Overlooked - Sex Beat

Death Rock is one of those genres that people either love, or know nothing about. It was either connected to or spawned lots of other sub-genres. Names like Bauhaus, Alien Sex Fiend, Sisters of Mercy, 45 Grave, Christian Death, and so on and so on. (I can already hear the anguished cry of 30-somethings still caking on white face paint on Friday nights, screaming about definitions of 'goth' versus 'industrial' versus 'death rock' versus post-punk'. Yawn.)

Some of the music doesn't hold up. It was either so wrapped up in trying to be the 'death rockiest' song ever or it was just plain crap to begin with. But other songs out there hold up just as well as anything. Good song writing is good song writing. Go back and listen to any old Bauhaus album and you can instantly see why they can still pack clubs while bands like Electric Hellfire Club elicit little more than a snicker from the most die hard fans of the genre.

Like any era in music, it has it's one hit wonders. In this case, "Sex Beat" by "Sex Beat" is a classic example. Made up of scensters, DJ's and random folks in the NY goth scene, centered around the notorious Bat Cave club, Sex Beat was there and gone before anyone knew what happened. They signed to a label after "Sex Beat" was a hit on the Young Limbs and Numb Hyms Bat Cave compilation album. But after only two follow-up singles, drifted into musical oblivion.

The song, however, magically captures all that was right in the scene at the time. A dark, driving beat. A dirty, less than perfect production that had more heart than skill. And a finger on the pulse of the crowd it was playing to. It's become one of those tracks that I think will live on on many a compilation, play list and set list for a long time to come.


MP3: Sex Beat - Sex Beat
Purchase through CD Universe - Sex Beat

*Side Note: Happy birthday to my dear friend, Leia. Leia is one of those amazingly rare human beings that doesn't just listen to music, she absorbs it. She never tires of her favorites and always loves to hear new things. She is one of the finest souls I know.

Video of the Day

Today's tasty animated treat is from Does It Offend You, Yeah?. The track is "Let's Make Out". Great video and built to be played on a big screen at a club. I liked this better than the previews for Speed Racer, that's for sure.

Video of the Day

Sorry no posts yesterday - I'm really busy at work (my paying job). Still busy today, but I thought I could squeeze a couple in.

Today's video is not my usual material, but I have to say, girls with glowing eyes and silver skin are really hot.

The Great Northwest - The Widespread Reign of

The term "Magic Hour" is used in filmmaking to describe that rare time near sunset and dawn, when the sun isn't visible, but has indirectly lit everything. Colors are brilliant and shadows are soft. The band The Great Northwest live in this fleeting time. They exist in that brief period and their debut album, The Widespread Reign Of does an excellent job of capturing this space aurally.

The band (around 20 of them) hail from all over. But their hometowns don't matter much. Both their sound and production bring them back to (you guessed it), the Pacific Northwest. Mixed in the same studio that Dandy Warhols use, the album sounds a lot like them, if played back at half-speed.

That might sound like a burn, but it's not. TGN might live in that brief 'Magic Hour', they just aren't interested in rushing anything. They have a story to tell, and like an old friend, they settle back on your couch and tell it to you at their pace.

One of the first things I noticed on the album is the shear range of dynamics and sounds. I thought I'd gotten a bad copy of the album when I first played it because the opening track, "Surprise I Love You" is so quiet. Then I realized that it wasn't my copy, but instead a quiet piece that beckons you a little closer, like a friend whispering a secret. "Game" has a wonderful background sound that makes me think of rain falling outside a house, and "Be Coming" sounds like it was recorded next to a power line. There's more instrumentation on these tracks than you can shake a stick at, but rarely do the songs feel cluttered or noisy.

**Note**: I've since been informed that my tracks were out of order. "Surprise I Love You" is the last track not the first.

The Warhols presence/influence can be felt throughout this work, especially on tracks like "Know What I Mean" "Western American" and "Game". The light tinkling keyboards, the trombone, the well placed wall-of-sound guitar, and the richly layered witty vocals. And for full disclosure, I have to say, I'm a big DH fan(much of this album makes me think of the Warhols track "Sleep").

There are stumbles here to be sure. "Did It Once" the second track, is at once both too folksy and a bit too repetitive. The band also has a habit of closing out tracks with very synthetic noises that drift into the next track. For a band that feels so organic and alive, these sort of sterile transitions don't do them justice.

On the whole though, this album does exactly what it sets out to do. It provides a soundtrack to a quiet rainy day in Portland. Grab a cup of coffee, put this album on, and go watch the rain fall.

The Widespread Reign Of comes out July 29th from Kora Records

MP3: The Great Northwest - Game
The Great Northwest

Video of the Day

Cute poppy French fun from Yelle. This is "A Cause Des Garcons"

The Faint - The Geeks Were Right

I can not tell you all how excited I am about the new Faint album. Without a doubt, my favorite band this decade. I don't have a download here for you yet, but I do have a player. Enjoy "The Geeks Were Right". (btw, of course they were!)






Oh, and if you are in the L.A. area, hurry up and get your tickets - they are going fast!!

Video of the Day

The Faint don't do as many music videos as some of their contemporaries, and they are kind of hit and miss. This is one of the hits. The style and integration of the animation on this fits the song like a glove.

Agenda Suicide

Vampire Weekend - Self Titled Album

I had a rare opportunity before me. It doesn't happen often that a band gets really buzz worthy and yet by the time I get a hold of the album I know almost nothing about them. So rather than do what I usually do, which is, read about a band and do research as I'm listening to them, I decided to just play the album and take it entirely on its' own merits. The only thing I'd heard about them beforehand was the track "A-Punk", which is played incessantly on Indie 103.1, and that they are all the rage right now.

With that, I sat down this morning and put on my headphones and went off into about 30 minutes and 11 tracks of Vampire Weekend. My first impression was that these guys listened to a lot of David Byrne, Paul Simon, a little bit of reggae, and something else. I couldn't quite nail it until they actually said his name in "Cape Cod Kwassa Kwassa" - Peter Gabriel. I also think that secretly, one or more members of the band has a copy of Bruce Hornsby and the Range on vinyl that they sit and listen to in the dark with a solitary candle burning in the window, but I digress.

