look! even easier than going to college for computer music, even cheaper than buying a G4
Month of October, 2003
last night i saw the 'amazing grace' tour of spiritualized, a whopping two-hour set with 17 songs spanning each album. sadly, the new material goes into the 3/4 gospel chord lament one time too many, jason is now seemingly nailed to his chair for the whole set and that thighpaulsaundra guy stolen from julian cope's band shoots daggers at both the band and the audience as he plays the tinkering little chords. i haven't been to such a beautifully loud, orchestrated show in such a long time but sadly, it was very manufactured. progressive dream rock?
been reading a lot about laibach for a sound collector reviews piece and am revisiting the idea of abjection, which is a messed idea when thinking about rejecting the very thing that forms you. might be helpful with the self-hating nature of goth kids and central european avant bands under communism...and laibach.
i remember when trans am's survelliance album came out, thinking 'what a half-baked idea it is to use the frayed ends of lonely cameras, their fuzzed-out, grainy clips' and now, there is a bizarre culture jamming surveillance culture which, not surpising, has something to do with those wily eco-terrorists.
everyone is in love with frog eyes these days. besides having a terrible band name, they're pretty good. sounding like the better parts of a) interpol with a tuning fork b) the walkman (at least the plunky production) c) capt. beefheart on prozac?
i've been excited about lead singers who really go for it (as opposed to the indie/hardcore drone) and carey mercer is another great example (the walkmen, broken social scene, ester drang, our beloved 'head, 90 day men).
in the cz there is a lot of this black box mime stuff that is largely annoying, but here is a really great example of it. it's a physical realization of that cool shit from the matrix, dude.
The Voice best of NY 03 is out, featuring several bits of my handsome work. a former friend of mine even taught me the fun trick of pointed critique through well-turned VV phrases, which i honestly (HONESTLY, paw! i didn't break the window.) didn't realize until after the fact. (bourdieu would say, it's the habitus)
am eating my words about tiny speaker music as i checked out this awesome early women of gospel comp and now am in love with marion williams (whose "come out the corner" sounds like the black heart procession let by a house diva) and, of course, sister rosetta tharpe who was, i believe, the total badass singer/guitar player in amelie. i was kicked in to thinking abt it bc of discussion on 'the blues' series on pbs, and thoughts that gospel is actually more an influence on rock than the blues. from gospel comes pop, from blues comes rock? i suppose this is something i will answer in time.
check out the new kelley stoltz album 'antique glow' for some hott nick drake meets post-psych twee tenderness. i guess his first album was an underwhelming 4-track thing, but i'm currently in love with 'mean marianne' and hope that rest of the album rules.
a friend posited the other day that there is a way, perhaps through meditation or spirituality or something, to retain the 'feeling' of having witnessed a great piece of performed art (or entertainment) and turn it into a continual state of bliss. i argue that this cannot be so because that feeling, whatever it is, comes only upon completion and depends on closure to occur. have you ever walked out of a show and felt moved? seems a difficult thing to do or think...and is that feeling built up over the course of a show to a peak or just realized when the music finally stops?