CALL & ANSWER

I love it when a songwriter overtly references another artist, song or album and how it makes me drift towards other artistic possibilities while being immersed in the current musical narrative that I am listening to. This creates a continuous feedback loop where the self referencing world of pop music reinforces it's own history (and mythology), creating context and bulding a cohesive universe of sorts.

One examples that I adore is in the song "So Far Around The Bend" by The National; "You’ve been humming in a daze forever, praying for Pavement to get back together". A good illustration of the power of art to imprint itself in the brain and become entrenched in our psyche.

One obvious, and perhaps my favourite example of overt referencing is the Camera Obscura song "Lloyd, I'm Ready To Be Heartbroken" (2006) in response to "Are You Ready To Be Heartbroken?" (1984) by Lloyd Cole & The Commotions. It is a playful track and I can picture singer Tracyanne Campbell being a fan of Cole and flaunting the influence proudly.



There is a reason why some of the most compelling forms of art, music and film are often those that are aware of their own history and our able to reference both itself, as well as that which may be behind it's own genesis. This provides a sense of place in a creative universe where connections create a dynamic sense of birth and rebirth, where various forms play off each other and grow into something new.

MY PRIVATE VINYL SPEAKEASY

I went to see my music "dealer" the other day, a fellow vinyl enthusiast I met courtesy Craigslist who hooks me up with some great vinyl every so often. I periodically schedule times where I can head down to his rec room and leisurely peruse the stacks of wall to wall vinyl to help satisfy my musical addiction.

While I browse he plays me some great samples - blues records, dub reggae, post-punk, whatever suits the moment, and I leave with a small stack of records to take home. It is an awesome experience, kind of like an exclusive speak-easy for music geeks. Of course now that I have a regular supplier I know that I am hooked.

Here are the recent gems that I picked up during my last vinyl foraging engagement;

Brian Eno - "Taking Tiger Mountain (By Strategy)" (1974)

This is Eno's second post-Roxy Music album. I was inspired to find this one after listening to his recent David Byrne collaboration and remembering that he is actually a decent and engaging singer, a fact overshadowed by his ambient pieces and role as a producer.

Brian Eno - "Ambient 4: on Land" (1982)

One in a series of Eno's many ambient recordings. I am looking forwarding to relaxing to this one late at night with some really good headphones for closer scrutiny. A recording like this makes a good case for having vinyl on hand, as this one clearly benefits from the dynamic range inherent to vinyl.

Scientist & Peter Chemist - "1999 Dub" (1984)

I have never been a huge fan of dub reggae, though this one was intriguing and was a great soundtrack for my record foraging (my dealer played this one and got me hooked). It is fun to imagine the pre-millennial & dystopian themes in this one from the vantage point of the mid-80's when it was recorded.

Patti Smith - "Radio Ethiopia" (1976)

I am a recent convert to much of Patti Smith's work, and I am especially fond of her earlier albums which often hold a sense of blistering urgency and poetic spirit that I admire. This record was criticized by some at the time for being too "self indulgent", though from my vantage point this is hardly a problem.

The Waterboys - "Fisherman's Blues" (1988)

This one is a bit of a sentimental favourite, an example of how to do Celtic rock the right way.

I will soon be able to convert these to digital format if anyone wants a fix of some engaging music to enhance their aural palette. Now excuse me, my turntable is calling me!

GOING DOWN TO THE "FARM"

This album cover makes me smile;

Not only does it make a strong case for tangible forms of music (this one begs to be picked up on vinyl) but it provides great fodder for the imagination. This cover could easily tell a story, perhaps some surreal cautionary environmental tale for children.

If I was in charge of doing promo for the band I would hold a literary contest for the best short story to accompany the picture. The winning story would be included with limited editions of the album of course.

As for the music it seems that Dinosaur jr stick to what they do well with little deviation. So as expected, on their latest album they have created a collection of hook laden semi-melodic songs that are both immediately gratifying and often frustratingly impossible to remember afterwards. This isn't necessarily problematic, as it serves the purpose of providing a quick visceral aural encounter that is great in the moment.

The band also seems quite comfortable with the slacker aesthetic that has been inextricably associated with them for years, as witnessed in their latest video where we see the middle aged hipsters doing skate board and bike stunts that no sane person over 25 would likely ever attempt. Of course the J Mascis stunt double wearing a wig is a nice touch.



That's all for now, I have children's story to write about giant mossy green creatures!

