Stereolab…The Concert Lecture

Whether it be Soop Grooves or Metronomic Undergrounds, dada was born to shake tush with the undies all up around the ankles. Stereolab in a live setting is greatly different from their polished Pop efforts that appear on disc and LP, and sometimes even the rare cassette tape. What would one call it in a live setting? Trance Rock? No doubt a hint of German experimentalism, but Stereolab has always been their own deal regardless of the obvious influences, part of this stems from their trademark sing-song vocal stylings.

Now I know that I have already written ten thousand Stereolab blog entries, but I want to rap with you about the complex nature of the Stereolab live experience. Because the jams indeed get extended and the party atmosphere is even sophisticated enough to include your grandmother, and I don’t lie. A repetitive mixture of light, color and sound….the noise is impressively musical and not dissimilar to Boredoms at times, if I don’t mind saying so.

The band could be making some rounds later next year, and even if their recent material may not compete with their heyday jams, as Stereolab exists as a slightly different beast today and for various involved reasons, but don’t let this stop your stinky little tush from checking these foreigners out in concert, as you’d be glad you did. The crowd is usually pleasant at a Stereolab gig and the band is absolutely guaranteed not to fall into Jim Morrison theatrics.

I think that is all that needs to be said.

Groove on this Jazz and Blues…





And now something short and tasty, just for the sake of variety…

Weezer News!

Gonna make it quick because it is directly from the source, needless to say, Weezer Nation stay true to the Word of Cuomo, because woe unto you who disobeys…

Read the following:

Album 6 is getting ready for mixing and I have never been so excited about a project in my life. Weezer fans truly have something to look forward to. The entire band has accomplished some of its most challenging goals as a group and as individuals. It's all coming together on this album.

To sum it up, at the beginning of the recording each member asked himself "what do you want out of this session?" The answer lies ahead.

-Scott Shriner

…Yes, so says the least loved member of Weezer. My source, you ask? It is obvious:

www.weezer.com

But there is more in the Cuomo realm that must be released like a flooding river (get it?). Dig the following, cheese penis:

On 12/11, a new album titled "Alone: The Home Recordings of Rivers Cuomo" will be released on Geffen Records. The (very cool) tracklist, which was drawn from the full span of Rivers' Weezer years (1992-2007) is still under wraps

Wow! Makes one forget Radiohead, no?

A recent Rivers quote for all loyalists to drool over:

“We’re done recording, and we’re just waiting to find a mixer. It’s very fresh and experimental.”

Wowie Zowie! And the new Rick “Big Meditation” Rubin produced epic should be out next spring. Friends, you got yet another reason to live.

Cheers,

Mozart Breath AKA MB

Barry Lyndon: The Original Motion Picture Soundtrack

I realize that I have discussed this film soundtrack before in some previous blog entries that mentioned my favorite movie scores, but this is a film soundtrack that deserves a spotlight entirely of its own accord. Not only is Stanley Kubrick’s Barry Lyndon one of the greatest films in the history of World Cinema, but it is also one of the most brilliant blends of the visual image mingled with sound, consider it a whole new way to experience music. Just think of Pink Floyd’s “Dark Side of The Moon” being played while watching “The Wizard of Oz” and times that experience by one hundred and you will then in fact have the Barry Lyndon soundtrack experience.

We have devastating appropriations of a piece by Handel, and an exquisite use of a piece by Mozart that is most appropriate to the film’s plot. And the first piece by Handel crops up again and again in different forms as if to form a psychological theme for the viewer. The use of traditional Irish Folk music, or if you like, Celtic Folk, is both splendid and grand as the film’s title character takes off on his disastrous heroes journey. The listener is treated with a nightmarish military march, which resembles a death beat and sounds not at all dissimilar to the music that greets every futile duel.

Here we have a film of great splendor and grandeur and the motion picture soundtrack is then equally as appropriate. Witness the magic:



And remember, “Good or bad, handsome or ugly, rich or poor, they are all equal now.”

Incoherent First Impressions of "In Rainbows":

Like any civilized human being, I spent my Wednesday, October 10 2007, checking my inbox for a download link. Thank goodness that expensive disc box comes with a download as well.

It was late Wednesday night that I barged into my dear brother's bedroom, woke him up and brutally demanded to know what had been done with the iPod USB wire he'd borrowed from me. Poor, groggy 15 year old:

-"Where's my iPod wire??"
-"I'm trying to sleep, you dick! Can't it wait till tomorrow?"
-"No. Find it now."
-"Go away. Let me sleep."
-"I let you borrow the wire; I need it now. Where is it? Give it to me."
[It was found in the narrow, elusive space in between the bed and wall.]

I desparately needed said wire in order to put said Radiohead album on my iPod. No, it can't wait, you adolescent cock-squirrel.

About 10:30 on Thursday morning, I'm sitting in a white-washed, sterile school library. I slip on my beautiful, noise-cancelling BOSE headphones. I begin "In Rainbows". I begin to believe Josh's assertion that this record is more church than music.

