TRMW Archives

* FYI, this stuff is old. The current TRMW is here.

January 12, 2005

Checking Pitchfork today I found the following horrible horrible Neighborhoodie. You may recall this is the same company that makes those HAWTHORNE, WILLIAMSBURG, etc hooded sweatshirts found on every other page of every alt-weekly in every city in which the term “hipster” has geospecific meaning. Seems the market for uber-dorky ‘hood indentification clothing is drying up, and now they’re touting cute hip/indie catchphrases. Hence this:

Neighborhoodie Post Punk

fig 15: ?????

What are these people thinking? Why does this exist? Did anyone stop to think how completely absurd it is to be waxing nostalgic over a not-really-genre whose only real point of unity was a complete and total hatred of nostalgia – in 200freaking5?!?! If, as I understand it, the people who constituted this movement were reacting against punk’s slide into same-old-Rock, as typified by The Clash, then I can only imagine their distaste for any person who has ever said “punk’s not dead”, let alone worn this t-shirt. Of course, holding these people in such golden-age-ish high regard is probably some form of nostalgia in itself [turning finger toward self] but why would you buy this if you didn’t? And why would you buy it if you did? There are bigger questions to be asking, but right now I just want to shoot mental darts at this person and whatever the fuck they signify. And I guess I just did.

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November 1, 2004

A while ago I posted about these so-called “obscure English post punk bands” I’ve been listening to, and one of them was Desperate Bycycles, which it seems are also sometimes spelled correctly, like Desperate Bicycles. Anyway, just so happens that I’ve stumbled upon their entire discography, available for free, here. As the man who put it there, Derek Erdman, says: “Man, I sure am awesome to people who spend a lot of time on the internet.” Thanks Derek.

ALSO: Dude, this is rad!

HALLOWEEN: Was insanely fun. The house was decorated to the nines, complete with an entire front room dedicated to this elaborate demented doctor’s table display thing. Two bands played, Wet Confetti and Knock it Closer. I heard a little bit of Knock it Closer, featuring Liam from the Snuggle-Ups, whose CD release show with the Thermals was completely awesome the night before. Knock it Closer if a little more rocky, less PLUR and more angst, sort of like a faster Cure. I was upstairs DJing when Wet Confetti came on, so I heard their set as a loud grind beneath my feet, which was kind of surreal.

matt_halloween_small

Figure 2: Everything goes pink. Figure 1 is below.

After that the CUM LAZER (that’s me and my friend Steve’s DJ “collective”) was in full effect. The house was packed to the gills, with people spilling out onto the street. We had a fog machine and many many technical mishaps. For a while the speakers were making loud fart sounds, the kind that eat up all other frequencies when they hit and make the crowd go whiney. Once we cut the bass it was all good for a while, then mysterious electrical/wiring problems started popping up, whereby the sound would just inexplicably cease. Happily, shaking the speaker wires like voodoo sticks seemed to please these evil sonic demons.

Despite these setbacks we managed two of our better sets ever, one uptempo for before the cops came, and one blunted-but-funky for the post-cop late crowd, before the cops came again. Hits of the first set included Freak Nasty’s “Da Dip”, Salt n Peppa’s “Push It”, and that perenial hipster favorite “Hey Ya”. There was some rock too , but I only remember the Cars. Hits of the second set included “Spill the Wine” by War (one of my favorite songs ever), “When Doves Cry” by Prince, and “Galang” by M.I.A. (one my favorite songs right now, which really belonged in the first set).

I’ve never deejayed a vibe as unique and perfect as that during the second set. People drunk and beaming, in great costumes, finally able to talk and move without fear of being crushed. Low lights and very low volume. People conversing and dancing, at the same time. A delicate crescendo from near nonexistence to near exuberance, interrupted by the cops at just the right moment (again). Dude, it was rad!

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October 11, 2004

If ignorance is bliss, Soulseek is outright agony. Lately I’ve been picking through some of the more immaculate collections to be found on said service, obsessively queuing in pursuit of obscure British post-punk bands like Desperate Bycycles, Rip Rig & Panic, Flying Lizards, Au Pairs, Orange Juice, Bush Tetras. I’ve also done a little reading, and waayyyyyyyyyy too much Allmusicing. It’s fascinating music, and twenty five years after the fact (most of this stuff came out 1979-81) much of it sounds like nothing I’ve ever heard. But in some cases it sounds distinctly like something I have heard, recently, and this brings me to the “agony” part.

The more I dig into this period, the more I understand what these bands were trying to accomplish with this weird music, the more I want to hate this “new” retro post-punk movement, as typified by bands like the Rapture, Interpol, the Futureheads. Because what made this music so vital in the first place, and makes it stand today, is that each of these bands committed themselves to tearing down the musical status quo, rejected the past, and attempted to create NEW SOUNDS. Cherry picking through history, finding a fantastic post-punk band, and simply updating it for the “indie” demographic (FUTUREHEADS : XTC, INTERPOL : JOY DIVISION (but you already know this), FRANZ FERDINAND : ORANGE JUICE + XTC) is the antithesis of this approach. Yet still this movement continues to be marketed as “post punk” and continues to attract young, capable musicians.

What’s worse, the press is absolutely eating this shit up. The Futureheads album has an 83 rating on Metacritic, which, according to the site, indicates “universal acclaim.” For example:

The group’s edgy, fast-paced New Wave 2K brand of rock recalls the sharp, nerdy delivery of XTC, the impassioned focus of the Jam and ping-ponging hooks reminiscent of the Vapors. – ShakingThrough.net

Right. “New Wave 2k”. Three old bands clumped together = critically acclaimed new band. Seems this reviewer, and the rest of the increasingly un-critical rock press, was too busy checking off the boxes marked “old band critics like” to realize this album for what it is: a really good mix tape, circa 1981.

To summarize: WTF?!?! Where are the voices calling out in opposition, demanding NEW SOUNDS, rejecting NOSTALGIA?

Here’s one:

“I don’t try to follow the masters; I try to ask the same questions they asked.” – Robbie Basho

Thanks Robbie. Too bad your dead.

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Blast from the present!