GOOD FOR NUTHIN' LOW-LIFE SCUM

In the Feb '09 issue, Uncut magazine featured a CD compilation of murder ballads & prison songs, appropriately featuring Johnny Cash on the cover. I am quite fond of theme based compilations and rather enjoyed this one, which features a diverse range of new and older songs about various hapless souls imprisoned for one reason or another.

For me the murder ballads are quite compelling. A good murder ballad provides an engaging narrative that is usually told from the perspective of the killer and often ends with some sort of consequence for him or her in the form of the gallows or some other ghastly ending, complete with a sense of overwhelming remorse (in most cases).

This is different of course from other more nihilistic forms of music where violent imagery is utilized for shock value or to push some misguided image of hyper-masculinity. Think of a murder ballad as the musical equivalent Edgar Allan Poe's The Tell-Tale Heart wrapped up in a 3 minute song with country and folk motifs.

The most compelling part for me is the psychological state of the killer, who is either haunted or filled with remorse over his deed, which in some cases may be accidental. Containing this within a short song provides an immediate visceral experience where powerful narrative is enhanced by the immediacy of a well crafted melody. A perfect combination indeed for the literary minded pop connoisseur.

Here are a few standouts that I am enjoying currently (complete with limited duration download links);

"The Rake's Song" (2009)- The Decemberists - This song reflects the mastery that The Decemberists embody around weaving a compelling narrative within an immediately gratifying hook-laden pop song. In this macabre tale the protagonist murders his unwanted children after their mother dies during child birth - with cold calculation he indicates that "my burden I began to divest".

"Delia's Gone" (1994) - Johnny Cash - Interestingly, the first song of Cash's series of "American Recordings" with Rick Rubin at the helm starts with a classic murder ballad. In this case Delia is described as "low down and trifling, and she was mean". Cash sings with a tinge of tenderness and a matter of fact honesty, making it all that more chilling.

"Where The Wild Roses Grow" (1996) - Nick Cave (featuring Kylie Minogue) - A sweet duet with a touch of fatalism, where Cave and Minogue exchange vocals about Elisa Day and the unnamed man who enraptured with her beauty later pronounces that "all beauty must die", placing a red rose between her teeth. Apparently this song was inspired by "The Willow Garden", a tale of a man courting a woman and killing her while they are out together.



"Pretty Polly" - recorded by various artists (link to free MP3 download by artist Daniel Dutton); This traditional folk song tells the tale of a ship's carpenter who murders poor Polly and places her in a shallow grave. In some versions he is later haunted by her ghost and goes utterly mad while at sea, ultimately ending his own life. Interestingly, writer Greil Marcus has theorized that the song "Polly" by Nirvana is derivative of this tale.

If anyone is interested, I am in the process of compiling a great murder ballad compilation, so send me an e-mail and I can hook you up with a great mix of macabre tales to murder your eardrums!

THE SOUNDS OF SILENCE (DOWNLOADED)

According to Pitchfork, last week ITunes (USA) featured a recording of the first movement of John Cage's "4'33" as a free download for the Discovery Song of the Week. One relevant consideration is of course that this is a performance piece that occurred when Cage instructed the musicians not to play a single note of what he had written down. The end result is 4 minutes and 33 seconds of the musicians not playing music.

The end result is not intended to be about "silence" because when you listen closely you can hear signs of life all around through the normal noise that would occur in any room ( even the sound of traffic outside if you listen closely apparently), which is the point of it really. Who said only instruments can be used to perform a composition?

Of course in the context of it being a free ITunes download I think it is even more brilliant. I am sure that those hunting for a free Lady Gaga track, or some other piece of musical ephemera may have found this a little baffling. It is wonderfully playful of ITunes to do this, and I like how it subverts the usual formula of providing some hook laden piece of pop designed to provide immediate gratification. Cage's piece actually forces you to listen.

In the spirit of this I have a few other suggestions for ITunes to consider;

"The Best of Marcel Marceau" (audio podcast). - An obvious one I admit, but I am somewhat intrigued around how one would visualize the movements of a graceful mime based on the natural rhythms and sounds created by his movement?

Lou Reed "Metal Machine Music" (locked groove edition) On the original vinyl LP the last 1.8 seconds of the album was repeated on an endless loop on the "locked groove" (see wikipedia entry for a decent explanation of the "locked groove" phenomena with vinyl LPs) Unfortunately an MP3 file cannot go on ad infinitum without taking up all the precious space on your hard drive, so I am sure that a decent five minute sample of the locked groove played on repeat would have a similar effect. Infinity here we come.

