Memoirs and Milestones
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Contest #1: No Love [Sesh13]
Festive 50 Shakedown, 2013 [F50512]
The Dead A List - A Wrap-Up [DedA11]
RANT: I'm Not A Dude [GRRR10]
Festive 50: 2012 [Fest9]
Reflection: Week of Wonders [RWoW8]
Musings Over Festive Fifty '13 [FF137]
A Pure Culture, Eh? [PCEh6]
And Yet It Failed, Episode 1 [AYIF5]
You Don't Believe What You Write! [MJRN4]
Dandelion Radio's Festive 50 - 2012 [FF123]
Festive 50 Shakedown, 2013 [F50512]
The Dead A List - A Wrap-Up [DedA11]
RANT: I'm Not A Dude [GRRR10]
Festive 50: 2012 [Fest9]
Reflection: Week of Wonders [RWoW8]
Musings Over Festive Fifty '13 [FF137]
A Pure Culture, Eh? [PCEh6]
And Yet It Failed, Episode 1 [AYIF5]
You Don't Believe What You Write! [MJRN4]
Dandelion Radio's Festive 50 - 2012 [FF123]
Contest #1: No Love (Sesh13)
February 2, 2016
For archival purposes, I'm pasting the contest rules up here. Later, if I actually get any submissions for this, this post will become its own page, where updates will be posted.
Guys. I've been plugging tunes on Dandelion Radio for almost TWO YEARS now. TWO YEARS. How does that happen? Anywho, I haven't had an original session on my show in months - and I've been thinking about calling out for one, but always stopped myself because, y'know, who cares about me? Well, chances are, relatively a very small sliver of you, but I'm going to start a contest anyway.
A contest? Yes! I want you to record a session for me, and send it via Dropbox or whatever big data mover you prefer to [email protected]. You can record however many songs you like, so long as the whole set is 10 - 30 minutes long. And these songs need to be exclusive - not exactly original compositions, but the recordings that you send me must not exist anywhere else on the internet.
As an extra twist, your songs must not include the following words: ghost, love, young, ocean, sea, sun, moon, death, dead, life, blood, baby, child, beach, kiss, friend, man, boy, and the [proper name] of any [major city] in the United States (ex. New York, Los Angeles, Chicago, etc). Also, for that matter, America. Anyone who uses one of these words will automatically be disqualified. Words in general, of course, are completely optional.
The last deadline is March 15th, when I'll pick the winner to slot into my April Dandelion show. HOWEVER, if you can cull a session together by February 15th, you could compete in a much smaller pool and get on my March show. And eh, who knows, maybe I'll give you something else, too. Don't count on cash, though.
Put it this way - you have a WAY better chance of winning this than NPR's Tiny Desk Concert. Go on, then.
Guys. I've been plugging tunes on Dandelion Radio for almost TWO YEARS now. TWO YEARS. How does that happen? Anywho, I haven't had an original session on my show in months - and I've been thinking about calling out for one, but always stopped myself because, y'know, who cares about me? Well, chances are, relatively a very small sliver of you, but I'm going to start a contest anyway.
A contest? Yes! I want you to record a session for me, and send it via Dropbox or whatever big data mover you prefer to [email protected]. You can record however many songs you like, so long as the whole set is 10 - 30 minutes long. And these songs need to be exclusive - not exactly original compositions, but the recordings that you send me must not exist anywhere else on the internet.
As an extra twist, your songs must not include the following words: ghost, love, young, ocean, sea, sun, moon, death, dead, life, blood, baby, child, beach, kiss, friend, man, boy, and the [proper name] of any [major city] in the United States (ex. New York, Los Angeles, Chicago, etc). Also, for that matter, America. Anyone who uses one of these words will automatically be disqualified. Words in general, of course, are completely optional.
The last deadline is March 15th, when I'll pick the winner to slot into my April Dandelion show. HOWEVER, if you can cull a session together by February 15th, you could compete in a much smaller pool and get on my March show. And eh, who knows, maybe I'll give you something else, too. Don't count on cash, though.
Put it this way - you have a WAY better chance of winning this than NPR's Tiny Desk Concert. Go on, then.
Festive 50 Shakedown, 2014 (F50512)
1 February, 2015
PS - you can relive the Festive 50 on Dandelion’s Mixcloud page.
Y'know, before I started pecking at this blurb, I peeked back at my previous spiel from 2013, in which I marveled at my growth over a year's time. Well, GUESS WHAT? I've evolved again!
But now, where before I stood at the counter and held out my hands for manna, this time I'm behind the desk and handling the goods. Dandelion Radio DJ! Collapse Board editor! Off-and-on health journalist! These titles mean very little to all but a treasured few, but no matter. I've never worn this many hats before - this multi-classing bestows a rush of blood to the head, and it feels GREAT.
Above all, I'm learning that life exists now outside my tiny origins - and all I've got to do is stretch out and grab it. Easier to type than do, let's face it, but like a monk I've been training. (Breathe in, breathe out.) There's also the excellent sensation that I'm not alone anymore - that is, that the people I dig like me back. Not that I was utterly alone last year, but now it's starting to feel like a crew.
Anywho -- on to Dandelion Radio and the music. I've been in and out of the know-how, yet some choice cuts from my shows did infiltrate the charts. And, I must say, I'm overall far more pleased with this year's lineup than in 2013 - we at least ended on a much bigger bang (albeit from another Peel heavyweight). Without further ado -
50. Sharon von Etten – Your Love Is Killing Me
49. Young Romance – Pale
48. Pere Ubu – Golden Surf II
47. Cloud – You & Me
46. Soundcarriers – Entropicalia
45. Ste McCabe – Go Polski Boy!
44. St. Vincent – Digital Witness
43. Ought – Today, More Than Any Other Day
42. JD Meatyard – Taking the Asylum
41. Hobbes Fan Club – Run Into the Sea
40. Good Throb – Acid House
39. Deers – Bamboo
38. Broncho – Class Historian
37. The Fall – Amorator
36. Ste McCabe and Billy Bragg – Cockroach
35. Slum of Legs – Razorblade the Tape
34. Tyrannosaurus Dead – Local Bullies
33. The Very Most – Wond’rin
32. Mogwai – Repelish
31. ILL – Secret Life
30. Henry Plotnick - Wapiti
29. Cruising – You Made Me Do That
28. The Vacant Lots – Mad Mary Jane
27. Fat White Family – I Am Mark E. Smith
26. Postal Blue – The Last Goodbye
25. Allo Darlin’ – We Come From The Same Place
24. Half Man Half Biscuit – Urge for Offal
23. Goat – Hide From The Sun
22. Bourbon Somersault The 3rd – Smash Them Kill Them
21. Allo Darlin’ – Bright Eyes
20. The Bordellos – The Gospel According to Julian Cope
19. Shellac – Dude Incredible
18. Martha – 1997, Passing in the Hallway
17. Benjamin Shaw – You & M
16. Close Lobsters – Now Time
15. Girl Band – Lawman
14. Shellac – Riding Bikes
13. Savages – Fuckers
12. Future Islands – Seasons (Waiting On You)
11. Flowers - Young
10. Ace Bushy Striptease – Ibiza Rock
9. Goat – Talk to God
8. Withered Hand – Horseshoe
7. Aphex Twin - minipops 67 [120.2] [source field mix
6. War on Drugs – Red Eye
5. Benjamin Shaw – Goodbye, Kagoul World
4. Mogwai – Remurdere
3. Half Man Half Biscuit – The Unfortunate Gwatkin
2. Alvvays – Archie, Marry Me
1. The Cuban Boys – The Nation Needs You
Notes and Fun Facts –
Y'know, before I started pecking at this blurb, I peeked back at my previous spiel from 2013, in which I marveled at my growth over a year's time. Well, GUESS WHAT? I've evolved again!
But now, where before I stood at the counter and held out my hands for manna, this time I'm behind the desk and handling the goods. Dandelion Radio DJ! Collapse Board editor! Off-and-on health journalist! These titles mean very little to all but a treasured few, but no matter. I've never worn this many hats before - this multi-classing bestows a rush of blood to the head, and it feels GREAT.
Above all, I'm learning that life exists now outside my tiny origins - and all I've got to do is stretch out and grab it. Easier to type than do, let's face it, but like a monk I've been training. (Breathe in, breathe out.) There's also the excellent sensation that I'm not alone anymore - that is, that the people I dig like me back. Not that I was utterly alone last year, but now it's starting to feel like a crew.
