Apologies to the 7 people who read this blog for not posting anything recently. We've been busy, real busy.
Reading over my previous post, I realize that I may come off as a bit of a curmudgeon who's fixated on music from the past. Well, just to prove that we do in fact listen to (and love) current artists and bands, here's a quick round-up (in no particular order) of stuff that's floating my boat, circa now:
Groove Armada - I'm loving Black Light, the band's recently released full-length on SF's esteemed Om Records. Stand outs are "Shameless", featuring Bryan Ferry at his croony best, and "Just For Tonight", a moody acoustic rocker with some excellent electronic flourishes.
One For The Team - Discovered this band via our friends at Afternoon Records (one of my favorite labels - their roster is consistently excellent). Great male-female vox and top-shelf songwriting. What more could you ask for? Check out their excellent new album Ghosts, which includes the stand-outs "Best Supporting Actress" and "Hard For You".
Deluka - A lot of people think this Brooklyn-via-Birmingham, England quartet is gonna blow up upon the release of its debut full-length this fall, and I must agree. Singer-guitarist Ellie Innocenti has some pipes for the ages and songs like "Cascade" and "OMFG" are winners. Think Elastica updated for the new millennium.
Admiral Radley - New indie-pop supergroup featuring Jason Lytle and Aaron Burtch from Grandaddy and Aaron Espinoza and Ariana Murray from Earlimart. 'Nuff said. The little geo-specific music bites at the end of "Sunburn Kids" are both brilliant and hilarious. I love a band with a sense of humor. Check their debut, I Heart California.
Autolux - This LA noise-rock band features ex-Failure bassist Greg Edwards, along with fellow '90s alt-rock vets Eugene Goreshter and Carla Azar. Though they owe a heavy debt to My Bloody Valentine and Sonic Youth, they manage to carve out a sound all their own, and new album Transit Transit is a real winner. Check out "Audience No. 2", "Supertoys" and the epic closer, "The Science of Imaginary Solutions".
Bad Rabbits - Do yourself a favor and seek out "Can't Back Down" from their late '09 album Stick Up Kids. The best Prince song that Prince didn't actually write. I'd really love to see these guys.
See? We do listen to stuff from this century. Hooray. ~ Tim
Wednesday, July 28, 2010
Monday, March 29, 2010
Speak Up, Please
I had lunch today with a guy who's pretty high up on the foodchain at one of the biggest indie labels in the world, and we both agree: a lot of independent rock music in 2010 sucks, or is at least not terribly interesting or engaging. So much of it is just milktoast, neutered...meh. No one is saying anything anymore. I call it the sissification of indie rock.
For me, the real issue is vocals and lyrics, specifically how both have increasingly taken a backseat to the music over the last decade. These days it's like we're trapped in some gauzy, mush-mouthed, non-committal, thumb-sucking version of what independent rock used to be.
The aforementioned label rep and I were reminiscing about The Minutemen. Now, this was a band comprised of three dorks (there's really no better description for D. Boon, Mike Watt and George Hurley, and they would most likely agree with that estimation). The Minutemen were not cool in any traditional sense of the word. But they didn't need to be. Because their music was so good and so compelling that it negated any need for additional trappings. And perhaps the thing that made the Minutemen one of the greatest bands of all time - other than their kick-ass art-funk/punk - was D. Boon's lyrics, sung loud and clear, usually with very little margin for interpretation. D. Boon sang about stuff like the legacy of Vietnam ("Vietnam"), the role of advertising in American culture ("Shit From An Old Notebook") and the tyranny of working for minimum wage ("This Ain't No Picnic"). He made statements - insightful, powerful, often humorous statements, communicated in straightforward language that everyone could understand.
There are of course legions of other bands that have done the same throughout the history of this music we call indie. Some of my faves:
X - John Doe & Exene's rock poetry was half Bukowski, half George Jones & Tammy Wynette, and all brilliant
Concrete Blonde - Johnette Napolitano was a master at communicating literal thoughts in an engaging, poetic way
The Replacements - The first and best emo band. What real heartache and desperation sounds like.