Really, I haven't been a slithery Radiohead fanboy since 2003. I remember listening to the leak of "Hail to the Thief" at VH1's website the week prior to its release. I remember blasting "There, There" over and over again, letting the last two minutes send my body into violent convulsions. I remember seeing the group live 10/10/03 (pure coincidence) and smelling Jesus when they played "Talk Show Host" (best Radiohead b-side ever, by the way). Suddenly, Thursday morning, white-washed library, Radiohead comes back into my life. And I cum back into theirs.

Anyway, I slip on my beautiful, noise-cancelling BOSE headphonse and I'm greeted with a stuttering 5/4 techo beat, accompanied by Yorke's unmistakeable moan: "How come I end up where I started?" [Sidenote: I realize that many of the tracks on this album were debuted live over the past few years, but I refrained from listening to any of the recordings. Partially because I was distracted with other music. Partially because, unless I'm at the concert, I don't like my first impressions to be shitty live recordings. I'd rather wait and hear the song in the context of the album. So it was my first time hearing all these songs.]

I do maintain that "15 Step" is among the most breathtaking album-openers in recent memory. The live drum track that joins the stuttering electronic rhythm, the jazzy guitar floating around the left channel... it's a subtle build-up, an ingenius mechanism. I love it.

The song builds to a groovy, tuneful spiral. "Used to be alright. What happened? Etc, etc, etc. Fast forward...", sings Yorke. Somewhere in between, there's a fantastic bass riff, a bizarre child-like cheer and a delicious echo effect. As I said, the song is breathtaking.

Anyway, I don't intend this to be a formal review of the album. I'm not capable of that, I don't have the attention span right now, I've only listened to the album four times, I don't even "understand" the goddamn thing. I'd just like to record my thoughts in the present time...

Over all, the album rejects the unpredictable variety of "Hail to the Thief", simultaneously moving past the detached atmosphere of "Kid A" and "Amnesiac" in favor of a warmer, reverb-laden environment. Orchestral keyboards and clean guitars exist in pools of haunting melody. Somehow, it seems their warmest and most soulful album in years. The entire mid-section seems to blend together a bit compared to the incredible opening and close.

Thoughts on songs:

"Bodysnatchers" is the only true rock song present, immediately bringing to mind the fuzzy overdrive of "Myxomatosis". The guitar riff is filthy, the entire groove is spastic and delicious. "I have no idea what I am talking about!" Yells Yorke atop the chaos. "Blaggg blaggg blagggg!! Balgggg balggg blagg!" Squeals Greenwood's guitar in response. The acoustic guitar begins a more melodic chorus at about the 2 minute mark. I dig.

"Nude" is absolutely gorgeous. That opening sounds like a tape played backwards on heaven. The clouds drift apart, revealing a minimal bass line and waltzy drum track. "Don't get any... big ideas." There's something syrupy and echoey and beautiful about Thom's vocals throughout the album. This song immediately struck me as beautiful and devastating.

"Weird Fishes/Arpeggi" is driving, guitar-driven, straightforward. Guitar sounds somewhere in between U2 and "The Argument"-period Fugazi. I like the return of live drums (throughout most of the album, not just this song). It's lovely; I enjoy the build towards musical climax. I love the moaning background vocals. I delightful song to get lost in.

"All I Need" marries a hip hop beat with a foreboding bass line and more groaning synths that immediately scream, "Godrich!" "I'm an animal trapped in your hot car." Extremely noisy ending.

At this time, "Faust Arp" is one of if not the only track on "In Rainbows" that hasn't quite grabbed me yet. It's easily the most simply, mostly driven by an acoustic guitar and immediately reminiscent of "I Will". The strings are a stimulating touch. A fine song by most accounts, just doesn't add much to the album.

I love the double drum intro "Reckonher". The reverb-heavy drums blast out of the speakers with a slight motown tinge, sounding decidedly un-Radiohead-like. The minimal clean guitar returns, along with a hauntingly lovely falsetto from Thom. An undeniably soulful song over all, melodic and tuneful. At the 4:06 mark, you will hear a lovely moaning vocal and an orgasmic drum fill. I like music. Do you?

"House of Cars" fits the same mood as the three songs before it. Thom Yorke announced he doesn't want to be your friend; he wants to be your lover. Oh, you sly bastard! Another spacy, melodic track that hasn't quite grabbed me by the balls yet.

"Jigsaw Falling Into Place" is utterly wonderful, led by a relentless refrain of "Hmmm mmm mmmm". Crash Test Dummies, take note. The background vocals simply eat me alive. The song is soothing, intense, godly. Background vocals go up an octave. I swim through a dragon's nasal cavity. "COME ON AND LET IT OUT!" I wish Jigsaws fell into place more often. I'd give my liver to see the song live. Yeehaw, motherfucker.