Anywho -- on to Dandelion Radio and the music. I've been in and out of the know-how, yet some choice cuts from my shows did infiltrate the charts. And, I must say, I'm overall far more pleased with this year's lineup than in 2013 - we at least ended on a much bigger bang (albeit from another Peel heavyweight). Without further ado -
50. Sharon von Etten – Your Love Is Killing Me
49. Young Romance – Pale
48. Pere Ubu – Golden Surf II
47. Cloud – You & Me
46. Soundcarriers – Entropicalia
45. Ste McCabe – Go Polski Boy!
44. St. Vincent – Digital Witness
43. Ought – Today, More Than Any Other Day
42. JD Meatyard – Taking the Asylum
41. Hobbes Fan Club – Run Into the Sea
40. Good Throb – Acid House
39. Deers – Bamboo
38. Broncho – Class Historian
37. The Fall – Amorator
36. Ste McCabe and Billy Bragg – Cockroach
35. Slum of Legs – Razorblade the Tape
34. Tyrannosaurus Dead – Local Bullies
33. The Very Most – Wond’rin
32. Mogwai – Repelish
31. ILL – Secret Life
30. Henry Plotnick - Wapiti
29. Cruising – You Made Me Do That
28. The Vacant Lots – Mad Mary Jane
27. Fat White Family – I Am Mark E. Smith
26. Postal Blue – The Last Goodbye
25. Allo Darlin’ – We Come From The Same Place
24. Half Man Half Biscuit – Urge for Offal
23. Goat – Hide From The Sun
22. Bourbon Somersault The 3rd – Smash Them Kill Them
21. Allo Darlin’ – Bright Eyes
20. The Bordellos – The Gospel According to Julian Cope
19. Shellac – Dude Incredible
18. Martha – 1997, Passing in the Hallway
17. Benjamin Shaw – You & M
16. Close Lobsters – Now Time
15. Girl Band – Lawman
14. Shellac – Riding Bikes
13. Savages – Fuckers
12. Future Islands – Seasons (Waiting On You)
11. Flowers - Young
10. Ace Bushy Striptease – Ibiza Rock
9. Goat – Talk to God
8. Withered Hand – Horseshoe
7. Aphex Twin - minipops 67 [120.2] [source field mix
6. War on Drugs – Red Eye
5. Benjamin Shaw – Goodbye, Kagoul World
4. Mogwai – Remurdere
3. Half Man Half Biscuit – The Unfortunate Gwatkin
2. Alvvays – Archie, Marry Me
1. The Cuban Boys – The Nation Needs You
Notes and Fun Facts –
- This marks the 3rd year in a row for Savages – they debuted at #1 in 2012 with “Husbands”, then dipped to #16 in 2013 with “She Will”.
- “Ibiza Rocks” comes from Ace Bushy Striptease’s LP Slurpt, which the band claims will be their last
- The longest track on this year’s F50 is “Wapiti”, which stretches over 16 minutes. Not unheard of – Godspeed You! Black Emperor pushed the record last year, too. “Wapiti” was brought to us by the same label which blessed us with Katie Gately’s “Pipes” last year. Also, Plotnick is 13 years old
- Believe it or not, “Golden Surf II” marks Pere Ubu’s debut on the F50 chart. Took about 39 years!
- Also, this is only the second time for Aphex Twin – he last broke the F50 with “Windowlicker” in 1999.
- The Cuban Boys top the list for the second time – the first one was Cognoscenti vs. Intelligentisa in 1999. This isn’t totally new, but was reworked for our “21 Songs for John” comp.
- HMHB’s “The Unfortunate Gwatkin” is the highest ever ranking the band has ever earned (#3). Previous highest was “Tending the Wrong Grave for 23 Years” in 2003. This is their 21st appearance
- Not often that a song and its cover break the F50 in the same year – but here two versions of Ben Shaw’s “You & Me” made the cut. Cloud’s version comes from the “You & Me” EP, which also includes covers from Jack Hayter and Broken Shoulder. The last time this happened was back in 1999 on the all-time chart, when “Song to the Siren” appeared twice (once by Tim Buckley, then again by This Mortal Coil)Billy Bragg hasn’t been on the charts since 1998, with “Way Over Yonder in the Minor Key” in 1998
- Good Throb and Soundcarriers both reached the top five in Paul Ackroyd’s Dead Albatross awards.Tyrannosaurus Dead also featured at #34 last year.
The Dead A List - A Wrap-Up [DedA11]
31 October, 2014
If you've been following me this past month, you'll know that I was invited on the judge panel for Paul Ackroyd's Dead Albatross music prize. Well, the whole shebang wrapped up last Wednesday, and I'm super-proud of the results. You can listen to the three-hour extravaganza here, which is loaded with artist exclusives, interviews, and much celebration; but, if you're eager to hear the results, then here's the top five in a nutshell:
5. The Soundcarriers - Entropicalia (Ghost Box)
4. Millie & Andrea - Drop The Vowels (Modern Love)
3. Good Throb - Fuck Off (Super-Fi/White Denim/Sabremetric)
2. Shopping - Consumer Conplaints (MÏLK)
1. Ibibio Sound Machine - S/T (Soundways)
Note, with the exception of Millie & Andrea, that the winners were almost exclusively female-fronted bands. Victory!
Anywho. Thanks much to Paul for bringing me on board. I enjoyed the whole judging process, of sifting through a broad pallet of sounds (funk! jazz! stoner rock! ambient! field recordings! house! techno! punk! post-punk! flamenco! abstract spoken word!) and pitting totally opposite artists against each other in metaphysical showdowns. I advise clicking on all the above links and devouring this stuff when you can. Congrats to Ibibio Sound Machine and the almighty Eno Williams - let's dance!
5. The Soundcarriers - Entropicalia (Ghost Box)
4. Millie & Andrea - Drop The Vowels (Modern Love)
3. Good Throb - Fuck Off (Super-Fi/White Denim/Sabremetric)
2. Shopping - Consumer Conplaints (MÏLK)
1. Ibibio Sound Machine - S/T (Soundways)
Note, with the exception of Millie & Andrea, that the winners were almost exclusively female-fronted bands. Victory!
Anywho. Thanks much to Paul for bringing me on board. I enjoyed the whole judging process, of sifting through a broad pallet of sounds (funk! jazz! stoner rock! ambient! field recordings! house! techno! punk! post-punk! flamenco! abstract spoken word!) and pitting totally opposite artists against each other in metaphysical showdowns. I advise clicking on all the above links and devouring this stuff when you can. Congrats to Ibibio Sound Machine and the almighty Eno Williams - let's dance!
RANT: I'm Not a Dude [GRRR10]
11 January, 2014
The good gospel of Collapse Board travels around, as you already know. A DJ type in New Zealand thanked me on Twitter recently for my best of 2013 spot, particularly for Tingle in the Netherlands and Mirror Parties.
In a chat with the former, however, he mentioned the following –
In a chat with the former, however, he mentioned the following –
At first, this gave me a little thrill. As a weird and tomboyish kid, I hated being a girl – boys had this cool and causal way of talking to each other, and when you tried to approach them in the same way, they clammed up and spoke to you in stutters or with a front of excess niceness. That frustrated me to no end! Couldn’t they see I didn’t wear make-up or tight clothes, or listen to girly music?
But then Everett reminded me of the greater issue – that we women are still being undervalued. (His words: “wait. You’re a girl? And a music critic? Get the fuck out”) Hrrm. Yeah. Apparently the old myth than men hold all the arcane knowledge and women just pine after the hunky dudes still lives on. Granted, a quick round-up of all the head honchos in the elite music-writing circles will yield – surprise! – a load of white dudes. Radio DJs – even in these democratic interwebs – by and large turn out to be dudes. Just look at Dandelion Radio’s working staff right now.
So I corrected myself.
But then Everett reminded me of the greater issue – that we women are still being undervalued. (His words: “wait. You’re a girl? And a music critic? Get the fuck out”) Hrrm. Yeah. Apparently the old myth than men hold all the arcane knowledge and women just pine after the hunky dudes still lives on. Granted, a quick round-up of all the head honchos in the elite music-writing circles will yield – surprise! – a load of white dudes. Radio DJs – even in these democratic interwebs – by and large turn out to be dudes. Just look at Dandelion Radio’s working staff right now.
So I corrected myself.
Shortly afterwards, Helen from the dynamic Tingle duo ran up to me.
Lookit that! Not only do men assume that tastemakers must be other men, they also assume that the male half of a dual-gender duo must be the one in charge of the PR. And in this 21st century, after the likes of Siouxsie Sioux, Anne Clark, Madonna, Kirsten Hirsch, Kim Deal, Kim Gordon, Beyoncé, Britney Spears, Adele, Lady Gaga, Miley Cyrus…and on and on!
