Rush For A Change of Atmosphere

May 11th, 2011

Hey, I’m back.

So, I totally planned on updating this blog a whole bunch last week. Even picked out the songs and everything. But then I went to Disneyworld and, well, it’s really hard to write witty (or even witless) commentary on 80s/90s pop music after walking across the Magic Kingdom for eight hours or traversing the semi-educational wackiness of Epcot for a day and half.

Anyways, it was a crazy week full of ridiculous family bickering, magical princess, Space Mountain and Captain EO, but I’m glad to be back in Pittsburgh, hunched over my computer in my dark office and listening to obscure 90s music.

Speaking of which…

Aztec Camera (with Mick Jones)
Good Morning Britain (recorded live at Glasgow Barrowlands)
Good Morning Britain (Mendelsohn single mix)
Good Morning Britain (Morning Acid Mix)
Good Morning Britain (Hypno-Mix)
Good Morning Britain (Hypnomental)
Good Morning Britain (Hypno-Edit)
Consolation Prize (performed live by Roddy Frame and Edwyn Collins)
I posted  two remixes of “Good Morning Britain almost a year ago to this very day. Eerie. At the time I called the track “moderately awesome.” Well,I think I’m going to upgrade that rating to “all-the-way awesome.” Since I picked up the CD version of the single that included three additional version of this excellent track, I have completely fallen in love with it. I’m not going to lie though, I love this track solely because Mick Jones sings on it. That dude could sing me the phone book and I’d go gaga.

Anyways, a few notes about these remixes. The “Mendelsohn Single Mix” was remixed by Julian Mendelsohn who, according to Wikipedia, is best known for working with the Pet Shop Boys. The various “hypo” mixes were by a group called Laylow Posse, and I know nothing about them aside from what their Discogs entry mentions. The “Hypno-mix” and “Hypno-edit” were on the 12″ single, but oddly on that release they were called the “Kitsch ‘n’ Synch Mix” and the “Vocal Mix.”

The “Morning Acid Mix” was done by one Norman Cook, AKA the bass player from The Housemartins AKA Fatboy Slim, and it totally sounds like it. When Cook is at his best he can take a catchy as hell track and make it even catchier (see his remix of “Brimful of Asha“) and this is no exception. How this remix never ended up on a Fatboy Slim compilation is beyond me.

Mick Jones is nowhere to be found on “Consolation Prize” and for those who are wondering, Edwyn Collins was the lead singer/guitar player for Orange Juice, a post-punk group that shared members with Aztec Camera. It’s still a good track, well as good as a Mick Jones-less track can be.

Big Audio (Dynamite)
Mirror Man
Medicine Show (Live)
Rush (Live)
Yay! More Mick Jones! Not-so-little-known-fact: Mick Jones is the motherfucking man.

Big Audio Dynamite, in their original form even, recently reunited and are even playing a few shows in the states. And guess what? I’m totally going to one! Shockingly though, it’s not Lollapalooza. I’ve been to every Lollapalooza since it became a destination festival, so the fact that I’m going to miss this years is kind of upsetting. It’s a long story, and it involves bloodshed, so I’m not going to get into it.

All is not lost though! Instead I will be going to the Outside Lands Music Festival in San Francisco! It doesn’t seem to be as good a festival as Lollapalooza (no Foo, added Phish) but hell, it has BAD, throw as many jam bands you want at me, I don’t care. I’m there.

In preparation for this epic occasion, expect many BAD, BADII and Big Audio tracks to be posted here in the coming months. Kicking things off are these three rarities taken from the 2 CD single for “Looking For A Song.” A weird collection for sure, the first CD is actually a greatest hits of radio mixes, while the second is a maxi-single featuring these three tracks and some additional remixes I’ll be posting later.

“Mirror Man” was co-written/performed by Lionel Bart, who wrote Oliver! If someone wants to explain to me how the hell that happened I’d appreciate it. The two live cuts, which were exclusive to this CD single, were taken from the Mick Ronson tribute show in 1994

I’m not Dead!

May 10th, 2011

I feel happy!

New posts this week I promise.

If I Had My Time Again I Would Do It All The Same

April 29th, 2011

A few months ago I posted a public plea to anyone from Australia, asking for help to procure a limited edition Dreamcast vinyl record. One amazingly awesome individual from down under came through, and I became the proud owner of a record that featured the theme song to Sonic Adventure.

