Keep On Truckin'

For all you Heads out there, there's this. The Dead was never something I could fully dig, but this, this is something different. Right when they were still feeling each other out, these sets are excited and passionate, something you can't say about their later day stuff -- even most of the '70s stuff I've heard. Even if you don't like them, do yourself a favor and check it out, it's improvisational music at its best.

For the first time in what might be more than a year I've written and recorded something decent. It's lo-fi and underdeveloped, but some form of it may find it's way up on this space. I've got to say, I'm going to miss the view from this apartment -- it has inspired many a daydream.

Here's an interesting post about the intersection of art and commerce, namely, rock and commercials. It's an even better website. I also suggest the Bonaroo articles.

“I've become the Orson Welles of the record industry. People want to take me to lunch, but nobody wants to finance the picture...I keep hoping that when I make a record, I'll be asked to make another one. I keep hoping that if I can make a series of three records, then I can progress and do different things each time. But when I have to get it up once every 10 years... it's a tough way to work." – Scott Walker, 1995.

A lot of internet and media buzz has been made of the new Scott Walker record, The Drift. For once, it’s undeniably justified. Walker’s first in 11 years is a desolate, devastating, overwhelming listen. His quivering but gorgeous croon floats like a poltergeist over meticulously arranged and produced guitars, bass, drums, strings and electronics that wait in the shadows until all are summoned in explosively alarming cacophony. At once a period of our time – industrial and paranoid – The Drift references ancient motifs through lyric and harmony, proving that the past can come back to haunt. But, full disclosure: take these words only at face value, I’ve only listened once.

Looking at the quote above, it’s not surprising that Walker doesn’t have big business backing his solo albums. Can people really handle this kind of art more often than every decade? How much of this can we truly embrace without becoming, dare I say, morbid? Also, would Walker be considered a visionary and his records masterpieces if we’re reminded and reexamine on a regular basis? Personally, it’ll take at least a listen a year to unravel at least part of this. But, yeah, if they were to come every year, I’d be listening.

And We're Back...

It’s been a long time since I’ve been here – I’ve been busy with life changing decisions which are pretty damn exciting. My apologies to anyone that checks this more than once in a while. To you, I tip my hat.

I haven’t been into new music lately, other than that Brightblack Morning Light record, whose smoky psych is just the ticket on humid summer mornings. Mostly the last month has been a time for reappraisal and nostalgia.

1. Daft Punk – Discovery: Everyone will tell you that they love this record and they’re right. No dance record I’ve ever heard has the pacing and completeness of this. Not to mention, Discovery’s ability to capture my attention rather than have me slip into a K-hole. Conceptually complete and wonderful pop music for the robots in us all.

2. Archers of Loaf – All the Nation’s Airports: In particular, “Chumming the Ocean”. Eric Bachmann’s Crooked Fingers outfit (the first record, at least) is pretty much predicted in this stunning moment of serenity from the crusty college-rock punks. The rest is not as good as the other AoL records, but solid enough to work that angst out.

3. Chic – “Everybody Dance”: Talk about dance music – this could be where it might have started. From a pump-up intro into the groovy rollerskate jam verse, this is the complete package.

4. Man or Astro-man – A Spectrum of Infinite Scale: A great display of Steve Albini’s recording techniques. These instrumental surf-rock geeks use the heavy drums and reverb to their advantage, putting together paranoid, retro-future tubes.