Showing posts with label Reviews. Show all posts
Showing posts with label Reviews. Show all posts

Saturday, April 3, 2021

Cry

 


Noctorum is an ongoing project from Andy Dare Mason and Marty Willson-Piper. They come together with a handful of other musicians and create incredible music that does not get enough attention or acclaim. To say that these records are overlooked is an understatement. Noctorum albums arrive infrequently but with tremendous love and care attached to them.

There are numerous tracks that I could highlight, but let's go with Cry from Honey Mink Forever. An absolute stunner of a track, so beautiful as to not be believed. Who melds progressive rock chops, broken hearted vocals, and the smooth sound of Seventies soft rock? Who has the comprehensive knowledge and ability to create something like this? Well, these guys did it and they make it sound effortless.




Thursday, April 1, 2021

Aural Sculpture

 



If you were going to look at all of the albums released by the Stranglers in the Hugh Cornwell era of the band's history, Aural Sculpture is one of the best examples of how their musical proficiency delivered the goods. It's one of my favorites, and it is part of a run of three albums that were very commercially appealing (it's the one after Feline and right before Dreamtime). These are complex, well recorded songs that outshine much of what was released at the time. In the mid-1980s, everything was plastic and overwrought with foolishness. The Stranglers were having none of that.

In America, the Stranglers were completely overlooked and ignored. They were writing whole entire albums of classic songs and received none of the attention that went to The Clash and Duran Duran. But, somewhere in the middle of all that, they were coming up with better ideas and catchier hooks. They were writing serious songs and delivering them with every single member working at the very top of their game. It's listed as their eighth album and I don't know how anyone gets to that point in their career without some friction and tension. You could not be in The Stranglers and not have something to offer. No one coasted on anything. The end result is a dynamic that can't be described. 

Yeah, the misogyny has always bothered me. The Stranglers were part of that movement in England that was punk, then post punk, then  new wave, then whatever came after. They should have left that stuff in the rehearsal room.

Their label at the time, Epic, rejected the first pass at these songs. I can't imagine why since there isn't a bad one in the bunch. Laurie Latham came in and offered up some softer edges but, really, none of that detracts from the fact that the album itself is a sonic masterpiece. There's no running from the drum effects, the horns, the guitars, or the keyboards. Everything is filled, nothing is left out, no one is spared a chance to shine.

I have no idea why it isn't more popular. What the hell is wrong with people?

Saturday, October 17, 2020

Fake It Flowers


There is nothing retro, fake or contrived about Beabadobee:

Two years ago, Beabadobee released ‘Coffee’, a spindly tale recorded in her bedroom in London. Armed with an acoustic guitar and a love for lo-fi heroes Daniel Johnston and Elliot Smith, its lullaby melodies and sweet lyrics of devotion (“I like it when you hold me tight”) depicted an attempt to abate the roughest of hangovers. The results are fairly unremarkable, a tentative display of the diary entry songwriting the teenager was beginning to explore. 

 Earlier this year, a dreary TikTok-favoured remix by Canadian lo-fi artist Powfu – in which he samples the twee chorus – brought the song and 20-year-old Beatrice Kristi to a wider audience; it was played a reported 4.1 billion times in March 2020. But the mantra for Bea has changed. No longer satisfied with playing it understated or the idea that her voice should be subdued, she’s got the guitars plugged in, the drums heavy and the influences outrageously blatant. As she put it at this year’s NME Awards: “We need more chicks on stage.”

The timing has been fortuitous. Finding inspiration in the home environment is now commonplace for the foreseeable future, but last year’s gnarly ‘Space Cadet’ EP saw her embrace her inner rock star beyond air guitaring in the bedroom mirror. The unashamed ‘I Wish I Was Stephen Malkmus’ saw her pay her dues to the Pavement frontman, while Sonic Youth got a stylistic look-in (though no name check) on ‘She Plays Bass’ and ‘Are You Sure’. A handful of headline shows – one had enough ticket requests to fill Brixton Academy, not the 150-capacity upstairs room of the London pub in which they were actually held – saw her capitalise on the hype, as did arena support slots with Dirty Hit label mates The 1975.

Getting five stars from the NME is still a big deal so that's why I wanted to highlight this brand new artist. Music is about looking forward and looking for new artists. It's great when your favorite band from thirty years ago gets a chance to put out new music. It's even better when you can mix all that in with someone who is a legitimate artistic talent.  

