dearly beloved,
Downloads
Mark Ronson & the Business Intl.
Oct 23rd
I really like Mark Ronson’s new album Record Collection – funky, bouncy, and upbeat. Great party starter. Check out my two favorite tracks -
Mark Ronson & the Business Intl – Record Collection (ft. Simon Le Bon) (right-click to d/l)
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Mark Ronson & the Business Intl – Bang Bang Bang (ft. Q-Tip, MNDR) (right-click to d/l)
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New Kanye West – “Power”
May 29th
“I don’t need your pussy/cause I’m on my own dick.”
MP3: Kanye West – Power (right-click to d/l)
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Pendulum Explode Your Eardrums With “The Vulture,” “Set Me On Fire,” “Comprachicos”
May 27th
Pendulum is retro-post-apocalyptic. They’re the band you’d hear playing at a dance club down the street from the Thunderdome. I’d estimate that about 97% of the world would find their music completely unlistenable, as they Voltron a bunch of already frequently loathed genres into one huge anarchic clusterfuck. But if you’re in the 3% that’s been waiting for someone to make an album of DnB/trance/prog rock/industrial, well, you’ll want to pick up Immersion on June 8.
You can’t really call Pendulum innovators, because they rip off a lot of successful electronic bands pretty shamelessly. For example, “Comprachicos” – posted below – sounds just like Nine Inch Nails… except when it sounds just like The Prodigy. And their trance and DnB sections, on their own, would have sounded dated 5 years ago. But they use their influences wisely, and, like all great mash-ups, the whole turns out greater than the sum of its already-famous parts.
It’s some of the highest-energy music I’ve ever heard, and while there’s a good chance you’ll hate it, if you love it, you’ll really love it. Just… what the fuck’s up with the Trapper Keeper cover art?
MP3: Pendulum – Comprachicos (right-click to d/l)
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MP3: Pendulum – Set Me On Fire
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Janelle Monae Mashes 8 Different Genres Into “Cold War” and “Oh, Maker”
May 25th
I don’t know who this woman is. It seems like she’s got a ton of buzz already, but I definitely missed the boat. And apparently she’s made a concept album about a hat? Or a robot wearing a hat? I’m lost. But I’m inclined to give her a shot, mostly because of that awesome cover art (I know I’m supposed to think of Fritz Lang, but it just reminds me of Rapture).
The first time through, it’s hard to get a read on ArchAndroid because it mashes so many wildly disparate genres together. You spend so much time trying to figure out what you’re hearing that you can’t really think critically about it. But it’s an instantly likable album, even on that first-listen-superficial level, because of its energy, its esotericism, and Janelle’s amazing voice.
The first two tracks that really caught my attention are “Cold War” and “Oh, Maker.” “Cold War” grabs the double-time drum groove from OutKast’s “Bombs Over Baghdad,” and replaces Big Boi/Andre’s mile-a-minute rapping with soaring verses and an anthemic hook. “Oh, Maker” sounds like the kind of thing you’d hear coming out of a phonograph in the 1930s, until a bouncy bass line and chill R&B drum groove kick in. It’s this really cool sandwich of pastoral retro-folk and modern hip-hop. If I’m making it sound like this is an album that fucks with genres just for the sake of fucking with genres, I’m doing it a disservice; have a listen.
MP3: Janelle Monae – Cold War (right-click to d/l)
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MP3: Janelle Monae – Oh, Maker (right-click to d/l)
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The-Dream Is Having A Party In His Pants
May 17th
and you’re invited. I recently unearthed “Ditch That…,” a criminally overlooked track from Love Hate, The-Dream’s 2007 solo debut. (For those of you unfamiliar with The-Dream, aka Terius Youngdell Nash, he’s the producer responsible for Rihanna’s “Umbrella” and Beyonce’s “Single Ladies.” Enough said, I think.) Haven’t been able to get it out of my head since. Whereas a lot of his stuff sounds like slow-jam R&B mixed with early 80s Prince, “Ditch That…” is an ultramodern dance floor killer. Even the weird, spacey outro is catchy. This guy’s got talent to burn, and I’m excited to see what monster hit he’ll drop on us next.
MP3: The-Dream – Ditch That… (right-click to d/l)
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Prog
May 16th
The active question in progressive rock is: “Why not?”
As in, “why not switch back and forth between 7/8 and 13/8 for two minutes right here?” Or, “why not replace the last chorus with the theme from Carmina Burana?” Or, “why not ascend chromatically through all twelve keys during this extended guitar solo?” Put like that, I think, it’s not hard to understand why it’s generally considered to be the backwater of rock ‘n’ roll, the province of fuzzy-haired nerds who, were it not for the Yes concert tonight, would totally be playing D&D.
But while I’ll grant that a lot of prog writes its own punch lines, there’s nothing about it that easily explains the loathing that a lot of red-blooded rock fans feel towards it. Bring up Rush in conversation, and I’ll bet $5 at least one person near you will go, “God, I fucking HATE Rush.” It engenders a level of antipathy that’s usually reserved for overtly commercial rock bands like Nickelback or Creed; and if there’s one thing that we can all agree on in prog’s defense, it’s that it is about as far from overtly commercial as you can get.
My theory – after thinking about this for a little bit while listening to 2112 and staring at my screensaver (j/k) – is that it has a lot to do with the way that prog musicians approach and think about rock. For a lot of us, rock is a very visceral, cathartic experience. We connect strongly with it on a deep emotional level, and when Robert Plant howls “I been working from seven to eleven every night” even the trust-fund kiddies drinking PBR on their daddy’s yachts understand and empathize with his pain. Prog, at its worst, says “fuck you” to all that and approaches rock as if it’s a math problem. Writing a prog rock song becomes a rational exercise, or an excuse to show off your technical chops, rather than an expression of feeling. And I think that strikes a lot of people as disingenuous, somehow, or repulsive and off-putting, on the same basic level that “good” rock normally appeals to.
The funny thing is, I think that very subversion of conventional rock’s priorities is why prog has the insanely loyal and involved fan base it does. (For proof of that assertion, ask a random guy on the street who his favorite drummer is, and time his answer. Now ask a prog fan.) Progressive rock, as most often constituted, is an emotionally devoid form of music, both lyrically and acoustically. Whereas, again, a lot of rock songs implicitly ask you to feel something, prog makes no demands of your heart whatsoever. And for some people – I include myself in this group fairly regularly – that is incredibly appealing. All that prog songs are ever saying is: “We are good at our instruments.” And all the listener is required to do is agree or disagree.
The two big exceptions to this criticism are 1) Pop songwriters who happen to work in the progressive rock idiom, e.g. Steven Wilson (of Porcupine Tree) or Devin Townsend; and 2) Bands who use progressive rock’s natural coldness to explore emotions like alienation, disaffection, and foreboding, e.g. Opeth and Riverside. I’ve posted a bunch of songs from those four artists below, and if you feel inclined to give prog another shot – can’t blame you if you don’t – that’s where I’d start.
MP3: Porcupine Tree – My Ashes (right-click to d/l)
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MP3: Devin Townsend – Slow Me Down
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MP3: Riverside – Egoist Hedonist
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RIP Dio
May 16th
Ronnie James Dio, one of the all-time great metal vocalists and onetime Black Sabbath frontman, passed away today at 67. I had a dream last night that involved Jack Black singing the Tenacious D song “Dio.” Spooky! Have fun in Valhalla, Ronnie.
MP3: Dio – Holy Diver (right-click to d/l)
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MP3: Black Sabbath – Heaven and Hell
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Nicki Minaj’s Coming Out Anti-Party: “Massive Attack”
May 14th
Sean Garrett – responsible for “Yeah!,” “Run It!,” “Goodies,” and a bunch of other catchy but conventional chart-toppers over the last few years – has crafted an absolute house-smasher for up-and-comer Nicki Minaj. I’ll be honest, I don’t even like this song that much, but it’s worth hearing for the beat alone. It’s hard to parse, the first time through, because it’s got no backbeat or syncopation whatsoever. It’s just this crazy bass-heavy drum-circle mess. Pretty adventurous, and it complements Nicki’s aggression and fuck-you attitude well. So, in other words… definitely not a breezy summer jam, but it says good things about where Nicki wants to take her career.
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MP3: Nicki Minaj – Massive Attack (feat. Sean Garrett) (right-click to d/l)






Prog, Cont.
May 26th
Posted by Headphone Jack in Commentary
FUCK YEAH ROCK AND ROLL
Someone asked me to expand a little bit on the earlier post about prog: “You’re right about why I hate it, but you didn’t really explain why anyone would like it.” (Going forward, let’s assume that I’m talking about “bad” prog, i.e., really wanky shit with no artistic purpose beyond impressing the listener.)
As I mentioned in the last post, I do think that prog’s refusal to even attempt to elicit emotion is an important part of its appeal. It makes for some of the world’s best headphone-listening background music, because you can listen with half of your brain and still get everything the artist is saying. But I’ll admit that that’s not really a reason someone falls in love with a genre. It is the reason Dream Theater is one of my most-listened-to artists on long bus trips or the MTA – but it still leaves unsolved the mystery of Dream Theater’s (and Rush’s, and Queensryche’s, and Shadow Gallery’s) unwaveringly loyal fans.
Here’s my theory: It’s because all of those bands construct elaborate alternate musical realities that the listener is invited to inhabit. Both through the unerringly irrelevant subjects of their songs (numbers, galaxies, trees, etc.) and through their highly technical, superficially complicated music, prog bands create musical escapism. It’s no coincidence that the concept album is almost exclusively the domain of prog – its fans want to be told stories about other places. The reason prog is popular is basically the reason that fantasy books are popular. (It’s also no coincidence that those two fanbases overlap a lot.)
Now that still leaves the main question unanswered – why do people like escapism? – but that one’s way past me. Hopefully the fantasy book analogy makes prog’s appeal understandable, though.
Just for kicks, here’s the most comically bad-prog prog song I can think of. Enjoy! Or, more likely, don’t.
MP3: Jordan Rudess – Insectsamongus (right-click to d/l)
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