Those are all pretty influential names I threw out in that last paragraph. But don't think I'm drawing quality comparisons between Vampire Weekend and the likes of Paul Simon. The production quality on the album is sharp. The vocals are well layered without being over-processed. The instrumentation is rich and full - lots of strings, horns and piano. No doubt someone dropped some cash on this album. Therein lies the problem.

I noticed early on that almost every track I listened to mentioned either New England in some form (Hyannisport, Boston,) or college (Oxford). It wasn't long before I pictured the entire band wearing khakis with pastel sweaters tied around their necks and all sporting names like Chip, Blaine and Chet. Their sound went from sort of a 'world music' sound to a 'don't we sound cultured' put on. I couldn't take them seriously by the time the 30 minutes was up. And yet, I could see more than ever why they were the big buzz band(more on that later).

Okay. Before I go on with this review, I'm going to stop and go do some research and some reading. When I come back, I may contradict myself or look foolish even.

....

....

....

I'm back. Did you miss me? So, Pitchfork gave it an '8.8'(whatever that means) and said, "...they play it all like indie kids on a college lawn, because they're not hung up on Africa in the least", and "plenty of people have found reasons to hate Vampire Weekend from the first note, many of them having to do with their prep aesthetic and Ivy League educations".

Stereogum listed them as a 'band to watch' and said, "these are indie-pop gems of a different cut, pulling on the world music bend of Paul Simon's Graceland and late Talking Heads, wrapped in literary barbs and ample alliteration".

Fader said, "Four dudes hailing from the far reaches of Morningside Heights and the grassy confines of Columbia are bringing Afrobeat-infused indie-pop downtown and they’re bringing it in rumpled Oxfords and Topsiders!"

Okay, so obviously, I wasn't too off the mark. But the million dollar question is, are they any good? As usual, I can only offer my opinon (and some samples). In this case the answer is (a qualified) no.

Why, you ask? Two reasons. The first is not their fault, the second is. This might be a bit of a diversion, but this is my blog, so I can make statements like this: Vampire Weekend are not 'indie' in any sense. I already loathe categorizing bands. By the same token, there is a big difference between Gwar and Beethoven and it's sometimes useful to have phrases that help easily explain the differences. But in this case, labeling Vampire Weekend as 'indie-pop' is not something that helps describe their music, but instead helps to sell to a demographic.

Let me paint a scenario for you. Vampire Weekend, instead of getting hyped by all the rock blogs, gets picked up by a label that specializes in afrobeat or world music and signs. They get pitched and promoted that way. Would they still be on the cover of Spin? Doubtful. You'd be hearing about them on world music and afrobeat blogs, but not Stereogum. But these are white college kids. So slap the 'indie' tag on them and all of a sudden they're hip and should be lumped into discussions about the Klaxons or Conor Oberst. Those three artists have ridiculously little in common with each other. In the case of Vampire Weekend, I don't think they did this intentionally (although I wouldn't put it past some Ivy League kids to do just that), but the whole band seems like it came out of some focus group. All the little pieces are in the just the right place. It's all so wholesome and yet edgy!

Which brings me to the second reason I don't like Vampire Weekend. I don't believe them. Their music sounds like someone approached it as a mathematical problem. There's no dirt there, no fire. Both rock and afrobeat sounds are cut from emotional cores - anger, joy, frustration, fear, sex, love. There isn't any of that in Vampire Weekend's work. It comes at you like a brand new Ipod: Clean, well packaged, easy, meant for mass consumption, glossy and pretty. In fact, this band might be the first band that was born to be on an Ipod.

Going back to my rating system (which I haven't used in a bit), I'd never play this band during a set. Not because I'm not a huge world music fan (which, I'm not), but because they wouldn't bring any life to a club.

MP3 - Vampire Weekend - A-Punk

MP3 - Vampire Weekend - Cape Cod Kwassa Kwassa

Purchase through Amazon - Vampire Weekend

Vampire Weekend

Video(s) of the Day

So, a friend of mine invited me to a party that I couldn't attend. Later when I asked some friends about it, I got a great story. This is a paraphrase of the conversation that took place at the party and was relayed to me.
Friend A: "They put up a maypole in the backyard!'
Friend B: "What's a maypole?'
Friend A: "You remember that video from Men Without Hats, "Safety Dance"?
Friend B: "Oh yeah! Okay. "
Friend C to friend B: "Wait, your only knowledge of maypoles comes from a Men Without Hats video? That's like saying your only knowledge of Mozart comes from Falco."

Without further ado, I give you your dose of maypoles and Mozart.

Dreams of Death

Last night I had a really disturbing dream that William Shatner died. In the dream he was also Captain Kirk, they were one in the same. Spock and McCoy were there too. It was very sad, and personal. (On a side note, I'm a sci-fi nerd, so anything Star Trek related is going to feel personal) I have a feeling it's connected to those wierd Priceline commercials he's been doing. The ones with the Lemur and the three babies. If you haven't seen it, that last sentence doesn't nearly convey the strangeness.

Anyway, I was further saddened to learn when I woke up this morning that while Shatner was still alive, George Carlin had passed away. I'd followed him on and off through the years. He'd had his high points and his low. But he always struck me as really sharp, intelligent. One of his lines that always stayed with me was 'did you ever notice that anyone who drives slower than you is an idiot, and anyone who drives faster is insane?'. Still makes me smile.

I've got some Carlin video (his most imfamous bit), along with some Shatner mp3's. Hopefully they'll put a smile on your face. If you're near any booze today, drink something for George.



