Don't know if she or anyone she knows reads this, but regardless, I want to extend my sympathies to Alma. posted by Mike B. at 6:35 PM
Wednesday, May 26, 2004
Currently listening to DJ Rupture vs. Mutamassik - Shotgun Wedding Vol. 1: The Bidoun Sessions, a split CD of two live sets of the respective artists in their respective styles, with some mash-uppy stuff. You should probably track down track 10, Rupture's "Sickboy - Worst Trade Central \ Tom - Cure version" which is absolutely fantastic. Stupid fantastic. Starts off with a Bush clip and more are scattered through, but what's done with it is by far better than anything else I've heard using this technique. Certainly part of this can be attributed to the skill and pacing with which he uses them, selectively and rarely. But it's the music that carries the message much more interestingly and ambivalently (and without a lot of the sort of sophomoric humor that you usually find in Bush cut-ups) than a simple plundering of the phonics. The first section is all pounding breakbeats, and in its combination of volume, intensity, and precision, not to mention its differentiation from the sort of washy hardcore you might expect to be used to express rage, it conveys a palpable, empathetic sense of anger and frustration. But then as the tracks transition (after an "It Ain't Over 'Til It's Over" breakdown--I swear!), the music becomes first and briefly a sarcastic commentary on the quotes, but then, against all odds, a party. It's dancey and swingy and upbeat, and it transitions those modes--anger and joy--so quickly and so smoothly that it's exactly what I want right now. In part I think this transition is achieved because of the giddiness that's always been a part of breakbeats, just as much as some of its practicioners (or, more accurately, interpreters) might want to make it pure, dour, straightedgy anger. But here both meanings are let through, and as the breakbeats continue over the lopey, Caribbean vibe of "Cure version," it fits in perfectly, and it becomes a sort of half-time section, where the feel changes with the beat remaining mostly the same. It's a great track. posted by Mike B. at 7:01 PM
Adventures in the music business: wanted to license a track which is a cover song, gratis, for an anti-SUV ad that was all activisty and stuff.
Result: rejected by composition's publisher.
Reason: another version of said composition had already been licensed. To Ford. Oops. posted by Mike B. at 6:57 PM
Tuesday, May 25, 2004
A few other assorted linkys whilst the money-earnin' prevents me from full bloggage:
"The Burly Man is the title of the script on Barton Fink's desk. We all loved that movie," [Gaeta] explains. "The lesson at the end of it is that after all these ordeals, all this agony, you finally arrive at the culmination of your entire life's work - and it's a wrestling picture."
"That's what The Matrix is."
How depressing. Barton Fink is kind of a depressing movie, I guess. posted by Mike B. at 1:57 PM
You should go read this tofuhut entry right now. Why? Because he offers for download a Glen Gould piece that is, I shit you not, a metafugue. And if the word "metafugue" doesn't excite you, what the hell is wrong with your stinkin' head, buddy? posted by Mike B. at 1:47 PM
Monday, May 24, 2004
Brief Scissor Sisters report: saw them last night at the Bowery, and it was pretty fantastic, although I got there too late to see Morningwood, more's the pity. They played a few new songs, but they sounded familiar from the new songs they played at their winter NYC show, and quite frankly I'm not sure what the UK bonus tracks sound like, so I can't be much help in that regard, aside from saying that the really uber-dancy new (?) song was incredible. That tropical number resurfaced and did not get the best reception. Robert Schneider came out for the encore (as he did at the winter show) and they did a B-52s song, whose name I would doubtless know if I didn't suck, but it was basically one long penis joke, which is cool. Then for the second encore they did "Laura" and "Music is the Victim," joined during the latter song by the "legendary" Kiki, the transvestite who was standing at the edge of the stage by Ana at the February show, if you recall. And there was much similated ass-fucking. Ana told some funny stories about Duran Duran and Nick Rhodes' model girlfriend, and speechified about gay marriage and (ugh) defeating Bush. Ah well--less uncomfortable than Patti Smith's speechifying, I suppose.
It was a great show because, I think, there were so many fans in the audience--at least 3/4 of the people there seemed to have heard the songs enough to dance/sing along without reservation. Unsurprisingly, a crowd that's a) big fans of the music, and b) largely gay is a hell of a lot of fun. There was very much a party attitude; for as much as the previous show impressed upon me that they could rock, this show elevated that rockitude into partyosity. Which is the smartest thing I've ever said.
So anyway, Miss Clap enjoyed it, and now that I know my enjoyment of the Sisters is not just my own private weirdness, I will force everyone I know to come to the next show, with their dancin' pants on. Good stuff. posted by Mike B. at 12:13 PM