(Granted, I’ll admit, when I sent off my email interview to Tunabunny, I falsely assumed that Scott – who, let’s face it, is the oldest and tallest ‘Bunny of the lot – was the gang leader and primary songwriter. Boy, was I wrong.)
ANYWHO. The lesson here, kids, is to a) read the bio at the end of an article before you go off calling a chick a dude, and b) shake off the male hierarchy! For years I’ve been uncomfortable as a girl, particularly in the company of other females that all wore the same jeans, aspired only for designer handbags, giggled to each other instead of discussing anything. But I’m slowly realizing – especially after reading Karren Ablaze!’s book, and most especially Ablaze! #10, a flowering of feminist battle cries and denouncements of the old suppressors – that I could wield some staggering power. Maybe!
So, hey, fellow chicks. Let’s start something. Do a Mixcloud show. And don’t just hide behind the music – speak! Make it 15 minutes, half an hour, 3 hours – no matter! Just include music, your voice, and your mug. Betcha you’ll sound waaaaaay better than me. Then, tweet the cloudcast to me. Deal? Deal! C’mon, it’s loads of fun. And MAYBE those male chumps will see this abundance of female aesthetes and stop assuming we’re dudes.
(We’ll have to think of a clever tag, too. #femcast? #chicksonair? Oy, the corniness. Help me, please.)
(Granted, I’ll admit, when I sent off my email interview to Tunabunny, I falsely assumed that Scott – who, let’s face it, is the oldest and tallest ‘Bunny of the lot – was the gang leader and primary songwriter. Boy, was I wrong.)
ANYWHO. The lesson here, kids, is to a) read the bio at the end of an article before you go off calling a chick a dude, and b) shake off the male hierarchy! For years I’ve been uncomfortable as a girl, particularly in the company of other females that all wore the same jeans, aspired only for designer handbags, giggled to each other instead of discussing anything. But I’m slowly realizing – especially after reading Karren Ablaze!’s book, and most especially Ablaze! #10, a flowering of feminist battle cries and denouncements of the old suppressors – that I could wield some staggering power. Maybe!
So, hey, fellow chicks. Let’s start something. Do a Mixcloud show. And don’t just hide behind the music – speak! Make it 15 minutes, half an hour, 3 hours – no matter! Just include music, your voice, and your mug. Betcha you’ll sound waaaaaay better than me. Then, tweet the cloudcast to me. Deal? Deal! C’mon, it’s loads of fun. And MAYBE those male chumps will see this abundance of female aesthetes and stop assuming we’re dudes.
(We’ll have to think of a clever tag, too. #femcast? #chicksonair? Oy, the corniness. Help me, please.)
Festive 50: 2013 [Fest9]
28 December, 2013
It's been a year, hasn't it? WHOA. The me in 2012 is a distant speck to the me in 2013 - she is alone on a deserted island 365 miles away, and I'm here in a tiny pub catching small talk as if it's dripping honey and trying to talk like a regular. Ain't workin' yet, methinks.
Still, she and I agree that Dandelion Radio's Festive 50 is the most definitive list of tunes on the face of the underground planet. Why? Consider - every track that made it is there because several someones thought it was one of the three best things they heard on the station all year. That's massively exciting for me, even now when I can openly chat about this music that is still shaping my identity. People exist outside my little shell who value the same sounds that I do. Perhaps one day, when I'm older, this'll stop seeming so shiny and novel, but I'd never really been in a group that I cared about during school, so connections are extremely vital to me right now. And especially now.
But enough about me - what happened this year on Dandelion Radio? See for yourself - several winners from last year returned, and some reigning champs emerged from their slumbers. My predictions were also totally bogus (go figure), although two of my votes did turn up on the ranks. That's PERFECTLY fine though, because the good Dandy listeners have heard some kickass stuff that slipped past me. However, the ending was a bit anti-climatic...
50. Helen Love - Atomic
49. PJ Harvey – Shaker Aamer
48. Flowers - Joanna
47. The Count of Chateau Noir – The Carnival Is Over
46. CHVRCHES – The Mother We Share
45. Colour Me Wednesday - Shut
44. Cyclic Freeload Unit – My Ram Is Sick
43. The Wolfhounds – Divide and Fall
42. Ryan Hardy – Oh My Stars
41. Veronica Falls - buried alive
40. Mogwai – Wizard Motor
39. Mat Riviere – In ~2 Seconds
38., John Grant - GMF
37. My Bloody Valentine – In Another Way
36. Dissolved – Forgotten Processes
35. UZ – Trapshit V12
34. Tyrannosaurus Dead - Sadie
33. Tullycraft – Lost in Light Rotation
32. The Short Stories – Angry Young Man
31. Burning Condors – Dirty Girl Blues
30. The Bordellos – Temperature Drop
29. TeenCanteen - Honey
28. Postcode - Sunfield
27. Jeffery Lewis & the Rain - WWPRD
26. JD Meatyard – Blow It Out Your Arse
25. Drenge - Backwaters
24. Daft Punk - Giorgio by Morodor
23. Council Tax Band - Mentioning No Names
22. Future of the Left - Singing of the Bonesaws
21. Arcade Fire - Reflektor
20. Mega Emotion - Brains
19. Katie Gately - Pipes
18. The Wolfhounds - Cheer Up
17. Mogwai - What Are They Doing in Heaven Today?
16. Savages - She Will
15. Flies on You - "Josephine" (session)
14. Diane Marie Kloba – I Saw the Stars
13. Joanna Gruesome – Sugarcrush
12.
11. Cloud – Mother Sea
10. The Fall – No Respects Rev
9. Spook School – I’ll Be Honest
8. David Bowie – Where Are We Now?
7. Martha – Sycamore
6. JD Meatyard – Jesse James
5. Public Service Broadcasting - Spitfire
4. Fuck Buttons – Hidden XS
3. The Fall – Sir William Wray
2. Fuck Buttons – Brain Freeze
1. The Wedding Present – Two Bridges
Snuffs - How'd we miss The Knife? Didn't the kids lurrrrve Shaking the Habitual? (I mean, I did, 'cause I can shake more than the habitual to "Full of Fire".) Also, it's a crying shame that Colin Stetson's "Hunted" didn't make the cut. That LP was grand. Also, methinks us blogger types failed somewhere since Tingle in the Netherlands and Laurence Made Me Cry were shut out. But, hey, can't expect everyone to hone in on the same bright lights, right?
And, like last year, the FUN FACTS and handy trivia to keep in yr back pocket:
As an aside - big whoops and slaps on the back to Daddy Tank Records and Audio Antihero! Woo woo woo!
Still, she and I agree that Dandelion Radio's Festive 50 is the most definitive list of tunes on the face of the underground planet. Why? Consider - every track that made it is there because several someones thought it was one of the three best things they heard on the station all year. That's massively exciting for me, even now when I can openly chat about this music that is still shaping my identity. People exist outside my little shell who value the same sounds that I do. Perhaps one day, when I'm older, this'll stop seeming so shiny and novel, but I'd never really been in a group that I cared about during school, so connections are extremely vital to me right now. And especially now.
But enough about me - what happened this year on Dandelion Radio? See for yourself - several winners from last year returned, and some reigning champs emerged from their slumbers. My predictions were also totally bogus (go figure), although two of my votes did turn up on the ranks. That's PERFECTLY fine though, because the good Dandy listeners have heard some kickass stuff that slipped past me. However, the ending was a bit anti-climatic...
50. Helen Love - Atomic
49. PJ Harvey – Shaker Aamer
48. Flowers - Joanna
47. The Count of Chateau Noir – The Carnival Is Over
46. CHVRCHES – The Mother We Share
45. Colour Me Wednesday - Shut
44. Cyclic Freeload Unit – My Ram Is Sick
43. The Wolfhounds – Divide and Fall
42. Ryan Hardy – Oh My Stars
41. Veronica Falls - buried alive
40. Mogwai – Wizard Motor
39. Mat Riviere – In ~2 Seconds
38., John Grant - GMF
37. My Bloody Valentine – In Another Way
36. Dissolved – Forgotten Processes
35. UZ – Trapshit V12
34. Tyrannosaurus Dead - Sadie
33. Tullycraft – Lost in Light Rotation
32. The Short Stories – Angry Young Man
31. Burning Condors – Dirty Girl Blues
30. The Bordellos – Temperature Drop
29. TeenCanteen - Honey
28. Postcode - Sunfield
27. Jeffery Lewis & the Rain - WWPRD
26. JD Meatyard – Blow It Out Your Arse
25. Drenge - Backwaters
24. Daft Punk - Giorgio by Morodor
23. Council Tax Band - Mentioning No Names
22. Future of the Left - Singing of the Bonesaws
21. Arcade Fire - Reflektor
20. Mega Emotion - Brains
19. Katie Gately - Pipes
18. The Wolfhounds - Cheer Up
17. Mogwai - What Are They Doing in Heaven Today?
16. Savages - She Will
15. Flies on You - "Josephine" (session)
14. Diane Marie Kloba – I Saw the Stars
13. Joanna Gruesome – Sugarcrush
12.