"The Best of Category Sixx" - Apparently Category Sixx are a "well known" air band that play the bar circuit. Of course due to copyright reasons the original songs that they play along to would be omitted and we would be left with the sounds of the live audience, as well as whatever sounds the band manages to produce jumping around on stage with their imaginary instruments. This would be strangely captivating I imagine.

"One Hand Clapping - The Hits" - the current top 10 downloaded singles as expressed in real time through one handed clapping. Are you astute enough to pick up what song is being expressed through the movement of air in an empty space?

Of course I would love to hear other ideas for an unconventional download.

EARGASMIC RECORDINGS

Here is my contribution to the latest installment of the Green Monkey Music Project. The theme is "eargasmic" music, basically those blissful recordings that work wonder on your eardrums and create an overwhelming sense of aural euphoria.

The following six songs represent a broad range of what fills my ears with delight and stimulates my higher brain functions. Of course narrowing it down to only six is a painful endeavor, and my selections are a small slice of the many wonderful songs that fill my ears with delight.

I would also recommend that you head over to I, Splotchy and check out some of the entries from the other participants and perhaps bless your ears with something new you may not have head before. OK, here it goes;

Catherine Wheel - "Black Metallic" - This song offers a compelling sensory experience and at the time it came out it foreshadowed a lot of great music to come. There is a muted tone present that results in even the "loud-quiet-loud" moments being less drastic than they would be otherwise and more soothing than perhaps it would have been if produced differently.

Cocteau Twins - "Cherry-Coloured Funk" - I remember many years ago persuading a college classmate to listen to this song on headphones. She had no frame of reference for this sort of music and had a uncharacteristically strong emotional response to it afterwards. She exclaimed rather innocently that it was as if someone was playing the soundtrack to one of those fantastic dreams where you are floating through the sky carelessly. This pretty well sums it up perfectly for me.

Roxy Music - "More Than This" - This is one of the most sublime pop songs ever produced. Bryan Ferry's tempered falsetto is complimented beautifully by the crisp and lush production. It is highly indicative of the romanticism of it's era, though unlike many of it's contemporaries this song maintains a degree of timelessness and still captivates by embracing a genuine sense of yearning.



DeVotchKa - "The Last Beat of My Heart" (2006) - Perhaps this would be a heretical statement to some, but I would be willing to state that this version is much better than the original by Siouxsie & The Banshees. Their is an organic warmth to this version that seems to draw you with a sense of urgency and immediacy that is not as easily identifiable in the original.

Pink Floyd - "Interstellar Overdrive" - This psychedelic instrumental odyssey possesses a dark and foreboding tone that is heavy and at times oppressive. It builds to a thundering crescendo and by the time it is over you do in fact feel like you have embarked on some perilous cosmic journey. I also want to give props to Gordon "the Hippie Bus Driver" who in my adolescent years made me a great mixed tape of Syd Barret era Pink Floyd, which totally blew my mind at the time.

My Bloody Valentine "Only Shallow" - This opening track from the legendary "Loveless" album immediately pulls you into a unique sonic journey. In the context of when it first came out it was a completely irrational and unparalleled sensory experience that held few points of reference. This piece challenges you to throw away the heady need to interpret and draw meaning. It is a dynamic soundscape that only demands that you approach it with the same degree of imagination and openness as put forward by the artists themselves.

LISTING ESSENTIAL RECORDINGS

Recently I have spent countless hours pouring over a wonderful book entitled "1000 Recordings To Hear Before You Die" By Tom Moon. In reading it I am struck by the staggering amount of potentially awe inspiring music that I have yet to engage with. On the other hand I am also having fun picking apart some of Moon's picks (or lack therefore in some cases - only 1 Bowie album made the list!)

Moon's official 1000 Recordings To Hear blog is also excellent, and he often posts further information about some of the recordings or related material he references in his book. He also makes recommendations for "next steps" if you like a certain recording, as well as guides for exploring certain genres, such as the recently posted "Five Steps In an Exploration of Jazz". This is a great site to use as a launching pad for further musical exploration (and eventual obsession).

It is a fascinating premise in some respects, as the concept of "essential listening" may not necessarily translate into a list of one's favourite recordings. It is a valid approach to examine what recordings would be considered essential canon, mainly those that are considered to be foundational, influential and need to be experienced to appreciate much of what has come afterwards.

