I'm excited to write my first blog entry from my spanking new MacBook Pro. It's Heaven and dammit am I one happy lad getting this new bitch into shape. It's been a relentless schedule since we last spoke. Irene's back from Miami, work is insane, and gigs are aplenty.
Webster Hall was the place to be this week for us Brithop lovers. The first night saw Mr. RICHARD ASHCROFT aka Dickie take a break from his opening slot on the Coldplay tour to play his only US solo show this year right down the block. This is one of those shows where I truly appreciate living in NYC. The night before, I watched Dickie perform BREAK THE NIGHT WITH COLOUR on Conan O'Brien. I am a huge fan of Dickie, but this performance almost bordered on parody. He was crazy cheesy and put his wife in a chair onstage and then made out with her during the song. Um, this was a bit much. Even for me. But it's Dickie, what can you do?
Well, you can go to his gig and see him be fucking AMAZING. All my fears were immediately squashed as Dickie, backed with a full band (including a saxiphonist/flutist), opened with the best song from his new album, the title track KEYS TO THE WORLD and then led into the Verve classic SONNET. And this was the pattern, playing the best of his solo material (SCIENCE OF SILENCE, MUSIC IS POWER) and then peppering it with the right Verve songs (HISTORY, LUCKY MAN). Some of the newer songs led to some slow moments, but they couldn't take away from that Dickie is stil fucking insane and still awesome. He just has it and godammit does he still mean it. He's a bit older, a lot happier, but he still sings these songs like it's the last time he will ever sing. We even got an encore that contained The Verve's SPACE AND TIME, which he claimed he hasn't played in years and his song with UNKLE, LONELY SOUL which he perofrmed solo with a backing track. And somehow this all worked! Dickie's in between song banter is as always funny and intense and his comments about airport security searching his 2 year old song led to some strong statements and a very funny impersonation of an American accent. Dickie also was very appreciative of the crowd and really delivered what for me is gig of the year candidate.
One of last years breakouts, Editors, came back to NY the night after Dickie at the same venue. Irene and I were very curious as to how they would be in a much larger venue and with less the anticipation and chaos of the last gig here (see previous MOGblog entry). Since that last gig, I had gotten into thier singles, B-sides, rarities and found myself really appreciating them and seeing them beyong the Joy Division comparisons (which are fair on record, but less so live and with their B-sides). Anyhow, I was tired, but excited to see if these kids could bring it again.
It was a very different gig than the last time. They had much larger space and had a lot of seasoning and seemed to fill that space really well. They had an appreciative crowd and they fed off of it and the intensity we enjoyed so much last time once again was on display and again, we they have the talent to justify the hype. The set list varied slightly from last time, but they knew when to place the songs and added the right B-sides to flesh things out. An encore containing two new songs showed some steps forward and like when we heard Kasabian play future songs like 55 and STUNTMAN, i found myself looking forward to following these guys in the future.
Sorry this was slow to write, as we have found ourselves returning quite a bit to streets of Stewart Manor as we've been attending various services for Evan's mom. We decided to counter these sad events by revisiting the haunts of our youth. Our first stop last night as the TGIFRIDAYS on Sunrise Highway, in which a younger Lurch made his living back in the 90's. He was your host and would often bring tons of food home, to G, The Kidd and I in our unemployed days. This was a fun evening as we reminiced about what Irene often refers to as our "thug years" (something my nephew loves to hear about). Today's fun was when Lurch "Declared Han" which is a declaration no one can say no to as it means you MUST go to Benihana. This is obviously the good shit, especially now in our older and employed years we are able to order things that include Lobster tails and filet mignon. I believe we all went home and passed out and G (now known by the way as G Muhammad) couldnt even leave Stewart Manor as the streets have called to him.
It's been a rough week, but it's Wrestlemania weekend and yours truly is lying around watching the Hall of Fame and hoping Bret Hart gets his due tonight. More gigs are ahead, as we are checking out Gorillaz on Monday night and we just grabbed tix to see Nine Inch Nails with special guest Bauhaus (!) this summer. Who knows what that will be like?
F
31.3.06
29.3.06
28.3.06
Enter The Cobra
Waking up on Saturday with yet another hangover, I was excited for the day ahead. Once I could get my lazy ass moving, I found myself back at Brandt's working on Leningrad, which sounds shockingly fierce. It's a big song. It has two basses (which is what the demo was originally called) and has two very distinct sections. It's hard to explain, but will make sense when you hear it. The highlight of the day was busting out the old school Kurzweil K-2000 and some FX pedals for me to replay some string sections. A lot of effort went into making the strings sound less synthetic and I think the results were quite impressive
Then, after a trip to Rebel Rebel for our Saturday afternoon CD purchases (which included new albums by The Knife and Placebo as well as the new Morrissey single and Japan's Best Of), B and I met up with Astoria and Harlem for a manly dinner at New Green Bo. Tonight was a special night, as it marked the debut of In Loving Memory, also known as ILM and often referred to here as Ass Cobra. Anyhow, we knew we had to represent and support this new MOG-related band.
It was a fun journey to Greenpoint. Luckily, Brandt knew where the hell to go and it was a 3-subway experionce. But per usual, it was a fun ride, filled with the usual laughs and creative writing we are known for.
Here are some highlights (for the record, we did not graffitti this shit):
The Train:
THE MAN:
So anyway, armed with masculinity and Baltika 9 (Good Russian Beer) we get to Greenpoint (Brooklyn for your tourists) and head to a nondescript rehearsal space located above the tattoo parlor. Ash was outside and I think happy to see not only all the guys, but especially G and I because we told them we weren't coming to the gig because we had tickets to see Richard Ashcroft open for Coldplay (which we did, but sold the tickets to attend the ILM gig). So the vibes were good. Enough small talk lets get to the gig:
I love Charles. He busts my balls daily and has raised the bar of all of the MOGrelated bands. Some have crumbled to that standard bearing, others have risen to the challenge. Some, like myself, are slow learners. But when my man plays bass, he plays it like a fucking ninja where he looks all calm and chill and he's smacking the low end down like a champ. While I already knew he had the talent, it was fun to see him perform for the first time. Killer.
Obviously, my soft spot is for Ash. Since his days being "that kid with a sampler" from Oyster Bay to stepping up to fill the second guitarist slot in the aggression, he has been on undending yet occasionally erratic path of progress. Tonight was the culmination of that journey. He stepped up to the plate and delivered both musically and with great personality. It was like watching your kid graduate with honours. Technically sound and charismatic, Ash can best be described by Dan Hamill: "Yo, Ash as a frontman is AWESOME". You can't argue with G-nius.
I apologize that I don't have a clear shot of Robin during the performance. As we all know, she is elusive to begin with, but she lets the skinbeating do the talking. And she spoke fucking VOLUMES on this night. I am her biggest fan, as we all know. However, I was able to grab this rare shot of Robin and her S.O. Damon, who I am a big fan of, and is a member of this blog but never posts chatting with Hypefactor member Brandt.
As for the band and the music, the years of hard work have paid off. Being an instrumental three piece is a difficult task to begin with, but in the right setting and with the right songs (KEY), ILM pulled it off. The songs were melodic and catchy, the right length, and played to everyone's strengths. Ash's four dozen pedals paid off and he was playing this sweet guitar he BORROWED OFF BRANDT AND MIGHT BUY OFF HIM SOMEDAY. Also, being of fan of Ash's electronic streak, I was excited to hear some loops and sounds throw in as an enhancement to the songs. Proper use. My complaints are few and not significant enough for this blog. I missed their early song DETROIT and OCIONIC, which is dear to my heart. Great songs for a band with an exciting future. Obviously, I am biased, I know them and I work with them, but I, like they are for me, am objective and I love the fact that I can get on this blog and truthfully report this.
After the gig, we hung out and caught up. Seeing Ash, Robin and Charles (and Charles' lovely wife Laura who refused to be photographed for this blog) is always a treat and hopefully in the coming years we will be seeing them play more and playing with them as well. Watching them was really inspiring and got my live performance juices flowing. It made me also want an ILM album asap. In this candid shot, Brandt tries to convince Charles that his new home/studio is safe to bring his car and gear to, especially after playing in Greenpoint ;-) so we can finish the HF album
It was a great evening to be a member of the MOGpac. Sadly, Mattagement was missing, but he had a reasonable excuse as he was yet again weekending in Europe. I was very proud of the band and the Pac itself. Good people, good times.
I can never end the week without a display of the Kruger babies, who are coming to visit us in June:
Between Kruger, Cramps and Links, the mogbabies are quite the small army of cuteness.
F
Then, after a trip to Rebel Rebel for our Saturday afternoon CD purchases (which included new albums by The Knife and Placebo as well as the new Morrissey single and Japan's Best Of), B and I met up with Astoria and Harlem for a manly dinner at New Green Bo. Tonight was a special night, as it marked the debut of In Loving Memory, also known as ILM and often referred to here as Ass Cobra. Anyhow, we knew we had to represent and support this new MOG-related band.
It was a fun journey to Greenpoint. Luckily, Brandt knew where the hell to go and it was a 3-subway experionce. But per usual, it was a fun ride, filled with the usual laughs and creative writing we are known for.
Here are some highlights (for the record, we did not graffitti this shit):
The Train:
THE MAN:
So anyway, armed with masculinity and Baltika 9 (Good Russian Beer) we get to Greenpoint (Brooklyn for your tourists) and head to a nondescript rehearsal space located above the tattoo parlor. Ash was outside and I think happy to see not only all the guys, but especially G and I because we told them we weren't coming to the gig because we had tickets to see Richard Ashcroft open for Coldplay (which we did, but sold the tickets to attend the ILM gig). So the vibes were good. Enough small talk lets get to the gig:
I love Charles. He busts my balls daily and has raised the bar of all of the MOGrelated bands. Some have crumbled to that standard bearing, others have risen to the challenge. Some, like myself, are slow learners. But when my man plays bass, he plays it like a fucking ninja where he looks all calm and chill and he's smacking the low end down like a champ. While I already knew he had the talent, it was fun to see him perform for the first time. Killer.
Obviously, my soft spot is for Ash. Since his days being "that kid with a sampler" from Oyster Bay to stepping up to fill the second guitarist slot in the aggression, he has been on undending yet occasionally erratic path of progress. Tonight was the culmination of that journey. He stepped up to the plate and delivered both musically and with great personality. It was like watching your kid graduate with honours. Technically sound and charismatic, Ash can best be described by Dan Hamill: "Yo, Ash as a frontman is AWESOME". You can't argue with G-nius.
I apologize that I don't have a clear shot of Robin during the performance. As we all know, she is elusive to begin with, but she lets the skinbeating do the talking. And she spoke fucking VOLUMES on this night. I am her biggest fan, as we all know. However, I was able to grab this rare shot of Robin and her S.O. Damon, who I am a big fan of, and is a member of this blog but never posts chatting with Hypefactor member Brandt.
As for the band and the music, the years of hard work have paid off. Being an instrumental three piece is a difficult task to begin with, but in the right setting and with the right songs (KEY), ILM pulled it off. The songs were melodic and catchy, the right length, and played to everyone's strengths. Ash's four dozen pedals paid off and he was playing this sweet guitar he BORROWED OFF BRANDT AND MIGHT BUY OFF HIM SOMEDAY. Also, being of fan of Ash's electronic streak, I was excited to hear some loops and sounds throw in as an enhancement to the songs. Proper use. My complaints are few and not significant enough for this blog. I missed their early song DETROIT and OCIONIC, which is dear to my heart. Great songs for a band with an exciting future. Obviously, I am biased, I know them and I work with them, but I, like they are for me, am objective and I love the fact that I can get on this blog and truthfully report this.
After the gig, we hung out and caught up. Seeing Ash, Robin and Charles (and Charles' lovely wife Laura who refused to be photographed for this blog) is always a treat and hopefully in the coming years we will be seeing them play more and playing with them as well. Watching them was really inspiring and got my live performance juices flowing. It made me also want an ILM album asap. In this candid shot, Brandt tries to convince Charles that his new home/studio is safe to bring his car and gear to, especially after playing in Greenpoint ;-) so we can finish the HF album
It was a great evening to be a member of the MOGpac. Sadly, Mattagement was missing, but he had a reasonable excuse as he was yet again weekending in Europe. I was very proud of the band and the Pac itself. Good people, good times.
I can never end the week without a display of the Kruger babies, who are coming to visit us in June:
Between Kruger, Cramps and Links, the mogbabies are quite the small army of cuteness.
F
21.3.06
AYYYYY
No, my agent/lawyer/advisor did not travel ahead through time to attend the next aggression reunion, that is the actual fucking Fonz, man! ACE, or should i say AYYYYYCE
20.3.06
Caught Up
I'm slow to catch up, but things are moving full speed ahead here at MOGworld. With Irene off to Miami for E3 this weekend, I'm freeing up to do the things men do (work on music, watch Hong Kong Movies). This past weekend was a sunny day at the studio, which you see here, which is from the living room.
B and I plowed full steam ahead on LENINGRAD, the most unusual song on the album. Man, does it sound sweet with the live drums hugging those loops. What I like about this song is not just the fact that you have no idea what lies ahead as the song progresses, but I feel this tune beneifts from the unique styles of each band member. Where this song starts is not exactly how this song ends, and there lies the charm. A keeper.
Meanwhile other things are afoot in HF world. Burnlab has reppeared to address the artwork issues at hand while our myspace presence has doubled as of late as we are trying to build momentum for the band and album so when the record is ready musically and sonically, everything is in place. We've been quietly plotting and scheming and it's an exciting time, except for certain setbacks that might lead us to have to write a new song from scratch. I'm hoping there's the "OH I KNOW" moment and the problem is solved, but it's looking less and less likely. Though we shall endeavor without interruption and will move ahead undeterred.
While Agent/Lawyer/Advisor treked from LA to San Fran for the Chemlab experience, which I'm told was a mega blast, her boyfriend's new modelling gig went on display in Soho.
Thanks to her for importing my Chemlab gear back to LA. You can get some new Lab gear, including Tshirts designed by yours truly here, here: http://www.hydrogenbar.com/merch.html
I'm listening to the new Gustavo Lamas album, MAREO, which is excellent makes a nice birthday present for Brandt. I strongly urge any of you into good smooth warm electronics to check this album out. But it here: http://www.buenosaliens.com/ Also, Hooky himself has done an exclusive DJ mix for AOL: http://music.aol.com/musicstyles/dance.adp which is a cool site that has that Carlos D DJ set Irene took me to and some stuff thats probably much better than a goth half ass DJing at a museum.
And finally, my two favourite Krugers went to Hawaii and sent some transmissions of cuteness that I share with you now just cause I can and I love them:
B and I plowed full steam ahead on LENINGRAD, the most unusual song on the album. Man, does it sound sweet with the live drums hugging those loops. What I like about this song is not just the fact that you have no idea what lies ahead as the song progresses, but I feel this tune beneifts from the unique styles of each band member. Where this song starts is not exactly how this song ends, and there lies the charm. A keeper. Meanwhile other things are afoot in HF world. Burnlab has reppeared to address the artwork issues at hand while our myspace presence has doubled as of late as we are trying to build momentum for the band and album so when the record is ready musically and sonically, everything is in place. We've been quietly plotting and scheming and it's an exciting time, except for certain setbacks that might lead us to have to write a new song from scratch. I'm hoping there's the "OH I KNOW" moment and the problem is solved, but it's looking less and less likely. Though we shall endeavor without interruption and will move ahead undeterred.
While Agent/Lawyer/Advisor treked from LA to San Fran for the Chemlab experience, which I'm told was a mega blast, her boyfriend's new modelling gig went on display in Soho.
Thanks to her for importing my Chemlab gear back to LA. You can get some new Lab gear, including Tshirts designed by yours truly here, here: http://www.hydrogenbar.com/merch.html I'm listening to the new Gustavo Lamas album, MAREO, which is excellent makes a nice birthday present for Brandt. I strongly urge any of you into good smooth warm electronics to check this album out. But it here: http://www.buenosaliens.com/ Also, Hooky himself has done an exclusive DJ mix for AOL: http://music.aol.com/musicstyles/dance.adp which is a cool site that has that Carlos D DJ set Irene took me to and some stuff thats probably much better than a goth half ass DJing at a museum.
And finally, my two favourite Krugers went to Hawaii and sent some transmissions of cuteness that I share with you now just cause I can and I love them:
17.3.06
Out In the Moonlight...
The Gold Street Boys discuss The Manic Street Preachers:
G: i just realized i'm nearly completley unfamiliar with their last album
F: dude, that is the best shit. do you want? let me do you a favor. that album is AMAZING
G: sure, when i'm at my labtop i'd like your favor. what album of thiers dose it most sound like
F: more like the high point this is my truth but rockier
G: that's high praise
F: its without a doubt my second fave manics. dont you recall it being my album of the year 2004?
G: no, but then, you didn't have a blog then
F: guy, i have had a blog since 2003
G: really...i don't ever recall reading it more than several months ago
Much later:
G: i'm catching up all all the entries that I "missed". ash going off on tom for not going to a death cab for cutie show is FUnny
G: apparently, back around
28.5.03
we enjoyed some Tapas together
G: i just realized i'm nearly completley unfamiliar with their last album
F: dude, that is the best shit. do you want? let me do you a favor. that album is AMAZING
G: sure, when i'm at my labtop i'd like your favor. what album of thiers dose it most sound like
F: more like the high point this is my truth but rockier
G: that's high praise
F: its without a doubt my second fave manics. dont you recall it being my album of the year 2004?
G: no, but then, you didn't have a blog then
F: guy, i have had a blog since 2003
G: really...i don't ever recall reading it more than several months ago
Much later:
G: i'm catching up all all the entries that I "missed". ash going off on tom for not going to a death cab for cutie show is FUnny
G: apparently, back around
28.5.03
we enjoyed some Tapas together
15.3.06
The Early Candidates
Sorry for the lack of communication. Uncle duty was yet again awesome and a very sad Cameron J Bradish left his beloved NYC for his home in Montreal on Monday. And I promptly fell asleep. On 8th Ave. During his stay, I was suddenly ovewhlemed with new music pouring in from all quaters. And believe it or not, my first two candidates for Album Of The Year emerged.
The first is the incredible POWDER BURNS by Greg Dulli and his Twilight Singers, which is on constant rotation and blowing my fucking mind. With age, Dulli is getting angrier and harder and the new CD (not due out til May, but thanks to Brandt, a promo was obtained), to the point where the intro to the record TOWARD THE WAVES and the first track I'M READY, have been described as "aggressiony" (meaning my former band). Dulli is ON and he is pissed and while taking a new route and rawer edge in his production, he seems to enter a very fresh and live terrain. Also, and guys correct me if I'm wrong, this is the first TS album to fully utilize the awesome drumming skills of Bobby Macintyre, who is a beast and gives this album a whole lot of muscle. Also, It's awesome to see Dulli go further with the use of strings, for which I am a sucker for. Another great album from a vital and important artist.
Speaking of vital and important, the meteoric rise of MORRISSEY continues with his new one RINGLEADER OF THE TORMENTORS, which could be the album the defines his later solo career moreso than the previous record. I've only heard a shitty rip of it, but the songs are there, the musicians are top notch and Moz seems hungry as fuck to be relevant. Tony Visconti in the producers chair is a match made in heaven and man does this seem like the one. I reserve further judgement till I hear the mastered version, but dang this is sweet.
Unless Peter Hook puts out a Monaco anthology in the next year, the best reissue/anthology of 2006 is going to the MISSION Anthology, which is two cds carefully put together by Mr. Hussey himself and featuring rare and unreleased material as well the hits (but done in a cool way where he includes single versions and other assorted remixes that have never appeared on CD before). He does extensive liner notes as well that contains great anecdotes about the band and the songs. This is a perfect example of how an anthology should be made. The mastering is great and in light of the Sisters debacle last week, this is a nice reminder of how great all that stuff was. Hussey 1. Eldritch 0.
Also, lowfi versions of some of the new Primal Scream tracks have begun floating. I have a feeling there's going to be a large divide in the MOG camp on this album. It's gonna be me and G singing COUNTRY GIRL all year and everyone else going back to Xterminator. The Primals have gone back to the rock and while it might not be the right move to make at this point in their career, it could be a fun direction (if they let Mani loose).
Speaking of album of the year, Brandt and I caught up last night at the studio and he finally finished transferring all the files into our new Abelton Live set up. Honestly, this is gonna be worth the wait. The album sounding huge and alive, and once we get the proper overdubs and final vocals down, I think this is gonna be the keeper of keepers. It's exciting to see the progress gain more momentum at such a high quality. Ace. Also, I have finally ordered my new Powermac and man am I excited for this thing to arrive. Sure, there are going to be a lot of holdups as everyone transfers their software over to the new Intel based Mac's, but it wil be worth it. Thank god Abelton is going to have a version of Live for this asap.
Good times.
F
The first is the incredible POWDER BURNS by Greg Dulli and his Twilight Singers, which is on constant rotation and blowing my fucking mind. With age, Dulli is getting angrier and harder and the new CD (not due out til May, but thanks to Brandt, a promo was obtained), to the point where the intro to the record TOWARD THE WAVES and the first track I'M READY, have been described as "aggressiony" (meaning my former band). Dulli is ON and he is pissed and while taking a new route and rawer edge in his production, he seems to enter a very fresh and live terrain. Also, and guys correct me if I'm wrong, this is the first TS album to fully utilize the awesome drumming skills of Bobby Macintyre, who is a beast and gives this album a whole lot of muscle. Also, It's awesome to see Dulli go further with the use of strings, for which I am a sucker for. Another great album from a vital and important artist.
Speaking of vital and important, the meteoric rise of MORRISSEY continues with his new one RINGLEADER OF THE TORMENTORS, which could be the album the defines his later solo career moreso than the previous record. I've only heard a shitty rip of it, but the songs are there, the musicians are top notch and Moz seems hungry as fuck to be relevant. Tony Visconti in the producers chair is a match made in heaven and man does this seem like the one. I reserve further judgement till I hear the mastered version, but dang this is sweet.
Unless Peter Hook puts out a Monaco anthology in the next year, the best reissue/anthology of 2006 is going to the MISSION Anthology, which is two cds carefully put together by Mr. Hussey himself and featuring rare and unreleased material as well the hits (but done in a cool way where he includes single versions and other assorted remixes that have never appeared on CD before). He does extensive liner notes as well that contains great anecdotes about the band and the songs. This is a perfect example of how an anthology should be made. The mastering is great and in light of the Sisters debacle last week, this is a nice reminder of how great all that stuff was. Hussey 1. Eldritch 0.
Also, lowfi versions of some of the new Primal Scream tracks have begun floating. I have a feeling there's going to be a large divide in the MOG camp on this album. It's gonna be me and G singing COUNTRY GIRL all year and everyone else going back to Xterminator. The Primals have gone back to the rock and while it might not be the right move to make at this point in their career, it could be a fun direction (if they let Mani loose).
Speaking of album of the year, Brandt and I caught up last night at the studio and he finally finished transferring all the files into our new Abelton Live set up. Honestly, this is gonna be worth the wait. The album sounding huge and alive, and once we get the proper overdubs and final vocals down, I think this is gonna be the keeper of keepers. It's exciting to see the progress gain more momentum at such a high quality. Ace. Also, I have finally ordered my new Powermac and man am I excited for this thing to arrive. Sure, there are going to be a lot of holdups as everyone transfers their software over to the new Intel based Mac's, but it wil be worth it. Thank god Abelton is going to have a version of Live for this asap.
Good times.
F
8.3.06
Jack Sparrow Sings
The last time I posted here — months ago now — I spent the better part of 1,000 words dissecting the failures of Martin Gore (both in music and in wardrobe). But my return to blogging irregularly will begin on a positive note, as I am writing to sing the praises of a new band who I hope are destined for big things.
Upon returning to Brooklyn from a weekend in sunny, 73-degree New Orleans (where Nothing Studios was spotted, but Greg Dulli's old haunt was not), Allison and I headed to Bowery Ballroom last Monday to catch the second-ever New York show by Serena-Maneesh, a Norwegian septet whose eponymous record came out late last year. They are a challenge to describe, both musically and physically, but I think a critic for The Guardian newspaper summed them up nicely when he wrote, " ... [Serena] are to Primal Scream and the Mary Chain what Primal Scream and the Mary Chain were to the Velvets and the Stones."
I first heard this group late last year courtesy of Pitchfork, who previewed a track from the band's self-titled album called "Selina's Melodie Fountain." The reviewer hooked me with a comparison to My Bloody Valentine that turned out to be wholly justified. The track is a stormer, oscillating between a jumpy Stooges riff and a cascading tidal wave of sound that evokes everything great about the shoegazer sound. I was an immediate convert.
Buoyed by Pitchfork's endorsement, a newly-inked U.S. record a deal and a fistful of hype, the band flew to the States in late January for a mini-tour that included a stop at Mercury Lounge. While I was sold on much of their album by this point, I could not shake the feeling of skepticism I have about all new bands tipped to be the "next big thing from abroad" (ask me about my thoughts on Editors sometime). They kept the sold-out crowd waiting for 45 minutes thanks to a gear breakdown, but they erased any doubts I had by the time they got to the crescendo of opener "Drain Cosmetics." All the beauty, vigor and squall hinted at on the album was there in spades, and my god was it loud. Easily one of the loudest gigs I have seen in years, and almost painfully so. When you read old reviews of Mary Chain gigs that describe them as deafening, you don't really understand what that means until you see something like this.
It was also fascinating to see the band in the flesh, as they are quite the motley crew. They tour with three guitarists, a bassist, a drummer a violinist and a backup singer, all in the name of recreating as much atmosphere live as possible. The violinist was the biggest (and most pleasant) surprise because you would never know that all the haunting atmospherics on the album are actually that guy playing through loads of effects. Smart move to bring him on tour. Emil Nikolaisen, the singer/guitarist/bandleader (pictured), is quite the fashion spectacle, sporting a pencil-thin moustache and loads of scarves (prompting more than a few comparisons to Jack Sparrow). The woman who plays bass looks like the blonde from Abba, only she is 7 feet tall. But the backing vocalist can't be an inch over 5'3". And the drummer wears eyeshadow.
Flash-forward to Bowery Ballroom, and the band is two members short (the third guitarist's plane was struck by lightning in Norway and the backing singer is ill). Disaster? Hardly. The band was in spectacular form playing a revamped and vastly more experimental set, which emphasized the instrumental tracks from their latest album to great effect. Nikolaisen is an animal onstage, thrashing away at his guitar like an epileptic, while the drummer recalls the solid thump of Moe Tucker and keeps things from getting too unwieldy. The bassist was visibly uncomfortable having to sing backup, but unless you had seen the first show you would never have known the difference. As was the case at Mercury, they ended without an encore and left the stage in a haze of noise and feedback, but not before the unfailingly earnest Nikolaisen thanked the audience profusely for even bothering to show up. Class.
To be certain, Serena-Maneesh is not for everyone. I noticed more than a few hipsters walked out of both gigs (though no one screamed "parody"), while others stayed but could not disguise their bafflement. The band has been touted by many of the same critics and blogs that typically fawn over competent but otherwise unspectacular indie darlings like Clap Your Hands Say Yeah and The National, and I bet more than a few people showed up expecting something else. Or perhaps they hoped that indie folkster Sufjan Stevens, who guests on the album and attended both shows, would join them onstage. Regardless, hipsters with a strong aversion to music that feels even remotely dangerous will be revolted by this band, and deservedly so. There is nothing pretty, crisp or gentle about them, and that is precisely why they are worth following.
Upon returning to Brooklyn from a weekend in sunny, 73-degree New Orleans (where Nothing Studios was spotted, but Greg Dulli's old haunt was not), Allison and I headed to Bowery Ballroom last Monday to catch the second-ever New York show by Serena-Maneesh, a Norwegian septet whose eponymous record came out late last year. They are a challenge to describe, both musically and physically, but I think a critic for The Guardian newspaper summed them up nicely when he wrote, " ... [Serena] are to Primal Scream and the Mary Chain what Primal Scream and the Mary Chain were to the Velvets and the Stones."
I first heard this group late last year courtesy of Pitchfork, who previewed a track from the band's self-titled album called "Selina's Melodie Fountain." The reviewer hooked me with a comparison to My Bloody Valentine that turned out to be wholly justified. The track is a stormer, oscillating between a jumpy Stooges riff and a cascading tidal wave of sound that evokes everything great about the shoegazer sound. I was an immediate convert.
Buoyed by Pitchfork's endorsement, a newly-inked U.S. record a deal and a fistful of hype, the band flew to the States in late January for a mini-tour that included a stop at Mercury Lounge. While I was sold on much of their album by this point, I could not shake the feeling of skepticism I have about all new bands tipped to be the "next big thing from abroad" (ask me about my thoughts on Editors sometime). They kept the sold-out crowd waiting for 45 minutes thanks to a gear breakdown, but they erased any doubts I had by the time they got to the crescendo of opener "Drain Cosmetics." All the beauty, vigor and squall hinted at on the album was there in spades, and my god was it loud. Easily one of the loudest gigs I have seen in years, and almost painfully so. When you read old reviews of Mary Chain gigs that describe them as deafening, you don't really understand what that means until you see something like this.
It was also fascinating to see the band in the flesh, as they are quite the motley crew. They tour with three guitarists, a bassist, a drummer a violinist and a backup singer, all in the name of recreating as much atmosphere live as possible. The violinist was the biggest (and most pleasant) surprise because you would never know that all the haunting atmospherics on the album are actually that guy playing through loads of effects. Smart move to bring him on tour. Emil Nikolaisen, the singer/guitarist/bandleader (pictured), is quite the fashion spectacle, sporting a pencil-thin moustache and loads of scarves (prompting more than a few comparisons to Jack Sparrow). The woman who plays bass looks like the blonde from Abba, only she is 7 feet tall. But the backing vocalist can't be an inch over 5'3". And the drummer wears eyeshadow.
Flash-forward to Bowery Ballroom, and the band is two members short (the third guitarist's plane was struck by lightning in Norway and the backing singer is ill). Disaster? Hardly. The band was in spectacular form playing a revamped and vastly more experimental set, which emphasized the instrumental tracks from their latest album to great effect. Nikolaisen is an animal onstage, thrashing away at his guitar like an epileptic, while the drummer recalls the solid thump of Moe Tucker and keeps things from getting too unwieldy. The bassist was visibly uncomfortable having to sing backup, but unless you had seen the first show you would never have known the difference. As was the case at Mercury, they ended without an encore and left the stage in a haze of noise and feedback, but not before the unfailingly earnest Nikolaisen thanked the audience profusely for even bothering to show up. Class.
To be certain, Serena-Maneesh is not for everyone. I noticed more than a few hipsters walked out of both gigs (though no one screamed "parody"), while others stayed but could not disguise their bafflement. The band has been touted by many of the same critics and blogs that typically fawn over competent but otherwise unspectacular indie darlings like Clap Your Hands Say Yeah and The National, and I bet more than a few people showed up expecting something else. Or perhaps they hoped that indie folkster Sufjan Stevens, who guests on the album and attended both shows, would join them onstage. Regardless, hipsters with a strong aversion to music that feels even remotely dangerous will be revolted by this band, and deservedly so. There is nothing pretty, crisp or gentle about them, and that is precisely why they are worth following.
7.3.06
Mercy. (aka A Letter to Ash)
Dear Ash:
Last night Matt and I ventured to Webster Hall to see the Sisters of Mercy and within minutes of the first song I thought of you. Not cause we saw Dean there or because we saw *imagine me making a hand gesture where it looks like I'm chopping my neck, which actually has to do something with hair length and is the symbol for some chick you liked back in the day* (Don't ask me, folks, this is a Matt and Ash thing), but because I was reminded of that time so many years ago when we saw Johnny Marr and you yelled "PARODY" at him to the point of absolute annoyance and to our extreme embarrassment. Well, you were wrong then and you are even more wrong now. I'll explain, but before going further, this is the dictionary definition of the word:
par·o·dy P Pronunciation Key (pr-d)
n. pl. par·o·dies
A literary or artistic work that imitates the characteristic style of an author or a work for comic effect or ridicule. See Synonyms at caricature.
The genre of literature comprising such works.
Something so bad as to be equivalent to intentional mockery; a travesty: The trial was a parody of justice.
Music. The practice of reworking an already established composition, especially the incorporation into the Mass of material borrowed from other works, such as motets or madrigals.
In my mind, a musician we like would be a parody if they were trying to recapture the magic of their youth or relying on their past of reputation to get them by. You see, Johnny Marr falls into none of those descriptions. When we saw him, he wasn't playing Smiths songs or prostituting his youth and/or past. He has done what he wants, his own way, and while you may not have liked that direction, you have to respect that he wasn't trying to rip off his past. Would you have preferred half ass Smiths songs? Anyhow, let me tell you about some recent parodies that I have encountered.
I heard the new Ministry album and something called "The Revolting Cocks" recently. Neither record is out yet, and neither is going to do any business simply because we have a now clean Uncle Al, clearhearded and obviously unaware of the last 20 years, being a total parody. Someone has basically told him that making a Revco album without Barker, Rieflin, Connelly or any other previous Revco members is OK. This idea and subsequent album falls under "Something so bad as to be equivalent to intentional mockery; a travesty" This person should be shot and killed immediately. This same person probably played a now sober Uncle Al a copy of PSALM 69 and LAND OF RAPE AND HONEY and said "The shit where you hate Republicans is what the kids liked from you when you were on drugs, now go do this". And instead of trying to create something fresh, new and worthy of his history, Al went and tried to recreate the magic, long after it's time had past and without the collaborators who made these works brilliant. This new Ministry album can be filed under "artistic work that imitates the characteristic style."
But anyway, last night, Matt, his cousin and I walked down the block in hopes that maybe the last time we saw the Sisters of Mercy (at Roseland circa 2001, a gig so bad that Matt and I got insanely shitfaced and ignored the entire gig) was a bad fluke. I kinda knew going into it that it was going to be bad, especially when I found out they STILL don't have a fucking bassist, which is the ultimate insult to the Sisters Legacy, because their history is so heavly rooted in awesome bassists like Craig Adams, Patricia Morrison and Tony James. Also, I was suckered into the fact that this was the 25th anniversary tour and was hoping that they would play a new setlist that deviated from the one that they have played for the last 10 years. Thirdly and very vaguely (is that a word), I thought maybe this meant a CD of new material would finally be available soon. Again, as Eldritch once sang: I was wrong (on all counts).
And so Eldritch, some dude called Robochrist, and some guy who you know was in a metal band at some point came on and played the most limp version of FIRST LAST AND ALWIYS I will ever hear in my life. Eldritch, to his credit, looked much better than I thought he would and wasn't wearing the industrial bullshit gear I had heard he'd been sporting. He does his gimmick, same as always: vocals mixed too loud, over the top delivery, and very little in the way of working the crowd (who seemed incredibly bored the whole time). The guitarists were very good but had very little to work with. It's the same set list from when we last saw them (and the time before that) and the "new songs", which I like, are now almost 15 years old and have yet to appear on a CD! What the fuck, right? Even Hypefactor will have record out in that time frame. Speaking of which how's the mixing going?
So then they keep playing and I'm reminded of seeing them in 1990 with Tony James on bass and with a keyboardist who sang back-up and I'm thinking back to all those interviews where Eldritch talked about how the Sisters of always been a Rock N Roll band, but I just can't take it seriously now when I hear all these great basslines I learned as a kid now relegated to the backing track. It's like DUDE, you already use drum machines, you NEED a fucking bassist.
Anyhow, the big shocker of the night was Robochrist, who is big in Poland. He's VERY good on the guitar, often alternating between electric guitar and acoustic 12 stings. He looks like Bryan Black's younger outgoing brother. He's basically everything Tom should have been during the height of the aggression (more on that in a minute). I thought this guy was going to be a silly industrial D-bag, but he was a classy rocker who had presence but wasn't a ham. He was confident and played well. I like him (Matt liked him so much that he Emailed him for reasons I don't think I could understand). The other guy, who is brand new, played the parts, had some energy, and that's about all you need. But again with no bassist, what's the point? The problem is not with the musicians, the problem is with what they DON'T have, which is what made them so great before.
The set dragged on. It's a blur. They played ANACONDA, which I really wanted to hear. It sucked. However, the last two songs of the set, WHEN YOU DON'T SEE ME and FLOOD 2 (of course I thought about the aggression's FLOOD) and the encore were actually quite good, so I give them that. They were smart in that they played reworked arrangements of stuff like LUCRETIA and TEMPLE OF LOVE. Sadly, they should have given this much creative thought to the main set. It could have made up for the bulk of these issues I have (but probably not all of them).
And then it was over. It was a Parody. It screamed "paycheck" simple because of the horribly inflated price (I'm paying half to see Dickie there in a few weeks) for this show and a set list that hasn't deviated in a decade plus. This is the 25th Anniversary? Fuck you. Parody. So you see, Ash, Johnny Marr is not a parody, but Andrew Eldtrich is. So is Al Jourgenson. See? I hope I have made my point clear. it KILLS me to write all this. I don't see how guys like these can't look at someone older, say like a Bowie or a John Cale or a Cerati (who is younger, but you get the idea) and see just how the fuck to retain some fucking class and dignity while satisfying your core audience. Those are the examples we need to follow as you join me in the third decade of your life.
What I'm saying, Ash, is that I guess this letter to you is meant to help you understand what parody truly is. Also, this marks the true end of my musical childhood. It's crushed. Destroyed. Between the Sisters and Ministry (the two original direct influences on the aggression) totally just sucking and not evolving, I feel that I can move onto the next stage of my musical adulthoodtood with the Hypefactor experionce. I find myself going back full circle to Peter Hook, my original and most direct influence, who is a riot, and often cheesy, but is never a parody.
I think it's exciting that we have ended the aggression just in time for me to watch everything that I love that influenced it go to shit. It's funny, because many people were convinced that once we played the "last ever" show in January that it would be a restart and/or continuation of the aggression. Everyone from Kruger to Irene was like "Here we go again". But I KNEW better. Do you see now? That's why you can take the quotation marks off the phrase Last Gig Ever. Cause that was truly it. The end. And I mean, you HAVE heard the Hypefactor album, right? Yes, it IS that good.
Anyway, I hope you're well and mixing, cause our future is currently in your hands. I wish you only the best as you begin your musical future with your gig on the 25th, which everyone can learn about at http://www.inloving.net/. Sadly, I won't be there, but you don't need a frontman anyway ;-)
Love,
F
Last night Matt and I ventured to Webster Hall to see the Sisters of Mercy and within minutes of the first song I thought of you. Not cause we saw Dean there or because we saw *imagine me making a hand gesture where it looks like I'm chopping my neck, which actually has to do something with hair length and is the symbol for some chick you liked back in the day* (Don't ask me, folks, this is a Matt and Ash thing), but because I was reminded of that time so many years ago when we saw Johnny Marr and you yelled "PARODY" at him to the point of absolute annoyance and to our extreme embarrassment. Well, you were wrong then and you are even more wrong now. I'll explain, but before going further, this is the dictionary definition of the word:
par·o·dy P Pronunciation Key (pr-d)
n. pl. par·o·dies
A literary or artistic work that imitates the characteristic style of an author or a work for comic effect or ridicule. See Synonyms at caricature.
The genre of literature comprising such works.
Something so bad as to be equivalent to intentional mockery; a travesty: The trial was a parody of justice.
Music. The practice of reworking an already established composition, especially the incorporation into the Mass of material borrowed from other works, such as motets or madrigals.
In my mind, a musician we like would be a parody if they were trying to recapture the magic of their youth or relying on their past of reputation to get them by. You see, Johnny Marr falls into none of those descriptions. When we saw him, he wasn't playing Smiths songs or prostituting his youth and/or past. He has done what he wants, his own way, and while you may not have liked that direction, you have to respect that he wasn't trying to rip off his past. Would you have preferred half ass Smiths songs? Anyhow, let me tell you about some recent parodies that I have encountered.
I heard the new Ministry album and something called "The Revolting Cocks" recently. Neither record is out yet, and neither is going to do any business simply because we have a now clean Uncle Al, clearhearded and obviously unaware of the last 20 years, being a total parody. Someone has basically told him that making a Revco album without Barker, Rieflin, Connelly or any other previous Revco members is OK. This idea and subsequent album falls under "Something so bad as to be equivalent to intentional mockery; a travesty" This person should be shot and killed immediately. This same person probably played a now sober Uncle Al a copy of PSALM 69 and LAND OF RAPE AND HONEY and said "The shit where you hate Republicans is what the kids liked from you when you were on drugs, now go do this". And instead of trying to create something fresh, new and worthy of his history, Al went and tried to recreate the magic, long after it's time had past and without the collaborators who made these works brilliant. This new Ministry album can be filed under "artistic work that imitates the characteristic style."
But anyway, last night, Matt, his cousin and I walked down the block in hopes that maybe the last time we saw the Sisters of Mercy (at Roseland circa 2001, a gig so bad that Matt and I got insanely shitfaced and ignored the entire gig) was a bad fluke. I kinda knew going into it that it was going to be bad, especially when I found out they STILL don't have a fucking bassist, which is the ultimate insult to the Sisters Legacy, because their history is so heavly rooted in awesome bassists like Craig Adams, Patricia Morrison and Tony James. Also, I was suckered into the fact that this was the 25th anniversary tour and was hoping that they would play a new setlist that deviated from the one that they have played for the last 10 years. Thirdly and very vaguely (is that a word), I thought maybe this meant a CD of new material would finally be available soon. Again, as Eldritch once sang: I was wrong (on all counts).
And so Eldritch, some dude called Robochrist, and some guy who you know was in a metal band at some point came on and played the most limp version of FIRST LAST AND ALWIYS I will ever hear in my life. Eldritch, to his credit, looked much better than I thought he would and wasn't wearing the industrial bullshit gear I had heard he'd been sporting. He does his gimmick, same as always: vocals mixed too loud, over the top delivery, and very little in the way of working the crowd (who seemed incredibly bored the whole time). The guitarists were very good but had very little to work with. It's the same set list from when we last saw them (and the time before that) and the "new songs", which I like, are now almost 15 years old and have yet to appear on a CD! What the fuck, right? Even Hypefactor will have record out in that time frame. Speaking of which how's the mixing going?
So then they keep playing and I'm reminded of seeing them in 1990 with Tony James on bass and with a keyboardist who sang back-up and I'm thinking back to all those interviews where Eldritch talked about how the Sisters of always been a Rock N Roll band, but I just can't take it seriously now when I hear all these great basslines I learned as a kid now relegated to the backing track. It's like DUDE, you already use drum machines, you NEED a fucking bassist.
Anyhow, the big shocker of the night was Robochrist, who is big in Poland. He's VERY good on the guitar, often alternating between electric guitar and acoustic 12 stings. He looks like Bryan Black's younger outgoing brother. He's basically everything Tom should have been during the height of the aggression (more on that in a minute). I thought this guy was going to be a silly industrial D-bag, but he was a classy rocker who had presence but wasn't a ham. He was confident and played well. I like him (Matt liked him so much that he Emailed him for reasons I don't think I could understand). The other guy, who is brand new, played the parts, had some energy, and that's about all you need. But again with no bassist, what's the point? The problem is not with the musicians, the problem is with what they DON'T have, which is what made them so great before.
The set dragged on. It's a blur. They played ANACONDA, which I really wanted to hear. It sucked. However, the last two songs of the set, WHEN YOU DON'T SEE ME and FLOOD 2 (of course I thought about the aggression's FLOOD) and the encore were actually quite good, so I give them that. They were smart in that they played reworked arrangements of stuff like LUCRETIA and TEMPLE OF LOVE. Sadly, they should have given this much creative thought to the main set. It could have made up for the bulk of these issues I have (but probably not all of them).
And then it was over. It was a Parody. It screamed "paycheck" simple because of the horribly inflated price (I'm paying half to see Dickie there in a few weeks) for this show and a set list that hasn't deviated in a decade plus. This is the 25th Anniversary? Fuck you. Parody. So you see, Ash, Johnny Marr is not a parody, but Andrew Eldtrich is. So is Al Jourgenson. See? I hope I have made my point clear. it KILLS me to write all this. I don't see how guys like these can't look at someone older, say like a Bowie or a John Cale or a Cerati (who is younger, but you get the idea) and see just how the fuck to retain some fucking class and dignity while satisfying your core audience. Those are the examples we need to follow as you join me in the third decade of your life.
What I'm saying, Ash, is that I guess this letter to you is meant to help you understand what parody truly is. Also, this marks the true end of my musical childhood. It's crushed. Destroyed. Between the Sisters and Ministry (the two original direct influences on the aggression) totally just sucking and not evolving, I feel that I can move onto the next stage of my musical adulthoodtood with the Hypefactor experionce. I find myself going back full circle to Peter Hook, my original and most direct influence, who is a riot, and often cheesy, but is never a parody.
I think it's exciting that we have ended the aggression just in time for me to watch everything that I love that influenced it go to shit. It's funny, because many people were convinced that once we played the "last ever" show in January that it would be a restart and/or continuation of the aggression. Everyone from Kruger to Irene was like "Here we go again". But I KNEW better. Do you see now? That's why you can take the quotation marks off the phrase Last Gig Ever. Cause that was truly it. The end. And I mean, you HAVE heard the Hypefactor album, right? Yes, it IS that good.
Anyway, I hope you're well and mixing, cause our future is currently in your hands. I wish you only the best as you begin your musical future with your gig on the 25th, which everyone can learn about at http://www.inloving.net/. Sadly, I won't be there, but you don't need a frontman anyway ;-)
Love,
F
The Catch Up
I've been out of touch, but for good reason. I was called in for Emergency Uncle Duty. Nephew has Canadian Spring Break this week and the babysitter cancelled, so plans were made and a trip to Montreal was put into effect and I spent all of Saturday and Sunday travelling back and forth via Amtrak to Montreal which was quick, painless, relaxing and fun. But LONG. However, sister in law found a great Korean place in Montreal so it was the big win dinner. Nephew remains well behaved and is good to travel with. We borrowed his moms portable DVD player and STAR WARS was in effect. A fun time.
Before that, on Friday, I was Irene's guest at Flavorpill's DJ series at the Guggenheim Museum. I had never been to one of these events, and the beer was free and I was promised I wouldn't have to wait on a line. This weeks guest was hipster superstar DJ Carlos D of Interpol. My feelings about Interpol are well documented on this blog (great first album, boring second record, shit live show, yet a band I always keep an eye hoping to love), and while I think Carlos D is a good musician, I think of him less as a person/celebrity.
So onto the event. Imagine throwing the bulk of the hipster universe in a museum on a Friday night. Combine it with bridge and tunnel and then cap it off with Interpol fans. in the corner, add Carlos D. This all has the makings of a diaster. It wasn't, but it was certainly a clusterfuck. Carlos D played exactly what you expected him to play: good, safe stuff. Yes, he plays cool bands, like Echo and The Bunnymen and Ministry, but he plays the ones you KNOW, the ones you see on VH1 Classics. And honestly, thats not bad. The evening was more enjoyable when Irene and I were away from masses, walking through the museum, which is awesome, and the Flavorpill people I met were nice, so it was a nice date and yes she didn't make me wait on a line, so kudos to her. The idea of these events there is cool, and this was well done. Impressive
F
Before that, on Friday, I was Irene's guest at Flavorpill's DJ series at the Guggenheim Museum. I had never been to one of these events, and the beer was free and I was promised I wouldn't have to wait on a line. This weeks guest was hipster superstar DJ Carlos D of Interpol. My feelings about Interpol are well documented on this blog (great first album, boring second record, shit live show, yet a band I always keep an eye hoping to love), and while I think Carlos D is a good musician, I think of him less as a person/celebrity.
So onto the event. Imagine throwing the bulk of the hipster universe in a museum on a Friday night. Combine it with bridge and tunnel and then cap it off with Interpol fans. in the corner, add Carlos D. This all has the makings of a diaster. It wasn't, but it was certainly a clusterfuck. Carlos D played exactly what you expected him to play: good, safe stuff. Yes, he plays cool bands, like Echo and The Bunnymen and Ministry, but he plays the ones you KNOW, the ones you see on VH1 Classics. And honestly, thats not bad. The evening was more enjoyable when Irene and I were away from masses, walking through the museum, which is awesome, and the Flavorpill people I met were nice, so it was a nice date and yes she didn't make me wait on a line, so kudos to her. The idea of these events there is cool, and this was well done. Impressive
F
2.3.06
The Backyard Icon Speaks
"you don't need to tell me. i know when i've said something pop worthy...and usually it's because I have just spoken"
After seeing this entry, the Backyard Icon added:
"i'm funnier sleeping than most people who are awake."
Marching On
Forgive my absence as I know "many" of you check this spot daily. Last weekend was spent dealing with the chaos that was the new NY Comic Con, which was fun but was a total organizational mess that redefined the word "Clusterfuck". Literally, it was plotting and scheming just to get in, and we HAD tickets. Putting it on in the basement of the Javitz Center with only ONE way in and out was quite possibly the dumbest move ever. But once inside, it was good clean clusterfuck fun. It's going to be a very long time if these guys think they can compete with San Diego, and I doubt they ever will, but once they move this con upstairs to accomodate the masses, it's gonna be a real good time. More on this next year.
We had some lovely houseguests in the form of comic writer Brandon Jerwa and his wife/partner/agent/boss Jessica Blackshear, who are tops in my book cause of their love of music, comics and French food. We had not one, but two several good times at Les Halles. In your future, you will buy your comics on Wed and Brandon's name will be in them. Check him out at www.Brandonjerwa.com. Good people and they have an awesome 6 year old who I am dying to meet (not just cause he has a thing for Irene and i will fight him, but because he seems like a cool kid!)
Right after they left, Irene skipped town to DC (Washington DC, not DC Comics), to help her best friend Lauren get ready for her move to Holland, where her new groom, Lars, of whom I am a big fan, lives. This of course left yours truly with some free time to watch even more wrestling than usual, while trying to work on music on this slow ass computer, which is on it's last legs. I literally check the apple website everyday for word of the release of their new PowerMacs, which I will buy immediately upon their release. Luckily, Abelton, who make the amazing software Live, which we all use nowadays, is converting the software for these new Intel powered Macs, so I should be back in business soon. In the meantime, I apologize to the Die Warzau crew for the remix delay.
As predicted by the crew some months ago, Dickie Ashcroft will be doing a one-off gig here in NY in between Coldplay dates. Thank God. And of course, through the combined efforts of the Gold Street Boys, tickets are obtained. I think we still might go see him with Coldplay as we already have the tickets, but who knows.
Finally the Chemlab remix album is out and available and while I don't have a physical copy, my dear spy on the inside sent me the mp3's to check out as I hadn't heard the final master. Honestly, and I won't post this anywhere where the kids can see, the mastering job, done by someone named M. Atkins, is less than par, and I'm disappointed. Compare it to the aggression remix CD, which sounds superior, and it's obvious. In fact, I tried to get Larry from VTG, who did the aggression remixes, onto the Chemlab project, but god forbid the label would do such a thing. I mean, let's just cut the whole second CD while we're at it. Not pleased. While i busted my ass for a year plus on this record, it's fucking Chemlab and Jared deserves better treatment. However, you should still buy the fucking thing cause it's worth it.
Happy belated birthday to the long missing Ash, found somehwere in Mexico. Hopefully mixing.
There's more, there's always more, but for now, digest this and we'll talk later.
F
We had some lovely houseguests in the form of comic writer Brandon Jerwa and his wife/partner/agent/boss Jessica Blackshear, who are tops in my book cause of their love of music, comics and French food. We had not one, but two several good times at Les Halles. In your future, you will buy your comics on Wed and Brandon's name will be in them. Check him out at www.Brandonjerwa.com. Good people and they have an awesome 6 year old who I am dying to meet (not just cause he has a thing for Irene and i will fight him, but because he seems like a cool kid!)
Right after they left, Irene skipped town to DC (Washington DC, not DC Comics), to help her best friend Lauren get ready for her move to Holland, where her new groom, Lars, of whom I am a big fan, lives. This of course left yours truly with some free time to watch even more wrestling than usual, while trying to work on music on this slow ass computer, which is on it's last legs. I literally check the apple website everyday for word of the release of their new PowerMacs, which I will buy immediately upon their release. Luckily, Abelton, who make the amazing software Live, which we all use nowadays, is converting the software for these new Intel powered Macs, so I should be back in business soon. In the meantime, I apologize to the Die Warzau crew for the remix delay.
As predicted by the crew some months ago, Dickie Ashcroft will be doing a one-off gig here in NY in between Coldplay dates. Thank God. And of course, through the combined efforts of the Gold Street Boys, tickets are obtained. I think we still might go see him with Coldplay as we already have the tickets, but who knows.
Finally the Chemlab remix album is out and available and while I don't have a physical copy, my dear spy on the inside sent me the mp3's to check out as I hadn't heard the final master. Honestly, and I won't post this anywhere where the kids can see, the mastering job, done by someone named M. Atkins, is less than par, and I'm disappointed. Compare it to the aggression remix CD, which sounds superior, and it's obvious. In fact, I tried to get Larry from VTG, who did the aggression remixes, onto the Chemlab project, but god forbid the label would do such a thing. I mean, let's just cut the whole second CD while we're at it. Not pleased. While i busted my ass for a year plus on this record, it's fucking Chemlab and Jared deserves better treatment. However, you should still buy the fucking thing cause it's worth it.
Happy belated birthday to the long missing Ash, found somehwere in Mexico. Hopefully mixing.
There's more, there's always more, but for now, digest this and we'll talk later.
F