Sometimes it’s fun to set yourself arbitrary rules to see what you can accomplish and sometimes it’s fun to raid youtube for lost classics and old forgotten relics. Sometimes, those two past times collide and create a fun little game where i pick an artist or band and scour the internets looking for only their offically released videos. You get to enjoy the fruits of this labor. I know I know, you can thank me later. Feel free to suggest an artist or group, or link in sources to videos you think should be included.
More videos after the jump.
Ghostly International, one of my favorite below the radar labels of the last handful of years has been quietly putting out incredible albums by artists like The School of Seven Bells, Lusine, and Tadd Mullinix. Their artists range is style from slightly left of center indie-rock, to the far corners of minimal electronica and experimental composition, but regardless of what genres GA’s artists are pulling from, they seem to maintain a very high level of quality and that unique Ghostly International character.
GA just released a great list compiling their favorites of the decade for no other reason than just to share what they like – and well, you know how much we like a good list. And this is one of the best. I mean, any best of list that contains Bonnie Prince Billy, Farben, Tim Hecker and Broadcast on the same page is basically a contender for best list ever.
You may be wondering to yourself… Dam-funk? Nite Jewel? Who the hell are these two? Well, fair enough, they’re not exactly household names, both play in the shadowy areas on the outer edges of modern hiphop, funk, pop, and Indie-electronica, and have only lately (thanks to fast rising star of the whole Chill Wave / Glo-Fi genre) had the opportunity to bring their distinctly L.A. Sound to a larger audience. Now XLR8R magazine got a chance to sit down with both artists together for a day while they hung out and recorded together.
Definitely for fans of DIY beats & Cheese synths.
You may know Eric Olsen from his various musical endeavors. He is a member of a number of beloved Burlington-based outfits, including Swale, Led Loco and James Kochalka Superstar. He’s also a web and graphic design guru, a husband and, most recently, a father.
Tanner: Hey Eric -- what are you shopping for today?
Eric: I’m looking for the Spoon album -
Tanner: Find what you’re looking for?
Herb: boxes havn’t arrived yet cause of the holiday delay…
Eric: Because of MLK day, the shipments were delayed -- activists man, they always fuck shit up.
Tanner: What have you been listening to today?
Eric: Been going through albums in alphabetical order -- I’m up to B, so I’m up to that Art Brut album -- then there was that Basement demo’s from Elliot Smiths post suicide album… something else, can’t remember…
Tanner: What are your preferred mediums -- vinyl, mp3, cd, cassette, 8-track, a-dat etc?
Eric: That would depend on the setting -
Herb: What if you were being held prisoner?
Eric: That would depend on the size of the prison…
I’ve slacked on vinyl -- i like to get my albums, and rip them to MP3 for my Ipod. I have alot of vinyl, but i wouldn’t call it a collection, i’m mainly CD though. Usually my record player is in disarray.
Tanner: Conan or Leno?
Eric: I’m with CoCo. Actually in my opinion, Leno is like a red state thing, they’re gonna win -- it’s like the decline of western civilization.
Tanner: Read anything good lately?
Eric: Murakami - What I Talk About When I Talk About Running, or is it “what i think when i talk about thinking”? … no wait. I’ve also been reading Bill Bryson’s, A Short History of Nearly Everything -- basically cliff notes of the history of science and all things. Also since I’ve been coming here last week, i’ve been constantly checking out Gawker.com pretty religiously, we’ve been having alot of laughs at the house about Conan’s list of possible porno names if he starred….
Tanner: If you could be one person in music history who would it be?
Eric: Fela (kuti) I’d have a sovereign nation. Not every musician has that.
Herb: You’d be dead.
Eric: he had alot of sex.
Herb: Not like, Warren Beatty levels of sex.
Tanner: ZZ-Top or DeeDee Ramone?
Eric: Ooooh tough one…. It’s a toss up, ZZ Top would be in the running before they remastered their drums, did not like that. Depends, every other day, I’d go back and forth -- shared custody.
Tanner: Your #1 album of 2009.
Eric: Umm… hmm… not sure.
Tanner: Your #1 album of 1989.