A parallel would be the more common act of identifying the various pieces of literature that are foundational to Western culture or that assist one in grasping the ethos of a certain era. For example, James Joyce's "Ulysses" is justifiably promoted as one of the quintessential Modernist novels, yet despite this there are probably few who would have the tenacity, patience or desire to read through the many dense stream of consciousness passages on a regular basis.

In Moon's exploration of essential music he took a long journey and acknowledged that with some genres he knew little and had to do some exploring first, finding some hidden and perhaps more obscure gems along the way. This is an act of pure love, where the ego inherent in the notion of one's own individual taste is partially stripped away and there is an openness to wonder from a variety of previously unknown sources.

As always, it is a very subjective exercise that is bound to create debate among people who care about music. Though many of the recordings identified have historically received consensus around being essential (i.e. "Pet Sounds" by the Beach Boys, The Beatles "The White Album") others are slightly suspect (inexplicably a Britney Spears album made the list). Regardless, it is a great catalyst for opening up new doors and I have discovered many recordings that I never knew about that I will hopefully engage with before I shed this mortal coil.

I end with a few of Moon's selections that may be more obscure to some - enjoy!;

Oum Kalthoum (1904-1975) Recognized as the Arab world's most famous and distinguished singer of the 20th century:



Memphis Minnie (1897-1973) - A pioneering female blues singer and guitarist who was popular during the Great Depression and WWII;



Of course I will endeavor to post my own essential recordings list for the edification of others (DISCLAIMER: I'll probably start with 10 recordings, as attempting to compile 1000 would have a negative impact on my family life and would probably take me a few years living as a quasi-hermit to complete).

OOOH... I almost forgot the obligatory closing question - what are some essential recordings from your vantage point?

DYLAN'S BRILLIANT MUSICAL TABLE SCRAPS

Currently I am immersing myself in Bob Dylan's "Tell Tale Signs: The Bootleg Series Vol. 8", which includes unreleased studio outtakes and alternate recordings from the period covering 1989-2006. Upon initial perusal their appears to be more depth and craftsmanship in his "bootlegs" and outtakes than most artists could dream of even coming close to even with every conceivable piece of studio trickery at their finger tips .

There is a sublime and stripped down version of "Most of the Time", minus Daniel Lanois' atmospherics, or "swamp murk" as it is referred to in the liner notes . There is something telling in hearing Dylan's denial tinged confessional stripped down to it's basic elements. When he sings "I wouldn't know her if I saw her, she's that far behind" in this intimate context it functions more authentically as some deluded narrative constructed to get him through the day.



Where many recording artists are justified in abandoning their first impulses and benefit greatly from a production boost, Dylan seems fine left to his own instincts. You get a sense that many of his songs could change dramatically depending on what he fancies on any given day, and either way his spirit and unique voice would assert itself regardless of how it is packaged.

Rather than sounding like incomplete versions of the originals, Dylan's "outtakes" sound more like the product of a mature and confident artist exploring his muse, playing with nuance and embracing layers of subjective complexity. He is an artist in the true sense, one that is playful and able to reference a vast array of musical history, using it to forge his own narrative that both subverts and upholds convention simultaneously.

Anyways, a lot has already been written about Dylan so I need not say more. I would be all too happy to get a few folks hooked on these musical offerings, so drop me a request via the comments and I'll send ya a few goodies.

Now excuse me while I sit back, close my eyes and explore some musical table scraps full of woe, longing and musings on the human condition, often with a wry wink thrown in for good measure. I'll take these "outtakes" over something bright and glossy any day.

SUB POP 'O' RAMA

Much ado has been made about the 20th anniversary of indie label Sub Pop this summer. The label has been effective at branding itself, and in it's early incarnation it held a place of high esteem and guaranteed coolness with music fans of a certain stripe (or perhaps I should say "of a certain plaid").

I have to confess that I wasn't overly drawn to the label's output during it's early grunge soaked Mudhoney/Screaming Trees/Tad days of the late 80's & early 90's. During that era my label of choice was 4AD, and I found, at least for a few years, that I was almost guaranteed to like anything that they released (long live ethereal dream pop!)

I find now that Sub Pop is more eclectic than it used to be and generally I am drawn to more recent acts like Iron & Wine, The Shins and Flight of The Conchords. In many ways having a favourite label that one is loyal to might soon become a bit of an anachronism, in a similar vein to talking about a local radio station that is relevant, or working a regular 9 to 5 job.