Tuesday, September 24, 2019

Ride









When all of your favorite Nineties bands realized that they could get back together and play live in front of people, I’m sure there were a few groans. Everyone has their preferences, and let’s leave it at that. I thought that Slowdive and Suede did it right, and I thought that the Verve and the Stone Roses let a lot of people down for various reasons, either by breaking up again too soon or by not putting out anything worth listening to.

There are only a handful of artistically successful “reunions” as far as I am concerned, and Ride has been the most artistically satisfying and accomplished that I have seen so far. This is their second proper full length “reunion” album and this stop on the tour to promote This is Not a Safe Place was an ear-ringing infusion of incredible style and accomplishment.

Nobody had more fun the night that I saw Ride than the band itself. They were in extremely good form and there were no false starts, no missteps, just a relentless assault on the senses and a pursuit of perfection that must have made rehearsals go on forever.

They played the old songs and the new songs equally as well, and this is what was so great about the show—nothing was out of place. No filler, no clunkers, just a desire at the end to hear a few more songs. There were whole albums worth of material that didn’t even get a hearing, so that’s where the show went. I was hoping to hear Pulsar, from the EP that they put out between comeback albums, but oh well. For a good fifteen years, the very idea of new music from Ride was an impossibility, so I’m happy to have heard what they played.

And really, what was impressive is that they made it all so immediate and relevant. Even in the ultra-modern, eclectic confines of the 9:30 club, the songs made a room for themselves and held up. There is still a place out there for guitar music, played loud, and in a genre that doesn’t mock itself and devolve into power chords and Chuck Berry riffs. It was soulful and drove home the need to give live music a place to be heard.

Sunday, April 28, 2019

The Church Live at the Heights Theater




The Church have been on tour again here in the states and they are not to be missed. I cannot emphasize this enough—if they are even remotely close to where you live in the weeks ahead, go see them because this is a band that cannot be equaled in a live setting.

To see them in the relatively small space of the Heights Theater in Houston was one thing. To experience their current live show is another miracle in and of itself. When The Church come to the states for a show, they are as stripped down as possible—there are no extras, no guitars left unplayed, nothing left to the imagination. They present themselves so well you can’t believe they’re not playing arenas.

In the front row, your could see parents with young children, and all I can say is, in twenty years, you won’t see anyone like The Church playing live in that format. Guitar music is fading away, and the level of musicianship is without equal. This is a one-time deal. There is no one playing this way, and no one capable of ever recreating this level of professional achievement. No one else has a catalog like they do as well. And, at no time have they ever really peaked. There are tremendous songs and albums in every decade of their existence.

I would have been happy with all newer songs, but it was great to hear them roar through Starfish in its entirety. The Church are not a nostalgia act. Every song is reworked, reimagined, and experienced anew, and all of the parts are shuffled around. Having heard them live ten years ago, they sound the same but different in all the good ways.

This is still a band that can amaze. Adding Ian Haug to the mix changed the atmosphere but not the spirit of the songs. In a live setting, you are still getting Steve Kilbey and Peter Koppes’ versions of the parts and their overall vision of the band. But, really, you need to see Tim Powles on the drums to really appreciate what the band has evolved into. At one point, he is banging away, one handed, and shaking a tambourine in the other. Another moment, and he’s smashing the drums with the tambourine, nothing ever out of place.

If I could change one thing, I would ask them to add Jeffrey Cain as a full member of the band and make it a five piece. Really, he’s more than a utility infielder. His ability to balance guitar, keyboards and vocals makes the whole show complete. He took Marty’s riff on North, South, East & West and ran with it.

This show was worth the drive there and back again. It was the highlight of the year for me in terms of music.



[caption id="" align="alignnone" width="2500.0"] The stage at the Heights Theater, just before the band came out to play The stage at the Heights Theater, just before the band came out to play [/caption]




[caption id="" align="alignnone" width="2500.0"] The full band, from L-R: Peter Koppes, Jeffrey Cain, Tim Powles, Steve Kilbey, Ian Haug The full band, from L-R: Peter Koppes, Jeffrey Cain, Tim Powles, Steve Kilbey, Ian Haug [/caption]




[caption id="" align="alignnone" width="2500.0"] Steve Kilbey Steve Kilbey [/caption]


I don’t take a lot of photos at shows. These were taken during pauses or moments when it was possible to be unobtrusive about it. I definitely do not use a flash and I did not record anything being played.

Wednesday, January 30, 2019

NME Still Handing Out Shitty Reviews




I don’t think a two star review for Ian Brown’s new album is going to hurt it a bit. In fact, this criticism will probably be forgotten, and soon because his records don’t seem to age a bit. The old NME doesn’t have the reach that it used to.