11. Cloud – Mother Sea
10. The Fall – No Respects Rev
9. Spook School – I’ll Be Honest
8. David Bowie – Where Are We Now?
7. Martha – Sycamore
6. JD Meatyard – Jesse James
5. Public Service Broadcasting - Spitfire
4. Fuck Buttons – Hidden XS
3. The Fall – Sir William Wray
2. Fuck Buttons – Brain Freeze
1. The Wedding Present – Two Bridges
Snuffs - How'd we miss The Knife? Didn't the kids lurrrrve Shaking the Habitual? (I mean, I did, 'cause I can shake more than the habitual to "Full of Fire".) Also, it's a crying shame that Colin Stetson's "Hunted" didn't make the cut. That LP was grand. Also, methinks us blogger types failed somewhere since Tingle in the Netherlands and Laurence Made Me Cry were shut out. But, hey, can't expect everyone to hone in on the same bright lights, right?
And, like last year, the FUN FACTS and handy trivia to keep in yr back pocket:
- “Trapshit V12” is the first trap tune to break the Festive 50.
- “Mentioning No Names” was originally aired on three different programs in May and once more in June.
- “What Are They Doing in Heaven Today?” was also covered earlier this year by Colin Stetson on New History Warfare Vol. 3: To See More Light.
- Several folks in the Short Stories were also members of the Beatnik Filmstars, who have appeared in the Festive 50 seven times since 2006.
- The original “Josephine” was released last year on the wicked excellent Nothing to Write Home About. The version on this list is a session from Mark Whitby’s show.
- David Bowie hasn’t been on the Festive 50 charts since 1979.
- The Fall have now appeared 109 times on the Festive 50 charts.
- Last year, two Fuck Buttons songs were featured in the Olympics opening ceremony. (How fitting!)
- Savages dropped from #1 last year to #16, and Veronica Falls fell from #28 to #41. Meanwhile, Martha jumped from #45 to #7, Future of the Left moved up from #31 to #22 and Flies on You climbed from #27 to #15.
- David Gedge is the only person, except for Bernard Sumner and Mark E. Smith, who has reached #1 with two different bands. The last time Gedge hit the top with Cinerama was in 2003 – the last year Peel presented the Festive 50. (Last year, The Wedding Present was at #14.)
As an aside - big whoops and slaps on the back to Daddy Tank Records and Audio Antihero! Woo woo woo!
Reflection: Week of Wonders [RWoW8]
5 November, 2013
So. If you plug into the same music circles that I do - or maybe not even the same circles, but perhaps interlinking ones - you may have heard of Week of Wonders. Tropical punk. And if you've really been tracing these circles long enough, you'll know that before Week of Wonders was Orca Team. Pre-post-punk. You'll also know that I plugged Orca Team heartily back in the Recommendation page. But I haven't written a word about Week of Wonders, now, have I? Nope. Until now.
Who are Week of Wonders? you may still be asking. Well, Rough Trade dug 'em. A lot. Oooh, authenticity. But all that fluff is just meandering around the heart of the matter. That, actually, Week of Wonders is just a novelty - a flash-in-the-pan, spur-of-the-moment shedding of the skin and bone that was Orca Team to the plush and pomp that is Week of Wonders. Substance for style, monochrome for neon lights, deathly pale to blazing white. In Orca Team, Leif’s vocals were dead-on sensitive, haunting for all the right reasons. Poppy and perverse, light and dark. The subtlety was the sleight of hand that wooed me, and no doubt wooed Mike Turner of HHBTM when he signed Leif and his crew on.
But Leif – ah, Leif’s a slippery thing, a siren in the shape of an eel. He slipped out of Orca Team and slithered into something brighter – something to shove out all that grayness, because in the end it’s color that attracts the females, isn’t? Gray is too old, too in-between, frankly quite feminine, and simply not Leif enough. Leif is a strutting, flaunting, preening being, and in the end the tropical punk sound was the rainbow plumage Leif needed. Less dark spaces, less confused feelings. Let’s just force some fun out of those guitars, shall we?
Whoever coined the term “tropical punk” ought to be led to the back of the woods. Honestly? At what time did that serenely mellow, outrageously bright, domineering steel drum sound ever coincide with punk? Aren’t punks supposed to challenge this bland optimism, this happy celebration of lazy beach utopia? Perhaps the lyrics are the missing link – but they’re so low in the mix, so who’s listening? If you’re straining that desperately to sift under the bouncing peals, to lift some meaning from this onslaught of cheer, then maybe you’re a better literary critic than me. I’m not a lyrics person. Music is sound.
And the truth is, every Week of Wonders song really sounds the same. Go on, admit it.
Not that there’s many to compare. The slippery little bloke that is Leif has slipped his way out of studios these many months and has slid by on tour toting just a pair of singles. One shows a cover of swans sucking face. The other is a languid rainbow frame around a city at night. Pretty apt.
Oh, yeah. And there was that video. Which I called “interesting” at the time, and that perhaps some of you other art-damaged individuals were willing to tolerate as some deviant creative expression. No, I get it now. Naked women turn heads. Naked women who smear black paint all over themselves will turn more heads. Simple. Either that, or Leif just wanted to try his hand at soft porn.
And yet the singles earned some airtime, particularly with some DJs who are far better than me – but also with me. “Ooh, ahh, listen to this queer little sound,” we were all saying. “Isn’t it quaint?” We were all buying Leif’s new scheme, his next ultra-suave, sort-of retro style.
But it was never really more than a fad, was it? Is it? Could this breezy, vapid, sexlessly steamy sound really stretch out into an LP?
Who knows, who cares. Maybe Leif will slip his way into a studio again after he’s wriggled his way across the underbelly of the US. But I tell you this – if that shimmery fable were true, then the LP would not bear the HHBTM standard. This is a fact.
In other news, Eureka California still rock righteously. Here’s their Bandcamp page. They’re your pals. They’re our pals. And they’re also our heroes. They could be your heroes, too. Stream “Big Cats Can Swim” and find your favorite band all over again.
Who are Week of Wonders? you may still be asking. Well, Rough Trade dug 'em. A lot. Oooh, authenticity. But all that fluff is just meandering around the heart of the matter. That, actually, Week of Wonders is just a novelty - a flash-in-the-pan, spur-of-the-moment shedding of the skin and bone that was Orca Team to the plush and pomp that is Week of Wonders. Substance for style, monochrome for neon lights, deathly pale to blazing white. In Orca Team, Leif’s vocals were dead-on sensitive, haunting for all the right reasons. Poppy and perverse, light and dark. The subtlety was the sleight of hand that wooed me, and no doubt wooed Mike Turner of HHBTM when he signed Leif and his crew on.
But Leif – ah, Leif’s a slippery thing, a siren in the shape of an eel. He slipped out of Orca Team and slithered into something brighter – something to shove out all that grayness, because in the end it’s color that attracts the females, isn’t? Gray is too old, too in-between, frankly quite feminine, and simply not Leif enough. Leif is a strutting, flaunting, preening being, and in the end the tropical punk sound was the rainbow plumage Leif needed. Less dark spaces, less confused feelings. Let’s just force some fun out of those guitars, shall we?
Whoever coined the term “tropical punk” ought to be led to the back of the woods. Honestly? At what time did that serenely mellow, outrageously bright, domineering steel drum sound ever coincide with punk? Aren’t punks supposed to challenge this bland optimism, this happy celebration of lazy beach utopia? Perhaps the lyrics are the missing link – but they’re so low in the mix, so who’s listening? If you’re straining that desperately to sift under the bouncing peals, to lift some meaning from this onslaught of cheer, then maybe you’re a better literary critic than me. I’m not a lyrics person. Music is sound.
And the truth is, every Week of Wonders song really sounds the same. Go on, admit it.
Not that there’s many to compare. The slippery little bloke that is Leif has slipped his way out of studios these many months and has slid by on tour toting just a pair of singles. One shows a cover of swans sucking face. The other is a languid rainbow frame around a city at night. Pretty apt.