Eric: It was either Nation of Millions or Daydream nation…I’m dating myself now aren’t I?
Tanner: Shower singer or car singer? If so, what song?
Eric: Bath Singer -- You got another thing coming by Judas Priest.
You’re probably wondering why we’re posting a Christmas list when we’re still a week away from Thanksgiving – I’m not going to lie to you, I listen to Christmas music around the holidays starting as early as now. Yes, behind this cold cynical record store clerk exterior beats the heart of a warm blooded sentimentalist.
While the beloved classics; Vince Guaraldi, Bing Crosby, The Chipmunks – are never far away from our 8-track decks (am i right?) sometimes we need a little push in a bold new direction, and by we, I mean you. So here’s Pure Pop’s list of 5 Christmas Albums you may not have heard of yet but which are definitely worth checking out.
5: Jethro Tull – The Jethro Tull Christmas Album
For a band that’s been making music about minstrels, peasants, kings, paupers, and the like for 40+ years it would seem like a no brainer that in 2003 they came out with a Christmas album. Filled to the brim with a combination of 70’s prog-rock, traditional british folk, and their own blend of oddball Dickensian lyricism and wit, The Jethro Tull Christmas Album feels like a lost relic from their creative heyday, entirely listenable as a holiday album, or just a great collection of Tull Songs.
4: My Morning Jacket – Does Christmas Fiasco Style EP
Bet you didn’t know about this little diamond in the rough, but yes – My Morning Jacket did in fact put out a Christmas EP, and if you’re a fan of MMJ (and if Pure Pop’s sales figures are correct, you’re legion.) than this one should certainly be playing at your next ironic holiday sweater party. (Note: Pure Pop Records does not condone the wearing of sweaters for ironic purposes at any time.) Just throw this well crafted little number in to the mix with some other well known classics and see how well it blends. And for those who care, there’s even an excellent cover of Nick Cave’s “New Morning”.
3: Reverend Horton Heat – We Three Kings
This is the Christmas album that you play at the Christmas party, that gets out of hand. It’s classic Reverend HH straight up Punkabilly fun and the boys in the band are in top form on a great collection of classics. I’d write more about it here, but there’s really nothing else to say.
2: Sufjan Stevens -Songs For Christmas
This is a 5 CD box set compiling 5 years of Stevens’ yearly Christmas offerings and if you’re familiar with the man’s output you know that while he’s fairly prolific, level of quality in his output is remarkably high. His string arrangements alone on these pieces take tired old holiday classics and bring out their original luster. Pretty much essential for any fan of delicate and maudlin Indie Rock.
1: Bob Dylan – Christmas In The Heart
Nevermind all the pundits pointing out the irony of Mr. Zimmerman making Christmas music, that’s not the point… Actually I’m not sure what the point is with this one. Is it a joke? A joke that no one but Bob himself is in on? Or is a serious attempt at making entertaining, timeless holiday music… Who knows, all we know is that it’s not nearly as bad as it sounds on paper and it’s often surprisingly good in places, with a ragged thrown off quality and subtle unfettered playing. Perfect for a night around the fire drinking heavily spiked eggnog.
For those of you that have never had the misfortune of meeting Tanner McCuin, allow me to give you a primer. In addition to being the Pure Pop Czar of All That is Cyber, he’s a petty and conceited man who’ll happily pontificate for hours on matters he knows nothing about. If you question any of his divergent and often conflicting points, or even ask him to clarify one, he’ll either retreat screeching from the conversation or volley a series of increasingly personal attacks. Whatever personality the man has is obscured by a swollen nest or poorly employed affectations intended to establish the neo-bohemian intellectual he desperately wants to be.
Let’s take a look at the opening paragraph of Tanner’s most recent blog entry, a “review” of a Dungen and Fleet Foxes show.
I showed up to Club Metropolis twenty minutes before Dungen hit the stage, a heartfelt desire to not be disappointed and a bottle of cheap strawberry daiquiri mix burning a hole in my stomach. I had been here most recently to see The National, their Boxer LP and Virginia EP being two of my most listened to albums from the previous year or so and while their performance was spirited, I felt they had a hard time translating their brooding heavily produced between-you-and-me delivery to the broad strokes required for such a large venue and seemingly disinterested audience. That experience had left me seriously questioning my interest in live music, at least, in seeing live many of the bands I enjoy in headphones.
