It is a poor decision to use one's debit card on the internet
...because it's like play money.
In any event, enroute to my home, from Soul Jazz, The World of Arthur Russell and Sextet, the third album from A Certain Ratio - recently reissued. In addition, I visited Aquarius Records and picked up Oren Ambarchi Grapes from the Estate, William Basinski Disintegration Loops 1.1 and Stars of the Lid The Tired Sounds of Stars of the Lid. Within the next couple of days, we'll also be seeing 20 Jazz Funk Greats from Throbbing Gristle, Trust Not Those In Whom Without Some Touch of Madness by Thalia Zedek and the "Sunshowers" 7" from M.I.A. with Diplo. I should not be allowed to do these things.
I'm having trouble deciding what I'm most excited about listening to. I think it's either Arthur Russell or the Throbbing Gristle record. I really enjoy, and not in an ironic sort of way, the Second Annual Report, for reasons I can't really describe. My friend Adam absolutely despises TG, but his reasons are personal, not musical, in nature. Of course, Adam also hates Clouddead because he sides with El-P in the whole Anticon-Company Flow battle, so this isn't his first nonmusical musical decision. Anyway - TG - I could do without "Industrial Introduction", but absolutely love everything about the terrifying "Slug Bait - ICA", "Slug Bait - Live at Southampton", and, especially, the monumentally disturbing "Slug Bait - Live at Brighton", which compiles some lovely noise along with a newscast interviewing a man who, apparently, raped and murdered a ten-year-old. It's probably merely because I've listened to enough modern composition and attended a show at which Rubber O Cement played, but TG sounds quite melodic at times with their avant-garde noise; that is to say, they're certainly not as abrasive as Wolf Eyes. Fuck, the middle 5 minutes of the noise bit on A Ghost Is Born were a bit more abrasive than a lot of the stuff on Second Annual Report. Ah, progress. The bass line on "Slug Bait - Southampton" is a good groove, even.
I can't really make it all the way through "After Cease to Exist" - the soundtrack to the move of the same name, as it's essentially low-impact Throbbing Gristle. Luckily, the disc ends with "United", which feels like a kick in the balls after the rest of the record, as it's essentially an electropop song. Oh, how I laughed. Since 20 Jazz Funk Greats is their more "accessible" album, I wonder how I'll like it. I'm sure I'll have something good to say later.
In any event, enroute to my home, from Soul Jazz, The World of Arthur Russell and Sextet, the third album from A Certain Ratio - recently reissued. In addition, I visited Aquarius Records and picked up Oren Ambarchi Grapes from the Estate, William Basinski Disintegration Loops 1.1 and Stars of the Lid The Tired Sounds of Stars of the Lid. Within the next couple of days, we'll also be seeing 20 Jazz Funk Greats from Throbbing Gristle, Trust Not Those In Whom Without Some Touch of Madness by Thalia Zedek and the "Sunshowers" 7" from M.I.A. with Diplo. I should not be allowed to do these things.
I'm having trouble deciding what I'm most excited about listening to. I think it's either Arthur Russell or the Throbbing Gristle record. I really enjoy, and not in an ironic sort of way, the Second Annual Report, for reasons I can't really describe. My friend Adam absolutely despises TG, but his reasons are personal, not musical, in nature. Of course, Adam also hates Clouddead because he sides with El-P in the whole Anticon-Company Flow battle, so this isn't his first nonmusical musical decision. Anyway - TG - I could do without "Industrial Introduction", but absolutely love everything about the terrifying "Slug Bait - ICA", "Slug Bait - Live at Southampton", and, especially, the monumentally disturbing "Slug Bait - Live at Brighton", which compiles some lovely noise along with a newscast interviewing a man who, apparently, raped and murdered a ten-year-old. It's probably merely because I've listened to enough modern composition and attended a show at which Rubber O Cement played, but TG sounds quite melodic at times with their avant-garde noise; that is to say, they're certainly not as abrasive as Wolf Eyes. Fuck, the middle 5 minutes of the noise bit on A Ghost Is Born were a bit more abrasive than a lot of the stuff on Second Annual Report. Ah, progress. The bass line on "Slug Bait - Southampton" is a good groove, even.
I can't really make it all the way through "After Cease to Exist" - the soundtrack to the move of the same name, as it's essentially low-impact Throbbing Gristle. Luckily, the disc ends with "United", which feels like a kick in the balls after the rest of the record, as it's essentially an electropop song. Oh, how I laughed. Since 20 Jazz Funk Greats is their more "accessible" album, I wonder how I'll like it. I'm sure I'll have something good to say later.
posted by P at 10:22 PM
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