Second Story Man

Second Story Man are a great band from Lousiville, KY--one of my favorite Louisville bands (second only to CRAIN, but most things are second to CRAIN, even CRAIN). They formed in 1998 or so and are releasing an excellent new EP called Red Glows Brighter. I have heard a few songs on "internet" and heard a few songs "live at a show" and have to say, "Oh, Crap! That's Good!"

SSM are refreshing becuase they are a) excellent musicians who know how to play but don't care much for showing off--in this respect they are perhaps similar to the Band--they're just tight, the arrangements are complex without being intrusive, and they don't make mistakes; b) their four-part, boy/girl vocal harmonies are the jam; and c) they are one of the few bands that can play simple, catch, relaxing pop music without sounding boring. Overall, a very exciting band.

Check out their songs on their Myspace or their website and if you are in KY, buy thier new EP or go to a show.

On Saturday Night Live, 1979

Ladies and Gentlemen: Ornette Coleman (and Milton Berle).

Robot songs? I nominate, and miss, Randy Ward.

(via MetaFilter)

On Shedding

Connor Bell is a Lousiville musician--and member of Parlour--who has been putting out interesting music in a number of contexts for the past 8 years or so. Currently, his main project is called Shedding--a one man, electro-acoustic group. Live, Shedding takes the form of Mr. Bell and his laptop, sans vocals, but on record, the songs are more open and organic--and very lovely. Try "Daylight Fades." I am reminded of Flying Saucer Attack--but with less squall and more lull.

Paden, one of Mr. Bell's older groups was an interesting mixture of live elements--drums, guitar, vocals--and pre-recorded electronics. Try "Ache" or "For Friendship." Both really great songs.

He's got half a dozen other musical projects worth checking out.

On the Filthiest Bus Ever

Filth Friday? Yes, yes! Oh, the exclamation point is so wrong.

But, why? I read this: a Kid Rock and Scott Stapp sex tape (CNN does explain that at no point do either have sex with each other--would that have redeemed it?). There are so many uncomfortable feelings inside: Rock and Stapp getting it on with groupies on a bus, filmed by multiple people-- what a sour scene. But you know what is the worst part to think about? Kid Rock and Creed toured together? The thought makes my mouth feel like I licked a public bathroom floor that Brit has just walked across barefoot. Additionally, CNN also titles the article "Rock, Stapp Sex Tape Due," as though this were some Hollywood project that had been simmering for years and was finally ready for the eyes of the world to see. My faith in everything is shaken. I can't go on.

And I thought I was depressed yesterday!

On Buddha

The mysterious Buddha Machine, from MF3, is a small box, of various colors, with an actual buddha inside, that plays short electronic music loops. I've not heard one, but from what I hear, those that have them, love them. I can't help but imagine, without basis, that it might be more fun/interesting if there was some way to manipulate the sound, or at least access it so that you could manipulate it. Also, the above links are not in a language that I know how to read or speak, so they are probably of limited probative value to the general readership of this institution of music criticism.

Reviewed in Pitchfork and elsewhere on the internet.

An interview with one of the creators.

On Cocaine Blunts

One of my favorite music resources is Cociane Blunts and Hip-Hop Tapes. CB is a blog that specializes in rare hip-hop tracks--from long lost 12" records and old cassette singles--and is an outgrowth of an old radio show on WRGW. Though the site covers hip-hop from all eras, it seems to focus alot on the late 80's/early 90's, which I love since that is when I grew up and started listening to music. Hearing the songs on CB is like stepping back in time to an awesome middle school dance I never got to go to. Too much good stuff to highlight any one thing (and it should be noted that songs only stay up on the site for a little while)--just click over and start exploring. Well, I will highlight this report on Cam'ron's new career as child advocate.

On Crash

Crash is a young MC from Durham, NC. I've seen him live a few times--the first being a the Nightlight, where Crash and his DJ played from behind the record bins--on the opposite side of the room from the stage. He prowled back and fourth with his hat cocked on his head, on top of a couch that had been pushed out of the way. It was a rock show and the bands had taken up all of the room on the stage. Before he started, we all looked at each other with looks of, "He's so young." Afterwards, we walked out quiet, with our asses in our hands.

"Rock for the People" sounds like a mid-ninties hip-hop classic that just came to light--soft saxes bleating, rounded beats tumbling over themselves. The young man has a future.

On Joan Rivers

In 1987, after the release of what would be their last LP, Warehouse: Songs and Stories, Husker Du went onto the Joan Rivers Show and played "Could You Be the One." Great song, painful interview. Rivers asks them if they've gone soft and who is the party animal of the band.

I think the only thing that keeps Warehouse: Songs and Stories from being the best Husker Du LP is the production, which is kind of weak on the drums. Maybe it will get a re-mix/re-master someday. As it stands that prize goes to Candy Apple Grey or New Day Rising. I love the 1980's underground music work ethic: keep cranking out album after album of brilliant, ragged music rather than taking years and years.