Oh, yeah. And there was that video. Which I called “interesting” at the time, and that perhaps some of you other art-damaged individuals were willing to tolerate as some deviant creative expression. No, I get it now. Naked women turn heads. Naked women who smear black paint all over themselves will turn more heads. Simple. Either that, or Leif just wanted to try his hand at soft porn.
And yet the singles earned some airtime, particularly with some DJs who are far better than me – but also with me. “Ooh, ahh, listen to this queer little sound,” we were all saying. “Isn’t it quaint?” We were all buying Leif’s new scheme, his next ultra-suave, sort-of retro style.
But it was never really more than a fad, was it? Is it? Could this breezy, vapid, sexlessly steamy sound really stretch out into an LP?
Who knows, who cares. Maybe Leif will slip his way into a studio again after he’s wriggled his way across the underbelly of the US. But I tell you this – if that shimmery fable were true, then the LP would not bear the HHBTM standard. This is a fact.
In other news, Eureka California still rock righteously. Here’s their Bandcamp page. They’re your pals. They’re our pals. And they’re also our heroes. They could be your heroes, too. Stream “Big Cats Can Swim” and find your favorite band all over again.
Musings Over Festive Fifty '13 [FF137]
1 November, 2013
Oy, ve. It’s end-of-the-year time again – time for retrospectives and best-of lists and plenty of ham. (Turkey? Pssssh.) Any and every self-respecting taste maker’s expected to roll out some definitive list of highlights from the closing year – and I can’t say that I’m the most prestigious of taste makers, although I can make a killer dish of baked beans. Still, I did introduce at least 50 of you blokes to Tunabunny, including three DJs who are ten times more influential than moi. So there.
Anywho, my point is, it might be time for me to weigh in on this annual making of taste. But, since a “DEFINITIVE BEST EVERRR OF 2013” list is far outside of my scope, I’ll focus instead on Dandelion Radio’s cherished Festive 50 event. Those of you who have followed John Peel (and, via Dandelion, his pioneering spirit) longer than me probably know how this goes even better than I do: listeners vote for what they think were the three best tracks of the year, but preferably ones which were at some point played on Dandelion. This makes the Festive 50, in my mind, one of the most authentic "best of" lists imaginable.
But ayyyyyy me, how to boil down a year of cracking good tunes to three votes? Trust me, I’ve kept a running list of highlights since March, and it’s at least a page long! Now, in good Soundscape fashion (which, let’s face it, is a bit of a paradox), I’ll play some of my personal picks, and maybe other folks’ picks, too – but I also hope to cobble together one more normal show before then, too, so that may be a while. Until then…here’s what I threw in the hat. Because I know you’re curious.
3. “Better” by Odonis Odonis – Granted, my first choice would’ve actually been “Intelligence”, but this was the slice of intoxicating groove that was played, so there’s my pick. And if you haven’t picked up this devilish EP, then do it now, you lazy bum.
2. “Mentioning No Names” by Council Tax Band. ‘Cause he’s a cunt. ‘Cause he’s a cunt. ‘Cause he’s a ‘ing cunt. And because that “Three Songs EP” was such a riot that at least three DJs featured this rollicking tune in one month. It rips, it snarls, it spits in your face, then smashes the nearest window and leaps out of sight quicker than it came in.
1. “Forgotten Processes”, by Dissolved. Easily the most engrossing lyrics I heard all year, and set no less to the electronic alchemy that Dissolved Paul is so scarily good at. Daddy Tank has been pumping out some cool releases this year, but Surge of the Lucid came from another world.
HONORABLE (i.e also glorious and a damn shame I couldn’t fit them in the top 3 – but you can, if you so wish) MENTIONS
This, of course, does not include the bushel of other brilliant tunes I’ve unearthed via the Waiting Room, or through other folk’s podcasts, or The Wrong Rock Show, or etc. etc. (For instance, I’m not mentioning my favorite cassette of the year, or two of my favorite albums that I reviewed for GoldFlakePaint, which I gushed over here and here.) This is strictly Dandelion business. And while this could be interpreted as subtle (Bernays) propaganda, methinks a quick refreshing of such killer tunes for the general public can't be a bad thing. So I’m going to cast those first three in the hat, and perhaps be out-ruled by 47 other class acts…but, such is life. Now, go forth and pick your own three faves.
Hopefully, like last year, I'll crank out the results of the Festive 50 days before the Dandelion folk print 'em. Which, if you scroll down on this very page (gasp!) you can find the list from last year, peppered with my nuggets of trivia.
(You can also find pretty much everything else on the list above in either the Broadcasts tracklists OR within the Recommendations tapestry.)
Anywho, my point is, it might be time for me to weigh in on this annual making of taste. But, since a “DEFINITIVE BEST EVERRR OF 2013” list is far outside of my scope, I’ll focus instead on Dandelion Radio’s cherished Festive 50 event. Those of you who have followed John Peel (and, via Dandelion, his pioneering spirit) longer than me probably know how this goes even better than I do: listeners vote for what they think were the three best tracks of the year, but preferably ones which were at some point played on Dandelion. This makes the Festive 50, in my mind, one of the most authentic "best of" lists imaginable.
But ayyyyyy me, how to boil down a year of cracking good tunes to three votes? Trust me, I’ve kept a running list of highlights since March, and it’s at least a page long! Now, in good Soundscape fashion (which, let’s face it, is a bit of a paradox), I’ll play some of my personal picks, and maybe other folks’ picks, too – but I also hope to cobble together one more normal show before then, too, so that may be a while. Until then…here’s what I threw in the hat. Because I know you’re curious.
3. “Better” by Odonis Odonis – Granted, my first choice would’ve actually been “Intelligence”, but this was the slice of intoxicating groove that was played, so there’s my pick. And if you haven’t picked up this devilish EP, then do it now, you lazy bum.
2. “Mentioning No Names” by Council Tax Band. ‘Cause he’s a cunt. ‘Cause he’s a cunt. ‘Cause he’s a ‘ing cunt. And because that “Three Songs EP” was such a riot that at least three DJs featured this rollicking tune in one month. It rips, it snarls, it spits in your face, then smashes the nearest window and leaps out of sight quicker than it came in.
1. “Forgotten Processes”, by Dissolved. Easily the most engrossing lyrics I heard all year, and set no less to the electronic alchemy that Dissolved Paul is so scarily good at. Daddy Tank has been pumping out some cool releases this year, but Surge of the Lucid came from another world.
HONORABLE (i.e also glorious and a damn shame I couldn’t fit them in the top 3 – but you can, if you so wish) MENTIONS
- “Between Destinations” by Laurence Made Me Cry, for reminding us just how magical this world could be;
- ANYTHING by Bernays Propaganda, because they fucking NAILED it on a session for Mark Whitby;
- Also, the live sessions from Hallouminati and Sea of Mirth (gypsies and pirates who mix and mingle) on Mark Cunliffe’s show were BALLIN’. Epic amounts of joy, laughter, and solid good times.
- “Boy Sees Mirror” and/or “Blurry & Bright”, by Cloud, for lighting the way to the crossroads;
- “Charlotte Badger”, by Jack Hayter, ‘cause she’ll rip the balls out of you;
- “That I Would Arrive At Your Door”, by the Carbon Manual, who turned in a hypnotic session for Rocker’s show (which, by the by, is still on tap on Bandcamp);
- “Bukowski”, by Mark Wynn, because. Bukowski.
- "I HATE TEENAGERS", by CRAWANDER, because I nearly fell out of my chair when I first heard this. Not even kidding. And yes, the all-caps are totally necessary.
- "To See More Light", by Colin Stetson - because this is oh so visceral when played in car speakers tuned with slightly more bass. A tour de FORCE.
This, of course, does not include the bushel of other brilliant tunes I’ve unearthed via the Waiting Room, or through other folk’s podcasts, or The Wrong Rock Show, or etc. etc. (For instance, I’m not mentioning my favorite cassette of the year, or two of my favorite albums that I reviewed for GoldFlakePaint, which I gushed over here and here.) This is strictly Dandelion business. And while this could be interpreted as subtle (Bernays) propaganda, methinks a quick refreshing of such killer tunes for the general public can't be a bad thing. So I’m going to cast those first three in the hat, and perhaps be out-ruled by 47 other class acts…but, such is life. Now, go forth and pick your own three faves.
Hopefully, like last year, I'll crank out the results of the Festive 50 days before the Dandelion folk print 'em. Which, if you scroll down on this very page (gasp!) you can find the list from last year, peppered with my nuggets of trivia.
(You can also find pretty much everything else on the list above in either the Broadcasts tracklists OR within the Recommendations tapestry.)