Anyways, in the August/08 edition of Mojo there is a Sub Pop compilation that provides a relatively decent snapshot of the last 20 years. It appears to be chronological and I made an honest effort to sit through the earlier material, though found myself skipping through eagerly to the mid way point. Here is the track listing for inquiring minds;

01. GREEN RIVER - This Town
02. MUDHONEY - Sweet Young Thing…
03. TAD - Wood Goblins
04. L7 - Shove
05. SCREAMING TREES - Change Has Come
06. AFGHAN WHIGS - Retarded
07. RED RED MEAT - Braindead
08. ERIC MATTHEWS - Fanfare
09. IRON & WINE - Southern Anthem
10. THE SHINS - New Slang
11. THE POSTAL SERVICE - Such Great Heights
12. KELLEY STOLTZ - The Sun Comes Through
13. FLIGHT OF THE CONCHORDS - Bowie

14. PISSED JEANS - Caught Licking Leather

15. NO AGE - Eraser

(Here's a link to download the tracks, courtesy Zona Musical - password matt-o-rach) - enjoy!

Is there a label in your mind (either past or present) that has consistently released amazing and mind blowing output?

STAPLING CDS

There are a number of ways to share your music in the digital age. Regrettably, this is increasingly resulting in litigation being pursued by some multi-national corporations looking to assert some power over hapless music fans.

One low-fi (and safe method) includes stapling CDs to telephone poles, as illustrated recently by Toronto Indie band The Craft Economy, engaging in some good old fashioned DIY promotion (the band also included a statement criticizing the proposed federal copyright bill, C-61).

Personally, I find this idea to be very inspiring, especially in light of the recent undemocratic process initiated by the Canadian government of negotiating an international copyright treaty (ACTA) behind closed doors, without consultation or any parliamentary accountability.

So with slightly subversive motives, and in the name of sharing beloved music and promoting low-fi "file sharing" I think it would be a grand idea to make some mixed CDs of my favourite songs and leave them for free in various public spaces. I love the potential randomness of this, plus there is no IP address to track it back to!

Who knows, it may start a revolution, or at the very least it may result in someone being inspired by Galaxie 500's version of the Joy Division/New Order classic Ceremony, or hearing for the first time some obscure b-side by The Cure or a Big Star tune that I threw in for good measure.

Let the low-fi file sharing revolution begin!

"Once again, we're being told that home taping (in the form of ripping and burning) is killing music. But it's not: It simply exists as a nod to the true love and ego involved in sharing music with friends and lovers. Trying to control music sharing - by shutting down P2P sites or MP3 blogs or BitTorrent or whatever other technology comes along - is like trying to control an affair of the heart. Nothing will stop it." -Thurston Moore (Wired Magazine April, 2005)

(Note: Picture courtesy of Boing Boing)

ONE SONG

My good friend Dave Dyment recently sent me a sublime mix of great music, mostly based on what we were listening to in our formative years in the suburbs of Toronto. He made the great choice of including some interesting covers of some well adored classics.

One of the standouts is a cover of "Jeane" by the Smiths, performed by Sandie Shaw. This b-side has always been one of my favourite Smith's songs, and Shaw's version is equally sublime.

Apparently Morrissey and Johnny Marr were big fans and wrote her a letter stating "The Sandie Shaw legend cannot be over yet — there is more to be done". This lead to an eventual collaboration with Shaw, and her covering "Hand In Glove" (backed by the Smiths) as well as "Jeane" as the b-side.

In a similar vein to the Rolling Stone's "Angie" the song tells a tale where the promise of happiness between two souls remains unfulfilled due to circumstances that are seemingly thrust upon them. These lyrics provide a snapshot of how the reality around a person and their internal state are inextricably linked;

Jeane
There's ice on the sink where we bathe
So how can you call this a home
When you know it's a grave ?

But you still hold a greedy grace
As you tidy the place
But it'll never be clean
Jeane

It expresses how the search for fleeting beauty and connection manifests itself within the shadow of oppressive fatalism. These could easily be characters in a Thomas Hardy novel. We are thrown into the moment only to imagine what the circumstances were that lead to the union of these two people.

One can picture two young people in some blue collar ghetto trying to escape their fate through their union, only to have circumstances reign them in to the point where Morrissey is compelled to sing "and I don't believe in magic anymore".

My friend mentioned that he would like to one day write a book about the song "Angie", and I would have to say if any song would inspire a story or lengthy exposition it would be this one. In many ways it is the poetry of the ordinary, of the gulf that exist between two people, and the reality that thrusts itself upon us forcing us to reevaluate the promises we once thought to be a sure thing.



What is the one song that has a embedded itself inextricably into your imagination? Is there a story there?

BYPASSING TRADITION WITH PAUL WESTERBERG

Continuing a most welcomed trend that has been occurring with a number of other artists recently (Radiohead, Nine Inch Nails) former Replacements front man Paul Westerberg has bypassed traditional distribution methods and has released his latest album online within days of finishing it.

Here's the lowdown; the album is called 49:00, and Westerberg released it digitally through Amazon for 49 cents. Its concept is a 49-minute album released on June 49 (aka July 19), and it's being sold as one single MP3 file.

In addition to being on one continuous file, the album has no track listings or lyrics and contains a number of short fragmented songs that often end abruptly. In many ways the album functions like a sort of musical stream of consciousness and ends with a flurry of cover versions of songs by The Beatles, Elton John, Steppenwolf and Simon & Garfunkle.

The album art also has that DIY, "something I scribbled while I was drunk" vibe to it;
Of course I couldn't resist downloading it. In many ways I am motivated to support non-traditional distribution means for music. I also appreciate the punk rock aesthetic inherent to Westerberg's approach, saying a sort of "screw you" to the record industry while at the same time giving real music fans access to his art.

I think a number of artists will continue to embrace the freedom that comes from self distribution in the digital age, and of course I will continue to embrace it with open ears!

Related Post: Giving The Speakers A Kick With The Replacements

MY ÜBER GROUP DU JOUR

I am giving a big shout-out today to Anais Nohant for her utterly sublime super group contest. It was a painstaking process for me of course, and with this scenario before me filled with endless possibilities my line-up of choice could conceivably change from moment to moment depending on what is capturing my fancy during that precise millisecond.

Anyways, with little further ado here is my über group du jour;

The line-up features The Edge on Guitar, the late great Klaus Nomi and his soaring falsetto on lead vocal, topped off with a rhythm section featuring Sly and Robbie (aka Lowell Dunbar - drums, and Robert Shakespeare - bass).

Of course it would sound just as you imagine; a consistent and engaging reggae groove supporting Edge's soaring infinite guitar as the wildly varied pitches in Nomi's vocals create a surreal sonic tapestry to weave in and out of the masterful instrumentation.

Recognizing of course that Nomi is not a household name, here is some footage to reel you in;



Of course this was way too much fun, and you have to know I will be creating über groups as a regular feature from now on! Thanks again Anais for the inspiration.

GRAVE ROBBING A LEGEND

Like a tale out of some bizarre shadowplay, a vile hooligan who is likely lacking serious insight has wandered off into the wilderness with legendary Joy Division singer Ian Curtis' gravestone. As the new dawn fades we are left to wonder what would motivate such an atrocity exhibition of this magnitude in the first place?

Perhaps it was a desperate person doing this as some means to an end, or some misguided fan who came out of isolation to engage in this heinous act and make it into some brazen transmission of his own personal disorder. The gravestone has now been missing for more than twenty four hours, though even if it is gone for decades the eternal appeal of Curtis' brilliant music will last well beyond the next ice age.

Perhaps fans wills create a new ceremony to honour Curtis' memory, for missing gravestone or not music like this cannot be broken like glass or hidden away in some thief's private colony. Inevitably love will tear us apart at times, though the powerful music made during Ian Curtis' short life is like an unyielding heart and soul that beats and lives forever in the atmosphere above us.



(NOTE: If you can accurately identify all the Joy Division song titles referenced within this posting you will not only gain my respect and admiration, you will also gain a few top songs that I will send your way)

Streaking Towards The Horizon With Sigur Rós

Today I am immersed in the rapturous sounds of the new Sigur Rós album, "Með suð í eyrum við spilum endalaust" (translated "With a buzz in our ears we play endlessly"). I have been playing it continuously for the last few days, and a few tracks are already threatening to break into my highly volatile "Top 25 Most Played" playlist in my iTunes library.

It contains the appropriately titled and jubilant album opener "Gobbledigook ", an infectious and organic sounding little ditty that may inspire some to do the same as what is depicted on the album cover. The second track, " Inni mer syngurvitteysingur" continues in a similar vein, topping off a quick one-two punch that invokes a celebratory and tribalistic fusion that lets you know you are on new terrain here.

There are numerous tracks that are uncharacteristically economical and less grandiose than is typical for this tribe of Icelandic craftsmen, though thankfully the band still has a few lengthy ethereal soundscapes to keep the mood firmly rooted in outer space. There are also crackling acoustic guitars on a few more minimalist and sparse numbers that help make this album more varied than on previous outings.

The track "Festival" is a good fusion of the varied elements throughout the album. It is a nine minute center piece and magnum opus of the album that starts of as a jaunty invocation and than switches gears mid way through into a slowly building call to the heavens, gradually mutating into a thundering and triumphant crescendo .

For me Sigur Rós has been one of the most exciting and engaging bands of this nameless decade. Their music works on a very primal and emotional level, refusing to be easily categorized or subjected to rational analysis. It is one part spectacle, and two parts pure transcendent bliss. Needless to say it takes me to my happy place.

Even if the thought of pasty white unclothed Icelandic flesh frolicking in the sun scares you, I highly recommend immersing yourself in this album this summer. It holds the possibility of being able to enhance the moment wherever you may be and might even take you to a far away landscape when you need a quick escape from the mundane.

(For a free download of Goobledigook and some older tracks link here to the band's site, or check out their MySpace page to hear a few tracks from the album )

CIGARETTE IN YOUR BED

Yes kids, smoking is indeed glamorous, or at the very least an evocative cultural reference point that captures those intense moments of pensive reflection, often functioning as a conduit for fleeting human connection. As witnessed in this video montage to the wonderful "Cigarette In Your Bed" by My Bloody Valentine, some iconic black and white film clips are given a new dimension and are wonderfully enhanced by this richly textured song.



MBV were great at creating surreal and engaging aural landscapes. The simple "shoegazing" label is vastly inadequate. One is more likely to gaze into the infinite sky, their compositions acting like the physical manifestation of a wonderful lucid dream or some brief flight of fancy as the mind drifts freely while absorbed in random memory.

It does good to my soul knowing that they will soon be making music again, though my ears still bleed when I think of the time I saw them in concert. Anyways, sit back and enjoy this splendid video (just remember to extinguish your cigarette before the song ends, as it may induce a dream like state).

I'M DOWN WITH AL

I love pretentious and dissonant art rock just like any reasonable person does, however, lately I have been entranced by the smooth and soulful sounds of the one and only Al Green. His voice has that rare ability to stimulate a portion of my brain that only usually awakens after a long sought after dose of sunlight caresses my brow (which has been a rare occurrence lately in Vancouver until this point, hence my previous angst filled posting)

I recently picked up his latest album "Lay It Down" which was produced in part by ?uestlove (aka Questlove) of The Roots. It is a classic old school soul album and you could easily close your eyes and pretend to be driving in some big gas guzzling beast of a car while listening to your AM radio circa 1974. By the virtue of the fact that it is actually Al Green it avoids sounding derivative, though admittedly having a few subtle hip-hop or more contemporary elements in at least a track or two might have added just enough of a touch to let you know that it is in fact the 21st century.

Having said all that, I suppose Al Green can do whatever he wants and it is evident that Questlove produced this record out of great affection for the artist. Reportedly, he wanted his own "Rick Rubin moment" and decided that if Rubin could produce a legend like Johnny Cash (or Jack White producing Loretta Lynn) than he needed a legend of his own, hence the collaboration with Green.

I am glad Quest did this, as this latest offering redeems Green from some more recent mediocre offerings. By stripping it down to the essential elements the rightful instrument that is showcased is Green's warm and endearing vocals. It is a refreshingly straight forward record that has no illusions about what it is meant to be, basically a classic sounding Al Green record on par with his classic mid 70's work.

Anyways, even if Al Green isn't your thing and you can't sit through a whole album you might be hard pressed not to at least find a few tracks where his silky smooth voice could add a little sweet lovin' to your day. I suggest getting reacquainted with Al this summer and recommend throwing a few classic tracks on a playlist or mix CD to add even more sunlight to your mental landscape.



(Also, link here for a classic 70's performance of "Take Me To The River" circa 1970's Soul Train)

ENGAGING ALBUM ART & JOYFULLY DEFIANT MUSIC

I recently picked up the latest CD by the band James, "Hey Ma". With the help of Brian Eno they made one of my favourite albums of the 90's ("Laid" - 1993). They dropped off my radar for a number of years, though so far the new album seems engaging enough. Tim Booth appears a little angrier in this incarnation, and on the title track he rages against the war machine;

Now the towers have fallen
So much dust in the air
It affected your vision
Couldn't see yourself clear
From the fall came such choices
Even worse than the fall
There's this chain of consequences...

Hey ma the boy's in body bags
Coming home in pieces



He also includes the obligatory mid-life reassessment on "Waterfall" where he ponders his mortality, "My mirrors laughing at me, says boy are you getting old/There’s so much junk in your life what you’ve got you don’t even know" and takes the necessary assessment of what is important in life; "Of mobile phones and plasma screens/How much junk in my life do I really need?".

Interestingly, in this age of the lowest common denominator reigning supreme via 24/7 YouTube and reality TV, the album cover caused some controversy in the UK, resulting in the cover being banned from being placed on billboards or adverts. Thankfully, the band decided not to change the album cover, and the artist Darren Hughes issued this statement;

"You need only to have a passing acquaintance with the headlines to be aware of the unfolding horror show of gun culture amongst kids in the UK. Whilst the media are quick to show condemnation.... we seem less able, less curious to raise the vital question, as to what has brought our country, our culture our kids to be so taken with guns?"

It made me think of another album cover from a lesser known 90's album, "Delaware" by the Drop Nineteens (1992). Although slightly contrived, the image of an earthy looking indie kid dangling a gun is both engaging and mildly unsettling due to its capacity to hint at the possibility of violence even from the most seemingly innocuous of sources.

Although the Drop Nineteens were not a political band by any stretch of the imagination, the album cover is striking and stands out as one of my favourites. I remember being so engaged by the cover that I picked up the album when it first came out, knowing very little about the band. Such is the power of captivating art.

In many ways I am glad that artists like James are still willing to make bold statements and are blatantly questioning the dominant paradigm. As long as there are artists prepared to do this my faith in the human spirit will remain unfettered. Also, I hope that as music becomes more predominately digital and less tangible, that the album art will somehow remain a vital component of music, adding a another necessary dimension to the dissemination of ideas in our crazy world.

VINYL COMEBACK

In a recent Rolling Stone article it has been reported that while sales of CDs are down, sales of vinyl LPs are currently on the rise. According to Nielsen SoundScan statistics, vinyl sales were up 15% in 2007 (U.S figures), while shipments of CDs were down 17.5% during the same period

Many artists are now choosing to make limited vinyl pressings of new releases, and for his latest album "Momofuku", Elvis Costello choose to release it on vinyl before it was available on CD. For their latest release, the Raconteurs "recommend hearing it on vinyl" first. In addition, many artists who release vinyl versions are also including codes for a free download for the digital version as well, thus taking the need for a CD version out of the equation.

Although vinyl will not ever return to its former place of prominence in the market place, it looks like it has found an entrenched, and increasingly popular niche that will be around for a while. Much of this is of course is driven by those who love music and realize that those analog recordings that were quickly abandoned in the early 90's were actually much better quality despite claims to the contrary at the time.

I also don't think this is only being driven by the mid 30's and older crowd who have a nostalgic attachments to LPs, as I have seen many of the teen and early 20's crowd at my local record store gladly snapping up second rock and classic punk rock albums, eager to slip them out of their covers, sit back and enjoy the prospect of listening to an album in it's entirety.

Anyways, it is interesting how in the age of having a million music files at your finger tips there are many who are embracing the visceral and tangible thrill of listening to LPs which are more embedded in a specific place and time. Other formats like CDs & MP3 files may be more convenient, though they are also more inclined to be skipped through or disposed of more readily, rather than being revered and enjoyed as a holistic experience.

Of course that is my unbiased opinion... now excuse me while I go down to my basement to enjoy some great gatefold artwork and enjoy a splendid aural journey at 33 1/3 RPMs!

GIVING THE SPEAKERS A KICK WITH THE REPLACEMENTS

In celebration of the recent reissues of The Replacements early recordings courtesy of Rhino Records, I wanted to muse for a moment on a video/song from the band that stands out for me as an enduring and timeless classic.

One of my favourite videos by the band is definitely "Bastards of Young". It is a brilliantly minimalistic statement that stood in stark contrast to the glossy image obsessed videos that epitomize the ethos of the 1980's.

The video says a lot by showing very little, and it was a dramatic statement in the context of it's time. Although tragically the band later attempted to embrace the slick image machine that was all prevailing at the time, I still think that this video in all of its simplicity provides a compelling backdrop for this anthem.

To me it captures the yearning and sense of displacement captured in the song; "We are the sons of no one, bastards of young". With a record player, a few LPs in a crate, and a throbbing speaker, this could be anywhere in North America at the time. It could be any place where a young person is searching for connection or meaning through the visceral and liberating joy of music that takes you to another place, somewhere beyond the banality of one's immediate surroundings.

With a little "kick" at the end the spirit of the song is summed up decisively. Enjoy!