Slumberlord
Sunday, March 28, 2004
He would make outrageous claims, like that he invented the question mark
True to my tradition of paying attention to politics only when I find it suitably amusing, I've taken an interest in the recent Condoleeza Rice/Richard Clarke rivalry. I had to drive my brother to O'Hare and consequently was awake (for the first time, like, ever) on Sunday morning to catch "Meet the Press" while I was overcooking some stir-fry. Rice and others in the Bush administration have spent the last week criticizing Clarke, who dropped some mad logic in the 9/11 hearings last week.
To make sense of this complex national security issue, my brain tried to put things in terms I could understand:
=== 
=== 
This rap mindset naturally led to me calling Clarke revolutionary, but gangsta (how is the new Dead Prez album, anyway?). DJ David knocked out the dope album art remix pictured above.
True to my tradition of paying attention to politics only when I find it suitably amusing, I've taken an interest in the recent Condoleeza Rice/Richard Clarke rivalry. I had to drive my brother to O'Hare and consequently was awake (for the first time, like, ever) on Sunday morning to catch "Meet the Press" while I was overcooking some stir-fry. Rice and others in the Bush administration have spent the last week criticizing Clarke, who dropped some mad logic in the 9/11 hearings last week.
To make sense of this complex national security issue, my brain tried to put things in terms I could understand:
===
===
This rap mindset naturally led to me calling Clarke revolutionary, but gangsta (how is the new Dead Prez album, anyway?). DJ David knocked out the dope album art remix pictured above.
Saturday, March 27, 2004
Mmm... stalky
new favorite vegetable = asparagus
Due to my recent interest in asparagus, I would like to name myself head of the IAAG (Illinois Asparagus Advocacy Group) and name Lionrock's "Fire Up the Shoeshaw" as the official IAAG theme song.
new favorite vegetable = asparagus
Due to my recent interest in asparagus, I would like to name myself head of the IAAG (Illinois Asparagus Advocacy Group) and name Lionrock's "Fire Up the Shoeshaw" as the official IAAG theme song.
Skinny alcoholic grizzly bear on the loose
To protect themselves from dangerous American MCs, British rappers flock together in groups, often called “crews” or “squads”
Ok! A few format changes around here. My personal singles list is now pinned on the right. Every Saturday I'll try to update it and use it as a chance to talk about singles in general (I counted and I have a ranked list of 96 for the year so far). The songs are ranked with their position from the previous week in parenthesis.
The big gainer for now is Blazin’ Squad’s “Here For One.” Blazin’ Squad is made up of 10 London rappers with typically British MC names (including MC Freek and, um, Krazy), but “Here For One” is a very un-British rap song. And very good. It has a long-ass piano intro (rather daring) and some bizarre strings and a breakdown with some gangster film opera singing and the rest is just a really effective Just Blaze impression. I’m going to see if I can convince my brother these guys are from Virginia Beach.
I've been disappointed by albums so far this year, but I (red flag) haven't heard Wiley's disc or the new Lil' Flip, which should be replete. Flip! Flip! Flip! Flip! GAME OVAH~
And yes, I will be out of town next week, so I will either do next week’s update early or wait until April 10. Terrible timing on my part.
To protect themselves from dangerous American MCs, British rappers flock together in groups, often called “crews” or “squads”
Ok! A few format changes around here. My personal singles list is now pinned on the right. Every Saturday I'll try to update it and use it as a chance to talk about singles in general (I counted and I have a ranked list of 96 for the year so far). The songs are ranked with their position from the previous week in parenthesis.
The big gainer for now is Blazin’ Squad’s “Here For One.” Blazin’ Squad is made up of 10 London rappers with typically British MC names (including MC Freek and, um, Krazy), but “Here For One” is a very un-British rap song. And very good. It has a long-ass piano intro (rather daring) and some bizarre strings and a breakdown with some gangster film opera singing and the rest is just a really effective Just Blaze impression. I’m going to see if I can convince my brother these guys are from Virginia Beach.