A Pure Culture, Eh? [PCEh6]
31 July, 2013
Not too long ago, the editor of GoldFlakePaint sent along this promo for some band called Pure Bathing Culture. And, being the dutiful staff writer that I am, I cheerfully accepted the assignment. However, when I gave this LP a spin, I found something dreadful - it was b-o-r-i-n-g. I tried my best to write a review, but couldn't hide my resentment - and naturally, it was rejected. Which I was expecting, and replied in good humor. However, methinks that anyone who's been wondering who on earth Pure Bathing Culture is, or what the hype may be about, would appreciate this lil' write-up I wrote. So, for the curious:
Homogeny isn’t always a negative trait in an album. You know what I’m talking about – when you’re in “one of those moods”, and only a very specific vibe will do? I can’t tell you how many times I’ve wanted nothing but the furious, thundering drums of The Cure’s Pornography storming in my ears – I never remember anything else from that LP, save the agonized guitar from the opener, but that’s all I need. That unrelenting fury pounds me and beats my seething anger into submission. Emerging alive from such a shuddering assault is cathartic.
However, when an album fixes itself on a less engaging style, it inevitably falls flat. Granted, what does or doesn’t affect a listener can be a subjective affair; however, you’re reading this because you value my opinion, and so I shall tell you bluntly that this new Pure Bathing Culture LP, Moon Tides, positively bored me. They’re a guy-girl duo, see, where Sarah Versprille sings her best Liz Frazier imitation and Daniel Hindman mans the drum machines, super-soft guitars, and other such synths that lend an 80s soft-rock atmosphere to the mix. Prefab Sprout comes most strongly to mind – however, the slight playful charm that trickled through Two Wheels Good (the name we American folks used for Steve McQueen) hasn’t manifested itself in the same endearing way on Moon Tides.
Now, admittedly, the opener is quite pretty – the chorus, in particular, is absolutely stirring, with Sarah’s pitch-perfect vocals, and the whole lush production that renders this as a hidden island paradise wrapped in rosy morning fog. However, when the very same instrumentation and blissful mode grace each and every track on the album, the magic begins to fizzle a bit. “Only Lonely Lovers” is particularly ingratiating – the perky, blindingly bright chorus and the even obscenely brighter synth lick sound fine tuned for an advert appealing to nostalgia-addled 40-somethings.
Every track pulls the same trick - except, that is, “Temples of the Moon”. All the lush instrumentation has finally been stripped away – a simple yet haunting strum and a pulsing bass alone drive this gorgeously brooding track. At last, some of the more melancholy 80s stars like Deacon Blue and the Blue Nile creep into this manufactured paradise, and it’s absolutely refreshing, as torrents of rain can be in the midst of a normally sweltering summer.
Aside from that, though…argh. I’ll sum it up this way: if you’re in the mood to be pampered, or to escape from cynics and pragmatists, this is certainly the album you need. However, you’d also have to be in the mood for a very passive listening experience, for music that can waft in the background without leaving much of a mark on the listener. Otherwise, consider listening to Moon Tides one song at a time – brief glances into PBC’s hushed world just might preserve the intrigue and mysticism that the LP has ungenerously spoiled.
Homogeny isn’t always a negative trait in an album. You know what I’m talking about – when you’re in “one of those moods”, and only a very specific vibe will do? I can’t tell you how many times I’ve wanted nothing but the furious, thundering drums of The Cure’s Pornography storming in my ears – I never remember anything else from that LP, save the agonized guitar from the opener, but that’s all I need. That unrelenting fury pounds me and beats my seething anger into submission. Emerging alive from such a shuddering assault is cathartic.
However, when an album fixes itself on a less engaging style, it inevitably falls flat. Granted, what does or doesn’t affect a listener can be a subjective affair; however, you’re reading this because you value my opinion, and so I shall tell you bluntly that this new Pure Bathing Culture LP, Moon Tides, positively bored me. They’re a guy-girl duo, see, where Sarah Versprille sings her best Liz Frazier imitation and Daniel Hindman mans the drum machines, super-soft guitars, and other such synths that lend an 80s soft-rock atmosphere to the mix. Prefab Sprout comes most strongly to mind – however, the slight playful charm that trickled through Two Wheels Good (the name we American folks used for Steve McQueen) hasn’t manifested itself in the same endearing way on Moon Tides.
Now, admittedly, the opener is quite pretty – the chorus, in particular, is absolutely stirring, with Sarah’s pitch-perfect vocals, and the whole lush production that renders this as a hidden island paradise wrapped in rosy morning fog. However, when the very same instrumentation and blissful mode grace each and every track on the album, the magic begins to fizzle a bit. “Only Lonely Lovers” is particularly ingratiating – the perky, blindingly bright chorus and the even obscenely brighter synth lick sound fine tuned for an advert appealing to nostalgia-addled 40-somethings.
Every track pulls the same trick - except, that is, “Temples of the Moon”. All the lush instrumentation has finally been stripped away – a simple yet haunting strum and a pulsing bass alone drive this gorgeously brooding track. At last, some of the more melancholy 80s stars like Deacon Blue and the Blue Nile creep into this manufactured paradise, and it’s absolutely refreshing, as torrents of rain can be in the midst of a normally sweltering summer.
Aside from that, though…argh. I’ll sum it up this way: if you’re in the mood to be pampered, or to escape from cynics and pragmatists, this is certainly the album you need. However, you’d also have to be in the mood for a very passive listening experience, for music that can waft in the background without leaving much of a mark on the listener. Otherwise, consider listening to Moon Tides one song at a time – brief glances into PBC’s hushed world just might preserve the intrigue and mysticism that the LP has ungenerously spoiled.
And Yet It Failed, Episode 1 [AYIF5]
Posted: 13 March, 2013
As an extra bonus to consolidate for my long hiatus, I present a new feature that I’ll certainly be bringing back again and again. So far, you’ve seen me write mostly wholesome and positive reviews for the bands I feature on Soundscape. You might wonder, then: can I write a solid critique? Enter this section. Without a doubt, we all have artists, genres, and eras of music that we simply can’t stand, and possibly even love to hate. Such is my case. However, rather than merely ranting about today’s popular punching bags, I’ll be drawing from my own experience of listening and loathing. My choices probably won’t be too alarming or surprising – I’m not declaring anything contentious here. Anywho, here is this week’s write-up…
You remember when cassettes were in? Yeah, it was the mid-90s, and I was far too young to appreciate (or even acknowledge) any sort of music outside of the cozy bubble of oldies that my mom ensconced me and my brother in. She was growing her own cassette collection, though – and one of the bands she fancied was Hootie and the Blowfish. Now, I can’t recall if she owned Cracked Rear View or Fairweather Johnson (the band’s first and biggest albums, by the by)...I remember, though, that Darius Rucker’s voice made me sad. Infinitely, dejectedly sad. (I was only six, after all.) I couldn’t stand it.
As I was leaving the gym this morning, I heard “I Only Wanna Be With You” on their radio. That blandly tender tune tapped a well of loathing – and, almost instantly, I felt compelled to write this piece.
Now, for reasons beyond my control, Fairweather Johnson is on my old computer, so I sampled through it to refresh myself. What I found wasn’t too surprising – I mean, have YOU heard Hootie and the Blowfish since the 90s? They’re about as dated as Culture Club: the standard rock organ, nondescript drum patterns, a twin guitar approach that’s more perfunctory than compelling. Nothing too edgy, aggressive, or unpredictable about it at all; indeed, the band seems to have numbed old classic rock tropes for their purposes.
Like in most pop music, the lead singer was the most distinctive member of Hootie. And I’ll say this – Rucker’s voice doesn’t strike me as depressing anymore, but it’s not all that interesting, either. I mean, it’s almost too polished for my likes (a quip I could also apply to Manic Street Preachers – they might be next!). His vocal range - which fans have praised up and down, I'm sure - doesn’t sound that wide, anyway, particularly when compared to contemporary college rocker (wait, did I just type that?) Dave Matthews.
Mind, I found one highlight on Fairweather - but it was a total goof-off, and oddly the title track, where Darius muses about his favorite football teams. Hmm. Still, it's satisfying to hear the band at least laugh at themselves, before launching into another banal rock tune.
Ultimately, though, I don’t “hate” Hootie as badly as I thought I did. Really, aside from their overt blandness, I really can’t point out anything remarkably awful about them. It’s just that, given my wildly experimental/alternative/eccentric/something else tastes, I’m just not feelin’ the love. Or much of anything, for that matter.