On PIL, ABS and Me

There is a great post up at the Nation Sack about the 1980 appearance of Public Image Ltd. on American Bandstand. Here's what it looked like (thanks to You Tube). Stark Pimp writes:

And at so many points Lydon looks so eerily like a young and newly electric Bob Dylan, jubilant like a man who has discovered the delights of a nice suit of clothes made just for you, and screw all that slumming bohemian costumery I had so stupidly stuck myself with up til now.

It is a pretty amazing performance. Lydon lipsyncs--or doesn't--and the band mimes their instruments, but instead of being weak it is totally riveting and invigorating. What band could make lipsyncing this vital? PIL tears it apart. I've never seen a band make not playing a song so wonderfully meaningful. By the end everyone has engulfed the band and are helping Lydon beat on the drums.

My favorite moment is in between their two songs, Dick Clark talks to the band and to Lydon, who has spirited himself up to the top of one of the dance towers. He reminds me of a freightened possum--unsure of what he has done and scared to take the hand offered to him.

On Haunted Cassettes

Pitchfork reports that for his upcoming tour, Ariel Pink will be selecting a different local band each night to be his back up band. These bands won't know his songs or have ever played with him before. He is playing in Durham at the Duke Coffeehouse on February 27th with BoyzoneThe Clang Quartet. Boyzone are the Nightlight's house band--and by band I mean pile of writhing bodies--and the Clang Quartet are God's favorite one man percussion/destruction artist. It should be an intense show.

I am really looking forward to the release/re-release of House Arrest, the new/old AP album. I really loved Doldrums (I haven't heard Worn Copy, but have it on good authority that it is good). "For Kate I Wait" is a brilliant song--the type of song that I can listen to over and over without getting tired of it--and has a brilliant--and discomforting--video as well. "For Kate I Wait" is a 70's soft rock ode to love filtered through 30 years of rotting speakers, disintegrating magnetic tape and drug nightmares. There is nothing that sounds like Ariel Pink. Doldrums isn't perfect--each song is about 2 minutes longer than it needs to be and the album just goes and goes--but perfection isn't the point. Ariel Pink creates his own world and lives in it as its king and only subject.

Ariel Pink returns some of the strangeness and weirdness to underground music that has disappeared since the rise of the internet. Now, bands are easily found, their songs are readily available. You can see their webpage, their blog, their myspace. Everyone has pictures of themselves. Anyone can make a nice looking site, record on their computer, put their songs online. The challenge to the music consumer is removed. This is good, but sometimes I miss the mystery. I am reminded of the early days of =seBADoh= obsession--hunting far and wide for all those cassette and vinyl only releases. Ariel Pink gets back to some of that. He has dozens of cassette only releases, he records alone, the songs are woozy and unstable. I think it is great that he is having bands that haven't played with him before and don't know his songs play as his band. Too long we have traded in creativity for quality.

Boyzone and the Clang Quartet have no problem with either and should be seen to be believed. February 27th looks to be a Fucked Up Night.

On Recess

On Thursday Night at the Nightlight in Chapel Hill is Recess. Recess is a more-or-less monthly evening of electronic/avant/experimental/weird music overseen by Robert Biggers (from the Nein, Erie Choir, Cold Sides). This edition will feature:

DAVE CANTWELL (from Cantwell, Gomez and Jordan; The Whole World Laughing; The Wusses) performing a computer music piece he composed about 12 years ago (or that is the word on the street.

CHRIS EUBANK (from Sharkquest and a million other avant projects) doing something that is no doubt be awesome.

PHON are an electronic duo from Raleigh. No computers I don't think, just circuits and sounds. Recently they have been playing as part of Raleigh's STRANGE, a pairing that has been really nice sonding.

CHRIS ROSSI runs a studio and is also in the Wusses. Last time he played, a month ago, it was rock harpsichord. The time before that is lost in the mists of time.

Recess is insanely good and successful--musically that is. Robert has been running it for roughly two years (maybe a little longer) and each show has been either really, really good or oddly interesting in a way such that you are happy that you saw it at least. It is a nice way to get out and hear music that you usually can't hear because of the economics of the rock world.

The acts each play about 20 minutes each with little breaks in between, with DJs often spinning dance music in between. Though the music is often very out-there, the short sets makes it all go down nice and smooth. Additionally, there is a high premium put on fun and entertainment as opposed to self-seriousness. The Nightlight is a sandwich shop and bookstore so the environment for the show is really great.

Thursday is the new October.

On Destroyer

First, thanks to PC and JT for letting me play.

Today, Merge posted the new Destroyer LP--Destroyer's Rubies--for streaming. I am only halfway through the first song--9+ minutes--but it is pretty great already. But I am a Destroyer geek, so don't take my word for it.

Merge also has a Destroyer e-card you can send to your honey for Valentine's Day. (via Word Nerdy)

Speaking of Destroyer Geeks--there is now a Destroyer Wiki set up for the annotation of Dan Bejar's lyics. It is still in its infancy, but I think this will be a really cool resource--at least for those of us that obsess about this sort of stuff.

I've tried a few times to speak eloquently about what I think is great and important about Destroyer, and failed, so just listen to the record and see for yourself--and go see them on March 30th at the Cat's Cradle.