Archers Of Loaf - With songs like "Harnessed In Slums" and "Greatest Of All Time" Eric Bachman positioned himself as a master of angst articulation
Sebadoh - Lou Barlow is one neurotic mofo, but he's also a lyrical genius
The Hold Steady - I have contended since about 1995 that Craig Finn is the American Elvis Costello, from a lyrical perspective. And though it's my opinion that THS has essentially become an E Street Band tribute act at this point, I'm still grateful that Craig is carrying the torch for real lyrics, sung unironically.
Drive-By Truckers - Some of the best lyrics of the last decade about topics ranging from the war in Iraq to Vegas-bound grifters to the murder of a friend
Ted Leo - A great writer, not afraid to articulate exactly what he's thinking
The list goes on and on and on. But it starts getting very thin around the turn of the millennium. Why? Why do so many of today's young musicians eschew literal lyrics and prominently mixed vocals in favor of non-committal mumbling? Are they embarrassed to speak their minds? Do they not have anything to say? Have they been lulled into complacency by video games and Sidekicks and Facebook?
Now you 20-somethings out there, before you write me off as some nostalgic old codger, understand this: I listen to new music every day, all day. And it's very rare that I hear a band or artist that writes powerful lyrics (about something other than their own personal concerns) and sings them in a well-articulated manner. So I'm sincerely asking you: where are the bands that have something to say?
All I know is that if I see one more innocuous indie band or artist sheepishly approach the mic while staring at the ground I'm gonna hurl. Message to young musicians everywhere: please grow some balls/ovaries, write some real lyrics and turn them up in the mix. We live in an insane world; there is so much to talk about. Some of us would really like to hear what you have to say. ~ Tim
For me, the real issue is vocals and lyrics, specifically how both have increasingly taken a backseat to the music over the last decade. These days it's like we're trapped in some gauzy, mush-mouthed, non-committal, thumb-sucking version of what independent rock used to be.
The aforementioned label rep and I were reminiscing about The Minutemen. Now, this was a band comprised of three dorks (there's really no better description for D. Boon, Mike Watt and George Hurley, and they would most likely agree with that estimation). The Minutemen were not cool in any traditional sense of the word. But they didn't need to be. Because their music was so good and so compelling that it negated any need for additional trappings. And perhaps the thing that made the Minutemen one of the greatest bands of all time - other than their kick-ass art-funk/punk - was D. Boon's lyrics, sung loud and clear, usually with very little margin for interpretation. D. Boon sang about stuff like the legacy of Vietnam ("Vietnam"), the role of advertising in American culture ("Shit From An Old Notebook") and the tyranny of working for minimum wage ("This Ain't No Picnic"). He made statements - insightful, powerful, often humorous statements, communicated in straightforward language that everyone could understand.
There are of course legions of other bands that have done the same throughout the history of this music we call indie. Some of my faves:
X - John Doe & Exene's rock poetry was half Bukowski, half George Jones & Tammy Wynette, and all brilliant
Concrete Blonde - Johnette Napolitano was a master at communicating literal thoughts in an engaging, poetic way
The Replacements - The first and best emo band. What real heartache and desperation sounds like.
Archers Of Loaf - With songs like "Harnessed In Slums" and "Greatest Of All Time" Eric Bachman positioned himself as a master of angst articulation
Sebadoh - Lou Barlow is one neurotic mofo, but he's also a lyrical genius
The Hold Steady - I have contended since about 1995 that Craig Finn is the American Elvis Costello, from a lyrical perspective. And though it's my opinion that THS has essentially become an E Street Band tribute act at this point, I'm still grateful that Craig is carrying the torch for real lyrics, sung unironically.
Drive-By Truckers - Some of the best lyrics of the last decade about topics ranging from the war in Iraq to Vegas-bound grifters to the murder of a friend
Ted Leo - A great writer, not afraid to articulate exactly what he's thinking
The list goes on and on and on. But it starts getting very thin around the turn of the millennium. Why? Why do so many of today's young musicians eschew literal lyrics and prominently mixed vocals in favor of non-committal mumbling? Are they embarrassed to speak their minds? Do they not have anything to say? Have they been lulled into complacency by video games and Sidekicks and Facebook?