MP3: William Shatner - I Can't Behind That (with Henry Rollins)
MP3: William Shatner - Mr. Tambourine Man
Purchase through Amazon - William Shatner
William Shatner

Overlooked - Red, Hot + Blue

A friend of mine introduced me to this Cole Porter tribute years ago, called Red, Hot + Blue. It's rapidly approaching 20 years old and yet, much of this stuff still holds up. This is as much a tribute to the longevity of Cole's amazing writing and composing as it was to the fine selection of artists chosen to interpret him.

Some of the tracks are stronger than others of course. I'm not a Sinead O'Connor fan (personally, I think she's an arrogant harpy), and bands like the Thompson Twins are doomed to sound dated.

But some don't just hold up, they shine. Tom Waits and Annie Lennox both sound fantastic in their tributes ( "It's Alright With Me", and "Ev'ry Time We Say Goodbye" respectively).

Without a doubt, the true gem in this bunch though is U2's "Night and Day". The song made famous by Sinatra, is a wonderfully simple dedication to a fierce love. They covered it at a time when they were working on Achtung Baby, an album that would radically change they way the band sounded and was perceived. You can hear the push toward synthesizers from Clayton and Mullen that would reshape U2's future direction.

It's Bono's voice that really brings it together though. It's clear and soaring and crooning and husky in all the right places. I'd challenge anyone out there to say that this isn't one of the best Cole Porter interpretations ever. Maybe even one of the best covers in general. Enjoy.

MP3: U2 - Night and Day

Purchase through Amazon - Red, Hot and Blue

Video of the Day

Today's video was directed by my friend Morgan Night. It's a great send up of the war and old USO shows, and it's hilarious song. The tune may sound familiar, but the lyrics are all Spankers.

This is "Stick Magnetic Ribbons On Your SUV" by the Asylum Street Spankers.

Kanye West at Bonnaroo

I was reading this article about Kanye West's performance at Bonnaroo and the controversy surrounding it, as well as the video from the recent Queens of the Stone Age show. The comments got me thinking about shows I'd seen over the years and what made them special.

Kings of spectacle, U2, made a huge impression on me at the ZooTV tour (where they played with the Sugarcubes and Public Enemy), with their monolithic screens and totally over-the-top show.

Nine Inch Nails wowed me with their giant screen that dropped in front of the Downward Spiral tour crowds.

And I love the light show that She Wants Revenge had going on their last tour.

But those things didn't make them good shows. They might have made them 'better' shows. What really makes a memorable show for me though is feeling like I've connected with the artist. Music, for many people, myself included, is very personal. There are songs out there that will literally bring me to tears, every time I hear them. There are tracks out there for every bit of the emotional spectrum. We memorize these songs, make mixtapes, dedicate them to others. They become the soundtracks to our lives.

I've never had someone come up to me and say "Oh my god, that is my favorite song! It changed my life! I love it!" I can imagine though, that must be really powerful every time you hear it. There's a responsibility that comes with that power. Artists need to remember that when they play to a crowd, the crowd knows them through their music (and in some unfortunate cases, the tabloids) and is communing with them through their songs.

I'm sure when millions of young girls screamed relentlessly at the Beatles, John, Paul, George and Ringo felt that power. The ability to carve a memory into someones life permanently, either a shining wonderful one, or a painful scar is something most of us only experience in a one-on-one basis.

I mentioned in a post last month that my worst concert ever was the Circle Jerks. Why? Because the lead singer stopped playing and yelled at the audience and made it seem like he was doing us a favor by being there.

One of my favorite show memories is hanging out with Radio 4 in New Orleans after they'd played. We all went drinking together till about 4 am. Or the time I ran into the Faint the morning after they'd played in Houston. We were staying at the same hotel and all had that same haggard look on us. We joked and laughed and took pictures.

All of those memories had nothing to do with the bands' performances or the lighting or tricks. They had to do with an individual connecting with someone else. I harbored all of these memories and emotions in connection with these bands' songs and now I was able to look these people in the eye and say 'I get it,' and 'You're being heard'. That's really important. Maybe even imperative. It didn't even have to be so direct. It could have just been singing along with them at the show, being able to hook into a real human, instead of an mp3.

Whether or not Kanye's stage production glowed in the dark at 5am is irrelevant. What is relevant is that he didn't address his fans or take just a moment to connect with them as one human being to another. If he'd come onstage on time, I can understand that some artists want to maintain a certain mystique. Fine. But if you come on two hours late, you had better do something to heal that wound. All those Kanye fans out there won't remember that the sound was good or that the lighting effects were catchy. They'll remember that they waited till dawn to connect with Kanye, and he didn't acknowledge them. That's got to hurt.

Video of the Day

Yes, this song is overplayed. I don't care. I still love it and the video. Although, Ben Gibbard and Deathcab have gotten much too big for their own britches (Yes, I know, people don't say that anymore, but I'm so retro I'm bringin the 40s back).

This is the Postal Service, with "Such Great Heights".

Radio Broker - Grand Theft Auto IV - Part 17

Sorry about the lack of posts yesterday campers. Technical difficulties. Your regular programming will now continue.

We're going to wrap up the Radio Broker series today with the last two tracks on the station. They also happen to be two of my favorites. It's been fun doing this series and it's really added to my enjoyment of GTA IV. Kudos to Rockstar for putting together a really good station.

The first track is from the(sometimes) NY dance/funk/psychadelia band, !!!. "Yadnus" appears on their last album, but this particular remix comes from the single. !!! are a hit or miss band for me. Some of their stuff seems to ramble or drift too much for my taste (ex. "Me and Guliani by the School Yard"). Others though, like "Must Be the Moon" are amazing. They're good enough that I don't really care about the tracks that miss. "Yadnus" is definitely one of the tracks that keeps me coming back to this band though. This particular mix is a bit long for me, and it pulls out some of the bass, which for me is one of the bands strengths. Nevertheless, it's a fantastic song.

Oh, and here's the video from the original track:

The final track is from Whitey. I'd only recently heard of him but boy did he make an impression with the track "Non Stop". My girlfriend said it sounded like Beck to her, and while I see the similarities, I think his GTA track, "Wrap It Up" clearly defines the differences. I haven't heard his full album, Get Shakes(which isn't available on Amazon currently), yet, but I've really liked every track I've heard to date.

