Saturday, April 23, 2005

Why I am an English Major:

Constant Analysis.

And, also, Louis Zukofsky.

Notes:
1) Benedict XVI, in addition to fulfilling further the prophesy of St. Malachy, has a very gentle, soothing voice when speaking in English. Also: was he wearing sandals under his robe? Ah, comfort.

2) I hate Lou Dobbs (racist). I hate Larry King (annoying). I hate Carlos Watson (grating). Most everyone else on CNN is ok.

3) Bruce Springsteen is an asshat. Did you watch Storytellers? Pompous asshat.

More will come at a later time.

Monday, April 18, 2005

Sometimes I think I'm getting a little frosty, myself.

It's only been four years since the release of Cannibal Ox's The Cold Vein, so I don't feel too bad about failing to mention it or really listen to it in the two years now that I've owned it. However, it has reached critical mass in my brain, which means that I can't stop thinking about it, which means that this is now the time that I must speak on it to all of you.

Cannibal Ox is, in it's ideal state, a noble gas consisting of MCs Vast Aire and Vordul, and producer El-P. Now, a lot of people don't really count El-P as a member of Cannibal Ox, but these people are all idiots. If Cannibal Ox ever did anything without El-P, it wouldn't be anything remotely important (and, indeed, as the general consensus seems to be about Vast's own Look Ma...No Hands, I'm right, though I haven't actually listened to that record. I should be White House counsel.) The Cold Vein is, in addition to one of the most devastatingly titled records of the new millenium (unearthing the layers of meaning in that title would take most of a quarter in a 500-level lit seminar), the aural equivalent of being dunked repeatedly into an icy-cold fishtank filled with razors. While strapped down. To a splintery board.

Criticism: Vordul is not that great a rapper. In fact, his main role in CanOx isn't, it seems, to contribute anything of that great merit within the songs themselves - he pops off some poetry every now and again, but not with any regularity - but to foil Vast Aire. Vordul is your typical MC, the heads tend to like him a lot better, if every post on message boards can be believed. Vast, however, is another story. His flow is the sound of the first robot that can feel. He creates intricate webs of meaning and wordplay. As far as imagism goes, he's a very very close second to Kool Keith in Dr. Octagon mode, which is to say that he drops lines that make my face ache.

So we come to why Vordul is in CanOx. Think of it this way: Vast is T.S. Eliot constructing "The Waste Land". Vordul is Ezra Pound. As Vast constructs labrynthine paths of crumbling concrete and spiders, Vordul is weaving words around them, constricting Vast's metaphors and keeping them from running amok over the record's carefully considered, constructed, and detonated musical tracks, courtesy of El-Producto. Vordul and Vast are intimate as lovers on these raps. El-P makes their bed, lights some candles, catches the sheets on fire, adjusts the ropes. Vordul and Vast have to work together to untie the knots.

And the zero-point of their strengths, everything amazing and unbelieveable about CanOx, is displayed in the track "Iron Galaxy". Originally on a split with Company Flow (if I'm not mistaken), it's clearly the jumping-off point into the frozen darkness of The Cold Vein. I'm not going to describe it to you, because that would be impossibly worthless, but Vordul begins his most effective verses on the whole album (except maybe "The F-Word"), culminating in the setup "...come home, mad soon...little black girl got shot". Oh oh oh oh oh oh....here it comes!

AND IF THERE'S CRACK IN THE BASEMENT!!!!!

El drops in and you know what's coming next. It's louder than any explosion, it crumbles the very air around my head like a black hole halo. AHHHHHHHHHHHHHH.

"Crackheads stand adjacent."

Oh. My. God. Vordul has put him right out in the open, facing an open court to the basket. There's nothing you can do. He's coming in. He wastes a few lines before beginning his proper introduction, just because he can. El's laughing in the booth as he gears up, not even taking a breath between segue and smackdown.

"You were a stillborn baby;
your mother didn't want you
but you were still born.
Boy meets world, of course his pops is gone.
What you figure?
That chalky outline on the ground
is a father figure?"

A poem in infinite parts courtesy of Vast Aire edited by Vordul layout by El-P thank you goodnight.

"Lets talk in layman's terms,
rotten apples and big worms
early birds and vultures.
New York is evil to it's core
so those that have more than them,
prepare to be victims."

"I rest my head on 115
but miracles only happen on 34th
so I guess life is mean
and death is the median
and purgadory is mode that we settle in."

I could keep going, but you get the idea. And I'm tired of writing. This is the first track; we could keep going, but in a record with two endings, multiple paths, all angles considered, there isn't time right now. Maybe later I'll come back to it. Maybe. For now, I'm exhausted and cut up.

A group of very talented / Cannibals.

Wednesday, April 13, 2005

Akron/Family

I'm very excited to hear that Akron/Family, Young God's latest coup, is coming to town with none other than M. Gira himself, formerly of Swans and now of The Angels of Light. Apparently, Akron/Family will be backing him as Angels of Light, so that's a lot of fun.