Now you 20-somethings out there, before you write me off as some nostalgic old codger, understand this: I listen to new music every day, all day. And it's very rare that I hear a band or artist that writes powerful lyrics (about something other than their own personal concerns) and sings them in a well-articulated manner. So I'm sincerely asking you: where are the bands that have something to say?
All I know is that if I see one more innocuous indie band or artist sheepishly approach the mic while staring at the ground I'm gonna hurl. Message to young musicians everywhere: please grow some balls/ovaries, write some real lyrics and turn them up in the mix. We live in an insane world; there is so much to talk about. Some of us would really like to hear what you have to say. ~ Tim
Monday, February 22, 2010
Ding Dong The Witch Is Dying
Saw this article in Digital Music News today. For those too lazy to click, here's the gist:
"US-based terrestrial radio stations suffered an absolutely brutal decline in 2009, according to data released Friday by the Radio Advertising Bureau. Across various revenue-generators - on-air, off-air, digital - revenues slumped 18 percent to roughly $16 billion. Of that, local stations suffered a 20 percent decline to $10.8 billion, and national stations slipped 19 percent to $2.4 billion."
For music-lovers and artists of my generation who grew up under the tyranny of terrestrial radio, this trend is fantastic news. No longer do behemoth's like KROQ in LA or K-ROCK in NYC control which bands and artists we're exposed to. Instead there are thousands of music sites, blogs, and services like Slacker, Pandora and La La, each one of them pointing us to scores of artists that heretofore would've gone undiscovered amidst commercial radio's iron fist hegemony.
These days, when I'm driving the freeways of LA and I dare to tune into KROQ (usually to giggle at how bad "modern rock" radio has become), I will inevitably hear a deep voice remind me that I'm listening to "The World Famous KROQ." News flash: you may be famous to the remaining 4 people who turn to you to discover new music, but to most music fans that I know you're a has-been, a totally obsolete relic. I mean, seriously: who listens to commercial modern rock radio anymore? I think the answer is 15 year olds who are discovering Nirvana for the first time, or people stuck in their cars, desperate for something to break the silence. As for me, if I never hear "Come As You Are," "Longview" or any song by the Foo Fighters ever again it will be too soon. At this point I have an almost Pavlovian reaction to hearing that stuff. I literally can't stand it. That's sad, and it is totally commercial radio's fault.
So here's to the continued decline of Big Radio. One thing for which I'm eternally grateful is that I've lived to see its power and influence totally eroded. Good riddance. ~ Tim
"US-based terrestrial radio stations suffered an absolutely brutal decline in 2009, according to data released Friday by the Radio Advertising Bureau. Across various revenue-generators - on-air, off-air, digital - revenues slumped 18 percent to roughly $16 billion. Of that, local stations suffered a 20 percent decline to $10.8 billion, and national stations slipped 19 percent to $2.4 billion."
For music-lovers and artists of my generation who grew up under the tyranny of terrestrial radio, this trend is fantastic news. No longer do behemoth's like KROQ in LA or K-ROCK in NYC control which bands and artists we're exposed to. Instead there are thousands of music sites, blogs, and services like Slacker, Pandora and La La, each one of them pointing us to scores of artists that heretofore would've gone undiscovered amidst commercial radio's iron fist hegemony.
These days, when I'm driving the freeways of LA and I dare to tune into KROQ (usually to giggle at how bad "modern rock" radio has become), I will inevitably hear a deep voice remind me that I'm listening to "The World Famous KROQ." News flash: you may be famous to the remaining 4 people who turn to you to discover new music, but to most music fans that I know you're a has-been, a totally obsolete relic. I mean, seriously: who listens to commercial modern rock radio anymore? I think the answer is 15 year olds who are discovering Nirvana for the first time, or people stuck in their cars, desperate for something to break the silence. As for me, if I never hear "Come As You Are," "Longview" or any song by the Foo Fighters ever again it will be too soon. At this point I have an almost Pavlovian reaction to hearing that stuff. I literally can't stand it. That's sad, and it is totally commercial radio's fault.