Whitey is a shining example of everything right in the dance/punk genre right now. Full of attitude, but without seeming 'ironic' or 'retro'. Amazing bass lines and hooks. Catchy, understandable lyrics. And beats that stick in your head for days. "There's only one thing to do," he sings, full of swagger, "Get even, Get Even! GET EVEN!" I love it.

MP3: !!! - Yadnus (Still Going to the Roadhouse Mix)

Purchase through Amazon - Yadnus (Still Going to the Roadhouse Mix)

!!!

MP3: Whitey - Wrap it Up

Purchase through Amazon - Wrap it Up
Whitey

Video of the Day

Today's VOD is an example of 'less is more'. A simple setting and a simple concept can have a powerful impact. The thought put into this video along with the attention to detail is fantastic. The CG is fine, but like any good sci-fi film, it's not about the effects, but meaning behind them.

This is Nine Inch Nails' "Only".

Radio Broker - Grand Theft Auto IV - Part 17

As far as I know, only one song was written solely for the GTA IV radio stations. "Vagabond" by the Greenskeepers is quite possibly the most infamous track in the game since it's played in most of the commercials and previews.

Known for their song "Lotion", the Greenskeepers managed to capture every aspect of the GTA universe in a simple yet amazing song. "I came a long way to see you. Now I wish you were dead". If you're playing the game, those lines make perfect sense. The lyrics capture the angst, despair and anger of Niko Bellic perfectly. From the opening hand claps and the absolutely pounding bass, this track works anywhere, anytime as you try to survive on the streets of Liberty City.

I'm hard pressed to pick an absolute favorite song from Radio Broker, but this track is a contender.

MP3: the Greenskeepers - Vagabond

Purchase through Amazon - Vagabond

the Greenskeepers

DJ Schmolli vs. Johnny Cash - God's Gonna Cut You Down

I've got a love / hate relationship going with mash-ups. As a genre on their own, they're pretty weak. Even within the genre, many of them are closer to train wrecks than mash-ups. Simply stripping a setting of vocals and putting them on top of another beat does not a good mash-up make.

Which brings us to this gem from DJ Schmolli. The track's about a year old and I just recently came across it again. I'd forgotten just how amazing it is. The original was spectacular, (What Johnny Cash work isn't?)but DJ Schmolli has done a brilliant job of taking apropos beats and guitar work from multiple artists and basically creating an entirely new track.

It's easy to pick out the Beastie Boys and Led Zeppelin. But watch for the Beatles guitar in there too.

MP3: DJ Schmolli vs. Johnny Cash - God's Gonna Cut You Down

Radio Broker - Grand Theft Auto IV - Part 16

Hard to believe I've already gone through 16 tracks of GTA IV's Radio Broker. Only a few left!
There's something innocent and playful about "The Teacher" by Ralph Myerz and the Jack Herren Band. Maybe it's in the half-whispered vocals or the blippy keyboard that seems to swim above all the rest of instrumentaion. This easily could be a Dandy Warhols track, which of course, instantly gets it some points. I'm not sure it fits in with the GTA atomsphere, but I like it anyway. Oh and the video is hilarious.



MP3: Ralph Myerz - The Teacher
Purchase through Amazon - The Teacher
Ralphy Myerz

Video of the Day

Today's video comes from one of my favorite albums of the last ten years, Goldfrapp's Black Cherry. What the video lacks in story telling, it makes up for in slickly done visuals that evoke the same ecstasy trip feel that the album does. This is "Strict Machine".

Radio Broker - Grand Theft Auto IV - Part 15

I'm sorry to say that today's GTA IV, Radio Broker band, the Pistolas, have recently broken up. Their track "Take It With a Kiss" was released as a single, after a short 2006 EP. Their demise is really too bad. The song, hopefully an indicator of their music in general, was a great mix of swanky rock and Rapture-like dance/funk.

I really like this track. Along with a couple of tracks we have yet to cover and the Deluka track, I think this ranks as my favorite.

The Pistolas may be gone, but for GTA players, they'll live on on Radio Broker.

MP3: The Pistolas - Take It With a Kiss
Purchase through Amazon - Take It With a Kiss
The Pistolas

Slightus Interruptus

So, I'm in the middle of moving and I'm in that limbo where I have no internet connection at home. This means I can blog from work, but alas, no mp3's to upload. This also means no Radio Broker track of the day either.

My connection to the civilized world should be restored within 24 hours and I'll make it all up to you, I promise.

In the meantime, here's the video of the day. I stumbled across this yesterday and the geek in me was overjoyed. Laugh your ass of to "Dance With Me" by the Old 97's.

Radio Broker - Grand Theft Auto IV - Part 14

Probably the most widely recognized band on the Radio Broker playlist is the Black Keys. Often compared to the White Stripes, this bluesy-rock band supplies the track "Strange Times". While this track isn't exactly an adrenaline rush, the tune does get under your skin in an almost eerie way. It lends a weight to Radio Broker that is otherwise missing. I always appreciate hearing this track during GTA while I'm driving to some new mission location. It has such a heavy sense of foreboding.



MP3: Black Keys - Strange Times
Purchase through Amazon: Strange Times
Black Keys

Video of the Day

So, lately I've been re-appreciating Nitzer Ebb. I used to listen to them constantly in my late teens/early twenties. Their sound has sort of come back around. It sounds dated, and yet it somehow works with a lot of the electro stuff that's out right now. When I DJ again, I'm going to have to find a way to work in some Nitzer Ebb.

This is "Murderous".

Radio Broker - Grand Theft Auto IV - Part 13

The disco-punk genre is pretty much dominated by male voices. !!!, LCD Soundsystem, Shitdisco, the list goes on. Bands like Dead Disco, the Ting Tings, Yelle, all sound more pop/new wave - although whether having female leads is an aspect of that is a debate for a different post.