A new Ian Brown album is the arrival of something challenging and thought out, and it usually takes a while to hear what he’s cooked up. I remember when his first and third records dropped, and I really had to work at getting where he was at and what he was bringing into the fold. I’m glad I never gave up on him because his body of work is superb, it really is.

From what I’ve heard so far, Ripples is going to be a challenging album for the times, and that’s a damned good thing. Brown has incorporated his offspring and new grooves and new beats into what he wants you to have. First World Problems is a killer track, so I automatically don’t trust what the fucking NME have to say, as per usual. Listen to them and none of your favorite records make sense, do they?

Nah.

Tuesday, October 9, 2018

Don't Buy or Sell It's Crap




This one’s a stinker.

Record Store Day features a release by the Dead Kennedys, only it’s not Jello-approved as far as I can see.

Who in the hell releases their rehearsal studio tapes and calls it a “new” album? Good Lord, quit trying to shake the pennies out of that dying carcass.

This release comes from Manifesto Records, and here’s what we think about that:

Doctored versions of all the old releases are released on Manifesto Records. Biafra does not endorse these re-releases and suggests that anyone thinking of buying them stop and consider where the money is going first. Their live CDs are embarrassingly weak on the ears and are not recommended.

I’ll go with Mr. Biafra’s recommendation and pass on faux-Dead Kennedys merchandise. Boo! Boo! Boo!

While we’re at it, go support Alternative Tentacles instead.

Monday, November 13, 2017

As You Were




Liam Gallagher has released his first proper solo album, and it is excellent. I highly recommend this release in the vinyl format because it has everything you'd expect from a man who, literally, had no good reason to make this record and every reason not to. This is guitar music in the age of the disposable click track and it sounds like someone actually showed up and tried their damndest to create a classic.

Let's dispense with the main criticism of the record--the fact that Gallagher had to bring in outside help to shape the songs and put it together. This is more common than you think because, nowadays, you can make an album on a laptop. Collaboration can happen without anyone getting on a train and going to a studio. Having extra help might mean more sales, more quality, and enough success to get you through to another release. 

Morrissey has been doing it this way since 1989, using different writers, different producers, and different sounds to create a tremendous body of work. Every Morrissey solo album has his passion and his talent and his ear for a great song. That's what you have here--a man who knows what he can and can't do and is smart enough to enlist people to bring him closer to a finished product that doesn't embarrass anyone. This is not Liam rolling around on thin carpet with a Tamborine and a bottle of gin, emoting out of his ass. This is the work of a proper craftsman who takes a drink at the appropriate time of day when recording. It's not 1997 anymore, and this is the sound of a man who wants to have a seat at the table. 

Pop records can certainly work if they are written by committee. You can't bring in all of the different styles and elements to a project completely on your own unless you're Prince and, come on, who's Prince these days? No one. So, don't expect Gallagher to have played all the instruments and written everything and put it all down on tape in his home studio. If you were to assemble everything he's written from Oasis forward, you'd have a solid body of work. 

For this album, the committee that was assembled got it right. Every song goes by with a handle on what it's trying to do and what it's place in the universe is supposed to be. "Wall of Glass" is supposed to do just what it says--tower over everything. "For What It's Worth" is going to be a live staple for a very long time. I probably like "Paper Crown" better than everything else, but, even then, it's hard to single out tracks because this is a solid body of work. There are hardly any misses and a raft of hits. This is the kind of album that the British music buying public will embrace for a solid two years. Gallagher can tour this one for as long as he wants. And if they can release a steady stream of singles, and put out some solid B-sides, this will feel like a proper success I would imagine. Whatever else you can say, they got the cover right, they got the track listing right, and they didn't miss the mark.

The band is great and the performances are stellar. From what I've seen of the live airing of these songs, someone made the right decisions, and the worst tendencies of indulgence and self-referential flattery are no where to be found. Gallagher tells you what's in his heart, sings it for you, and the song carries it through. If only more "solo" artists could approach things this way, there'd be fewer duds out there. You are never going to hear him overthink anything.

I don't know what this album will do in America, but it's no slouch and no embarrassment. It's straight up rock and roll. There is no deep dive into the complexity of modern life. This is the album that won't confuse you with anything other than surreal forays into late-catalog Beatles and a healthy dose of mid-period Oasis. Remember, the last three Oasis records were largely done as a whole group, with Noel Gallagher writing about half of the songs and with former Beady Eye bandmates Gem Archer and Andy Bell adding their own tracks along with some of Liam's finest tunes (the ones he should be playing live are The Meaning of Soul, Songbird and The Boy With the Blues, and all of them are his, so why not?).