So here's to the continued decline of Big Radio. One thing for which I'm eternally grateful is that I've lived to see its power and influence totally eroded. Good riddance. ~ Tim
Friday, December 11, 2009
5 Steps to Greatness
I see and hear a lot of bands these days that are totally interchangeable. So many of them sound alike, which I attribute directly to the internet and the fact that artists and bands no longer develop on their own, away from outside pressures and forces (think about pre-internet instances such Nirvana toiling in Aberdeen, Washington, or REM in Athens, GA, or Prince in Minneapolis, or NWA in Compton, or pretty much all of the amazing bands to come out of Dunedin, a small town on the South Island of New Zealand).
The incredible homogeneity among today's scene has gotten me thinking about all of the truly unique artists and bands that have come along, and the factors that contributed to their greatness and staying power. And though this post is kinda tongue-in-cheek, I really do think that if a band follows these steps, they'll have a much better shot at god-like status. So kids, here's some advice from an old guy (by rock standards) who's seen a lot:
1. Dial in a unique tone on your instrument. Think Peter Hook's bass sound in Joy Division/New Order, or Steve Albini's guitar tone in Big Black, or John Bonham's drums on pretty much everything.
2. Write some incredibly good songs.
3. Find a visionary producer. Someone who can elicit amazing performances from you and your bandmates. Listen to what he/she says. Be clay in their hands.
4. Cultivate an image. Even if it's a non-image (see: Grunge) - and dress to the nines.
5. Strike a pose. Find someone - Anton Corbijn or Charles Peterson would be good - to take lots of black and white photos of you in accidentally iconic poses (see: The Velvet Underground, The Smiths, Bob Dylan, et al). These will look really good as posters on dorm room walls and the inevitable coffee table books about you.
Then what? Well, the rest is luck, timing, who-you-know and a bunch of random variables that you have no control over. You're either destined to be a legend or you're not. But if you follow my 5-step plan, you just might make it. Bon chance, mes amis. ~ Tim
The incredible homogeneity among today's scene has gotten me thinking about all of the truly unique artists and bands that have come along, and the factors that contributed to their greatness and staying power. And though this post is kinda tongue-in-cheek, I really do think that if a band follows these steps, they'll have a much better shot at god-like status. So kids, here's some advice from an old guy (by rock standards) who's seen a lot:
1. Dial in a unique tone on your instrument. Think Peter Hook's bass sound in Joy Division/New Order, or Steve Albini's guitar tone in Big Black, or John Bonham's drums on pretty much everything.
2. Write some incredibly good songs.
3. Find a visionary producer. Someone who can elicit amazing performances from you and your bandmates. Listen to what he/she says. Be clay in their hands.
4. Cultivate an image. Even if it's a non-image (see: Grunge) - and dress to the nines.
5. Strike a pose. Find someone - Anton Corbijn or Charles Peterson would be good - to take lots of black and white photos of you in accidentally iconic poses (see: The Velvet Underground, The Smiths, Bob Dylan, et al). These will look really good as posters on dorm room walls and the inevitable coffee table books about you.
Then what? Well, the rest is luck, timing, who-you-know and a bunch of random variables that you have no control over. You're either destined to be a legend or you're not. But if you follow my 5-step plan, you just might make it. Bon chance, mes amis. ~ Tim
Monday, December 7, 2009
Favorite things, ca. now
Ok, it's been an absurdly long time since we posted a blog entry here. Just in case you were afraid Brandracket had become some kind of music agency ghost ship, drifting listlessly upon the sea, never fear, we are indeed extant. In fact, we'll be announcing a couple really cool things shortly. Meanwhile, here's a list of 10 things that I really love right now, in no particular order:
1. Dr. Rockso. Still.
2. "Pizza Guy", You Am I
3. Rain in California...at long last.
4. Playing live rock 'n' roll music and in doing so, being reminded why I've devoted my life to this stuff.
5. "Hurtin' Crew", The Descendents. Is Green Day paying this band monthly royalties? Because they're pretty much the architects of GD's sound (at least until a couple albums ago), one which they've taken to the bank, many, many times. To Billy Joe's credit, he's probably the first person to admit this.
