Miraculously, I didn’t lose my hearing at last week’s My Bloody Valentine concert. If you’re interested in reading my review of the show, you can go here: www.brightestyoungthings.com/music/my-bloody-valentine-roseland-nyc.
So, without further ado....
Black Cat:
Oct 11th: The Wedding Present
Oct 12th: Ra Ra Riot
930 Club:
Oct 11th: Wire
Oct 13th: Yelle
Oct 22nd: A Place to Bury Strangers
Rock and Roll Hotel:
Oct 3: Glasvegas (assuming that these guys don't have anymore visa problems...)
Oct 9: Laura Burhenn (ex-Georgie James) with Lode Runner, The Spiritual Machine (formerly known as KOKO), Olivia & the Housemates.
Oct 18: US Royalty, with Fever.
Velvet Lounge:
Oct 25th: Lode Runner, with Mr. Moccasin and Ringo Deathstarr
DC9
Oct 19th: The Little Ones
Oct 27th: Grammar (these guys are not headlining, but they are awesome).
Tuesday, September 30, 2008
Saturday, September 20, 2008
Colonel K + Dell'ante Present: "Kiss Kiss Kiss to Make My Heart Shake"
This week's entry was co-written with my "smooth-brother" alter-ego, Dell'ante. I must admit, I hesitated to write this article for a long time. Every time I tried to write a draft, it came off like something you'd read in Maxim. Hopefully this version isn't too laddish.
What is make-out music? And why is it that when it comes to spending a little quiet time with that special someone, the first albums that come to mind are releases by Al Green or Maxwell? Now, I think these artists (as well as everyone mentioned in Kanye West's "Slow Jams") make wonderful, terrific music. But it's hard to believe that hot-buttered soul is the only appropriate music for a night in.
I'd be a fool to argue that there are certain albums that’ll make a night go perfectly. I will say, however, that the strong arrangements and unique production values of the albums listed below can definitely enhance the mood of your evening.
In other words: If your game is tight, putting these records on only enhances your cool.
Air "Moon Safari"
(Virgin 1998)
2 French producers
+
Analog & Vintage Synths
+
Singer Beth Hirsch
=
INSTANT CHILLOUT CLASSIC. What more do you need?
DELL'ANTE'S VERDICT:
Take the opening track, "La Femme D'argent." This song is so perfectly arranged for coupling, that if you wait until the piano break around 4 minute mark, you'll be overcome by the desire to cease conversation and proceed to suck face.
My Bloody Valentine "Ecstasy and Wine"
(Lazy Records 1989)
Having disposed of their original singer, Dave Conway, My Bloody Valentine moved away from fuzz pop and towards their trademark ethereal drones. "Ecstasy and Wine" combines two EPs that were released during the run up to 1988's landmark "Isn't Anything." While the album is lo-fi, Kevin Shields and company were dropping hints that they were onto something otherworldy. Conway's C86 era yelps are replaced with Belinda Butcher's beautiful blissed out vocals. The guitars are still loud, but they're not as jarring as they were on earlier releases. And like much of their later work, the songs from “Ecstasy and Wine” sound great at a low volume, but are breathtaking when played really loud.
DELL'ANTE'S VERDICT:
This compilation, along with several other pre-Creation EPs, has been out of print for sometime. Emphasize this when discussing My Bloody Valentine. Make it apparent that you'll go a long way to get something you really want.
Antena "Camino Del Sol"
(Les Disques Du Crepuscule 1982.
Reissued and expanded by Numero Group, 2004)
Originally released as a mini LP in 1982, "Camino del Sol" was one of the more interesting curios to come out French "Cold Wave" scene. Though the group was short-lived, their unique blend of chanson, Brazilian rhythms and lo-fi electro was years ahead of its time. Tortoise sampled the drum loop from "To Climb the Cliff" on one of their early singles. And some of the tracks on this album would fit comfortably in Stereolab's vast back catalog (given Isabella Antena's tendency to sing in both English and French).
Reviewer's jargon aside, the reissue of Camino Del Sol could ideally serve as background music to a dinner and stiff drinks night. Isabella's voice is playful, yet undeniably seductive. Even more alluring is how fantastic samba rhythms sound when played on synths and drum machines. One would never think that such frigid instruments could accommodate the soul and bounce of Brazilian music.
DELL'ANTE'S VERDICT:
If you decide to put on this lost classic, don't be surprised if you're overcome by the urge to samba with your parter. And we all know that dancing close usually leads to other things…
Stereolab "Transient Random-Noisebursts With Announcements" (Duophonic/UK and Elektra/US, 1993)
Stereolab is the sort of group you get into when you have a little bit more time and money to explore surrealism, Dadaism and other philosophical reactions to the horrors of modern life. Stereolab's highly referential approach to music may leave some folks cold. But I don't think that Tim Gane and Laetitia Sadier ever intended to make music for people with a passing appreciation for good music.
"Transient Random-Noisebursts With Announcements" is a compelling soundtrack for those nights when you wanna chill with someone on the intellectual tip. You could spend hours discussing Stereolab's love of Neu!, The Velvet Underground and European easy listening music. Thankfully, this album isn't so brainy that it's unlistenable. This album is bustling with attractive and inviting sounds. Take the bustling Farfisa organ on "I'm Going Out of My Way" or commanding sound of a picked Fender bass on "Golden Ball."
DELL'ANTE'S VERDICT:
Potential mood killing moment on this album: The sudden burst of out-of-phase noise on the 18-minute opus, "Jenny Ondioline."
Cocteau Twins "Treasure"
(4AD, 1984)
Elizabeth Fraser's strongest point as a singer is her ability to make nonsensical sounds and syllables sound positively beautiful. Singing in a mixture of English, Gaelic and gibberish, Fraser's vocals are often unintelligible, but they are a fine compliment to Robin Guthrie's heavily chorused guitars and Simon Raymonde's crawling bass. I once tried to track down printed versions of her lyrics, but soon realized that there was no point. Even if I did learn the words, I would never be able to sing them like she does. Come to think of it, have you ever heard anyone cover a Cocteau Twins song?
While I've come to appreciate their earlier albums and EPs, I'll always have a special place in my heart for "Treasure." I feel like everything went downhill for the Cocteaus after this release. Granted they did release a few good EPs and a really nice collaboration with Harold Budd. But the later albums were nowhere nearly as strong, especially after they left 4AD.
DELL'ANTE'S VERDICT:
The songs on this album are either quiet and laced with hushed vocals and washed-out guitars OR rely heavily on pounding drum machines and quasi-yodeling from Liz (see "Persephone"). Make your moves accordingly.
What is make-out music? And why is it that when it comes to spending a little quiet time with that special someone, the first albums that come to mind are releases by Al Green or Maxwell? Now, I think these artists (as well as everyone mentioned in Kanye West's "Slow Jams") make wonderful, terrific music. But it's hard to believe that hot-buttered soul is the only appropriate music for a night in.
I'd be a fool to argue that there are certain albums that’ll make a night go perfectly. I will say, however, that the strong arrangements and unique production values of the albums listed below can definitely enhance the mood of your evening.
In other words: If your game is tight, putting these records on only enhances your cool.
Air "Moon Safari"
(Virgin 1998)
2 French producers
+
Analog & Vintage Synths
+
Singer Beth Hirsch
=
INSTANT CHILLOUT CLASSIC. What more do you need?
DELL'ANTE'S VERDICT:
Take the opening track, "La Femme D'argent." This song is so perfectly arranged for coupling, that if you wait until the piano break around 4 minute mark, you'll be overcome by the desire to cease conversation and proceed to suck face.
My Bloody Valentine "Ecstasy and Wine"
(Lazy Records 1989)
Having disposed of their original singer, Dave Conway, My Bloody Valentine moved away from fuzz pop and towards their trademark ethereal drones. "Ecstasy and Wine" combines two EPs that were released during the run up to 1988's landmark "Isn't Anything." While the album is lo-fi, Kevin Shields and company were dropping hints that they were onto something otherworldy. Conway's C86 era yelps are replaced with Belinda Butcher's beautiful blissed out vocals. The guitars are still loud, but they're not as jarring as they were on earlier releases. And like much of their later work, the songs from “Ecstasy and Wine” sound great at a low volume, but are breathtaking when played really loud.
DELL'ANTE'S VERDICT:
This compilation, along with several other pre-Creation EPs, has been out of print for sometime. Emphasize this when discussing My Bloody Valentine. Make it apparent that you'll go a long way to get something you really want.
Antena "Camino Del Sol"
(Les Disques Du Crepuscule 1982.
Reissued and expanded by Numero Group, 2004)
Originally released as a mini LP in 1982, "Camino del Sol" was one of the more interesting curios to come out French "Cold Wave" scene. Though the group was short-lived, their unique blend of chanson, Brazilian rhythms and lo-fi electro was years ahead of its time. Tortoise sampled the drum loop from "To Climb the Cliff" on one of their early singles. And some of the tracks on this album would fit comfortably in Stereolab's vast back catalog (given Isabella Antena's tendency to sing in both English and French).
Reviewer's jargon aside, the reissue of Camino Del Sol could ideally serve as background music to a dinner and stiff drinks night. Isabella's voice is playful, yet undeniably seductive. Even more alluring is how fantastic samba rhythms sound when played on synths and drum machines. One would never think that such frigid instruments could accommodate the soul and bounce of Brazilian music.
DELL'ANTE'S VERDICT:
If you decide to put on this lost classic, don't be surprised if you're overcome by the urge to samba with your parter. And we all know that dancing close usually leads to other things…
Stereolab "Transient Random-Noisebursts With Announcements" (Duophonic/UK and Elektra/US, 1993)
Stereolab is the sort of group you get into when you have a little bit more time and money to explore surrealism, Dadaism and other philosophical reactions to the horrors of modern life. Stereolab's highly referential approach to music may leave some folks cold. But I don't think that Tim Gane and Laetitia Sadier ever intended to make music for people with a passing appreciation for good music.
"Transient Random-Noisebursts With Announcements" is a compelling soundtrack for those nights when you wanna chill with someone on the intellectual tip. You could spend hours discussing Stereolab's love of Neu!, The Velvet Underground and European easy listening music. Thankfully, this album isn't so brainy that it's unlistenable. This album is bustling with attractive and inviting sounds. Take the bustling Farfisa organ on "I'm Going Out of My Way" or commanding sound of a picked Fender bass on "Golden Ball."
DELL'ANTE'S VERDICT:
Potential mood killing moment on this album: The sudden burst of out-of-phase noise on the 18-minute opus, "Jenny Ondioline."
Cocteau Twins "Treasure"
(4AD, 1984)
Elizabeth Fraser's strongest point as a singer is her ability to make nonsensical sounds and syllables sound positively beautiful. Singing in a mixture of English, Gaelic and gibberish, Fraser's vocals are often unintelligible, but they are a fine compliment to Robin Guthrie's heavily chorused guitars and Simon Raymonde's crawling bass. I once tried to track down printed versions of her lyrics, but soon realized that there was no point. Even if I did learn the words, I would never be able to sing them like she does. Come to think of it, have you ever heard anyone cover a Cocteau Twins song?
While I've come to appreciate their earlier albums and EPs, I'll always have a special place in my heart for "Treasure." I feel like everything went downhill for the Cocteaus after this release. Granted they did release a few good EPs and a really nice collaboration with Harold Budd. But the later albums were nowhere nearly as strong, especially after they left 4AD.
DELL'ANTE'S VERDICT:
The songs on this album are either quiet and laced with hushed vocals and washed-out guitars OR rely heavily on pounding drum machines and quasi-yodeling from Liz (see "Persephone"). Make your moves accordingly.
Thursday, September 11, 2008
The Pale Fountains "…From Across the Kitchen Table" (1985)
The Paley's first release, "Pacific Street," received critical acclaim upon its initial release. But despite their best efforts (and a healthy financial push from their label, Virgin), the album stalled in the UK album charts and none of the singles charted.
"…From Across the Kitchen Table", band’s second and final effort for Virgin is a rather difficult album to dissect. For starters, it shares very little in common with its predecessor. Andy Diagram's trumpet, which had been prominent on "Pacific Street", is only featured on a handful of cuts. And further more, there's a lot less orchestral work on this album. So while the group doesn’t sound as “cabaret” (a tag which the group regularly dismissed) they ultimately they don’t sound as distinct as they once did. In a sea of synthpop, post-punk, and hip-hop, the Paleys were proudly gauche.
Production wise, however, "From Across the Kitchen Table" is a much stronger than the group's early singles and debut album. Fellow Liverpudlian Ian Broudie is responsible for adding some much needed "oomph" in the band's sound. The guitars are lot more wiry and erratic, giving several tracks, such as "Stole the Love" and "Jean's Not Happening" a more confident "rock" dynamic. The drums are much more prominent in the mix and sound a lot punchier." The result is an album that sounds strong and confident, even when the lyrics are unfocused and the sequencing is questionable.(Broudie also managed to reign in Echo & The Bunnymen's inconsistencies on 1983's "Porcupines").