As the experience of seeing The National left Tanner disinterested in seeing comparable bands perform live, the experience of reading this paragraph leaves all but the masochistically curious disinterested in reading the rest of the article. This, ladies and gentlemen, is Tanner, warts and all (all=more warts). The paragraph is convoluted and narcissistic. If Tanner’s writing style was a means of ascending stairs, it would be going up backwards on your hands and knees while talking a lot of nonsense. His ideas go nowhere, and take forever to do so.
I recently sat down with Tanner in an attempt to understand the mechanics of his being. The following is a sort of highlight reel of our conversation.
Herb van der Poll: Hello Tanner.
Tanner McCuin: What’s cracking?
HV: (sighs in disgust) How would you characterize yourself?
TM: Uhm… I don’t really like to pigeon-hole myself. I’m just a guy trying to live my life, attending to my responsibilities as best I can.
HV: Right. Sure. What do you do for fun?
TM: Well, I like to spend time with my friends, my dog. I keep up on music, tech, films, etc. You know what I mean. We’re pretty similar.
HV: (under breath) You wish. (Audibly) Right. What’s it like being such an asshole?
TM: (laughs)
HV: Seriously.
TM: (Apparently under the false impression I’m kidding.) It’s great. (Laughs again.)
HV: What kind of music do you like?
TM: Oh, a little bit of everything. (Ed. note-pretentious) Some of my favorite artists include Will Oldham, Richard Thompson, Kate Bush, New Order… Uhm… I really like ambient music, neo-psych…
HV: Blah, blah, blah. I get it. Shitty stuff no one else likes.
TM: (laughs) Yeah. Pretty much.
HV: The old paradigm of music production and distribution has evolved quite a bit in the last ten years or so. Do you think we’re approaching a period of stability, or is that further ahead?
TM: Well, I think that’s an interesting question with a complicated answer. Clearly, the old model hasn’t dissolved completely, as many predicted it would by now. I can only speculate, but-
HV: I’m just kidding. No one cares what you think about that kind of stuff.
TM: Uhm.. O
kay.
HV: In fact, no one cares what you think about anything. This interview is
over.
TM: Okay.
HV: Wanna get a beer after work?
TM: Sure.
Tanner, who since he was twelve spends most of his time planning an ever-more-elaborate, ever-less-likely-to-happen wedding for himself, came upon this dull website for what appears to be a collective of wedding dj’s. Amusingly, there’s a page of indie-rock themed wedding mixes, all of which look like rough drafts for the Garden State soundtrack. Being the bitter, dry husks of human beings that we are, the first thing we thought was, “What would the opposite of these mixes look like?”
In that spirit, we proudly offer you seven tracks to spoil the mood at a wedding.
1. The Big Pink -- Dominos
“As soon as I love her it’s been too long.
And I really love breaking your heart”
2. The Mountain Goats -- No Children
“And I hope when you think of me years down the line
You can’t find one good thing to say
And I’d hope that if I found the strength to walk out
You’d stay the hell out of my way
I am drowning
There is no sign of land
You are coming down with me
Hand in unlovable hand
And I hope you die
I hope we both die”
3. XTC -- Your Dictionary
“Now your laughter has a hollow ring
But the hollow ring has no finger in
So lets close the book and let the day begin
And our marriage be undone”
4. Rolling Stones -- Out of Time
“You’re out of touch, my baby
My poor discarded baby
I said, baby, baby, baby, you’re out of time”
5. Husker Du -- Never Talking to You Again
“I’d put you down where you belong
But I’m never talking to you again
I’d show you everywhere you’re wrong
But I’m never talking to you again”
6. The Misfits -- Last Caress
“Well, I got something to say
I killed your baby today
And it doesn’t matter much to me
As long as its dead”
7. Jarvis Cocker -- Don’t Let Him Waste Your Time
” ’cause the years fly by in an instant
and you wonder what he’s waiting for
and then some skinny bitch walks by in some hotpants
and he’s running out the door”
I showed up to Club Metropolis twenty minutes before Dungen hit the stage, a heartfelt desire to not be disappointed and a bottle of cheap strawberry daiquiri mix burning a hole in my stomach. I had been here most recently to see The National, their Boxer LP and Virginia EP being two of my most listened to albums from the previous year or so and while their performance was spirited, I felt they had a hard time translating their brooding heavily produced between-you-and-me delivery to the broad strokes required for such a large venue and seemingly disinterested audience. That experience had left me seriously questioning my interest in live music, at least, in seeing live many of the bands I enjoy in headphones.
I was apprehensive as i stood in the crowd eyeballing suspiciously the various p-dork hipsters, students and service industry veterans that i was sure constituted the entirety of the audience – were they gonna shutup and pay attention when the bands came on or spend the entire show with their backs to the stage?
When the skinny Swedes from Dungen walked quietly onto the stage taking up their instruments the crowd didn’t do much more than turn slightly – some applause – but when they let loose with an incredible racket, the crowd turned around and that was the last time the entire night I thought about anything other than what was going on the stage.
Dungen proceeded to tear it up proper, creating an incredible psych assault, interspersed with deft & delicate melodic interludes, lead singer Gustav Ejstes taking turns stomping and banging a tambourine, trilling on a flute or pounding out on some kind of vintage keyboard, basically doing the world’s greatest Robert Plant impression in the process – their chops and energy combined with their use of entirely vintage gear brought us about as close as we’ll ever get to a live set by some of those old psych heavy weights, and for that i was thrilled and grateful.
At one point, about 10 minutes into their set the girl next to me turned to me with dawning astonishment, “I didn’t know Dungen was playing here tonight?!” “Yeah? That’s cool…” I said back… not sure the proper response. At least it wasn’t anything like the last time i was here, having to listen to two guys argue over whether Facebook friends should be limited only to real life friends (of course not) the entire set.
Dungen left the stage, crowd cheering enthusiastically, i went out for a smoke. Next up Fleet Foxes.
I wasn’t sure what to expect – anyone who’s listened to their album and EP know they can write an incredibly affecting Beach Boys meets My Morning Jacket tinged folk rocker, but I for some reason was skeptical they could pull it off (oh wait i know why, cause I’m a jaded, tight black pants clad, irony drenched, record store guy, Dur).
I was wrong, wonderfully wrong. Right out of the gate they engaged the audience with a room filling 3 (or 4) part acapella harmony that seemed to penitrate and wrap itself around everyone in the packed venue – from there things only got better, every song they launched into with increasing energy and the audience loved every minute of it. The band in turn was extremely appreciative and more than a few times between songs gave heartfelt thanks. As for their songs and how they translated to the stage, i can say that the stage only served to increase the fullness of sound and energy of already great compositions, as a band they struck me as belonging there, like watching The Band or some other classic touring act from the hey day of live music, polished and competent.
I can honnestly think of no criticisms – the playing was incredibly tight, but more importantly earnest, and when the band finally left the stage I could tell everyone in the room felt well and entertained, myself included. I’ll be checking out more live music again soon, my faith in live music (and it’s often boorish, fickle audiences) while not completely restored, was at least bolstered, and that’s really all an anti-social music snob like myself can ask.
Each week we get hundreds of pieces of used vinyl in – you name it we see it come through here. Usually it’s a ton of useless Joan Baez, Boz Scaggs & Supertramp vinyl, but occasionally we get something in that for better or worse really stands out. This section is dedicated to these finds.
Our first “Cover of the Month” comes from one of Burlington’s not so fertile periods of local rock music, 1985.
Introducing BOYZ.
Tanner: I think i’ve seen this album circulating in the backroom for at least 3 years, it’s about time we expose it’s awesomeness. You know, it’s nice to know we’re carrying on the Burlington tradition of tight black jeans into the new Millennium.
Herb: I have absolutely no idea what these guys sound like. My guess is Huey Lewis & The News meets Billy Idol.
Tanner: Think the middle guy’s going for a Young Springsteen, pissing against a wall look.
Herb: Maybe he’s doing his version of what he thought the cover of “The River” should look like. Yuk-yuk.
Tanner: Bruce Springsteen and the “Pee” Street Band…
Herb: Wow. Anyway, I think the guy in the back is the drummer and I know where he keeps his sticks.
Tanner: Hot Dog we have a Weiner.
Herb: Is one of his arms longer than the other?
Tanner: I heard Elastic waistband pants were the keyboard neckties of mid 80’s Burlington soft rock.
Herb: I guess when you’re packing that kind of heat, you don’t really have to try. Everything about the dude, package aside, says “I don’t give two sultry shits”.
Tanner: And then there’s trying to hard…
Herb: Hotchy-Motchy
Tanner: You’ve gotta stand away from the wall a little more when you’re doing shadow puppets.
Herb: Here is a man who would have rather been posing for romance novel covers than rocking and rolling.
Tanner: This guy was in the band for one reason only. Dudes.
Herb: This is making me depressed. These guys were probably talking about quitting their jobs, sending the album to Warner Brothers, going on tour with Joe Jackson…
Tanner: Here’s hoping this post sees a BOYZ revival a la Death….
Herb & Tanner: … Nah.
The following albums are all classics that belong in any serious music fan’s collection. Another thing they have in common is that only the most hopeful among us expected them to be as good as they are. Join us, as we consider five albums no one expected to be good that came out great.
Bob Dylan – Time Out of Mind Prior to the release of this album, Bob Dylan may have been popular, but he hadn’t been relevant in nearly two decades. His catalog throughout the 80’s and 90’s is a laundry list of underwhelming mediocrity, championed by only his most die-hard fans. With the release of Time Out of Mind, Dylan re-established himself as a first-rate song-writer and lyricist. Not only did it measure up to the best of his other works, it was one of the best albums of the decade. Dylan, whose voice had degraded to frog-throated rasps, had never sounded so vital.
New Order – Power, Corruption & Lies Movement, the first release by New Order, did little to dissuade people who were skeptical that Bernard Sumner, Peter Hook and Stephen Morris would be able to escape the shadow of their former group, Joy Division. The demise of Ian Curtis seemed to herald the death of his former bandmate’s music careers. Indeed, Movement, despite its exceptional moments, sounds like an attempt to rehash the Joy Division sound. With Power, Corruption & Lies, New Order were truly born. All the hallmarks of their sound are fully in place, and the album included perhaps their most enduring song, Blue Monday. To many, it represents the band at their peak.
George Harrison – All Things Must Pass After the Beatles break-up was made public in tandem with the announcement of Paul McCartney’s first solo album, all eyes were on Paul and John. How would the members of the greatest song-writing partnership in history fare on their own? While that’s fascinating topic its own right, the biggest surprise in the Beatles solo output is Harrison’s All Things Must Pass. Arguably the best of all Beatle solo records, ATMP is a double LP without an ounce of fat. Harrison delivered the best songs of his career in a single serving, a considerable accomplishment from a man who held his own in the company of the Lennon/McCartney colossus.
Portishead – Third Eleven years after their previous studio album and a decade after the genre of music they’d helped to define had become a memory, the idea of a new Portishead album was perplexing to say the least. Sure, it could have been a pleasant throw-back to days gone by, or a regrettable taint on a brief yet immaculate career, but Portishead defied expectation and delivered an instant classic. Without shedding the aesthetic that defined their sound, the band incorporated a variety of new influences and techniques to create a stunning, broad and cohesive piece of music that reminded us Portishead are, as they say, the shit.
Hank Williams III – Lovesick, Broke and Driftin’ Hank III’s first solo album, Risin’ Outlaw, was a huge disappointment to fans of the William’s Dynasty. Overproduced and undistinguished, it seemed as if the grandson of the legendary Hank Williams was capable of little more than exploiting his family name. With Lovesick, Broke and Driftin’, he made amends. True to the spirit of his grandfather, Hank III broke new ground and defined modern outlaw country music. Not only did he do right by his grandaddy, he cast a shadow over his father, Hank Williams Jr, whose music seems rather safe by comparison.