Okay, well maybe proud is a bit of a stretch.

Anyways, a similar situation has now arisen. If any UK readers want to help a brother out, shoot me an email or leave a comment with your email addy (if you don’t want your email published don’t worry, I can edit the comments). I’ll  give you the details there.

Now let’s get funky.

Beck
Mixed Bizness (Transatlantic Remix)
Mixed Bizness (Fernando G. Remix)
Mixed Bizness (Transatlantic Instrumental Remix)
Midnight Vultures has become somewhat overlooked in the Beck discography for some reason. It was acclaimed when it came out, but nowadays most people seem to regard Odelay and Sea Change as classics, neglecting Midnight Vultures to also-ran status.

Those people are high. Midnight Vultures might be Beck’s best album. Sure, it’s stupid as fuck, but that’s why it’s so damn perfect. It came out in 1999, and was the definitive party album of the end of the millennium. It’s certainly better than Sea Change, an overrated, overwrought piece of mopey self-loathing crap that makes me want to slice my wrists every time I hear it. “Deep” does not equal “good” people.

Now, Midnight Vultures, this is an album that has a song with the lines “I think I’m going crazy/Her left eye is lazy/Nicotine and Gravy.” And let us not forget “Debra” a work of classless funk genius that would be played at weddings worldwide if it wasn’t for the fact that it’s, well, about a dude who wants to score with a girl and her sister (whose name may or may not be Debra).

All that wacky shit makes “Mixed Bizness,” a track that has the line “Make all the lesbians scream” seem kind of normal by comparison. Even though it’s a bit tamer than the other bits of insanity on Midnight Vultures, “Mixed Bizness” is still a killer tune, and these remixes, which I found on a weird 12″ promo single, are all excellent.

No Doubt
New (New Doubt Club Mix)
So I’ve been having a serendipitous week with the movie Go. On Sunday I watched the film eXistenZ, which feature a very brief appearance by Sarah Polley, who was in Go. Then immediately afterwards I watched Equillibrium, which has both Taye Diggs and William Fichtner, who were also in Go. Then I go to Jerry’s the following day and find this 12″ promo single, a song that was basically the theme song to Go. Weird. If Timothy Olyphant calls me asking if I want to buy some E I’m going to freak out.

The 12″ promo I snagged this from also has the “New & Approved Remix,” but that’s on No Doubt’s Everything In Time B-sides compilation, so I didn’t include it here.

I love this song, but don’t go hoping for some more No Doubt. I only like two other tracks by the group, “Ex-Girlfriend” and “Spiderwebs,” and I’m fairly certain neither got the remix treatment. So, you’re one your own if you’re looking for “Hella Good” remixes or something like that.

 

His Mustache Gives Him The Power of Disco

April 21st, 2011

A couple months ago I ranted about what I thought were some major problems with new vinyl releases. You can read that post here. My main points of contention were either vinyl records that didn’t include a digital copy, or records that did include digital copies, but they were of poor quality with lousy ID3 tags. Some “Hall of Shame” examples I cited were El-P’s Weareallgoingtoburninhellmegamixxx3 and Kanye West’s latest.

Now I want to tell you about a positive example: the Foo Fighters’ latest release, Wasting Light.

This may be the greatest new vinyl purchase I have ever made.

Much has been made of how the Foos recorded Wasting Light. No digital equipment was used. They laid it down on analog tape in Dave Grohl’s garage.  Since it was made on analog I wanted to hear it on analog, vinyl was obviously the way to go with this one.

I ordered one from Amazon last week and it finally arrived. From the second I opened the box I was ecstatic. On the cover of the album was a sticker that said the following:

45 RPM Edition – Full Length Vinyl
Recorded entirely on analog tape in Dave’s Garage.
Includes a HI-RES DIGITAL COPY (320 kbs MP3S) of the album specially cut from the original vinyl recording!
PLEASE PLAY AT MAXIMUM VOLUME.

Fuck. Yes.

They got it right. All of it. They nailed it completely. Not only did they deliver a reference quality analog recording on 45 RPM vinyl (45 RPM tends to sound better than 33 1/3 RPM), but they included an exact, better than CD-quality digital copy. And to top it all off, the album itself is actually damn good, one of their best.

Thanks Dave!

But enough about grunge, let’s talk about disco!