As You Were is better than either of the Beady Eye records, in my humble opinion, and ranks up there with some of Liam's best singing. I don't get why people have to bag on that work, either. Beady Eye had a lot going for it and was maligned unfairly from the start. I can't think of any period where Liam gave up and phoned it in. On As You Were, his performance is spot on. You can tell he held himself in check, sought out criticism, and refined his approach on this album. It was not thrown together in a month in order to start a desperate race with his brother for relevance. It's a sure thing that stands on its own.















Saturday, December 10, 2016

Sleeper Inbetweener Single Cover


Sleeper's

Inbetweener

Single features a fantastic piece of commercial art, and it works on so many levels.


The song, in and of itself, is a novel set to music, and it is so intelligently rendered as to demand the sort of packaging and artwork seen here.

Monday, May 2, 2016

Robyn Hitchcock Live at the Black Cat




When I think back on all the times I could have--should have--gone to see Robyn Hitchcock play live, I think of the loss and the missed opportunities. When he appeared at The Black Cat in Washington D.C. on April 22nd, I was able to see what I have missed. Damn it all anyway.

The Black Cat did it the right way. They set up folding chairs in front of the stage and they let us in eventually. I don't know how many people were there to see Eugene Mirman. I wasn't and I didn't even bother to stay to see what it was about. I don't watch animated shows on Fox so, there you have it. I was there to see someone play music. This venue is in a part of Washington D.C. that caters to hipsters and couples on dates. I don't think I've ever been more out of place. And I enjoy that sort of thing, obviously, because I've never fit in anywhere. The music of Robyn Hitchcock has given me a lifetime of pleasure, derived almost entirely from the fact that being weird is our natural state. We're all deviants, even the fellow with the straight pants and the diet coffee.

Hitchcock ended up playing first. He played "I Got the Hots For You" and it was sublime. He played a stunning version of "Vibrating" and he played for what seemed like forty minutes, if that. I didn't focus on how long the gig was. I was focused on how perfectly executed the singing and playing was and I enjoyed the banter in between the songs. None dare heckle Hitchcock. His whimsy can slay dragons. His voice hits the room and everything stops. Who does it better than he does? That's an obvious rhetorical question. But it has the added advantage of being true. Nobody can sing and play guitar like Hitchcock. He is masterful.

My abbreviated review matches the abbreviated show. I will go see him again and I hope he will be in a situation where he plays longer. There are only fifty songs I want to hear right now, and probably a hundred more that would be wonderful to hear. If you have Hitchcock's catalog, you can dump box sets on the public and they'll never hear it all.

Tuesday, April 26, 2016

Leo Kottke Live

[caption id="" align="alignnone" width="1800.0"] Yeah, you're supposed to put the phone away and listen... Yeah, you're supposed to put the phone away and listen... [/caption]


Here's how messed up I am.

On March 10 of this year, I went to see Leo Kottke play at the Birchmere in Alexandria, Virginia. And, of course, I didn't write about it. I didn't do anything before or after the show. I just went and saw him play and that was it.

The only reason why I put things on the Internet is to share experiences and enhance some understanding of why we need to elevate art of any kind. I have several blogs embedded here that are designed to draw people in so that they can read about whatever they want and take away whatever they like. So, up front, I apologize for not sharing this experience.

It was selfish of me to go watch Leo play and then not say something about it. I don't know why I didn't put something out at the time, but here goes.

The Birchmere is a great venue for music. The thing is, you're not there just to see a show. You're there to sit at tables and have something to eat and drink and then you can watch the show. I did this years ago in Annapolis at the Ram's Head when I saw the Church--silly me, I thought I was going to watch a band. Nope, I was going to eat the nachos and have a beverage and then watch them play.

And that's what I did at the Birchmere. I drove down to Alexandria and I found the venue and then I somehow killed four or five hours because that's how stupid I am--I had no idea it would be barely any hassle at all to go down there. I did do something smart--I got in line to get my pass to get into the show and that meant that I was near the front. By the time they seated us, I was in the front row--totally worth it, of course. I was seated right in front, mere feet from the stage, and I had my nachos and my beverage and that meant killing another hour or so.