Bucking this trend is Deluka, a band out of Birmingham, who provide us with today's GTA IV Radio Broker track, "Sleep Is Impossible". With a bass and guitar reminiscent of Radio 4 and a cowbell that would make even The Rapture squirm with envy this song is one of the most danceable, energetic tracks on Radio Broker.

Prior to doing this series of posts, I'd be playing GTA IV and this track would come on. Immediately, my girlfriend would pop her head in the room and say 'who is this?' I could tell that I wasn't the only one who was energized by this song.

When Ellie Innocenti's husky vocals first come in, I thought I was in for something like The Gossip, but then the chorus hits you over the head. She shouts "What's the deal honey?!" over and over followed by "Sleep is impossible now...". There is no way to drive through the streets of Liberty City slowly to this. It drops back into a synthy, crooning snake again between choruses, then comes charging back out like the Hulk with a personal grudge. I've lost track of the number of cars that I've turned into fireballs while listening to this song. That's about as a good an endorsement I can give.

MP3: Deluka - Sleep Is Impossible

Purchase through Amazon - Sleep Is Impossible

Deluka

Video of the Day

I was excited to stumble across a video that I think is a good comparison to yesterdays day before yesterday's Bjork video. This one comes from the industrial/synthpop band Covenant. The song, "Bullet", is, in my opinion, as strong as "All is Full of Love" and the video is thematically very simliar. Both are choreographed well and have high production values. The difference though, is that this video treats it's subjects and effects as nothing more than an aesthetic, where Cunningham used his robot protaganists to enhance and embellish the music. It's difficult to pinpoint, but watch them both and see if you don't agree. Both great songs, but only one great video.



"We are the only ones right now who are celebrating, we are the dying ones". Love the lyrics to this track.

Kakkmaddafakka - Down to Earth

No, I did not have a seizure while typing the bands' name. It really is Kakkmaddafakka. Yes, it's a silly name and no, I don't know what it means. These guys from Norway seem to have a relatively simple grasp on the English language as evidenced by the bands' myspace page quote, "Party is a trend that never stops." That is be true. That is be true.

Make no mistake though, these guys understand the language of rock. They also understand the history of rock. Every one of their tracks is dripping with the blood, sweat and tears of the last 40 years of rock and roll. Leading with a piano and following with chorused vocals, horn sections and everything but the kitchen sink, KMF have a sound that is like no one else out there right now. Influenced heavily from bands like the New York Dolls, David Bowie, Queen, T-Rex, Cheap Trick, Elton John, and I'm not even sure who else, KMF take all of that history and run with it.

When I first heard them, my reaction was "What the F*** did Musebox send me?" It was so stark a contrast from everything else I'd heard lately. But I kept listening, and gradually, my feet began to tap and a smile crossed my face. With track titles like "Dancing Elephant", "Feeling Okay", and "Crazy on the Dance Floor" and running times averaging less than 3 minutes, their mediocre grasp of English goes from a weakness to a strength. The songs are fun, light-hearted and surprisingly complex. The 13 tracks whiz by in less than 40 minutes (not counting the dead space on the hidden track) and Down to Earth leaves you feeling that maybe the world isn't such a rotten place after all.

Oh, and rumor has it that their live shows are completely off the hook. The picture above lends some credibility to that claim.

MP3: Kakkmaddafakka - Crazy on the Dance Floor
Purchase through MusicFromNorway.com: Down to Earth
Kakkmaddafakka

Video of the Day

I'd never seen this video before today, but I love Suede, and I adore this song. It's everything right about britpop. The video surprisingly is damn good. It hits on some of the same ideas ideas that the Justice video for D.A.N.C.E. does, but I think tackles the whole thing much more inventively. I especially love the cigarette burning with the word 'kill' on it. This is Suede's "The Beautiful Ones".

Suede - Beautiful Ones
Uploaded by scootaway

*Note: I didn't use the YouTube version here because it's embedding is disabled there. I hope this doesn't cause anyone issues.

Radio Broker - Grand Theft Auto IV - Part 12

Today's GTA Radio Broker track is from a Leeds act called White Light Parade. This relatively new act only has a couple of singles out to date, but I'm pretty sure that with the hype they'll get from GTA, they'll have an album soon.

This band is a complete mish mash of post-punk whatnot styles. The GTA track, "Riot in the City" owes everything to the Clash. In fact, this band is so derivative, so completely entrenched in its influences that it's hard to separate them from the bands they borrow from. I guess this can be seen as both a plus and minus. You can't like the Clash and not like this band. (Unless it's for sounding like the Clash) In the end, I appreciate their energy and their skill, but unless they bring something new to the table, something that is uniquely themselves, they may as well just change their name to the Clam (Did you see what I did there? That's the Clash and the Jam, squished together. God, I'm witty.)

All this is not to say that I don't like "Riot in the City (after all, I like the Clash). It's a rockin' good song, with plenty of yelling, pissed off guitar, and British youthful rebellion to it. Besides, a 'riot in the city' is pretty much a shoe in for a GTA title.

MP3: White Light Parade - Riot in the City
Purchase through Amazon - Riot in the City
White Light Parade

Video of the Day

Today's video comes from my all-time favorite music video director, Chris Cunningham. It's also quite possibly my favorite video ever. Rarely does a music video director get to tell a story, capture the vibe of the song AND make very subtle commentaries on other things (in this case, technology, sexuality, and even our humanity). Most videos come down to 3 minute spots to get face time for a band. Cunningham continually rejects this idea, making his videos at once eye candy and pieces for thought and expansion of the artists original expression.

This is Bjork's "All is Full Of Love"

Radio Broker - Grand Theft Auto IV - Part 8-11

Sorry I've missed a few days of posts. I've been dealing with getting ready to move, including a garage sale. That also entailed getting rid of my CD collection which was both traumatic and liberating. I've gone entirely digital now (With the exception of a few choice pieces of cherished vinyl). It feels good.