I've been disappointed by albums so far this year, but I (red flag) haven't heard Wiley's disc or the new Lil' Flip, which should be replete. Flip! Flip! Flip! Flip! GAME OVAH~
And yes, I will be out of town next week, so I will either do next week’s update early or wait until April 10. Terrible timing on my part.
Country Top 20: They all look the same when you turn off the lights
Kenny Chesney ft. Uncle Kracker - "When the Sun Goes Down"
Sadly, not a vampire
Rocking a creepy "Let's Get Drunk and Screw"/"Margaritaville"/"Salem's Lot" vibe, this is sadly not about vampires. If there was a top 20 country song about vampires, it would single-handedly rebuild my faith in the world.
As it is, this is a piece of woefully anti-erotic tropicale plastique.
Kenny Chesney ft. Uncle Kracker - "When the Sun Goes Down"
Sadly, not a vampire
Rocking a creepy "Let's Get Drunk and Screw"/"Margaritaville"/"Salem's Lot" vibe, this is sadly not about vampires. If there was a top 20 country song about vampires, it would single-handedly rebuild my faith in the world.
As it is, this is a piece of woefully anti-erotic tropicale plastique.
Sunday, March 21, 2004
Tell them it's about bio-terrorism
You know how I don't get along with blondes? Remember how I never thought Kirsten Dunst was attractive until she got that admittedly ridiculous red dye job for "Spiderman," and then I was hot for her? Yeah, well, this is like that.
I know all you believers are sick of hearing about it, but I have to come back to "Toxic" again because there still seems to be a lot of hate for it, and for my girl Britney. For the record, I have never been a Britney apologist, and up until 2003 I could have passed on all things Brit save "Autumn Goodbye" and maybe "Slave 4 U," although even that is rather ordinary. But with help from Bloodshy and Avant* Britney makes "Toxic" three and a half minutes of top shelf pop.
The first thing that is great about this song is those heart attack strings, but I think a lot of detractors and some supporters of the song are stopping there and not hearing the other really great bits. There's that great little electronic stutter-bridge just before the 1:00 and 1:55 marks, and what about the breakdown at 2:25? Where they do the little Basement Jaxx-styled electric-vocal slide? Mm-hm. But best of all is that deep-twang surf-like guitar at 1:15, 2:10 and 3:10 (particularly the 2nd and 3rd which are sick good).
Sadly, creative growth for a teenstar usually heralds commercial doom, so unless Britney has a few more tricks up her glittering sleeves it may be curtains for her.
*Ha! Funny names!
You know how I don't get along with blondes? Remember how I never thought Kirsten Dunst was attractive until she got that admittedly ridiculous red dye job for "Spiderman," and then I was hot for her? Yeah, well, this is like that.
I know all you believers are sick of hearing about it, but I have to come back to "Toxic" again because there still seems to be a lot of hate for it, and for my girl Britney. For the record, I have never been a Britney apologist, and up until 2003 I could have passed on all things Brit save "Autumn Goodbye" and maybe "Slave 4 U," although even that is rather ordinary. But with help from Bloodshy and Avant* Britney makes "Toxic" three and a half minutes of top shelf pop.
The first thing that is great about this song is those heart attack strings, but I think a lot of detractors and some supporters of the song are stopping there and not hearing the other really great bits. There's that great little electronic stutter-bridge just before the 1:00 and 1:55 marks, and what about the breakdown at 2:25? Where they do the little Basement Jaxx-styled electric-vocal slide? Mm-hm. But best of all is that deep-twang surf-like guitar at 1:15, 2:10 and 3:10 (particularly the 2nd and 3rd which are sick good).
Sadly, creative growth for a teenstar usually heralds commercial doom, so unless Britney has a few more tricks up her glittering sleeves it may be curtains for her.
*Ha! Funny names!
My March Recommendation… or, If you listen to just one thing I say this month…
The Knife – "Heartbeats" - best song of 2003
I should address singer Karin Dreijer's voice first, as it is the first thing listeners will notice. Her style could be carelessly likened to Bjork or the Slits' Ari Upp, but it has a certain vivaciousness that makes it warmer than the former and deeper than the later.
Underpinning Dreijer's Swedish croon is the most dynamic New Wave synth percolation in years. It’s the sort of melodic wellspring that jumps up in the faces of those “I hate ‘80s production” snobs and washes over them, burying them in bliss.
It has that perrrfect handclap percussion, and this tinny rumble, and electric elasticity and when I’m listening to it I’m burning down the highway (some highway, any highway) in a Miata and it’s alll neon bittersweet remorse and “wooves teeth, sharing different haaartbeats.”
RIYL: Clinic, Bjork, OMD, New Order, Broadcast, Vive Le Fete
File Under: Synth Pop, Avant Electro, Duskandinavian
And pictures!
This is the album. Nothing on it is quite as good as "Heartbeats" but most of it is sickeningly close. If I redid my 2003 album list this would be top three, for sure.
This is The Knife, Karin and brother Olof, in what I can only assume is traditional Swedish attire.
The Knife has also recorded a soundtrack for this movie. I know nothing about the movie, but the soundtrack puts the focus on the duo's synth and beatmaking skills and is also excellent.
The Knife – "Heartbeats" - best song of 2003
I should address singer Karin Dreijer's voice first, as it is the first thing listeners will notice. Her style could be carelessly likened to Bjork or the Slits' Ari Upp, but it has a certain vivaciousness that makes it warmer than the former and deeper than the later.
Underpinning Dreijer's Swedish croon is the most dynamic New Wave synth percolation in years. It’s the sort of melodic wellspring that jumps up in the faces of those “I hate ‘80s production” snobs and washes over them, burying them in bliss.
It has that perrrfect handclap percussion, and this tinny rumble, and electric elasticity and when I’m listening to it I’m burning down the highway (some highway, any highway) in a Miata and it’s alll neon bittersweet remorse and “wooves teeth, sharing different haaartbeats.”
RIYL: Clinic, Bjork, OMD, New Order, Broadcast, Vive Le Fete
File Under: Synth Pop, Avant Electro, Duskandinavian
And pictures!
This is the album. Nothing on it is quite as good as "Heartbeats" but most of it is sickeningly close. If I redid my 2003 album list this would be top three, for sure.
This is The Knife, Karin and brother Olof, in what I can only assume is traditional Swedish attire.
The Knife has also recorded a soundtrack for this movie. I know nothing about the movie, but the soundtrack puts the focus on the duo's synth and beatmaking skills and is also excellent.
Saturday, March 13, 2004
Please don't leave me on the highway
I’m listening to the Sultans' “Shipwrecked” and I actually like it pretty well, which runs counter to my distaste for 90% of the garage rock and solicited-as-garage-rock released during 2001-2004. The production is definitely a key factor, as this sounds like it could have been recorded in a real garage, or at least a poorly lit warehouse.
Garage music recorded inna prog studio mindset is outski, compadres.
Another problem I still have with ‘00s garage rock – it seems just a little too old, a little too mature. Where is the teenage garage rock band? Where is today’s Noise Addict or Silverchair*? Wasn’t ‘60s garage rock all about teens rockin’ out? Well, wasn’t it?
*Yes, that is Silverchair in terms of age, not in the quality of the music please.
I’m listening to the Sultans' “Shipwrecked” and I actually like it pretty well, which runs counter to my distaste for 90% of the garage rock and solicited-as-garage-rock released during 2001-2004. The production is definitely a key factor, as this sounds like it could have been recorded in a real garage, or at least a poorly lit warehouse.
Garage music recorded inna prog studio mindset is outski, compadres.