Was it worth it to sit and wait for hours and hours? Of course it was. For people who have seen Leo, bear with me--this was all new to me. I am not that sophisticated because this was literally the first music show I had attended in seven or eight years.

Leo has no pretensions, and virtually no gear. They put a regular chair up there and they run one lead to the house sound system. That's the lead for his guitar. They set up a microphone. They have a stand there for each guitar. Leo won't leave his guitars out there before the show--he keeps his Taylor 6 and 12 strings with him at all times, and who wouldn't? These are the best guitars on the whole freaking planet. Do you have six or seven thousand dollars burning a hole in your pocket? That might get you a top of the line Taylor. I would envision him going to the bathroom with them but that would be ridiculous. He doesn't have straps on them. He walks out with two guitars in his hands and he might nod or raise one of them up to acknowledge the thunderous applause of people who have seen him eight, nine, or ten or more times already. For a newbie like me, this was a strange way to start a show. This is definitely not what you expect of someone who has been doing this for over forty years. He has stripped away every single unnecessary thing and he tunes up right in front of everyone because it wouldn't make sense to switch between seven or eight different guitars.

Leo sits down, keeps one of the guitars on him at all times, and puts the other one down. He plugs himself in and starts playing. There are no roadies, just a sound person in the back. If you look at the photo above, it's just about when he sat down to start playing. He is in constant motion because he moves his feet a lot, so that when he plays, everything is balanced there on his lap. The sound was pristine and clear, as well amplified as anything I've ever heard. It's all in the guitar, of course, and he played instrumentals as his opening numbers. He speaks assuredly, makes jokes, tells stories, and then he feels out the rest of the set. He tells you where he's going and you don't mind the interruptions or the weird fellow who says the same three or four things until Leo, exasperated, reminds everyone that he's the show.

He alluded to being a trombone player. He's the most gifted guitar player of his generation. He sifts through his memory, bringing out tunes and runs and playing song after song. Ninety minutes disappears--no matter how long I had to wait, the show itself was one pleasurable experience.

It's impossible to explain how good Leo is with a guitar. Above all else, the lack of structure to the show means that you get to experience his taste in playing. He is making choices left and right and the show flows through happy accidents and deliberate stops. He is an American master at his craft, one of the finest ever. Expert finger picking and technique, refined for decades and demonstrated for all.

It was absolutely masterful and magical at the same time to watch him play. He brought out songs, ran around with them, and you could see his eyes darting around, looking for the next song to play. I'm hooked. I hope I get to see him again. If he's ever near you, go. It'll leave you dumbstruck for months, and you'll end up fumbling through a review just like this. Really, he's that good and he's entirely about that ninety minutes or so of trying to figure out what to play next. So many musicians never find the courage to abandon everything and just take one or two instruments out and play them for people. There is an entire circuit out there that would give them a forum to go and play if they could just abandon all the tricks and gimmicks and go do what they know and love.

Leo figured that out a long time ago. He just goes out and plays. He takes a few shows here and a few shows there and he just does his thing. And his thing is the best hour and a half you can imagine.

 

Friday, January 9, 2015

Social Media is an Obstacle, Not a Panacea



It takes a special kind of talent to be interesting, relevant, and fun on social media. There are relatively few bands that have members or management that can procure this type of skill. Therefore, Noel Gallagher is right--everyone is shit scared of offending people (look what just happened in Paris) and thus, no one wants to be controversial unless they're just trolling for fun.

The solution is to hire a social media professional to run things. The problem is, no one is making any money to pay a social media coordinator and who even knows what that really is? How rock and roll is it to have a social media coordinator anyway? Shouldn't that have been the job of the A&R person who doesn't exist anymore because record labels are either gone or broke or going broke?

Maybe Spotify can kick in some money for social media coordinators. That's rock and roll, baby.

Thursday, November 20, 2014

The Church Pride Before A Fall




Here's the new video and single from the Church:


[youtube https://www.youtube.com/watch?v=tuq4KUWtjD4&w=660&h=415]
All I can add to this is, "wow."

They are hitting it out of the park now, revitalized and amazing, and they are creating the best music of their lives.

Tuesday, October 21, 2014

Nobody Owns a Sleater-Kinney Album






It almost doesn't matter if Sleater-Kinney were any good. No one owns their albums. No one bought their stuff when they were making records, save a handful of people with good taste. Everyone was buying the White Stripes and Nickelback records during that period. And maybe it wasn't about sales. But when someone writes this about your band:

Sleater-Kinney was almost certainly the most acclaimed American rock band of its time—Wilco is the only group that even comes close—and the question of why they never achieved broader success is an important and unpleasant one, particularly in a rock landscape that still treats female musicians primarily as texts to be read, suspiciously and never carefully.

Then you know something is wrong. Being acclaimed--or, in the vernacular, liked by rock critics only--is a meaningless distinction at a time when actual rock criticism has been dead for decades and is now practiced by clowns.

And I think what really bothers me about this article is that it does not acknowledge nor does it admit that there even is a Kristin Hersh in this world who did everything Sleater-Kinney did but, better, faster, longer and for more people without having to compromise.

They were called Throwing Muses, by the way. How can you write an article about Sleater-Kinney and not mention them?

Tuesday, April 15, 2014

The Stone Roses Begging You EP Covers











There's really only one Stone Roses single that has nothing to do with the band's history as a guitar group, and that's Begging You, which attempted to bring House Music to the world via a Led Zeppelin inspired album that was more dead on arrival than any other sophomore album you could name.

It's a shame--Second Coming was a great record. It just wasn't a great second album from the Roses.

Most of the mixes of Begging You I have never heard. The cover, though, is well done.

Monday, March 24, 2014

Pandora's Caberet in Waterbury, Connecticut


My grandson and I were there: holla back, FOOLS!

I hasten to describe how difficult it was to visit Pandora's after my grandson Chip and I made the decision to sample Waterbury's night life. Chip is going to graduate high school this spring, barring any more academic moves against him, but he is 18 and they let him into the establishment. We did enjoy ourselves, but we did not appreciate all of that gunfire.

It seemed to detract from the table dance we had paid for because you could tell the poor young lady was nervous. I also thought she was a bit under weight as well, but when I suggested she add a few more pounds, she asked the bouncer to remove me for being rude. I offered up advice for a woman on how to put on "curvy" weight as opposed to babyfat weight, but to no avail. I have all of the science on this, and it requires eating the right amount of Doritos with cream cheese.

Chip stayed until they made everyone leave, and I still don't know how he got home. I left with a woman named Bubbles or Jennifer, depending on whether or not her lisp was acting up, and we went to Wing it On because duh.

Wednesday, March 19, 2014

Pink Floyd The Final Cut













This is the difficult "last" album of Pink Floyd's world-domination run. There are a handful of phases--the early, indulgent experimental albums, with and without the contribution of Syd Barrett, and then the albums released in the 1970s, which topped the charts and made everyone look like an also-ran. The Final Cut was supposed to clear the air in the band and deliver the leftovers from The Wall. It simply ended the band and failed to impress the public.

I've loved it since I first heard it and I have always regarded it as a lost treasure. It should never have been a concept album. It could have had a looser theme, and it would have been more successful as a series of songs about Thatcherism in the early 1980s. It did not have to be the primal scream from Roger Waters, but it was. And it was the only modern geopolitical commentary any major group issued during that time. The superficiality of the 1980s stands in stark contrast to the darkness at the heart of this album.

It's a shame that no one bought this album (relatively speaking, of course). It was superbly executed and played and it still has a relevance that stands out. It should have been played at Margaret Thatcher's funeral and it could very well be resurrected and played one day.

Friday, October 11, 2013

CBGB is a Big, Wet Fart of a Movie




The one thing you cannot do is make a movie about something and turn it into a joke. The punk scene in New York City has garnered a lot of critical acclaim and attention, but, really. Compared to London and Los Angeles, how can you really call it punk? It may have been the starting place, but no one finished there.

As far as the subject matter goes, James Wolcott has an account of this era that works a lot better. No one could possibly afford to move to New York City and write for a living in this modern era; you would have to be a banker to even try something like that. And you certainly couldn't be a musician, either.

Thursday, September 26, 2013

The Fall Hit the North Cover




The Fall are one of the enduring treasures of British recorded music. When you stop to consider their legacy, there are endless phases, endless cycles, and all of it sounds like The Fall.

Hit the North is just one more aspect of their sound and their ability to deliver social commentary through the fog of burping noises and New Order percussion. This has a chorus that will have you shouting into the wind while you drive along.

The Fall Hit the North Cover


The Fall are one of the enduring treasures of British recorded music. When you stop to consider their legacy, there are endless phases, endless cycles, and all of it sounds like The Fall.

Hit the North is just one more aspect of their sound and their ability to deliver social commentary through the fog of burping noises and New Order percussion. This has a chorus that will have you shouting into the wind while you drive along.