"Videotape" kills me. It reminds me of "Street Spirit (Fade Out)" in that it's a lesson in pure simplicity and beauty. The lyrics fascinate me a whole lot. Are they describing the sterility of modern technology in the face of death? Is the videotape representing his life's worth upon his ascent to the Pearly Gates. Is there a goodbye letter in there somewhere? IS THIS A FUCKING SUICIDE NOTE?

"When I'm at the pearly gates
This'll be on my videotape
my videotape

When Mephistopholis is just beneath
And he's reaching up to grab me

This is one for the good days
And I have it all here
In red blue green
Red blue green

You are my centre when I spin away
Out of control on videotape
On videotape

This is my way of saying goodbye
Because I can't do it face to face

No matter what happens now
I won't be afraid
Because I know today has been the most perfect day I've ever seen. "

The second to the last verse is the most haunting of all.

The music itself moves along on a simple piano refrain and a drum gallop. "Videotape"
is cathartic and moving. Then it ends.

Count `em: 5 amazing songs, 3 really fucking great ones, 2 merely good ones.

Maybe the album of the year. Maybe not.

Gjaghyueyuewuieh!

Radionead - In Rainbows - First Listen

Please note this is not satire. It's OK to really enjoy something, even in 2007. It's OK to even get slightly insane and start ranting like a lunatic just because something is just that damn good. Of course just like Horselover Fat it's alright to poke fun at yourself for being insane too. Or at least appearing to be insane, but you know, really, you're not insane. You're right on target with this.

I just got done with my first listen to In Rainbows and my first thought about what I should say about it is: This isn't music, this is church.

I don't know if this is the intended result but because of In Rainbows I now believe in God. I do not believe there is any scientific explanation for something as beautiful as this music. And certainly there are no words that can do it any justice either, so I will not try to describe the music with words. Really, that's quite futile. That's why it's music and not a poem.

My question is not whether this is the best album of 2007 but whether or not it is the most perfect album of all time. Please note that I started questioning this on my very first listen and before the album was even over. It'll be interesting to see if I still agree with my initial thoughts on it some time down the road. And yes I do ask you to take a lot of notes.

If you are skeptical, I understand. I usually class myself as a skeptic or a cynic. Or at least as a critic. But I think you make a mistake when you go into a musical experience looking for something to critique. You should give that music every chance to work upon you as the artist intended it to. Otherwise why even bother listening in the first place? I would suggest that if you do not do this that you are not really listening.

I was thinking about spoken conversations as a good example for what I'm talking about. When you are really listening in a conversation you are really listening to what the other person is saying rather than just thinking of what you are going to say next (as people often do.) I think listening to music is similar to this. Often time critics aren't really listening, they are just trying to think of what they are going to say (criticize.) So they aren't really listening to the music in the context of the intended listening experience. They are just looking for something to critique.

Now I do think there's a place for this sort of critical thought applied to music of course, but... I do feel there's not enough music appreciation while there is too much music criticism by people who don't seem to even really like music.

This is music for people who really like music. And also perhaps those looking for a reason to believe in God.

www.InRainbows.com

Jon Spencer Blues Explosion ~ “Orange”

One of the best Rock records of the ‘90’s, and you simply do not stop! Honestly, you do not stop at all. Jon Spencer came from Pussy Galore, his body you ultimately want to explore. What can be said about one of the most underrated records in the history of Rock? Quite a lot, to be perfectly honest, my darling daughter; so check this shit out, baby! I got the blues! I am going to get a cure as soon I as pop on “Orange” by Jon and his chums. The album opener “Bellbottoms” is like a Bruce Lee movie on high, absolutely no question whatsoever, better than Sonic Youth’s “Bull in The Heather.” I wouldn’t lie, baby, you know that! You know that daddy doesn’t get down with those dirty lies.

Some Noise Rock tendencies never hurt a thing! Take, for example, the intense far out Blues of “Dang,” now that is a special song, it will right all of societies wrongs tenfold and forever, and again, far superior to Sonic Youth’s “Bull in The Heather.” The album may be an ode to sleaze coming from a Prep School brat baby like Spencer, but it sure beats The Strokes (Now entirely insignificant, thank goodness), and certainly miles ahead of those precious little Faberge Eggs in the hauntingly soul retardation that is The White Stripes. That’s the “Sweat,” of the Blues Explosion, baby! Danger is always abound when you got those gut-twisting guitars going all hog wild as the percussive element pounds into eternity.

This band is the reason why the dinosaurs all turned to vegetarianism and morphed into precious little panda babies. One of the last cuts on the record is “Blues X Man,” which is all about the power of a virile gentleman on high. Don’t forget that this record houses some mellow driving cuts that are instrumental-based. I love the party scene and I got to boogie on some dolphin buttocks until my mind releases God’s own private stash of some fantastic cheddar cheese. Don’t forget, the cut “Flavor,” features a rather impressionable and possibly non-religious Beck Hansen rapping into a telephone. It is quite good, if not, well…all good (Word up).

For all those who dropped out of Med School: