians are the nourishment that help it survive. They’ve even been through death. The last LP they put out was a record from 2010 called “Spiral Shadow“. I’m giving it a go now and it’s excellent. They sort of mix the hazier, trippier elements of 70′s rock with slow, heavy-hitting metal. Think Sabbath meets late Pink Floyd, with a little punk aesthetic thrown in for good measure. Here’s part of their Last Call performance:
- They reminded me of another band who I was way into for a bit but kinda forgot about: Radio Moscow. In fact, when I was researching Kylesa tour dates I realized they’re both connected to “Tone Deaf Touring” Co. Now this band is from Iowa. This band is the shit. They aren’t metal. Their sound floats pretty aimlessly between the Blues and Rock headspaces. What they do have in common with the former is a psychedelic influence, and they heap in on in spoonfuls. They don’t skimp. And the main member of the band — Parker Griggs, he’s a multi-multi-instrumentalist, he also helps produce their stuff, and he draws their album art — is insanely talented. The last album this band did was last year’s “The Great Escape of Leslie Magnafuzz”. I know, right? Lotta fun to listen to. Here’s the first song off that album:
- Kurt Cobain would have turned 45 today. Probably still living in Washington, hopefully still making music. I’m confident that is the case. It’s amazing how different the industry would likely be now if he were around. And especially throughout the late 90′s/early 2000′s. If you listen to “You Know You’re Right”, you will find quite a different shade to Nirvana under the surface. Upon first listen it sounds like an above average Nirvana song, but bubbling under the surface lies noises running on a loop, fairly progressive drumming, and a surprisingly cleaner gain. I love that song; and it bums me out to no end because I’m certain that’s the direction they were heading. Granted, if Kurt were around it’s highly unlikely Nirvana would still be making music. There’s just no way that could last after they’d been received the way they were. But that doesn’t mean each member could not still be pursuing music. Perhaps Kurt would be making solo albums the way Mike Doughty does. Perhaps he’d be collaborating with any number of people (Danger Mouse?). Who knows. But I’m sure it would be something. Such a waste. Happy birthday Kurt.
- Also missing someone I lost 2 years ago today. Her favorite color was blue… I found this:
“With High Resolution Imaging Science Experiment (HiRISE) imagery, the research team examined boulders along a fault system known as Cerberus Fossae, which cuts across a very young (few million years old) lava surface on Mars. By analyzing boulders that toppled from a martian cliff, some of which left trails in the coarse-grained soils, and comparing the patterns of dislodged rocks to such patterns caused by quakes on Earth, the scientists determined the rocks fell because of seismic activity. The martian patterns were not consistent with how boulders would scatter if they were deposited as ice melted, another means by which rocks are dispersed on Mars.”
- My monthly list of awesome things from the “Around The Net” Whitechapel thread:
I had a very successful trip to the record store yesterday; I’m already realizing how valuable (not monetarily, in terms of sampling) several of these records will be for me in the future, and that’s grabbing stuff based on the short descriptions of the outer plastic by the employees. Or the cover art. Or both.
I grabbed this album as a bit of an afterthought, I already had about seven or eight things in my hand at the time:
The Velvet Underground & Nicois, to me, the best Velvet Underground record. That’s nothing against their trash-can infused, excellent self-titled (I have sampled “Murder Mystery”), or the attempt at going a little more wall-of-sound/Phil Spector-esque with Loaded. And this is a rarity for me; I typically loathe the “they’ll never do anything as good as their debut” haters, for several reasons. Mainly, I’m of the opinion that most bands — who are worth talking about — get better as they go along, at least to a point (lots of my favorite records come from the dead middle of said artist’s discography). Oh okay, apparently this album sat at #13 on Rolling Stone’s list of the 500 greatest albums of all time.
That was about the only Rock (when it comes to Velvet Underground that term is used loosely) record I got yesterday. Most of my time, now, is spent perusing the used bins for interesting Jazz or Blues or Electro stuff I can attempt to harness. On the cheap. The record store(s) I shop at really help people like me. Yesterday it was Electric Fetus, but I really like going to Cheapo too because of the sheer amount of vinyl they have (an amount so big they were forced to rent a space across the street for vinyl only). At the end of the Electronic section, Fetus has got a couple sections featuring some more “miscellaneous” type material, where I picked up something from England called Fluid Ounce: Unmeasured.
The hand-written synopsis on the outer-dust cover read something along the lines of “Abstract/Electro, Jazzy Breaks”. Sounds nice right? Digging a little deeper today, Fluid Ounceturns out to be a neat little record label based out of south-east London. They print vinyls on the regular and on the back of the record I bought the bottom right corner reads:
“We put out music that we love. But, if you are unsatisfied with this release for any reason, be it a defective disc, broken packaging or the musical content, we will replace it. Return the product and a copy of the receipt to us, postmarked within ten days of purchase, and we will send back an equal value product of your choice, guaranteed.”
Hard not to like a mission statement like that. Their Myspace page (thank God it’s mostly bands/labels now using Myspace; the way it was originally intended to be used!) genre tab reads “Electro/Hip-Hop/Jazz”, and it’s got some interesting tracks to listen to. Their official page is stark and amazingly designed. With all the releases on a scroll bar to the side and large-font news updates staring back at you. I might have to follow this label closer in the future. I’ve only listened to about half this record but am digging.
I grabbed two records out of a bin at the end of the used-Jazz section specializing in “Jazz breaks”, which of course will come in handy. One is a split 12″: Paul Scriver‘s “Upswing” standard and remixed on one side, and New Legends‘ “Sole Food” standard and demoed. Which, in turn, has led me today to Fog City Records. Hmm. The other is a Skyjuice/Dark Leaf/Byard Lancaster mix. The best thing about shopping like this is I had never heard of any of these people or labels.
Of course I had to get some good old Jazz/Blues, specifically stripped-down female vocal based records to chop up and layer and slap FX onto and repeat. Mary Lou Williams and Della Reese filled that void, two singers I had barely heard of but are awfully close to being legends. The latter is still alive, and made records well into the 2000′s; as of 2012 I believe she is an ordained minister and preaching rather than singing. Which is too bad. I also, after having my mind wiped by the first I’d ever heard of him in full, bought a new Sun Rarecord, 1978′s “Landquidity”. I haven’t listened to it yet but it’s the one where he upped the Jazz-fusion and Funk influence more than ever before, or ever again. With over 100 albums under his belt, and over 1000 songs, that dude should without a doubt be a Rock and Roll Hall of Fame inductee. But I won’t get started on that topic…
The opening guitar lick on “No Kings” is oddly similar to the Frank Ocean produced first song off Kanye and Jay’s “Watch The Throne”, this is more significant than it seems. Now, by no means is NK a “rebuttal” record to the supposed crowned kings of current Hip-Hop. Although I do find it strange that Sims — in the record’s opening verse — mentions: “You’re so vain you probably think it’s about ya/Well it is, and it ain’t… and it ain’t, but it is.” By the time fiery Mike Mictlan steps up to the mic — on the record’s second verse — you know what type of people you’re dealing with: a group of people, or family… a crew, who would just as soon cast away the predetermined laws of the world to shape their own lifestyles and art.
“No Kings” is aptly titled. The album’s themes and content all oddly tie into that meme, even the more surreal passages. And quite a bit of the lyrics are surreal. I’m not talking Aesop Rock level imagery here, but as a whole the group isn’t pointing the listener at any certain topic or philosophy, more like a general direction (North, for Minnesota… Haha). They tackle the rap world at times: not to call anyone out, not to bitch, not to lecture. To say: “This is how you all do it? Well, we don’t really care. This is how we do it.” Not to look down on other rappers, not to start trouble, just to play by their own rules, and to do it from the heart. Some of the imagery hearkens back to the past also, a time when the culture’s movement wasn’t weighted down by what one is “supposed” to do; no doubt a product of producer/MC Cecil Otter who has quite a bit of influence here throughout.
Cecil gets credited on helping create a large portion of the music, so do P.O.S. and Lazerbeak. The beats vary a little, but there’s a cohesive sense to the production that is probably a result of all the producers working together collaboratively, rather than going off into a room and coming back with a fleshed out beat. Lazerbeak (who once fronted The Plastic Constellations and makes incredible solo material) likes to blast punchy horns and booming kicks and snares, just give “Hand Over Fist” or “Bad Time Zoo” a try and you’ll know what I mean. That punchiness is toned down a little on “No Kings”, with most of the tracks feeling like contemplative pieces, not party music (besides, ironically, the 5th track titled “Punch-Out”). Even the beats Lazerbeak produced by himself. P.O.S. brings his signature percussive sound to the table, but this also is toned down a bit to add to a more cohesive whole. All this results in — from a production standpoint — an album that is very self-aware and calculated. It works well for a crew record (each member can, after all, unhinge their style a little more with each successive solo release).
The vocal performances mirror that sense of calculation. By this point each member has worked on a number of solo albums and tracks, so they’re all comfortable with what they do. It’s like they know when and how to strike, to add to the whole rather than distracting from it. Dessa enters swiftly and calmly: sometimes singing, sometimes rapping, sometimes both. She often bridges the gaps in songs, giving transitions just the right touch and latching onto previous themes to reinforce their weight. P.O.S., for my money, is one of the best rappers today. He’s just good on anything he does (and I’m assuming he’s going to blow up even more with his next solo record). Cecil Otter, like I mentioned, holds more influence over almost anyone else on this album both lyrically and musically. Due to his style, he’ll likely never have that mass appeal of a guy like P.O.S. — or even Dessa — but he deserves any sort of success he gets. Honestly though, I was most surprised with Sims and Mictlan’s verses. I’m not sure if it’s because they’re being used in a better way (at the right times?), or if they’re both refining their styles more and more; whatever the case, to me they are the standouts when it comes to rapping.
The greatest compliment “No Kings” can receive though is that it truly feels like an “album”. Quite the feat for a group of 7-ish people who all sound starkly different when creating their own work. Again, this is probably a result of the collaborative sense that went into making it. When you’re renting a cabin in Northern MN (or WI) and shutting out the rest of the world, that is bound to happen. If you can’t tell, I’d reccomend getting this. Especially anyone who is really into Hip-Hop and wants to try something new. There is talent to boot, but the best thing about “No Kings” is the lack of rules. And that is refreshing. Maybe Jay and Kanye would actually dig this? Although, I gotta admit, drawing the “No Kings” symbol onto the cover of the golden shine of “Watch The Throne” would be awesome.
I pulled a stack of CDs off my homemade night-stand today (yes, it is a massive pile of shit; the wood is course and jagged, not sanded down nearly enough, and the stain is uneven and awkward looking; I was probably 13 when I made it). They were sitting in a stack, shiny sides facing each other upwards to the top, in no cases. They were old beats of mine, from at least 2 years ago, perhaps more. It was interesting to hear them… tracks who’s files have since been banned from my laptop to the recycle bin of eternity. They ARE NOT WELCOME HERE. Looking back, flipping through… oh, a good six discs or so, I quickly realized how lost I was at the time. I didn’t have any sort of identity as a musician and producer. I was channeling one too many things without putting myself into them first. There was a disc labeled “The Gospel According to (Me)”: three tracks, all featuring sampled Gospel sounds and piano, with pounding kicks and snares. Gospel?? Nothing against Gospel but it just isn’t me, how could I have been so ignorant to who I was? Amongst these tracks though were a few anomalies. Songs that, oddly, fit perfectly with the material I’m working on right now. It’s like the music traveled back in time, through me, to a time before I even realized that was the sound I was looking for. Sure, the levels are a bit wacky, and I cringe hearing a guitar lick looped to shit, rather than played live at least a couple times, but they were ahead of their time. At least in my little shit world of Electronica. Maybe I’ll incorporate them. Maybe they’ll be buried.
(I listened to Daniel Johnston‘s album “Is And Always Was” for the first time in a few months today and it is much much better than I remember it. That is a CD that should’ve shipped at least 50,000 units; it’s actually quite accessible and listener friendly. Nothing ever works the way it’s supposed to though.)
- Here’s a large collection of stories from acclaimed and legendary science fiction writer Clifford Simak. Simak was the third winner of the Damon Knight Memorial Grand Master Award. He was way ahead of his time conceptually; The Creator, a novelette examining the conception of universe as NOT by a God, was published in pulp magazine “Marvel Tales” in 1935. He also pioneered the “time happens at once” theory which I can say I’ve certainly played with. It’s a clunky design though (the short stories site): click on the books on the bookshelf to browse stories starting with those letters.
- I’ve really got to go hit the used record shop one of these days for some new sampling material. I really like using old Jazz and Blues and R&B singers, women especially. I’m talking Etta James, Billie Holiday, Nancy Wilson, Big Mama Thornton, Maxine Brown, etc. Maybe I can try to start a new genre of Electronica that specifically samples pre-1950 female vocalists. Or, ya know, I can refuse to take part in the genre game all together.
I just got done reading Blueprint’sresponse to the reaction to MTV pimping out his new single “So Alive” for some kind of independent artist series on their site, and boy was it refreshing. Apparently a few commenter’s took swipes at him (Bigggg fucking surprise, right? Goddamn) and he addressed those and the very ideas of those people, their self-and-fan-imposed “rules”, and what that means in relation to an album titled “Adventures In Counter Culture”. He’s a really bright dude, and as a musician myself I respect the hell outta him.
“I started working on Adventures in Counter-Culture 5 years ago. At the time I started working on it I was fed up with everything around me; television and its stereotypical and harmful images, commercial radio, the stagnation of the music (even in the hip-hop scene that I’m a part of), and society in general. To me, there had become too many rules, too much routine, too much recycling of ideas and concepts. So as far as I was concerned I didn’t want to be a part of of that anymore, even if it meant that I had to challenge even the things that I’m known best for as an artist.
That’s what counter-culture is.
So as I took on this task of trying to destroy everything I knew musically and socially, I immediately realized that there would be risk involved, but I made the journey primarily for me so I didn’t care. I had to do it for myself.”
And here’s a little radio show featuring an interview and 4 songs off the upcoming album with him:
Adventures In Counter Culture comes out on April 5th.
Gimme Noise is reporting that Bob Dylan got the okay from the PRC Government to play two dates there in April. Last year, apparently, he was banned from playing there by the PRC’s Ministry of Culture for “unknown reasons”. I’d like to submit that perhaps the Ministry of Culture in China fucking despises protest singer/songwriters? Just a thought. These two performances will mark the first time Dylan’s played China in his career, which feels like it’s bordering on a century now. The dates are in Beijing and Shanghai, with the shows reportedly meant to commemorate Dylan’s big US breakthrough show in New York on April 11th, 1961, 50 years after the fact. Flyer:
Relatedly, I find it disgustingly ironic that Dylan’s original lyrics for “The Times They Are A’ Changin” was auctioned by Sotheby’s last December for hundreds of thousands of dollars. If only those lyrics were dead and could roll over…