Every track on tonight’s post is from a bootleg vinyl compilation called Electronic Dancefloor Classics 2, which consists of nothing but songs that Giorgio Moroder produced, performed, or remixed. I just bought it last week, but I’m pretty much convinced it’s one of the best dance records in my collection. Behold its awesome.

Giorgio Moroder
Knights In White Satin
From Here To Eternity (Extended Mix)
Tears
Battle Star Galactica (Disco Version)
A lot of my friends are younger than me, and most don’t really follow “classic” dance music, so they don’t know who Giorgio Moroder is. Whenever I bring him up and someone asks who he is, I usually say, “you know electronic pop music? He did that.”

That may be an exaggeration, but it’s a slight one. In 1977 he brought electronic dance music to the mainstream with Donna Summer’s “I Feel Love,” but as these tracks show, he was refining his electronic pop sound well before that.  His 1976 cover of “Knights In White Satin,” while remarkably goofy, is remarkably good as well, and light years above most of the disco drivel that was polluting clubs at the time. “From Here To Eternity,” taken from the album of the same name, is the perfect blend of instrumental disco fluff and electronic experimentation done right; no doubt it was an influence on countless electronic producers and musicians to follow. His version of the Battlestar Galactica theme is mind-numbingly stupid, but it’s stupid in all the best ways – embracing the horns and other cheesetastic elements of disco and laying over even cheesier electronic bleeps and bloops over it.

But the real highlight here is “Tears,” although it’s a stretch to even call it a disco tune. It’s from Moroder’s 1972 sophomore record Son of My Father, and it has more in common with the work of Ennio Morricone and Italian prog-rockers Goblin than anything that you might hear on the dance floor at the time. But that’s what makes it so utterly brilliant. I mean, the track is nearly 40 years old at this point, and I still haven’t heard anything remotely like it – unless you want to count DJ Shadow’s “Organ Donor,” which liberally samples from the tune.

And it’s so bloody simple! That’s why it’s so goddamn amazing. It’s just a loop that is slowly built upon. It starts out quiet with a woman’s voice and a simple organ melody, but soon they are overpowered by an ever-building army of drums, guitars and keyboards until the whole thing just…climaxes in a glorious electronic orgasm. I have never, ever heard anything build as perfectly as this track does. If I heard this on a dance floor I would lose my shit. People would have to carry me away. How the hell is this song out of print? It should be in the Smithsonian, in the section marked “Fucking Awesome.”

Munich Machine
Space Warrior
Moroder released a few albums as Munich Machine. The first, while featuring an incredible cover, it is dated and seems restrained compared to most of his other work. A Whiter Shade Of Pale, his sophomore release as Munich Machine from 1978, is spotty as well, but it also includes some tracks that are batshit nuts. “La Nuit Blanche” is a disco reworking of “Also sprach Zarathustra” AKA the song from 2001, and “In Love With Love” features some of the best vocoder work this side of a Peter Framptom solo. Both albums are in print and work picking up despite their troubles.

This track comes from Munich Machine’s third album, 1979’s Body Shine, which is out of print. I don’t have that record, so I can’t testify to its overall quality. I can safely say, however, that this track is one of the best I’ve heard under the Munich Machine name. It’s groovy beyond compare, matching slick guitar licks with a pulsing electronic sound in a way that many synthpop bands would in the coming years.

Sparks
Beat The Clock (Giorgio Moroder Remix)
Sparks’ one-of-a-kind insanity fits well with Moroder’s non-stop pulse-pounding tempo in this remix. The original version was on the 1979 album No. 1 In Heaven, which Moroder produced. A lot of rock bands tried disco in the late-70s, but Sparks were one of the only ones to do it right, no doubt because of the help they received from Moroder. They were already manic and kind of nuts, so the fast tempos and odd sounds of Moroder’s production was a perfect match (made in heaven).

Japan
Life In Tokyo (Extended Disco Mix)
Japan is a band that I am just now getting into. So I can’t say that much about them. I do know that they started out as a glam-rock band in the mid-70s, but as the decade progressed they embraced their electronic side more and more, eventually becoming one of the founding fathers of the New Romantic movement that spawned Duran Duran. Moroder produced the original version of “Life In Tokyo,” which was first released as a non-album single in 1979. That version doesn’t have the drum and synth overdubs that this one has, and is actually more of a low-key tune. Both versions are excellent, this one is just a little funkier.

Eurythmics
Sweet Dreams (Giorgio Moroder Version)
Eurythmics + Giorgio Moroder = too much awesome for one mind to stand. Stand back, this track may cause your brain to explode.