"From Across the Kitchen Table" was, at best, a transition album. We're really left to wonder “What this band could've done had they held it together?” Were they on their way to establishing their own eclectic brand of pop music? But thanks to drug abuse, disagreements with the label and a continuing lack of commercial success, the Pale Fountains eventually disbanded. Bassist Chris McCaffery died of a brain aneurysm in 1986 and brothers Mick and John Head went on to form Shack, and at one time were part of Arthur Lee's touring band.
"Jean's Not Happening"
"...From Across the Kitchen Table"
Postscript: In February of 2008, the Pale Fountains reunited for a series of well-received concerts in Liverpool and London.
"…From Across the Kitchen Table", band’s second and final effort for Virgin is a rather difficult album to dissect. For starters, it shares very little in common with its predecessor. Andy Diagram's trumpet, which had been prominent on "Pacific Street", is only featured on a handful of cuts. And further more, there's a lot less orchestral work on this album. So while the group doesn’t sound as “cabaret” (a tag which the group regularly dismissed) they ultimately they don’t sound as distinct as they once did. In a sea of synthpop, post-punk, and hip-hop, the Paleys were proudly gauche.
Production wise, however, "From Across the Kitchen Table" is a much stronger than the group's early singles and debut album. Fellow Liverpudlian Ian Broudie is responsible for adding some much needed "oomph" in the band's sound. The guitars are lot more wiry and erratic, giving several tracks, such as "Stole the Love" and "Jean's Not Happening" a more confident "rock" dynamic. The drums are much more prominent in the mix and sound a lot punchier." The result is an album that sounds strong and confident, even when the lyrics are unfocused and the sequencing is questionable.(Broudie also managed to reign in Echo & The Bunnymen's inconsistencies on 1983's "Porcupines").
"From Across the Kitchen Table" was, at best, a transition album. We're really left to wonder “What this band could've done had they held it together?” Were they on their way to establishing their own eclectic brand of pop music? But thanks to drug abuse, disagreements with the label and a continuing lack of commercial success, the Pale Fountains eventually disbanded. Bassist Chris McCaffery died of a brain aneurysm in 1986 and brothers Mick and John Head went on to form Shack, and at one time were part of Arthur Lee's touring band.
"Jean's Not Happening"
"...From Across the Kitchen Table"
Postscript: In February of 2008, the Pale Fountains reunited for a series of well-received concerts in Liverpool and London.
Tuesday, September 2, 2008
Colonel K Approved: September Shows
This month in Washington DC:
Black Cat
Sat Sept 6-THE DANCE PARTY, GIST (CD Release), US ROYALTY $10
Thu Sept 18-FARAQUET, STATEHOOD, RED TAG RUMMAGE SALE $8 Backstage 9:00
9:30 Club
THU. SEP. 18 JAMES
MON. SEP. 22 THE DANDY WARHOLS
w/ Darker My Love & The Upsidedown
TUE. SEP. 23 BUILT TO SPILL performing Perfect From Now On
w/ Meat Puppets & The Drones
THE GEORGE WASHINGTON UNIVERSITY
FRI. SEP. 26 US ROYALTY
w/Ra Ra Rasputin (ahem, cough cough) and KOKO.
SPECIAL ANNOUNCEMENT:
Um, the best band in Texas is coming back to DC!!!!
Sep 5 Comet Ping Pong Washington DC
Sep 6 WMUC @ University of Maryland w/ The Flying Eyes Baltimore, Maryland
Black Cat
Sat Sept 6-THE DANCE PARTY, GIST (CD Release), US ROYALTY $10
Thu Sept 18-FARAQUET, STATEHOOD, RED TAG RUMMAGE SALE $8 Backstage 9:00
9:30 Club
THU. SEP. 18 JAMES
MON. SEP. 22 THE DANDY WARHOLS
w/ Darker My Love & The Upsidedown
TUE. SEP. 23 BUILT TO SPILL performing Perfect From Now On
w/ Meat Puppets & The Drones
THE GEORGE WASHINGTON UNIVERSITY
FRI. SEP. 26 US ROYALTY
w/Ra Ra Rasputin (ahem, cough cough) and KOKO.
SPECIAL ANNOUNCEMENT:
Um, the best band in Texas is coming back to DC!!!!
Sep 5 Comet Ping Pong Washington DC
Sep 6 WMUC @ University of Maryland w/ The Flying Eyes Baltimore, Maryland
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