Partially because of the Tiger Woods scandal, The Masters golf tournament brings in huge ratings, with 47% more viewers than the last year. Phil Mickelson was the winner, receiving his third Masters title.
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Almost a decade after the Dirtbombs released their collection of reinterpretations of golden-era soul and funk songs called Ultraglide in Black, the Detroit-based garage rockers are set to let loose a follow up to the covers compilation. This time around the quintet will be paying homage to early Detroit techno classics on an album entitled Party Store.
The Dirtbombs tackle on the nine-track full-length the three major pioneers of Detroit dance music, covering Juan Atkins and his Cybotron electro releases “Alleys of Your Mind” and “Cosmic Cars”, Derrick May’s seminal Rhythim is Rhythim track “Strings of Life” and Kevin Saunderson’s crossover anthem (recorded by his group Inner City) “Good Life”. In addition, they offer up a tribute to Detroit’s first techno record, A Number of Name’s 1981 future-disco classic “Sharevari”, and Carl Craig’s future-jazz techno cut “Bug in the Bassbin” (Craig, who released the track under his alias Innerzone Orchestra, plays modular synth on the 21-minute cover).
Our brains are all on television! In this mind-bending animated video from Manhattan instrumental hip-hop DJ Blockhead, the animals are loose and TV rules the world. The laid-back soul of “The Music Scene”—from the Blockhead’s latest Ninja Tune release of the same name—provides the soundtrack for a trip through a post-human New York equally parts stimulating and scary.
The Minnesota-based chamber jazz combo Fantastic Merlins launched a revamped website last year. To mark the occasion they began releasing a digital album, one song at a time. The Song of the Month is now four tracks thick and can be downloaded on a donation basis here. This means you can pay $0.00 for the album, if you are that much of a cheapskate.
In other news regarding the band, cellist Daniel Levin has now joined the Merlins full time after touring with them in France. I also spent most of 2010 thinking that How the Light Gets In, the band’s collaboration with Kid Dakota last year, was only available on import. Well, it’s closer than I thought.
There’s something corny and smarmy about Matt Morris. He seems to live on the rarefied air of the priveleged; the lucky few, who have the advantage of friends like Justin Timberlake and Ellen Degeneres to shill for him. But damn if there isn’t something real at the core. Something that that comes through in the music even when he’s sentimentalizing poverty and a bastard’s bad behavior. It’s that ache in his voice and that look in his eyes that communicates across the boundaries of hype and glitz. There is something embararssing about the way he cares so much, but caring too much is a good thing. Affectation can create its own reality, one where we can imagine our common desire to make the world a better place. “Bloodline” is a guilty pleasure—the kind of song that invites wallowing—and Morris succeeds at making us want to sing along with him and dwell in the house of grit and sorrow. Feeling sad never felt so good.