The Indie Man is still The Man

April 19th, 2011

First things first: another Japan benefit album. This one is a little more indie, but it’s super-diverse and features artists from all over the world. Check it out.

I’ve also went ahead and add a section to my sidebar listing all the Japanese benefit albums, complete with links as to where you can get them.

I planned on posting a lot more from my Record Store Day stash tonight. But one of the Record Store Day founders commented on my last post and politely asked me to chill with that, so I will. Check out that post for his comment, as well as my response.

However, I did tell him I would be posting one more Record Store Day release. I just can’t withhold something so weird…

Duran Duran
Girl Panic! (David Lynch Remix)
Yes. That David Lynch. The director of Eraserhead, Wild At Heart, Mullholland Drive and Lost Highway has gotten into the remix business for some reason. Although assigning anything resembling reason to anything that Lynch does is probably a bold move.

His take on “Girl Panic!” (a standout track from Duran Duran’s excellent new record All You Need Is Now) is actually pretty good though, and it adds an odd ominous vibe to the track. I mean, its’ not Dennis Hopper doing nitrous while Isabella Rossellini runs around butt naked ominous, but still – it’s not bad.

Air
Sexy Boy (Radio Edit)
Sexy Boy (Etienne De Crecy Et Les Flower Pistols Remix)
Jeanne (Avec Francoise Hardy)
Sexy Boy (Cassius Remix)
That song is totally about me. These are from a 12″ single.

A Record Record Store Day Haul, now with Toadies!

April 18th, 2011

First things first, the excellent electronic music label Kompakt has jumped on the best bandwagon possible – the benefit record for Japan bandwagon. If you like minimal techno and have 10 bucks to spare then you should get it. It’s 34 tracks and almost four hours of music!

Click here to find out more.

Now where was I? Oh yes, Saturday was Record Store Day! I hope you all got a made out with a good haul. Over the next few days I’ll be sharing a good deal of what I scored and I hope you all enjoy as I share my limited edition vinyl happiness with you all.

Tonight’s happy music share time has a little bit of vitriol though. Sorry about that.

Update 4/18/11: Most of these links were removed early for a reason. See the comments section to find out why.
Update 5/12/11: Someone Great is now available on iTunes and Amazon. Buy it.

Toadies
Someone Great (Live) (LCD Soundsystem Cover)
No Deliverance (Live)
The Toadies covering LCD Soundsystem! Crazy huh? Now, if you’re like me, then you think that’s a great idea, and really brave of the Toadies. It’s not easy to take a song that’s entirely in another genre and rework it to fit your musical style. But I think the Toadies pull it off with this cover, which re-imagines the tune as a down-home, lo-fi country jam. It’s really impressive, and the Toadies deserve credit for taking a risk and having it pay off so well.

Some LCD Soundsystem fans seem to disagree, however. Here are some snippets of comments from the Spin article that posted a sneak preview of the Toadies track:

“I just threw up in my mouth….”

“wow way to butcher an amazing song…I hope they go down in a blazing plane crash.”

“Honestly this is a bad cover, I wonder if they are aware what this song is about. I’m sorry Toadies, but you should have been a one hit wonder and stayed in the 90’s. This cover is insulting to LCD and their fans.”

“People actually listen to the toadies??? and go to their shows???? Oh joy for mainstream crap bands doing live covers of actual real musicians. Thankfully their fans are so lame, most didn’t even know it was a cover and just thought it was finally a song with depth.”

Wow. Stay classy hipsters!

I just don’t get the hate. So a band you know almost nothing about covered a song you like? Why go off on a rampage about it?I love me some Pearl Jam, but I didn’t wish Staind die a painful death when they decided to mutilate “Black.” If anything, I was happy that they were exposing a classic PJ track to a younger crowd.

I’m willing to bet that the die-hard Toadies fanbase and the die-hard LCD Soundsystem fanbase doesn’t have a big overlap. Maybe some Toadies fans will be encouraged to check out LCD after hearing this fantastic cover. As a fan, shouldn’t that make you happy? That more people might be interested the band you like? Oh, but are Toadies fans the wrong people? Is the LCD fanbase an exclusive club?