I have some questions for the guys in Akron/Family, so I hope they'll be around after the show.

Akron/Family - Suchness

I'm totally crushing hard on a lot of these songs; they fit somewhere between the experimental ethos of Animal Collective and the orchestral gothic pop of The Angels of Light. Clearly, a great fit on Young God. The song I posted isn't really the best on the record - actually, it's not the best by a long shot - but it's the song that most piqued my curiosity. See, the opening lyric is "I want to see the thing in itself / I don't want to think no more," then repeated several times. The first time I heard it I was all like, "What?" The second time I heard it I was all like "What! Yeah!" Difference. Totally HEGELIAN, brah. Absolute Phenomenology of Spirit up in that. I want to see if I'm interpreting that correctly. Does anyone know who writes the lyrics in Akron/Family? I have questions.

See, Hegel posited that all objects are not only objects in themselves, but are also containers of features. For instance, when I percieve a can of diet Coke, I don't only percieve a can in totality, I also percieve it as a cylinder. Sometimes, I percieve it as silver. Other times, I percieve it as bearing a label. When I do this, however, I lose the totality of the object. It's impossible to see the object as a whole object, plus all of its features and characteristics. Now, we could digress into the nature of self-consciousness &etc., but that's probably not a good idea. Suffice it to say, deep shit, dude.

Also, "Suchness"? Duns Scotus, anyone?

Anyway, Angels of Light are awesome, too. Should be a fucktastic show.

Buy Akron/Family's self-titled record here

Sunday, April 10, 2005

Zbigniew Karkowski One & Many

I picked up this record because someone said it sounded like Tim Hecker's last work, Mirages, upon which I have heaped effusive praise since the moment it first landed in my gungy hands. One & Many is only like Mirages in that they both come on compact disc.

O&M is a searing burst of staticky noise with some occasional fits of low-frequency sine wave modulation. It sounds roughly like my first experiment in additive synthesis using Max/MSP, except recorded in a big living room on cheap microphones. It's a single 40-minute track, which moves from soft to loud to soft to mostly loud without achieving a real sense of movement. It's elementary and silly; mostly, I think of the Tim Olive & Fritz Welch record Sun Reverse the Footpedal that I had for a while last year, which consisted primarily of someone in what sounded like a barn, banging on sheet metal and pipes with hammers; however they had the decency to break up the record into 10 or so unnamed (and undifferentiatable) tracks. I understand that avant-garde music is supposed to be a challenging listen, but in what context is this kind of thing supposed to be engaging? Am I supposed to not be engaged and instead fight the impulse to turn it off for 40 minutes? Wolf Eyes pummels the hell out of the listener and engages in sheer noise brutality, but it's still capable of being addressed in musical language.

Congratulations on challenging my sense of what music can be. Now, if you'll excuse me, I'm going to go back and put on Señor Coconut.

Friday, April 08, 2005

This is pathetic

Yes, I know, it's been a pathetically long time since I last posted. I haven't been idle, however, as I've been doing...things. As it were.

New records I've picked up:

Polmo Polpo - Kiss Me Again and Again EP: About as good as music gets.

Andrew Bird - The Mysterious Production of Eggs: This record starts out with a bang and develops into a phenomenal middle section, though it's aesthetic does get a bit tiring towards the end. Bird's just too indiosyncratic to not wear out the preexisting grooves in your brain as he tromps around in there, making his own new ones. But the first 5 or so tracks on here make perfect sense even as they aren't really like anything else.

Fiona Apple - Extraordinary Machine: The massive praise heaped upon this record led me to go seek it out. Let me say that the opening track, "Not About Love", is one of the better ones I've heard all year. Even if the whole record is a little bit...faux? (Maybe...) That's probably not the right word. But it's hard to stay with it. Admirable, though. The first track, though, I'm gonna keep listening to.

Morrissey - Live at Earl's Court: What can I say but I love Morrissey and all of his middle-age lounge singer vocal tics?

Christöphilax - goldensmell: Mysterious electronic artist. Very nice micro-ambient noise stuff. You can get his/her stuff for free if you email him/her.

The Books - Lost & Safe: I'm not sure how much I'll wind up liking this, probably not as much as their other two, but thus far, I think "Vogt Dig For Kloppervok" is probably their second-best song, just tailing "All Bad Ends All", and maybe barely beating out "Deaf Kids". Tremoloed vocals! Sweet!

Jóhann Jóhannssen - Virðulegu Forsetar: I've only listened to this twice, but it's magnificently beautiful.

No time to comment on these, but they're also around:

Yann Tiersen & Shannon Wright - s/t
13 & God - Men of Station EP
Akron/Family - s/t
Crystal Stilts - Shattered Shine 7"

And I've also rediscovered the Super Furry Animals' Rings Around the World, as well as Morrissey's Viva Hate over the past week. Oh well.

If you're out tonight, come check out The Oxford Anthology of Twentieth-Century British and Irish Poetry at Howlin' Wolf. We go on at 9:15, I think.

More will be coming in less than 3 weeks.

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