You remember when cassettes were in? Yeah, it was the mid-90s, and I was far too young to appreciate (or even acknowledge) any sort of music outside of the cozy bubble of oldies that my mom ensconced me and my brother in. She was growing her own cassette collection, though – and one of the bands she fancied was Hootie and the Blowfish. Now, I can’t recall if she owned Cracked Rear View or Fairweather Johnson (the band’s first and biggest albums, by the by)...I remember, though, that Darius Rucker’s voice made me sad. Infinitely, dejectedly sad. (I was only six, after all.) I couldn’t stand it.
As I was leaving the gym this morning, I heard “I Only Wanna Be With You” on their radio. That blandly tender tune tapped a well of loathing – and, almost instantly, I felt compelled to write this piece.
Now, for reasons beyond my control, Fairweather Johnson is on my old computer, so I sampled through it to refresh myself. What I found wasn’t too surprising – I mean, have YOU heard Hootie and the Blowfish since the 90s? They’re about as dated as Culture Club: the standard rock organ, nondescript drum patterns, a twin guitar approach that’s more perfunctory than compelling. Nothing too edgy, aggressive, or unpredictable about it at all; indeed, the band seems to have numbed old classic rock tropes for their purposes.
Like in most pop music, the lead singer was the most distinctive member of Hootie. And I’ll say this – Rucker’s voice doesn’t strike me as depressing anymore, but it’s not all that interesting, either. I mean, it’s almost too polished for my likes (a quip I could also apply to Manic Street Preachers – they might be next!). His vocal range - which fans have praised up and down, I'm sure - doesn’t sound that wide, anyway, particularly when compared to contemporary college rocker (wait, did I just type that?) Dave Matthews.
Mind, I found one highlight on Fairweather - but it was a total goof-off, and oddly the title track, where Darius muses about his favorite football teams. Hmm. Still, it's satisfying to hear the band at least laugh at themselves, before launching into another banal rock tune.
Ultimately, though, I don’t “hate” Hootie as badly as I thought I did. Really, aside from their overt blandness, I really can’t point out anything remarkably awful about them. It’s just that, given my wildly experimental/alternative/eccentric/something else tastes, I’m just not feelin’ the love. Or much of anything, for that matter.
You Don't Believe What You Write! [MJRN4]
Posted: 8 January, 2013
I don't do this reflective writing too terribly often. But a monumental shift in my life might just happen, and some isolated thoughts are beginning to coalesce into one nagging concern about my final destination. And it DOES concern you, dear listener/reader.
Here's the scoop: I'm waiting anxiously on a letter from UGA, that will either confirm or deny my acceptance into the Grady School of Journalism (and Mass Communication). And I'm wondering what sort of career I'm going to bumble into afterwards. Been entertaining several possibilities, but - big surprise - I've really been eyeing the shot to work in music journalism.
Here's the kicker: no one likes music journalists. Skim through any hot music mag online, and scroll past any given (substantial) article; more often than not, you'll delve up more than one nasty imprecation about that particular writer's taste. And 9.8 times out of 10, these critic-critiques invoke the term "pretentious". Oy! Those folks at Lake Superior State University should've considered that for their Banned Words of 2012 list - because now, whenever anyone tries to justify an opinion (especially when it's unpopular), they're blasted for being "pretentious", regardless of how thoughtful or well-written the article may be. Can't music-loving folks just appreciate the fact that there IS a community of critical writers out there discussing music that they actually care about?
This is a gripe I've harboring for months now. You see, until I can return to college, or at least find a job, I spend most of my time on the outskirts of a quaint southern town, tending house and looking after my folks. And me mum is infatuated with those entertainment news shows that champion only the most ridiculously successful megastars. Don't get me wrong - I love Mum to death - but the isolation can be overbearing.
So, yes, I have my personal reasons for defending music journalists. But a communications professor from Missouri State University can back me up on this. As Dr. Sam Dyer pointed out to his class in a PR Writing lecture, journalists across the board have always been "demonized" by the public and accused of malicious or biased reporting. However, as Americans become more and more circumspect of national authority in general (think - Vietnam, Watergate, and sex scandals galore), we begin to inspect our daily news with the same jaded eye. [1] I don't believe, of course, that this increasingly critical view is completely unmerited. It is unfair, though, to blast entire media corporations for projecting "agendas", when the reporters handling the grunt work are usually just doing their job - informing the public on what they otherwise wouldn't know (albeit without certain details). Now, maybe you don't regard cable news reporters and music journalists to be on the same tier of professionalism, but they're still both journalists, and demonization is crippling both their careers.
Still, no matter how much I build up a defense for journalism (and my potential future), I can't help but be reminded of all the shortcomings of music journalists in the past. I refer in particular to the British press in the late 70s and early 80s - NME, Melody Maker, that lot - that showered abuse on synth pioneers like OMD, Gary Numan, and the Human League for not being "authentic". A certain status quo was being maintained there; the critics were defending the traditional rock n' roll outfit and unfairly attacking these groups for not acquiescing. [2] That's not music criticism - that's prejudice.
And then there's the title of this article. The other day, I was bopping along to my favorite Oingo Boingo album, Only A Lad. Ridiculous album, that one. with a sadistic wit - and there's one track toward the end, "Imposter", that savagely belittles music critics as pompous bastards who lacked the confidence or talent to be musicians themselves. "We know why you drink so much," Danny Elfman sneers in the last verse. Pervading the song, though, is the chorus: "You don't believe what you write (you're an impostor)".
It's that chorus that gets me.
So, why am I writing this spiel? For myself, really - sorting out these ideas about journalism, and music journalism in particular, and contemplating if this will indeed be be path I travel on. But I haven't been a music critic so far, haven't I? Or too terribly "pretentious" (ugh), right? My singular purpose for forming this blog has been to introduce you to everything obscure and wonderful, and provide the links so that you could listen in for yourself. No self-important ideas there - I revel in the discovery, and I relish the bits of gratitude that artists send me for sharing their work. May not be criticism, or even journalism, but it's what this site is about, and so long as I receive some feedback, I can just be happy that I'm providing someone a service, even if that is just a handful of folk. Probably won't be a career, either - but, hey, you never can tell.
Anywho...cheers, and happy listening, everyone.
[1] - Never been to Missouri State, by the way - that lecture by Dr. Dyer is available on iTunes U under MSU's "Writing for Public Relations", as "Journalism Part 1: The Importance of the Fourth Estate". He's an entertaining bloke, so I recommend chasing it down.
[2] - Heard this on BBC 4's fantastic "Synth Britannica" documentary via YouTube.
Here's the scoop: I'm waiting anxiously on a letter from UGA, that will either confirm or deny my acceptance into the Grady School of Journalism (and Mass Communication). And I'm wondering what sort of career I'm going to bumble into afterwards. Been entertaining several possibilities, but - big surprise - I've really been eyeing the shot to work in music journalism.
Here's the kicker: no one likes music journalists. Skim through any hot music mag online, and scroll past any given (substantial) article; more often than not, you'll delve up more than one nasty imprecation about that particular writer's taste. And 9.8 times out of 10, these critic-critiques invoke the term "pretentious". Oy! Those folks at Lake Superior State University should've considered that for their Banned Words of 2012 list - because now, whenever anyone tries to justify an opinion (especially when it's unpopular), they're blasted for being "pretentious", regardless of how thoughtful or well-written the article may be. Can't music-loving folks just appreciate the fact that there IS a community of critical writers out there discussing music that they actually care about?
This is a gripe I've harboring for months now. You see, until I can return to college, or at least find a job, I spend most of my time on the outskirts of a quaint southern town, tending house and looking after my folks. And me mum is infatuated with those entertainment news shows that champion only the most ridiculously successful megastars. Don't get me wrong - I love Mum to death - but the isolation can be overbearing.
So, yes, I have my personal reasons for defending music journalists. But a communications professor from Missouri State University can back me up on this. As Dr. Sam Dyer pointed out to his class in a PR Writing lecture, journalists across the board have always been "demonized" by the public and accused of malicious or biased reporting. However, as Americans become more and more circumspect of national authority in general (think - Vietnam, Watergate, and sex scandals galore), we begin to inspect our daily news with the same jaded eye. [1] I don't believe, of course, that this increasingly critical view is completely unmerited. It is unfair, though, to blast entire media corporations for projecting "agendas", when the reporters handling the grunt work are usually just doing their job - informing the public on what they otherwise wouldn't know (albeit without certain details). Now, maybe you don't regard cable news reporters and music journalists to be on the same tier of professionalism, but they're still both journalists, and demonization is crippling both their careers.
Still, no matter how much I build up a defense for journalism (and my potential future), I can't help but be reminded of all the shortcomings of music journalists in the past. I refer in particular to the British press in the late 70s and early 80s - NME, Melody Maker, that lot - that showered abuse on synth pioneers like OMD, Gary Numan, and the Human League for not being "authentic". A certain status quo was being maintained there; the critics were defending the traditional rock n' roll outfit and unfairly attacking these groups for not acquiescing. [2] That's not music criticism - that's prejudice.
And then there's the title of this article. The other day, I was bopping along to my favorite Oingo Boingo album, Only A Lad. Ridiculous album, that one. with a sadistic wit - and there's one track toward the end, "Imposter", that savagely belittles music critics as pompous bastards who lacked the confidence or talent to be musicians themselves. "We know why you drink so much," Danny Elfman sneers in the last verse. Pervading the song, though, is the chorus: "You don't believe what you write (you're an impostor)".
It's that chorus that gets me.
So, why am I writing this spiel? For myself, really - sorting out these ideas about journalism, and music journalism in particular, and contemplating if this will indeed be be path I travel on. But I haven't been a music critic so far, haven't I? Or too terribly "pretentious" (ugh), right? My singular purpose for forming this blog has been to introduce you to everything obscure and wonderful, and provide the links so that you could listen in for yourself. No self-important ideas there - I revel in the discovery, and I relish the bits of gratitude that artists send me for sharing their work. May not be criticism, or even journalism, but it's what this site is about, and so long as I receive some feedback, I can just be happy that I'm providing someone a service, even if that is just a handful of folk. Probably won't be a career, either - but, hey, you never can tell.
Anywho...cheers, and happy listening, everyone.
[1] - Never been to Missouri State, by the way - that lecture by Dr. Dyer is available on iTunes U under MSU's "Writing for Public Relations", as "Journalism Part 1: The Importance of the Fourth Estate". He's an entertaining bloke, so I recommend chasing it down.
[2] - Heard this on BBC 4's fantastic "Synth Britannica" documentary via YouTube.
Dandelion Radio's Festive 50 - 2012 [FF123]
Posted: 31 Dec, 2012
If you haven't heard of Dandelion Radio yet, then you must be out of the loop! It's THE station to turn to for everything new, indie, and alternative, from all over the globe. At the end of every year, however, Dandelion listeners vote for their favorite new releases, and the DJs tally the votes and play the top 50 results. There may be plenty of trivial Best of lists out there, but I guarantee ya - this is the real deal. Trust me - I successfully voted in No. 1 AND No. 2! So here's the rundown, or at least the ranks that I could piece together, for both your sake and mine. Be assured, that if you don't start looking 'round for these tracks and artists, I'll certainly dig 'em up for you:
#50: Guided by Voices - Class Clown Spots A UFO
#49: The Oh Sees - Lupine Dominus
#48: Forkeyes - Fell Off The Penalty Spotty Spot
#47: Standard Fare - Older Women
#46: Neil Young and Crazy Horse - Walk Like a Giant
#45: Martha - 1978, smiling politely
#44: Goat - Goathead
#43: Cate Le Bon - Puts me to work
#42: Alt-J - Fitzpleasure
#41: The Phantom Light - The Greater Picture
#40: Yva Las Vegass - Crack Whore
#39: The Magnetic Fields - Andrew in Drag
#38: The Horn The Hunt - Gold
#37: Tame Impala - Elephant
#36: PiL - Lollipop Opera
#35: M.J.Hibbett & The Validators - A Little Bit
#34: Lulubelle III - Frankie
#33: Japandroids - The House That Heaven Built
#32: Grimes - Oblivion
#31: Future of the Left - Robocop 4 (Fuck Off Robocop)
#30: Deep Time - Clouds
#29: 3rd International - Chug This
#28: Veronica Falls - My Heart Beats
#27: Lord Numb - Zombie
#26: The Dead Kennedys - California Uber Alles (12-inch Plastic Toys remix)
#25: Human Don't Be Angry - Monologue: River
#24: Flies On You - Shipmanesque
#23: Christ. - Zeroth Law
#22: Blue Giant Zeta Puppies - The Wild Ride of Ichabod Crane
#21: Big Joan - Beautiful Idea
#20: Alicia Casper - On Fire
#19: Hammock - Ten Thousand Years Won't Save Your Life
#18: Atoms for Peace - Default
#17: Shrag - Devastating Bones
#16: Red Cosmos - I Am The Local DJ
#15: The Chasms - Der Eingriff Schulze
#14: The Wedding Present - End Credits
#13: The Lovely Eggs - Food
#12: Pussy Riot - Putin Has Pissed Himself
#11: Django Django - Default
#10: Allo Darlin' - Tallulah
#9: Vert:x - Full Fathom Five
#8: Tender Trap - MBV
#7: Godspeed You! Black Emperor - Mlodic
#6: The Membranes - If You Enter The Arena, You Got To Be Prepared To Deal With The Lions
#5: The Lovely Eggs - Allergies
#4: Godspeed You! Black Emperor - We Drift Like Worried Fire
#3: Allo Darlin' - Capricornia
#2: The Chasms - Death's Pony
#1: Savages - Husbands
Some miscellaneous facts and figures about this list:
#50: Guided by Voices - Class Clown Spots A UFO
#49: The Oh Sees - Lupine Dominus
#48: Forkeyes - Fell Off The Penalty Spotty Spot
#47: Standard Fare - Older Women
#46: Neil Young and Crazy Horse - Walk Like a Giant
#45: Martha - 1978, smiling politely
#44: Goat - Goathead
#43: Cate Le Bon - Puts me to work
#42: Alt-J - Fitzpleasure
#41: The Phantom Light - The Greater Picture
#40: Yva Las Vegass - Crack Whore
#39: The Magnetic Fields - Andrew in Drag
#38: The Horn The Hunt - Gold
#37: Tame Impala - Elephant
#36: PiL - Lollipop Opera
#35: M.J.Hibbett & The Validators - A Little Bit
#34: Lulubelle III - Frankie
#33: Japandroids - The House That Heaven Built
#32: Grimes - Oblivion
#31: Future of the Left - Robocop 4 (Fuck Off Robocop)
#30: Deep Time - Clouds
#29: 3rd International - Chug This
#28: Veronica Falls - My Heart Beats
#27: Lord Numb - Zombie
#26: The Dead Kennedys - California Uber Alles (12-inch Plastic Toys remix)
#25: Human Don't Be Angry - Monologue: River
#24: Flies On You - Shipmanesque
#23: Christ. - Zeroth Law
#22: Blue Giant Zeta Puppies - The Wild Ride of Ichabod Crane
#21: Big Joan - Beautiful Idea
#20: Alicia Casper - On Fire
#19: Hammock - Ten Thousand Years Won't Save Your Life
#18: Atoms for Peace - Default
#17: Shrag - Devastating Bones
#16: Red Cosmos - I Am The Local DJ
#15: The Chasms - Der Eingriff Schulze
#14: The Wedding Present - End Credits
#13: The Lovely Eggs - Food
#12: Pussy Riot - Putin Has Pissed Himself
#11: Django Django - Default
#10: Allo Darlin' - Tallulah
#9: Vert:x - Full Fathom Five
#8: Tender Trap - MBV
#7: Godspeed You! Black Emperor - Mlodic
#6: The Membranes - If You Enter The Arena, You Got To Be Prepared To Deal With The Lions
#5: The Lovely Eggs - Allergies
#4: Godspeed You! Black Emperor - We Drift Like Worried Fire
#3: Allo Darlin' - Capricornia
#2: The Chasms - Death's Pony
#1: Savages - Husbands
Some miscellaneous facts and figures about this list:
- Pussy Riot's "Putin Has Pissed Himself", at #12, marks the highest ranking that a Russian band has ever scored.
- The vocalist of Human Don't Be Afraid is Michael Middleton, from Arab Strap. Atoms for Peace is Thom Yorke's new alter-ego.
- The remix of "California Uber Alles" ranked higher than the original, which came in at #43 in 1981.
- The Chasms were ranked twice in this list, first at #15, then at #2. Overall, the Chasms have appeared five times in the past three years, coming in at #5 in 2009 and 2010 and #3 in 2011.
- To put that in context - Currently, Mark E. Smith holds the record for most Festive 50 appearances, at 107 spots. (The Fall secured seven spots in 1986 alone.)
- Amelia Fletcher of Tender Trap has appeared six times in the Festive 50, with at least four different bands, including Marine Research and Hefner.
- This is the first year that tracks longer than 15 minutes have appeared on the Top 10. Those tracks are "We Drift Like Worried Fire" and "Mlodic" by Godspeed You! Black Emperor, and "Full Fathom Five" by Vert:x.