This is not my first exposure to the dickery of LCD Soundsystem fans. When I lambasted This Is Happening for being at best a collection of forgettable drivel and at worst a collection of forgettable drivel that ripped off Lou Reed, I got more than my fair share of insults from self-righteous asshats who were personally insulted that I called an album by their favorite band a pile of shit. But they seemed to be even more insulted that I called LCD Soundsystem fans a bunch of  “self-righteous musical-know-it-alls-by-way-of-Wikipedia.”

They then proceeded to explain to me all the obvious Brian Eno, Bowie and Talking Heads references I “missed” because I didn’t mention them in my review.

Maybe they were just being ironic? Do hipsters still do stuff to be ironic? I’ve been out of that scene for a while, it’s hard to keep up.

Even when I liked LCD Soundsystem (and I still think their first two albums are incredible), I thought that a significant portion of the group’s fanbase represented the absolute worst of hipster culture – mean-spirited pricks who are still stuck in that late-90s “my forgettable bullshit music is better than your forgettable bullshit music because its less popular” mode – and it seems  that I was probably right.

Also, I’m sure that there are thousands of LCD Soundsystem fans who are not complete dicks – unfortunately nice people are usually quieter than assholes.

Anyways, these two tracks are from a Toadies 7″ that was part of Record Store Day. Enjoy.

Franz Ferdinand Covers
Debbie Harry & Franz Ferdinand – Live Alone
Stephen Merritt – Dream Again
LCD Soundsystem – Live Alone
ESG – What She Came For
Peaches – Turn It On
And look an LCD Soundsystem track!  It’s a great cover too, even though its a little overlong at 7 and a half minutes. It’s better than Stephen Merritt’s take on “Dream Again” though, which is just a little too mellow for my tastes. ESG’s interpretation of “What She Came For” is great though, as is Peaches’ surprisingly low-key turn on “Turn It On.” However, Debbie Harry kicks everyone’s ass with her amazing version on “Live Alone,” and proves that at 65-years-old she still rocks harder than any other motherfucker on Earth.

All these tracks are from the Franz Ferdinand Covers E.P.

Fish Story Will Save The World

April 14th, 2011

I’m as big a movie geek as I am a music geek, so great movies about music usually move me in ways that few other films can.

However, there are very few great films about music. Almost Famous. High Fidelity. Purple Rain (yeah, Purple fucking Rain, you got a problem with that?) are all excellent movies about music because they show the connections that people make with the music they love and create. Those films show the power of music: the power that it has to move people so much that it can actually change their lives for the better.

When a movie can do that it’s a beautiful thing. However, Fish Story, a 2009 Japanese film, manages to go above and beyond those films. It shows music can save the fucking world.

The film starts in the year 2012. In just a matter of hours, a comet will smash into Earth, destroying all life. Tokyo is deserted, except for one small record store. Inside, the clerk tells his sole customer (and a cranky old man eager for the end of the world) about “Fish Story.” It’s the first punk rock song, recorded by a Japanese band called Gekirin a year before the Sex Pistols formed. It didn’t sell, so no one has heard of it. The song is important though, the clerk says, because it’s going to save the world.

From there the movie jumps to 1982, where some college students discuss the mysterious song and a strange urban legend that’s associated with it. Then the movie shifts to 2009, where a cruise ship is taken hostage by a group of doomsday cultists. After that, the movie changes time periods again, this time going to 1975, where we are treated to the story of Gekirn and how Fish Story came to be.

Oh, and then the song saves the world.

I don’t feel like that’s a spoiler – as another review I read of Fish Story pointed out, no one is going to make a movie about how a song doesn’t save the world. The joy in Fish Story comes not from finding out if the song saves the world, but from finding out how the song saves the world. No, the record doesn’t magically transform into a Gundam robot and smash the comet into the sun (although that would be awesome), it’s a little more complex than that. But that’s all I’m going to say. The less you know about Fish Story the better. Its initial charm comes in how unexpected it is. But it still holds up on repeated viewings just by being so damn fun.

Although the idea of Fish Story is more than a little silly, its conceit is not. At its heart, Fish Story is about how music can connect with people and change their lives in unexpected and amazing ways. It shows how music can give us courage and hope, and challenge us to make ourselves and those around us better. It shows how a song, a stupid little song that almost no one in the world knows about, can drastically affect and change for the better the lives of people who have never even heard it. And when you think of it like that, it’s not hard to imagine that a song could, somehow, actually save the world someday.