6. Having a home for the holidays when so many do not.
7. Gingerbread cookies. (In fact, cookies of all kinds. Any cookie. Seriously.)
8. Revisiting the brilliance of Scooby Doo on a daily basis with my 4 year old.
9. "Silver" by Echo & The Bunnymen. Is there a guitar band that's this good today? Seriously. I'm not some out-to-lunch, over-the-hill dad that listens exclusively to the Collective Soul cassette that's stuck in my car's stereo. I'm immersed in new music 24 hours a day, listening very keenly. And I'm pretty sure there isn't a rock band anywhere near as good as Echo & The Bunnymen when they made Ocean Rain in 1984. I welcome any suggestions to the contrary.
10. Jawbox reunion on Fallon, 12/8.
Happy Holidays, everyone. ~ Tim
1. Dr. Rockso. Still.
2. "Pizza Guy", You Am I
3. Rain in California...at long last.
4. Playing live rock 'n' roll music and in doing so, being reminded why I've devoted my life to this stuff.
5. "Hurtin' Crew", The Descendents. Is Green Day paying this band monthly royalties? Because they're pretty much the architects of GD's sound (at least until a couple albums ago), one which they've taken to the bank, many, many times. To Billy Joe's credit, he's probably the first person to admit this.
6. Having a home for the holidays when so many do not.
7. Gingerbread cookies. (In fact, cookies of all kinds. Any cookie. Seriously.)
8. Revisiting the brilliance of Scooby Doo on a daily basis with my 4 year old.
9. "Silver" by Echo & The Bunnymen. Is there a guitar band that's this good today? Seriously. I'm not some out-to-lunch, over-the-hill dad that listens exclusively to the Collective Soul cassette that's stuck in my car's stereo. I'm immersed in new music 24 hours a day, listening very keenly. And I'm pretty sure there isn't a rock band anywhere near as good as Echo & The Bunnymen when they made Ocean Rain in 1984. I welcome any suggestions to the contrary.
10. Jawbox reunion on Fallon, 12/8.
Happy Holidays, everyone. ~ Tim
Tuesday, August 18, 2009
The Rock Star Myth
I was walking around my local mall with the wife and kids on Saturday and noticed the increasing fascination with what I'll call The Rock Star Myth. Everywhere I go, I see people of all ages with shirts that say "Rock Star", or they're trying to look like rock stars - the ones they see on TV, in movies, and in video games like Guitar Hero and Rock Band.
Remember that show called Rock Star, where the guy got chosen to be the new singer for INXS? It was truly hilarious/horrific in the way that it reinforced middle-America's idea of what a rock musician is. It was all leather pants, died black hair, 27 bangles on each wrist and Les Pauls scraping the stage. You could almost picture the manicured network suits in their corporate conference room, sipping their lattes and talking about how they wanted the show to be "edgy", when in fact it was Appetite For Destruction scrubbed clean and served up for a polite studio audience.
Now, to anyone who's ever actually been in a working, touring rock band (cough, cough) this stuff is hilarious. Because we know how far from reality all of this lame posturing and imaging really is. Yes, there are many people in bands who look like the animated characters in Guitar Hero, but their reality is sordid, I can assure you, no matter how big of a legend they are in their own mind. Sleeping on floors, all night drives, crappy food, in-fighting, poorly attended shows, indignities at every turn - it's just the tip of the iceberg when describing what a real rock, uh, "star" endures on a daily basis.