Another problem I still have with ‘00s garage rock – it seems just a little too old, a little too mature. Where is the teenage garage rock band? Where is today’s Noise Addict or Silverchair*? Wasn’t ‘60s garage rock all about teens rockin’ out? Well, wasn’t it?
*Yes, that is Silverchair in terms of age, not in the quality of the music please.
Wednesday, March 10, 2004
Country Top 20: Add tears to beer, stir
Joe Nichols - "Cool To Be A Fool"
The histrionic, exploitative "American Soldier" still rules the Country charts, but near the bottom of the top 20 lurks this pleasant little song. A plucked mandolin and lulling tempo carry along a bittersweet harmonica as Joe laments his myriad blunders. A line like "If tears were made of pennies, and a cold beer brought her back, my bank account and self-esteem would both be in the black" may not be as quotable as something by, say, Ludacris, but Ludacris is never overcome with regret. For the regretful, "Cool To Be a Fool" is here for you, baby.
Joe Nichols - "Cool To Be A Fool"
The histrionic, exploitative "American Soldier" still rules the Country charts, but near the bottom of the top 20 lurks this pleasant little song. A plucked mandolin and lulling tempo carry along a bittersweet harmonica as Joe laments his myriad blunders. A line like "If tears were made of pennies, and a cold beer brought her back, my bank account and self-esteem would both be in the black" may not be as quotable as something by, say, Ludacris, but Ludacris is never overcome with regret. For the regretful, "Cool To Be a Fool" is here for you, baby.
Tuesday, March 09, 2004
Nas disguised as robot butler
I generally don't post links to message boards for discussion purposes, but this thread on this article exposed by this man is too great to pass up.
The article, by, yes, the drummer from one-time Brit chart success Gay Dad, wraps up every cliched, poorly-supported complaint about hip-hop into one neat package. Beyond that it is one of the most depressing opinions of popular music in general that I have read recently.
The ILX thread (also by CC) is the perfect antidote, though, with such brilliant gems as this comment on the author:
I suppose it's good in a way that he wrote this because the article has probably given him food money and he won't have to stand next to freeway offramps with a cardboard sign reading "JOB LOST TO 808, PLEASE HELP"
Hip-hop is hot in a way it hasn't been in 10 years (imo) and there are still people out there lining up to write its epitaphs.
I generally don't post links to message boards for discussion purposes, but this thread on this article exposed by this man is too great to pass up.
The article, by, yes, the drummer from one-time Brit chart success Gay Dad, wraps up every cliched, poorly-supported complaint about hip-hop into one neat package. Beyond that it is one of the most depressing opinions of popular music in general that I have read recently.
The ILX thread (also by CC) is the perfect antidote, though, with such brilliant gems as this comment on the author:
I suppose it's good in a way that he wrote this because the article has probably given him food money and he won't have to stand next to freeway offramps with a cardboard sign reading "JOB LOST TO 808, PLEASE HELP"
Hip-hop is hot in a way it hasn't been in 10 years (imo) and there are still people out there lining up to write its epitaphs.
Monday, March 08, 2004
Hip-hop Awaits the Apocalypse, Part III"
I'm a bit late writing about this album and the screwed and chopped phenomenon as a whole, but I'm still ahead of the inevitable rash of print media articles. For the uninitiated, "screwed and chopped" is a production style popularized by the late DJ Screw, in which normal crunk or dirty South tracks are slowed down (screwed) and snippets of the song, particularly the vox, are spliced out, multiplied, and inserted throughout the track (chopped). The effect is... well... disorienting, to say the least.
David Banner's "Mississippi" is an ideal example. "Fuck 'Em" is a straightforward crunk anthem in its original form, and the screwed and chopped version keeps the horns, but the song that results sounds like what would happen if the UCLA marching band got lost on its way to meet Fleetwood Mac and ended up recording "Tusk" with Suicide instead.