It’s a brilliant, hilarious, heart-warming and intelligent movie. So, of course, it’s not available in America. But it was released in the UK, so if you live there you should run out and buy it right now. If you’re American (or in any other county for that matter) and have an all-region DVD player I enthusiastically recommend that you pick up that version. You can find it on Amazon and on Yes Asia. And if you’re looking for a cheap all-region DVD player, I recommend this one.

And if you’re wondering what a song that saves the world sounds like then hey, lookie here!

Gekirin
FISH STORY
FISH STORY (Silence 1975 Version)
Nothing
Nothing (Producer’s Version)
Kazuyoshi Saito
FISH STORY (Alternate Version)
Summer Days
When you make a movie about a song that saves the world, that song in question is damn good. Thankfully, “Fish Story” is a great track,  mimicking the sound of mid-70s punk rock while still sounding a little fresh and original at the same time. A composer/musician by the name of Kazuyoshi Saito wrote the track, although the fictional band Gekirin performs it in the movie. The version by Gekirin and a version by Saito are are included on the soundtrack, as is a version that has a minute of dead silence instead of a guitar solo. Why is there a minute of silence in the middle of the song? Watch the movie to find out.

“Nothing” is another song that Gekirin performs in the movie, and while it doesn’t save the world, it’s still a quality tune. The “Producer’s Version” is a joke, a version of the song slowed down for mainstream appeal, complete with organ overdubs. I have to admit that I find its cheesiness endearing for some odd reason.

“Summer Days” is a mellow acoustic rock song that plays over the end credits. It’s a chill track, but still good. I don’t think it will ever save the world, but who knows?

Finally,don’t forget that Japan is still struggling to recover from the devasting effects of the earthquake and tsunami. While you’re enjoying this amazing collection of Japanese rock from a Japanese movie, why don’t you head over to the Red Cross’ donation page and help them out?

Want something in return for your troubles? The Songs For Japan compilation is a good collection of pop music for 10 bucks, all of which goes to to help Japanese relief efforts.

Like “chiptune” electronic music and want to help? Check out Chip In: Japan!

Finally, do you like drum and bass and want to help, but are kind of broke? Then go to Pendulum’s website and buy “Ransom” for a British pound, all profits go to the relief efforts.

Whatever you do, give! You don’t need an awesome punk rock song to save the world.

Although sometimes it helps.

I am a Champion of Justice

April 12th, 2011

I wrote this post Sunday night and then forgot to hit the “Publish” button. I think that’s the first time I’ve done that sober.

Björk
Joga (Alec Empire “Empire State Of Emergency” Remix)
I had a ton of Atari Teenage Riot lined up for tonight’s post. But you can get all of it on iTunes and Amazon apparently, so there went that plan.

I wanted an excuse to talk about the group though. They have a new album coming out soon, and you can currently download two excellent new singles from it here. They are one of my favorite bands from the 90s, and I cannot wait for their new album to blow new holes in my eardrums.

Thankfully, I was able to find this remix of Joga by digging around my music library. I’ve posted this twice before, but I do not care. It’s an amazing mix. And it’s shockingly not in print anywhere at the moment, so I’m going to run with it.

This is NOT the “Alec Empire Mix” or the “Alec Empire Hardcore Mix” this is a separate, different mix. I know its been on a few different Bjork singles, but I found it on an odd comp in the late 90s called Y2k. Other cuts from that gem? “Busy Child” and Apollo Four Fourty’s remix of the “Lost In Space” theme. It’s a weird little CD.

Röyksopp
Poor Leno (Sander Kleineberg’s Northern Beach Mix)
I try to lump all the artists with umlats in their names together, makes it easier. I’m not particularly fond of this track. It’s good, but held up next to other Röyksopp singles like “Remind Me,” “Happy Up Here,” and the fucking incredible “Girl And The Robot” it just kind of pales in comparison. That, and it makes me think of Jay Leno. Fuck that guy. This remix is from a 12″.

Front 242
Tragedy â–ºFor Youâ—„ (12″ Vox)
Tragedy â–ºFor Youâ—„ (Neurodancer)
Tragedy â–ºFor Youâ—„ (Punish Your Machine Mix 12″)
Tragedy â–ºFor Youâ—„ (Slo Mo Mix)
How did I create the triangle symbol? I didn’t. I cut and pasted it from Wikipedia. It took me forever to find a place that had that thing in the fucking title of this song.  I’m not a fan of random punctuation in band/song names. Random macro characters are just too much. These mixes are from a 12″ single. Listen to them while punching something.

