Showing posts with label Soul-Powered Awesomeness. Show all posts
Showing posts with label Soul-Powered Awesomeness. Show all posts

Monday, September 28, 2009

kurt vile - freak train




kurt vile - freak train

A standout from Kurt's latest LP, "Childish Prodigy," "Freak Train" sounds like Suicide took a ride to New Jersey, and dosed their electro synth-punk with Bruce-sized blasts of Americana, all the late-light longing, unrequited hopes and freak-train riding that one associates with the giants of Asbury Park, but stuffed into a lo-fi bedroom burner. Over a relentless drum-machine groove Kurt wails and cuts loose, highlights being a number of spat-out exclamations like "I've never been so insulted in my whole life! Shit!" It's uplifting, energetic, driving and mildly obscene, with a strong sense of street-smart storytelling and roots-rock pathos, yet also kind of out of control and messy like Royal Trux style. Kurt Vile & The Violators play Mercury Lounge on Oct. 7th.

Thursday, April 9, 2009

dr. buzzard - sunshower



dr. buzzard's original savannah band - sunshower

this is the original that M.I.A. sampled/interpolated. True to its title, it's a heavenly bright and smooth slice of latin-tinged sashay-disco. It makes me want to wash my clothes in Tide bleach and hang them on a clothesline. The chorus is sung by young persons, and if it doesn't melt your little heart, it's truly made of colder stuff than my own. Plus you can never go wrong with field recording / sound effects in your song, here, the sound of a fresh spring rain. The amazement we perpetually have for small children and animals is of course their innocence - it's an edenic innocence, where lack of knowledge means lack of guilt. We are constantly amazed to find the world populated by such guiltless creatures, in part because they remind us that our own psychological burdens are in part the result of the social contract, because we've agreed to be in society and not be unabomber beardos. They remind simply: I am not me, I once was otherwise, I have become this person over time, I could be otherwise again. 

Guilt is the price paid for civilization, and culture circulates around new ways of producing and relieving it. Most often, commercials work by relieving guilt: "indulge yourself!" they say. "you deserve it!" If you deserve it, you can't be guilty. The German word Schuld explains this, because Schuld means guilt and debt: if you are guilty of a crime then you are indebted to society and your punishment is your payment. Guilt also is a side effect of the American dream, and capitalism utilizes this. We Americans are taught that we can become anything we want, and effectively, we should become anything we want. We are at times caught under the auspices of a duty to constantly realize ourselves, and if we don't, it's possible to feel guilty about this - in effect, the experimental open spirit of America, once it becomes a kind of obligation, can overlap with a sort of pre-Hebraic notion of fate and fortune: in the book of Job, it's Jobs jerk-off friends who insist that if he suffers misfortune from God, it's because he deserves it somehow. 

Likewise, in a modern updated version, if you're not fully realizing yourself, then it's your own fault. This guilt can be a consumer guilt as well, of course, it's perhaps the root of one of the greatest drives to buy: to transform, to become, as in those cosmetic commercials that implore you to "discover your inner beauty!" An instance where the perverse inversions of advertising logic reach their greatest intensity: discover or realize your inner beauty by buying things that make you look nicer on the outside. Advertising is about myth-making and story-telling, this doesn't mean it has to lie, at least, it musn't lie anymore than we do all the time, to ourselves, to each other. 

Thursday, October 2, 2008

Even Dwarves Started Minimal






Here are some reasons not to be afraid of dread minimal. Because even dwarves started that way: as one can see, it doesn't mean you have to stay there. You can get up on that big-person Harley and kill that shit.

1: Every generation gets the "Sinnerman" remix it deserves. Who takes care of it for us? Luciano, aka Villalobos Jr. It sounds like he's using a live recording, so he includes the applause but drenches it in trebly reverb, which sounds cool. Actually using the live version in general is a cool idea. This mix is pretty great, now that I think about it. It cuts out alot of the verse, loops the piano riff forever, and then all of sudden Nina's free, impassioned pleading soars like a fiery eagle. Intense - it sounds like she's slamming her body on the keys in exhaustion. I picked it up from the Dirty Sound System blog, Alain Finkielkrautrock, which you should read. It's what I would do if I were French and awesome. I'm only one of those things (not French). 




Nina



Luciano

2. Brooklyn Club Jam. Jacques Renault is a much-lauded NY dj who plays at 205 every Tues.



Jacques Renault

I recommend riding for his skills and for this track produced under the "Runaway" alias. Surprisingly it has very little to do with NYC or what New York sounds like, which is good. There's no no wave parts or ESG brittle-bone funk parts or schizo-posturing parts, it's just a deep kind of lo-fi minimal burner with heavy tribal beats and uplifting piano. very solid. It gives me faith that New York can produce straight dance music and not have to 'hot chip'-it up or anything for indie fascism. 






3. Stimming's "Una Pena". More latin-tinged minimal. Very danceable, heavy clap, with a gorgeous, invigorating Espanol vocal from Violeta Parra, an older Chilean singer.


Violeta Parra

Guess what? Her brother is the famous Chilean anti-poet Nicanor Parra, who I know about because my friend Pia is writing on him. The Parras were heavily involved in reviving the Penas in Chile, community, arts and political activist centers that became banned by the military coup that overthrew Allende in the 70s. 

Here's Parra's original. It is pretty great. Youtube = the whole universe.

Violeta Parra - arauco tiene una pena

Wednesday, July 16, 2008

Fonzworth Bentley: "Don't Stop"

Featuring Kanye and Andre 3000. Hip-hop as we know it may be dying, but guess what? It doesn't have to be replaced by the T-Pains of the world living on like cockroaches in the aftermath. There can be a whole new world of soul-powered awesomeness. Get with it.