Back to my GTA Radio Broker series though. To make up for my lack of posts the last few days, we're going to do four tracks today.

The first is from Tom Vek,the innovative disco-punk artist that brought you dance floor kids "I Ain't Sayin' My Goodbye's". While the track included in GTA, "One Horse Race" is not as dance ready, nor as catchy, it's a pretty solid track. Funky bass, plenty of forward guitar and appropriately wailing (if slightly whiny) vocals. The end drones on a bit too long. "This is not a test of fate" repeated over and over and over gets a bit tiring.

MP3: Tom Vek - One Horse Race

Purchase through Amazon - One Horse Race

Tom Vek

The second track is from down under band, Teenager. "Pony" definitely has some explicit, sexually themed lyrics, although I have yet to be able to track them down (the band has no official site, the myspace page doesn't have them, and the web has turned up nothing so far). But you don't need to understand them to get the vibe of the song, which to me takes me back to the early 00's and the birth of the electroclash scene. This song really reminds me of acts like Mount Sims or something Larry Tee would have produced. It's all attitude and sex, while also being slightly tongue-in-cheek. This is becoming one of my favorite tracks on Radio Broker and I'm looking forward to hearing more of Teenager.

MP3: Teenager - Pony

Purchase through Amazon - Pony

Teenager

The third track I've got for you today is from one of my favorite bands of the last decade, cow bell happy, the Rapture. "No Sex For Ben" is a track that doesn't seem to appear anywhere outside of GTA, but it seems to follow the rest of Raptures move toward more slickly produced disco-punk and away from the more raw, complicated sounds of Echoes. This isn't my favorite track by the NY boys, but it's right up there with the good stuff. Besides, you can always use more cowbell.

MP3: The Rapture - No Sex For Ben

Purchase through Amazon - No Sex For Ben

The Rapture

Finally, we've got Les Savy Fav's "Rage in the Plague Age". It's weird. I've never been truly drawn to these NY indie-rockers. On the other hand, I like their stuff every time I hear it. They've got so much in their music that reminds me of the early 80s post-punk scene. The Clash, Buzzcocks, PIL, all squeezed, mashed, tweaked and most importantly, revitalized. Oddly, this track has NEVER come up on my Radio Broker station while playing the game. I realize that the song selection is random, but come on! Never? Not once?

MP3: Les Savy Fav - Rage in the Plague Age

Purchase through Amazon - Rage in the Plague Age

Les Savy Fav

The Shim Sham Club - Anniversary

Today is special. It's been exactly five years since the Shim Sham Club in New Orleans closed it's doors. For those of you who know it, this post will be a trip down memory lane. For those of you who didn't, well, it might be informative, but it won't capture what really happened there.

I've re-written this paragraph five times now because I don't know how to begin telling you about it. There are certain clubs (or places, or people, or food, or whatever) that become more than etched in your memory. They take on a certain bit of magic, a glow. Personally, I've had some of the best and worst experiences in my life in nightclubs, so naturally, they're important to me. There's a short list of really mystical ones, and the Shim Sham Club is at the top of that list.

I could regurgitate shows I've seen there (X, Daniel Ash, Dead Kennedy's, the list is long) or the girls I've met there (I won't list any of them here - you know who you are). But that can be said of almost any club. What separated the Shim Sham Club from so many others was the feeling of family. It almost always felt like the regulars outnumbered the tourists. The employees were always regulars, and quite often, vice versa.

It was a place you could go to on any night of the week and see a familiar face, share a story, catch up with old friends, and sure, see a good show. There were burlesque shows, 80s nights(not to mention just about every other genre out there besides top 40), theater (including a long running version of Hedwig and the Angry Inch), even a porn night. But it was all couched in friendship and community.

I was fortunate enough to be a regular DJ there, for their 80s nights, and it's given me some of the better memories of my life. Two really stand out. The first was closing night. Five years ago. The AC's had gone bust and everyone got progressively more naked as the place heated up and the drinks flowed. It was an 80s night and there were three of us DJ'ing, taking turns. At one point, I'm guessing around 1am, I took a break and walked outside for some fresh air. The line to get in the club went well around the block. I knew then, that we were at the end of something really special. I think I got home around 7 am that night.

The second standout was of my wedding reception. Morgan Night, who was the owner, and I'm proud to still call friend, was kind enough to let us use the main room of the club on a Tuesday night for my wedding reception. That's the kind of place the Shim Sham Club was.

I'm sad that those glory days are over, but things are as they should be. The best things in life aren't supposed to last, and the Shim Sham burned hot and fast. When I look back now, it's not with longing, but with happiness. I can't really say I'm able to observe any silence (this is a written blog, after all), but I can say, out of love and respect, this will be my only post today.

I encourage any and all of you who remember the Shim Sham Club fondly to post your memories, photos or videos here. And cheers to Morgan, all the Shim Sham employees, and all those people in New Orleans I miss dearly.

(You can also visit Morgan's site, which has some Shim Sham stuff at Devils Night )

Both of these videos were shot at the Shim Sham.

Radio Broker - Grand Theft Auto IV - Part 7

Today's Radio Broker track comes to us from the pairing of the electronic collaborative UNKLE, and wall-of-sound style band, the Duke Spirit. Despite the heavy drums and grindy guitars, Leila's voice along with some swoony background vocals make this make this much more of mood piece than it should be. I don't think UNKLE is quite represented strongly enough.

I'm just not sure this song's a fit for GTA. Maybe at the in-game strip club. Otherwise, this track seems to drift by without making a huge impact. Don't hate. Don't love it.

MP3: UNKLE - May Day (feat. Duke Spirit)
Purchase through Amazon - May Day
UNKLE
The Duke Spirit

Video of the Day

One of the most underappreciated bands in the post-punk scene. The Chameleons. I love 'em. This is a live version of "In Shreds".

A Joy Division Zune?

Never have I wanted to own something less than a 'Joy Division' Zune. What's next? 'Souixsie Souix feminine products'(hmmm what would they call them? 'Swimming Horses Tampons?)? Oh, wait, I know! Clash breakfast cereal! It's a rebellion in your mouth!

Whom ever is coming up with these abominations, they need to be found and stopped. Who's with me?

If you're a masochist you can read more about it here.

Coldplay - Why?

This entry is a bit of a rant, but bear with me. With the 'exciting' news that there is a new Coldplay album out, I'm asking myself a question I've asked before, "Why does anyone care?" This is a bit different from what I posted a couple of weeks ago about Hot Chip. I see that those guys have talent and I see a niche they are filling. But Coldplay?

At this point, I'm ready to start making Yanni comparisons. Or perphaps Michael Bolton is more appropriate. Whiny, listless, lifeless music that seems written for elevators. That's how every single Coldplay track comes across to me.

I've heard people say, 'oh but they're like U2'. Um, no, sorry, not buying it. Go listen to "I Will Follow" or "Bullet the Blue Sky" or hell, even "Vertigo" and try making that comparison again. If Martin's voice hits any of the same inflections or tones as Bono's, it's coincidental. And let's not even get into comparisons with Edge or the rest of the band.

Coldplay represents everything wrong in mainstream rock right now. A major label act with tons of money in its marketing campaign. They siddle up with the 'indie' crowd for some kind of cred, but their music is so safe and generic that it should have been born and died on an easy listening station.

The only reason I'm so riled up is that with this new album out, I'm going to have to read, watch and listen to a lot of coldplay in the coming months. I'll do my best to avoid it. At this point though, avoiding Coldplay is going to be like avoiding McDonald's and Starbucks.


Please feel free to counter my arguements here. Or share my loathing.

Oh one last thing for your pain/pleasure:

Radio Broker - Grand Theft Auto IV - Part 6

For the most part, film stars that try to become lead singers just don't work. You have the earnest if misguided types, like Bruce Willis and Scarlett Johansen. Then you have the train wrecks, like Eddie Murphy, Don Johnson, and Jared Leto. So, we come to Juliette Lewis. Not only is her bands track our GTA IV track of the day, she's also the DJ of Radio Broker.

Not too long back, I remember seeing a reply on another blog regarding Juliette Lewis, and I wish I could remember where I saw this said, so I could link it. But here's the basic gist of what this commenter said: "Sometimes I think, 'damn, she's kinda hot' and then I'm ashamed for wanting to fuck a retarded girl." I laughed my ass off when I read that. It summed up so much about what I've heard a lot of people say about her.

I can't say I'm a huge of Juliette Lewis the actress. Her bread and butter seems to be slightly off balance trailer trash girls. I honestly think that's most of her range. The great exception being her turn in Christmas Vacation.

Anyway, all of this is a set-up to say that I think that Juliette and the Licks is the exception to the rule. I like her better as a lead singer than I ever did as an actress. She seems to like herself better in that role as well. There's something visceral, maybe even guttural in her singing on "Inside the Cage", the track that appears on GTA. Her voice is at once brazen and inviting. She sounds like a rock star instead of an actress pretending to be one. The Licks seem like mud-flinging, dirty, nasty, rock n' rollers, giving all the attempts at genre categorizing them both the middle finger and a lick on the cheek, simultaneously.

This particular version is the 'David Gilmour Girls' remix and it lends itself well to the song, stripping it down to its bare essentials and giving it just enough of an electro beat to make it dance floor worthy. It's in and out in under 4 minutes.

It's not my favorite track on Radio Broker. Not by a long shot. It has however peaked my curiosity enough to go back and listen to some more of the Licks material. I have to say, I'd even like to see a show.

As to her DJ'ing on Radio Broker - priceless. Her rant about being an individual because she bought a messenger bag always makes me laugh.

Oh, and on the off chance that Juliette Lewis ever reads this: I totally take back every bad thing I've ever said about you, and sincerely apologize. You rock.

MP3: Juliette and the Licks - Inside the Cage(David Gilmour Girls' Mix)

Purchase through Amazon - Inside the Cage

Juliette and the Licks

Video of the Day

Stumbled across this video today. I'm not sure if I'd ever seen it before, but damn is it good. Sometimes I forget just how amazing Jarvis Cocker and Pulp are. If you haven't heard "Babies" before, take a listen. It's sixteen years old now and it sounds and looks pristine.

Gitane Demone - Incendiary Lover

So, as some of you may know, this isn't a new track. My answer to you is, 'eh, so what?' I found myself thinking of this track about a month ago and it's been rolling around in there since. I need to purge it from my system.

If you aren't famliar with the artist or track, a quick history lesson: Gitane was the female lead in death rock staple Christian Death, until the late 80s when she took off on her own. She put out things here and there until her own full length album in '97, Am I Wrong? followed by another in 2000. 'Incendiary' is from the late 80s.

I was fortunate enough to tour with her during the Texas/Louisiana leg of Am I Wrong? while working with the band Hollow Girl. I knew who she was before then, of course. But it was on this tour that I gained a real appreciation for the amazing voice she has. It definitely harkens back to some of the better jazz vocalists of the 30s and 40s. Using it for good grindy gothy death rock stuff just made it even more ethereal and haunting. In this particular case, a good synthy beat makes it prime dancefloor material for a spooky club at 3am.

Anyway, "Incendiary Lover" has always been my favorite track from Gitane. Maybe it's an old favorite of yours, or, even better, you've never heard it before. Enjoy.

MP3: Gitane Demone - Incendiary Lover

Purchase through Amazon - Incendiary Lover

Gitane Demone

Radio Broker - Grand Theft Auto IV - Part 5

Chicago duo Scott Lucas (of Local H semi-fame) and Blake Smith are the next band up on our review of Radio Broker, the indie style station in Grand Theft Auto IV. The two perform under the moniker The Prairie Cartel. The title of this track explains why it appears in GTA IV. "Homicide" is a slow burn. I can't say I liked it at first. It's got all the good components there, the funky bass line, the tight snare, the analog synth sounds, the all attitude vocals. But it seemed like it took awhile to get where it was going.