Ultimately, shows like Rock Star, tween-focused movies like Band Slam, and games like Rock Band and Guitar Hero just propagate an entirely BS notion of what being a working musician isn't. Now, don't get me wrong. I love the rock. I'm all for youthful enthusiasm and chasing the dream, and I sincerely hope that the kids at the mall someday get to experience what it's really like to be in a living, breathing rock band. But once confronted with that cold, hard reality, I suspect many of them will retreat to their Xboxes before they even make it onto a stage. ~ Tim
Remember that show called Rock Star, where the guy got chosen to be the new singer for INXS? It was truly hilarious/horrific in the way that it reinforced middle-America's idea of what a rock musician is. It was all leather pants, died black hair, 27 bangles on each wrist and Les Pauls scraping the stage. You could almost picture the manicured network suits in their corporate conference room, sipping their lattes and talking about how they wanted the show to be "edgy", when in fact it was Appetite For Destruction scrubbed clean and served up for a polite studio audience.
Now, to anyone who's ever actually been in a working, touring rock band (cough, cough) this stuff is hilarious. Because we know how far from reality all of this lame posturing and imaging really is. Yes, there are many people in bands who look like the animated characters in Guitar Hero, but their reality is sordid, I can assure you, no matter how big of a legend they are in their own mind. Sleeping on floors, all night drives, crappy food, in-fighting, poorly attended shows, indignities at every turn - it's just the tip of the iceberg when describing what a real rock, uh, "star" endures on a daily basis.
Ultimately, shows like Rock Star, tween-focused movies like Band Slam, and games like Rock Band and Guitar Hero just propagate an entirely BS notion of what being a working musician isn't. Now, don't get me wrong. I love the rock. I'm all for youthful enthusiasm and chasing the dream, and I sincerely hope that the kids at the mall someday get to experience what it's really like to be in a living, breathing rock band. But once confronted with that cold, hard reality, I suspect many of them will retreat to their Xboxes before they even make it onto a stage. ~ Tim
Thursday, July 2, 2009
Never Trust A Ho (Especially If It's The Media)
If there is a shining, definitive example of the hypocrisy and craven lack of integrity inherent in 99% of today's media outlets, the coverage of Michael Jackson's death is it.
In the eyes of The Media, Michael Jackson was a walking freakshow the morning of June 25th. Someone to be ridiculed, made fun of, attacked, investigated - you name it. And then, in the time it took his last, shallow breath to pass over his (we can only assume) painted lips, he magically reverted to Michael Jackson, The Greatest Entertainer Of All Time. Someone to be celebrated, lionized and worshipped like it was 1983 all over again.
It's amazing what a short memory we have as a culture. Celebrities are crucified and resurrected in a matter of months. And why not? Otherwise there wouldn't be any celebrities to worship. But Michael was the exception, being pretty much under siege for the last 2 decades (granted, usually due to his own bizarre/suspect actions).
Ultimately I just feel sorry for MJ. A clearly sweet kid who had his brain warped at an early age by external forces (his dad, fame) that he couldn't control. I'm actually kind of glad that it's over, 'cause I'm scared to think about the state he'd be in at 70. So RIP, Michael. If there is a Heaven, I'm sure you moonwalked straight through the Pearly Gates. ~ Tim
In the eyes of The Media, Michael Jackson was a walking freakshow the morning of June 25th. Someone to be ridiculed, made fun of, attacked, investigated - you name it. And then, in the time it took his last, shallow breath to pass over his (we can only assume) painted lips, he magically reverted to Michael Jackson, The Greatest Entertainer Of All Time. Someone to be celebrated, lionized and worshipped like it was 1983 all over again.
It's amazing what a short memory we have as a culture. Celebrities are crucified and resurrected in a matter of months. And why not? Otherwise there wouldn't be any celebrities to worship. But Michael was the exception, being pretty much under siege for the last 2 decades (granted, usually due to his own bizarre/suspect actions).
Ultimately I just feel sorry for MJ. A clearly sweet kid who had his brain warped at an early age by external forces (his dad, fame) that he couldn't control. I'm actually kind of glad that it's over, 'cause I'm scared to think about the state he'd be in at 70. So RIP, Michael. If there is a Heaven, I'm sure you moonwalked straight through the Pearly Gates. ~ Tim
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