Tomorrow (or later today) I will have a new post. In it there will be a song that can save the world.

They call ’em fingers but I’ve never seen them fing.

April 4th, 2011

I’m getting a new turntable Tuesday!

It’s a brand new Audio-Technica AT-LP120. I’ve heard very good things about this turntable, it’s direct-drive; comes with both a USB and traditional ports; has a built-in pre-amp; and even looks suspiciously like a Techincs 1200. Hopefully, it doesn’t suck. Expect a full report later this week.

Until then, I’m not recording much vinyl. Why bother recording on my shit ION USB turntable when I know a better one is on the way? Luckily, I have some stuff saved up. Such as this acid trip of a single.

Amorphous Androgynous
The Mello Hippo Disco Show (Yo-Yo_Single Remix)
The Mello Hippo Disco Show (She Sells Electric Ego)
The Mello Hippo Disco Show (Jacknife Lee Mix)
The Mello Hippo Disco Show (Slo-Mo)
The Mello Hippo Disco Show (Hippo-Drone)
The Mello Hippo Disco Show (Trying To Make Impermanent Things Permanent)
The Mello Hippo Disco Show (The World’s In Transience)
The Mello Hippo Disco Show (Life’s A Flow)
Anamorphous Androgynous is really Future Sound of London. Although considering how prolific they’ve become as Amorphous Androgynous, maybe it should be the other way around. I remember when FSOL vanished for a few years in the late 90s. Now it seems that they are putting out a new release every few months, whether it be an “archives” release, a collection of new material, or another CD in the A Monstrous Psychedelic Bubble Exploding In Your Mind series. I just can’t keep up. It’s a bummer since I really dig FSOL, but there’s just too much! Oh well, maybe when time, money and a desire to listen to other bands are no long an issue I’ll catch up.

Speaking of the Monstrous series, I recently got my hands on the first volume and…damn. I can see why this is one of Noel Gallagher’s favorite records.

Look, I don’t do acid, but if you do, I assume that doing it while listening to that record would be a very good idea. I can say, with authority, that if you ever find yourself under the influence of prescription pain medication and looking for an album to listen to, that FSOL’s The Pulse EPs is an excellent choice. It’s also pretty good even if your not under the influence.

Anyways, these remixes of one hella trippy tune are from a CD single I bought last week. Enjoy.

Ultra Music Festival Is Evil

April 1st, 2011

Ultra Music Festival 13

Sigh. I don’t even know where to begin.

I guess I’ll start with the good stuff. With very rare exception, every DJ and band I saw totally kicked ass. If an act was playing for 50 people or 50,000, it didn’t matter, they played like they were rock stars, and their energy was always contagious. Also, when it all came together, and 75,000-150,000 were dancing to the same beat, it was truly a sight to behold and unlike anything I’ve ever been a part of. Moments like that almost made me forget about all the problems with the festival.

Almost.

I’ll start with the layout of the venue. Simply put, it’s a fucking mess. There were EIGHT stages at Ultra this year. EIGHT. This overabundance of stages created many problems, the most notable of which was noise bleed. Many of the stages were all right next to each other. So unless you were right up on the stage, you got to hear noise from the stage(s) next to you. Also, putting the stages so close to each other created crazy traffic and gridlock problems, especially later in the evening when people were rushing to get from stage to stage to catch big name acts.

This wouldn’t have been as big a problem if the all the stages were actually needed, but they weren’t. Many times the artists at the smaller stages were literally playing to no one. What’s the point? All they were doing was creating noise that hindered other nearby performances.

Then there were the grounds themselves. Most of the ground in front of the main stage was pavement. And yeah, that’s hot and not very comfortable, but it’s not that uncommon. Meanwhile, the ground in front of the live stage was mostly grass, and that’s nice, but right in front of the stage was nothing but dirt. When people dance in dirt, they cause miniature dust storms that get in your eyes, in your hair and if you’re really unlucky, in your drink. Ugh. It doesn’t take much to sod a field a few weeks before a concert. But it obviously took more than the Ultra organizers were willing to give. A common theme.

Two of the side stages had it even worse, instead of pavement or even dirt, they had gravel. GRAVEL. Have you ever tried dancing on gravel? Here’s a protip: Don’t. It fucking hurts! The little stones repeatedly got in my shoes and cut up my feet. Even worse, sometimes some asshat would run to the stage and start thrashing about like a madman, kicking little stones up into my face. That hurts. A lot.

