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Friday, May 16, 2008

Though Diplo has reigned supreme as the underground ying to Timbaland’s overground yang, for my buck, one of the best beat magicians slicing and dicing today is Montreal’s Ghislain Poirer.  His non-instrumental work with MC’s, such as the collaboration with Abdominal (“City Walking”) brim with alleyway menace and threatening intricacy.  For Poirer, it’s not a matter of just finding the groove and then just striking over and over again in that same sweet spot.  Poirer’s beats are knotty, itchy and architectural.  “Don’t Smile, It’s Post Modern” sounds like a particularly fast and difficult Tetris game where patterns are assembled and dissolved at a furiously glitched pace. 


The video is little more than a one-joke stretch, but as Fatboy Slim’s “Praise You” proved, you can create an infinitely entertaining video out of the rapt fascination people have with dance moves.  (the quality seems to be a secondary issue) Even the Ipod silhouette commercials recognize the magnetic currency of raw movement, proving wildly popular despite the fact that they are little more than outlines pulsing to an upbeat song.  I think this video similarly succeeds in part by playing on all the hilarious tensions of the situation coupled with the freedom and joy of just watching some fool, in this case, possessed by the need to dance.


First off, it seems to be shot with a club-drug lens, a fact emphasized by the superimposition of the germy spots which glide across the toilet surfaces.  For anyone whose ever abused/used these drugs, the effect is a familiar one as is the almost painfully fluoresced tile and uncomfortable urinal silences.  I’m sure someone has analyzed the weird tensions involved in the men’s restroom where sexual panic, fear of inadequacy and free floating erotic tension mix.  It’s probably somewhere in Camille Paglia’s footnotes.  Perhaps the best part of the video is that it makes a dance routine out of post-micturition convulsion syndrome, a shiver/tremor sensation that a large percentage of men have after or during urination.  For me, that’s funny enough to make the video one that bears repeated viewing.


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Tuesday, May 13, 2008

David Remnick of the New Yorker offers this list of 100 essential jazz albums. Note that many of them are not albums but mammoth multi-disc retrospectives covering vast spans of time. It would be interesting to see what a list like this would look like if you decided to only include actual albums of original material: i.e., all things like “Dexter Gordon, Our Man in Paris (Blue Note, 1963)” and no “Django Reinhardt, The Classic Early Recordings in Chronological Order (JSP, 2000; tracks recorded 1934-39)”. Is there a case to be made for a jazz album qua album? Probably a better one than can be made for rock records.


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Tuesday, May 13, 2008

“Louisville is death you’ve got to get up and move, because the death do not improve” – Silver Jews “Tennessee” from the album Bright Flight


In a recent interview I conducted with David Berman, renaissance man of the Silver Jews, he was thinking of changing the aforementioned lyric for the upcoming tour. He also claimed he’s never been able to play it in Louisville, obviously. But this is a lyric that needs to be heard by the people of Louisville – and they need to be confronted with it directly. Mr. Berman beating around the bush is going to do no good as far as a songwriter goes – because during his near two decade career and many one-liners – this is one of the most prominent lines, one which struck home with a lot of people (including myself) in the town.


If you’ve never spent a decent amount of time within the city, than this line may just be another bundle of words that sound meaningful coming out of Berman’s growl. But let me let you in on a little secret – Louisville, as Berman claims, has had a “dark star” hanging over its head for quite some time now. Not quite as bad as it did back in the ‘90s, but it’s still dangling in sight. The town is full of a never-popping bubble of musicians that attract a wider audience for a local show than a national show – some may say this is a good thing, but by alienating themselves from the rest of the musical world, it only hurts a musical community. This mentality has kept a lot of musicians within the city from getting widespread acclaim. The one’s that have made it generally dispersed to outside cities such as Nashville and Chicago to get in with a different crowd of musicians, such as Tortoise and David Berman himself.


With this said, Louisville has somewhat detached of this clique mentality over the past several years, mostly because so many different genres are coming out of Louisville and bands find themselves not working on common ground. The town needs to take to heart Berman’s words and not fall inside the hole they once created.


Tagged as: silver jews
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Monday, May 12, 2008

I can only hope that the author of this recipe blog continues posting. Without it, I would have never learned that “brownies are one of the truest manifestations of metal in the scope of baking. Nestled inside their dark, viscous hearts lies a sickening world of decadence.” Or that “boiled down to its very essence, metal is nothing more than a mixture of molasses and alienation.” And there is so much more to learn about the dark confections. (via boing boing)


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Sunday, May 11, 2008
David Lynch is very much like God. I watch his movies the way I look at the creation of the world: most of the time I can’t claim to discern what’s going on, but someone seems to have gone to a great deal of trouble.

There are some movies that require a certain commitment of time to figure out what is going on. David Lynch’s movies, I’ve become convinced, are about trying to figure out what’s going on. And that’s fine, as far as it goes. In its art-for-art’s sake, uber-pretentious, anti-commercial, anti-audience sensibility, Lynch hoists a freak flag that is, upon closer inspection, a fuck you flag. The question, as it is with all challenging art, ultimately must be: is it worth it? His films are odd and unsettling, and they are often unlike anything you’ve ever seen before. And yet: is that enough?


Well…take any of his films, then take away the attractive female characters, their inexorable (contractual?) nudity, and the handful of very brief—but very brilliant—scenes, and Lynch’s work seems to be a series of somethings that seek to defy being identified for what they look and smell like. You are left with an oeuvre that seems to separate viewers into three camps: the good (those who claim to “get it”), the bad (those who don’t, or can’t), and the ugly (or, the angry; those who tried to get it, failed, and then, upon repeat viewings, determine that they are unworthy and, most importantly, uninterested).


Consider me ugly. Not angry, but certainly perplexed at the consistent, and reflexive, critical accolades. And let’s acknowledge the fact that Lynch does not merely have fans, he has advocates. Defenders of the faith. Crusaders. As a proponent of acquired taste anomalies running the gamut of high and low culture and all points in between (especially the points in between), I appreciate the allure, and I don’t begrudge it. What I am curious about is, who are these people, and what is it they actually see in these films?


Tagged as: david lynch
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