also, just found out about the clive davis department of recorded music at nyu. looks pretty new, but nelson george teaches there -curses for being at nyu too early. from oliver's blog i found this forum on the impact of hip hop journalism happening this tuesday. be there?
Month of October, 2004
just got back from a party where we watched "it's a great pumpkin, charlie brown," and you know, that snoopy as WWI flying ace sequence still weirds me out. there's so much space, slow pacing, in that cartoon, and the jokes are positively two-dimensional. it was actually sort of painful, like going back to read something you wrote five years ago. i'm still waiting for someone to sit in the pumpkin patch with me though - i believe!
the illusive jandek has crawled into the light, prompting me to think of a half-dozen onion style headlines about how syd barrett, roky erickson, linda perhecs and a long, strong lineage of 'authentically mad' or obscure artists will be giving autographs at walmart.
from the Jandek supa-fan website:
man, am jamming to the new chicks on speed, which has this crazy Blectum From Blechdom 'fuck our fabulousness, we're too damn weird' vibe. "Sell Out" is like some precocious post-Naomi Klein anti-shopping mantra and "Wordy Rappinghood" is everything that I wish Northern State were (namely, in love with language, silly, brilliant and willfully girlie) and "We don't play guitars" is so anthem to my inner 15 year old.
so I'm listening to Eardrum's 1999 album "Last Night" and i just can't think anything about it but 'man, i know i heard this in other music in 1999' and i'm not just saying that cause the dude who gave me the album has the OM connection, but really, it's the spatial, the skitterstepping, the musique concrete over shifty beats that so characterises the vanguard of this time, like having a post-rock sensibility but being more in conversation with the types of things going on in the idm/underground hip hop world. hrmrm.
gretchen wilson, big & rich and now honky tonkers for truth, whose "Takin' My Country Back," includes the amazing lines, "You took our jobs and sent 'em overseas/Now we owe billions to the red Chinese/You blew the budget and you bothed Iraq/and now i'm..."
which is supported by the music row democrats.
can someone give me rational reason why every righteous post-Gravity hardcore boy hates the Blood Brothers? Is it because Jordan and Johnny don't play instruments (take their shirts off, are generally conventially attractive), because Ross Robinson produced them, because they have snaky, lame swing parts in the middle of their trash onslaught (which is why they are like so much better than most fake hardcore bands anyway, com'on VSS) or for some subtle, discerning man's thing that I can't possibly get bc I don't wear undersized black t-shirts ever
while experiencing this uniquely fascinating work the amazed listener is witnessing a musical terraforming
said the press release for the new Ricardo Villalobos triple EP. the other side contains melty prose from my favorite critic bois of microhouse - how could this thing go wrong? curious warping mindnumbing (ir)regularity, snapping why-is-it-so-pert bass (like you snap the string when you meant to be smoooth, bass players, dig?), trippy guitars emulating harp patterns, sprinked chance of strings repeated as technique (god that opener, "hireklon").
this piece uses the criticism that the Nation should be 'less pale and less male," which is funny as a former intern who used to rail against the harvard poly sci mafia that runs the place. i know that by even writing this, i am going to make dw come out of hiding to defend the alma mater - just saying. que up james brown, 'this is a man's world...'
nj guido.com gives those who steal nj working class fashion for their fabu pleasure a whole new realm of confusing and sincere ideas to adapt. cause some people just can't get enough of smooching their heads together for red-eyed prom photos.
this is a boring blog entry related to what i study: