Just a heads up. Tonight the wonderful and talented Bucky Driedger from the Liptonians and Royal Canoe will be co-hosting the show with me. Bucky's a great guy, with excellent taste in music so it will be fun to hear what he brings tonight. He'll also be talking with us about the upcoming Liptonians album fundraiser happening on Saturday at the Park Theatre with Wool on Wolves and Henry and the Nightcrawlers. Should be a blast!
I don't really know what to do with this. Help me out.
First the lyrics of Gang of Four's "Natural's Not in It"
The problem of leisure What to do for pleasure Ideal love a new purchase A market of the senses Dream of the perfect life Economic circumstances The body is good business Sell out, maintain the interest Remember Lot's wife Renounce all sin and vice Dream of the perfect life This heaven gives me migraine The problem of leisure What to do for pleasure
Coercion of the senses We are not so gullible Our great expectations A future for the good Fornication makes you happy No escape from society Natural is not in it Your relations are of power We all have good intentions But all with strings attached
Repackaged sex your interest Repackaged sex your interest Repackaged sex your interest Repackaged sex your interest Repackaged sex your interest Repackaged sex your interest
The problem of leisure What to do for pleasure Ideal love a new purchase A market of the senses Dream of the perfect life Economic circumstances The body is good business Sell out, maintain the interest Remember Lot's wife Renounce all sin and vice Dream of the perfect life This heaven gives me migraine This heaven gives me migraine This heaven gives me migraine
And then of course ...
I guess that's one way to interpret "the body is good business".
"What does it mean to be able to enjoy uncertainty?"
The above quote comes from this article by Bill Bahng Boyer, where the ethnomusicologist explores the relationship between Western conceptions of human subjectivity and technology, looking particularly at the change in the musical experience in light of the development of the iPod shuffle. I don't want to say too much about the article here (other than that you should really read it). However, it has inspired me to finally do something on my show that I have thus far been unwilling to do. For tonight's show I'm giving up control to my iPod, pressing shuffle and then pressing play. Each set I play tonight will be initially determined by the shuffle function of my iPod, which will randomly choose the first song of each set. Following this, I will do my best to make a 15-20 min. long set arising out of the randomly chosen song.
This could prove to be difficult, or extremely easy, depending on what ends up coming up randomly (and no I won't be censoring anything), as I will still also be determined by Can-Con rules and the fact that I'm supposed to be playing mostly new material. I'll post the playlist first thing tomorrow, and will have further comments then.
In order to truly start blogging, one must begin at least one post with "Well it's been busy lately. Back to normal activities." Well it's been over a week since my last post, so here it goes. I've been busy lately. To make it up to you, here is what I've been listening to lately.
Never Stop is first album by Minneapolis trio The Bad Plus to feature only original compositions. After making a name for themselves for wonderful jazz arrangements of pop classics like Tears for Fear's "Everybody Wants to Rule the World"or Rush's "Tom Sawyer", here The Bad Plus re-display their own pop sensibilities with originals such as the title track "Never Stop" or "Beryl Loves to Dance". While clearly still living firmly within the jazz tradition, these are songs that could easily be re-done by countless pop artists. As such, the record serves well to draw attention to the line connecting the likes of Monk, Oscar Peterson or even Cecil Taylor with Prince, Janelle Monae and, at times, Rihanna. A great jazz record, that ought to be remixed by Timbaland (I'm totally serious).
Surprise! Another great electronic album. Seriously, when did electronic music get so freaking good? First it was the likes of Pantha Du Prince, Actress, and Four Tet pushing awesome records at the beginning of the year. Then came in T++, Vex'd, Flying Lotus and Baths with equally strong records. More recently it's been artists like James Blake and Teengirl Fantasy that have been providing strong beats to excite the masses. It's a good time to be a fan of electronic music for sure. With regards to Crooks & Lovers, an album that is currently skyrocketing up my list for favorite records of the year, it's their re-working of the more formulaic elements of dubstep (something which has resulted in the horrible label "Post-Dubstep" being used to describe the bands sound), that sets them apart from others. This is dance music first and foremost that proves to be a rewarding listen time and time again.
Other new releases I'm currently loving: the new Deerhunter and Women records (obvie) Dave Holland Octet - Pathways, Salem - King Night, Zola Jesus - Valusia EP
Currently looking forward to: New records from Darkstar, Panda Bear, Blank Dogs and Tomboyfriend. Especially Tomboyfriend!! What a wicked name for a band.
Nostalgia! Nostalgia! Nostalgia!!