It only gets stranger from there. The original album's feature single, "Like A Pimp," is a black hole groan that makes Lil Flip's odd drawl sound normal and Banner sound downright demonic. "Choose Me" turns a sung guest performance into a slurred blur of R&B kaos. It's a fascinating listen, but not for the faint of heart.
Although screwed and chopped tracks are unlikely to show up on pop charts, they are a visible sub-genre that includes some established artists (from Banner himself to Three 6 Mafia) and they may well represent one of the few mainstream moments for genres that actively, abrasively attack the listener. It certainly doesn't reach "Metal Machine Music" proportions, but it is reminiscent of the heavier, darker, we [heart] heroin side of grunge (Alice in Chains et al) and the "Ironman" days of mid-'70s hard rock. More evidence that the apocalypse is right around the corner and hip-hop is teetering on the brink of oblivion.
Listening to "Mississippi: The Screwed and Chopped Album" is like being chased through an underwater strip joint by a giant shark that screams "Y'ALL BITCHES CAN'T FUCK WIT ME" through his plat teeth. This is the stuff of nightmares.
I'm a bit late writing about this album and the screwed and chopped phenomenon as a whole, but I'm still ahead of the inevitable rash of print media articles. For the uninitiated, "screwed and chopped" is a production style popularized by the late DJ Screw, in which normal crunk or dirty South tracks are slowed down (screwed) and snippets of the song, particularly the vox, are spliced out, multiplied, and inserted throughout the track (chopped). The effect is... well... disorienting, to say the least.
David Banner's "Mississippi" is an ideal example. "Fuck 'Em" is a straightforward crunk anthem in its original form, and the screwed and chopped version keeps the horns, but the song that results sounds like what would happen if the UCLA marching band got lost on its way to meet Fleetwood Mac and ended up recording "Tusk" with Suicide instead.
It only gets stranger from there. The original album's feature single, "Like A Pimp," is a black hole groan that makes Lil Flip's odd drawl sound normal and Banner sound downright demonic. "Choose Me" turns a sung guest performance into a slurred blur of R&B kaos. It's a fascinating listen, but not for the faint of heart.
Although screwed and chopped tracks are unlikely to show up on pop charts, they are a visible sub-genre that includes some established artists (from Banner himself to Three 6 Mafia) and they may well represent one of the few mainstream moments for genres that actively, abrasively attack the listener. It certainly doesn't reach "Metal Machine Music" proportions, but it is reminiscent of the heavier, darker, we [heart] heroin side of grunge (Alice in Chains et al) and the "Ironman" days of mid-'70s hard rock. More evidence that the apocalypse is right around the corner and hip-hop is teetering on the brink of oblivion.
Listening to "Mississippi: The Screwed and Chopped Album" is like being chased through an underwater strip joint by a giant shark that screams "Y'ALL BITCHES CAN'T FUCK WIT ME" through his plat teeth. This is the stuff of nightmares.
Sunday, March 07, 2004
Cold Lately
Friday, Abbey Pub:
Got out to see Finnish microhaus guru Luomo Friday, and as I had hoped, the harder dance beats he welded to cooing vocal trax like "What Good" and "Tessio" hooked me in a way 2003's "The Present Lover" had not. I was able to proudly bust my full range of awkward dance moves.
Also, word to a jetlagged but enthusiastic Kid Crunk. A good time was had by all.
Saturday, Music Box:
"On the other side of the screen, it all looks so easy."
Friday, Abbey Pub:
Got out to see Finnish microhaus guru Luomo Friday, and as I had hoped, the harder dance beats he welded to cooing vocal trax like "What Good" and "Tessio" hooked me in a way 2003's "The Present Lover" had not. I was able to proudly bust my full range of awkward dance moves.
Also, word to a jetlagged but enthusiastic Kid Crunk. A good time was had by all.
Saturday, Music Box:
"On the other side of the screen, it all looks so easy."