Of course, I can be wrong now and then. Upon a second/third/fourth listen, it's build up is exactly the right length and makes the payoff worth that much more. I enjoy this song more every time I hear it.

In fact, it's one of my top GTA tracks. Shouting 'Homicide' over and over is a great way to get you into the mood for some video game mayhem.

MP3: The Prairie Cartel - Homicide
Purchase through Amazon - Homicide
The Prairie Cartel

Video of the Day

A friend of mine turned me on to this band and it was one of those songs I fell in love the first time I heard it. Take some T-Rex, some Goldfrapp and some Joan Jett, top it of with a heaping spoonful of Butch Vig and you've got "Stripper" by the Soho Dolls.

I was watching the video, which, while not much on plot, is sparkly and glammy, like the song, when I noticed something. Everyone in the band is hot. Even the guys. How often does that happen?

Video of the Day

Came across these guys on Last.fm. Can't say I'm a huge fan of the rest of their music, and the video is just sort of lukewarm. But the song rocks. Oh it rocks. This is "Put You In Your Place" by the Sunshine Underground.

Overlooked - German Pop

So this is going to be a semi-regular post I'm going to do called 'Overlooked'. Guess what it's about? Basically, this is a chance to explore hidden or forgotten gems, past and present. If you have your own, please let all of us know.

Today's post, 'German pop', refers to a sort of enigmatic style of music that might not really be pop by our standards. Certainly, Germans listen to plenty of English speaking tunes, and they have a wide array of music coming from their own country. But American pop (Britney and Co.) has very little in common with German pop.

Prior to this decade, Germans were known for their electronic music, like pioneers Kraftwerk, the newer artists like Miss Kittin, and their industrial/goth scene, with bands like Rammstein, Project Pitchfork, and Das Ich. But in the last eight years, a number of strong indie-influenced bands have been moving to the forefront. There are a broad number of styles and genres that encompass German pop and very few formulas, which to me, makes it closer to what we call 'indie' over here.

I'm still a noob in the world of German music, but I thought I'd share a few tracks with you that have opened my eyes (and more importantly, my ears) to our faraway friends.

I first heard 2raumwohnung (a Berliner slang for '2 room apartment') from a DJ friend of mine, Liz O.(who sometimes still DJ's here in L.A. Catch her if you can.) She passed me a track called "Ich Und Elaine" (Elaine and I). Immediately I was captivated by it. It was almost impossible to classify, but I knew it made me want to dance. German lyrics, which can sometimes sound harsh and aggressive, come through Inga Humpe's throat like a third glass of wine. The music is firm and forward, but never angry. The song is about a very close friendship, but the whole song feels like an invitation to sex. It's still one of my favorite tracks for the dance floor and I spin it whenever I get the chance. They aren't one hit wonders either. Since this 2002 track they've come up with numerous fantastic follow-ups.

The second track I'm going to recommend is from the band Wir Sind Helden (We Are Heroes), arguably the most successful of the bands I'm going to write about today. A German friend of mine raved about these guys and who should know better than an actual German citizen? "Gekkomen Um Zu Bleiben" is a track that dares you to classify it. It's got so many disparate influences that I'm not even going to bother trying to break it down. Imagine if the Squirrel Nut Zippers had sex with the Flying Lizards and locked their love-child in the basement with David Johansen, and you'd get this track. The wonderful thing about WSH though, is that they don't stick to that formula. For a pop band they are completely free of stereotypes and schticks.

The last band is one I came across on Last.fm, Klee (Clover). I haven't had the chance to listen to a lot of their material yet, but the one track I've got for you here, "Gold", reminds me of Goldfrapp but with more pop sensibilities. I did a complete double take when it came up on my Last player.

Hopefully, these tracks will get you thinking about and exploring some new German stuff. If not these bands, then others. There's some great stuff out there and it's not just in the US,UK or France.

MP3: 2raumwohnung - Ich Und Elaine
Purchase through Amazon - Ich Und Elaine
2raumwohnung (in German)

MP3: Wir Sind Helden - Gekkomen Um Zu Bleiben
Purchase through Amazon - Gekkomen Um Zu Bleiben
Wir Sind Helden (in German)

MP3: Klee - Gold
Purchase through Amazon - Gold
Klee (in German)

Video of the Day

This one is from the most recent Louis XIV album. Normally, the kings of (wink wink) misogyny churn out rock n' roll tracks about T&A. "Air Traffic Control", however, is a thoughtful, soaring piece that is right up there with some of the more epic pieces by Oasis and Suede, and owes a huge debt (as do the previously mentioned bands) to the Beatles.

This video does what all good videos should. It tells a story that doesn't overshadow the song, nor does it try to define what Louis were trying to say. Rather, it gives us a visual interpretation that leaves the viewer to their own thoughts.

It also does a great job of using CGI and blue screen for a wonderful effect that reminds me of Terry Gilliam's animation, in spirit, if not in simpleness.

Radio Broker - GTA IV - Part 3

Continuing our tour through Grand Theft Auto's radio station, Radio Broker, we're at a zippy little number called "Disneyland, Pt. 1". The band, Get Shakes, break the Radio Broker mode of mostly NY bands. These two guys are from the UK.

The track is immediately reminiscent of Pop Will Eat Itself, although if I had to choose between the two, I'd still take PWEI. 'Disneyland' is a decent track, but it doesn't quite pack the punch and angst of the usual PWEI track. To be honest it goes on a bit too long.

For the most part though, there's lots of good stuff here: A good funky bass line, shouty, layered vocals and a grindy, driving rhythm. It's definitely an appropriate track for GTA.

MP3: Get Shakes - Disneyland Pt. 1

Purchase through Amazon - Disneyland Pt. 1

Get Shakes

In addition, there's a video. Although, to be honest, it's crap. A hodgepodge of budget effect shots with no real progression, theme, or any idea where the hell it's going. I'll try not to hold it against the song though.