Matador at 21
Enough has already been said with these release celebrating 21 years of one of America's most beloved record companies that I won't go into too much detail here. I will say though, that Matador at 21 has done what all good compositions ought to do, in that it has encouraged me to go back and listen to some of my favorite Matador releases over the years. The past weeks have been filled with records like Helium's The Dirt of Luck, Yo La Tengo's Painful and I Can Hear the Heart Beating as One, Guided by Voices, Chavez, Pizzicato Five and a host of others. That and the release comes with it's own set of poker chips!!
UMFM is currently going under some major renos, and tonight the studio will be in the process of moving across the hall. This means of course that there will be no show tonight. Tomorrow I will be previewing some of the artists that I have been listening to a lot recently as a means to make up for this.
In the meantime, let's get ready for some post-season ball. For some reason, Baseball and and independent music seem to go hand in hand. Bob Pollard (who is a regular at Boston's Fenway Park) is currently working on the soundtrack for an upcoming documentary on Pete Rose. Stephen Malkmus is OBSESSED with fantasy baseball. Craig Finn has his Twins, while The John Darnielle and Eddie Vedder have their Cubbies. There's Yo La Tengo, who supposedly got their name from an inside joke running around the New York Mets locker room shortly after the whole Bill Buckner incident. And then there's local peggers like John K. Samson and Michael Petkau (not to mention local film director Guy Madden), who too are baseball nerds.
Needless to say, Baseball and pop music, for some weird reason, seem to go hand in hand. Here are some personal highlights of mine.
To start, it's not music. But who can resist Mr. T. "One, two, three strikes you out!" Classic.
Subcultures represent 'noise' (as opposed to sound): interference in the orderly sequence which leads from real events and phenomena to their representation in the media. We should therefore not underestimate the signifying power of the spectacular subculturenot only as a metaphor for potential anarchy 'out there' but as an actual mechanism of semantic disorder: a kind of temporary blockage in the system of representation. (Dick Hebdige, 1979)
The above quote comes from Dick Hebdige's monumental study on the relationship between style and social resistance. Looking at a variety of different 'subcultures' developing in post-war England (ie. The Teddy Boy, The Skinhead, The Mod and The Punk) Hebdige attempts to illustrate how these cultures, formed predominantly in response to the culture and lifestyles of the dominant classes of the day, provided British youth with a means to short-circuit and disrupt the powers and ideologies propped up by mainstream society, powers and ideologies that elsewhere serve to keep them subdued and in the minority. Subcultures represent 'noise' in the sense that they serve to break apart and bring into disarray typical systems of representation; taking daily objects (for punks, objects such as safety pins, tubes of vaseline or even the Union Jack) and reordering them in a way to make them seem like nothing but nonsense.
While there is much to be critical of Hebdige's analysis of the social functions of style (such as his depiction of the active participant in a subculture vs. the passive/disinterested participant in the mainstream, or even his unquestioning assumption of the possibility of a true subculture as such), his narration of the place of 'noise' in popular forms of music, in many ways, provides us with a helpful way of reading the work of Sun Ra. It is fairly easy to write-off Sun Ra's project as yet another vain form of escapism (this time arising out of the free-form jazz tradition), as Sun Ra sought first and foremost to provide his listeners with the means to imagine life outside of this world. While this is certainly part of what is most appealling about the pianist, looking at Hebdige's reading of noise, it seems to me that Ra's other-worldness can also be read as a form of resistance, seeking to re-read this world in a new light, in the hopes of uncovering new possibilities and potentialities. Much of his music is nothing but nonsense, taking one of the great African American triumphs - jazz - and stripping it of western conceptions of harmonic construction (a lack of melody, closed chord progressions etc ...), infusing it instead with a bizarre blend of Old Testament and Sci-Fi imagery. He took that classic American art-form that gave us "Ain't Misbehavin'" "Autumn Leaves" and "Don't Get Around Much Anymore" and transformed it into sonic (and with Ra you can also add visual) nonsense. Like Hebdige's 'punk' figure, Ra's music can be seen as another form of stylistic resistance, seeking to make this world seem 'other-worldly' and as such infuse it with a messianic hope illustrating how the way things appear isn't necessarily the way they are.
All of this is but a means to say you should listen to tonight's show as I will be playing a selection of tracks from ESP-Disc's recent box set Heliocentric Worlds of Sun Ra. The box set is a wonderful collection of some of Ra's more bizzare moments (which, considering Sun Ra's generally out-there aesthetic is saying something), and does well to illustrate just how 'this-worldly' Ra's declaration that "The Space is the Place" is.