The gravel pit dance floors were just one example that showcased the utter contempt Ultra organizers had for the audience. The restrooms were a fucking mess, just a smattering of porta-pottys off in a (very) dark corner. Getting to them was a nightmare, and if it was after dark you couldn’t see shit. Not only is this annoying, (and kind of gross) but it’s really dangerous. If I was a woman, I sure as hell wouldn’t want to wander into this poorly lit, at times sparsely populated, area – not with all the drugged out and drunken idiots milling about. I hate to think about what horrible acts probably went down around those porta-pottys.

But the biggest “fuck you” from the concert organizers to the concert goers was the water. A half-liter bottle of water was five bucks -and there were no refill stations anywhere in the park. That meant that if you wanted to stay properly hydrated during the 12 hour outdoor concert, you were looking at plucking down 20 bucks a day for water. I don’t even understand how that’s legal. The organizers of Utlra should be ashamed of themselves.

But onus for this dance-crazed clusterfuck can’t all be placed on the organizers, the assholes in attendance have to be partially to blame as well.

Truth be told, most of the people attending this festival didn’t really give a fuck about electronic music, especially any electonic music that was more than five years old. The majority of the audience talked over acts like Underworld and Duran Duran, while legends like Goldie, Ed Rush & Optical, and Hybrid played to half-empty fields and arenas. No respect for the history of electronic music was given by the audience here. They wanted to hear Top 40 club hits and nothing else. If it didn’t have a constant beat, more often than not the DJ or band might as well fuck off in their eyes.

Even worse was the treatment Erasure got. If the audience wasn’t ignoring the synthpop legends then they were actively heckling them. I heard many yells of “you suck!” and “get off the stage!” Even worse, I heard at least one drunken fucker yell “fags!”  I nearly cried.

But even responsibility for this can be partially blamed on the concert organizers. A band like Erasure, who has a cult following at best in America, should not be playing the main stage at 7:30 at night. They should be on the live stage, playing after a group like Empire Of the Sun or Royksopp. Sticking them on the main stage, between Benny Benassi and Pendulum, was just asking for trouble. Ditto for putting Underworld before Deadmau5. The jerks there to see mouseboy didn’t know who Underworld was, and they were all too high on cocaine or E (I saw more drugs here than any other place in my entire life, by the way) to be considerate to those around them. A pair of shirtless fucktards actually laughed at me for liking “Born Slippy .NUXX.” What’s it to them if I like Underworld? I just didn’t get it.

At the end of each night of the festival I came back to my hotel dejected and depressed. Sad over the fact that what should have been a great event was nearly ruined by poor planning and greed. By the last day, I had to listen to electronic music in my hotel for an hour just to work up the energy to brave the horribleness I knew I was going to endure.

Ultra is a fuck you to music fans. So here’ my fuck you back to Ultra.

Hey Ultra organizers. Fuck you. Fuck your five dollar water. Fuck your lax security. Fuck your shitty, foot-tearing gravel. Fuck your shitty stages. Fuck your poor scheduling. Fuck your horrible fucking website. Fuck your inflated ticket prices. Fuck your eyesore VIP section. Fuck your dangerous, poorly lit bathrooms. Fuck your useless sidestages. Fuck your shitty house emcee. And fuck your overpriced shitty merch.

But most of all, fuck your greed. I have never before been to a concert so obviously motivated by the bottom line. Ultra is an event designed solely to jam 150,000 people into a confined space and suck as much money out of them as possible. The people who put on Ultra don’t fucking care if the concert goers live or die. Once you give them your money you can fuck off for all they care.

So yeah, fuck Ultra Music Festival. Unless they address these problems, there is no way in hell I am ever going back to that disco shithole.

Hybrid
Airless
Airless (DJ Stephen & Jim’s Raw Traderz Mix)
Airless (DJ Tiësto’s Magikal Remake)
Even though Ultra was kind of a disaster, I still took away a lot of great memories from the festival. For example, I got to see Hybrid perform live! Hearing “Finished Symphony” live was one of the most transcendent musical experiences of my life. I will never forget it.

These three tracks by the legendary progressive trance act are from a 12″ I got in Miami. And yeah, I know that’s not a lot of music. But did you see how much I wrote? I’m tired! I’ll have more next week I promise!