* FYI, this stuff is old. The current TRMW is here.
Sorry, I’m posting about obsolete breakfast cereal. I somehow stumbled on this half-way funny article the other day, and it all came rushing back: that alien, those creatures-I-mean-”critters”, that hazy 80′s TV sheen. I loved this product, and as of two days I had totally forgotten this product existed. Seems kind of sad in a way, but really really probably shouldn’t.
Anyway, here’s a little song and dance for ya:
The over-wonderful Minusbaby (fellow Metempsychosis expat) makes nice things like this in his sleep. Rad.
And while we’re rocking the 8-bit stylee I should probably link to these dudes. I downloaded this awesome remix of “Axel F” aka the Beverly Hills Cop theme from them a while back, which I hope to drop into a DJ set somewhere someday. While yr at it, peep this awesome polyphonic ringtone version, and following on the last post, this kickin’ Israeli trance remix (YES!). The original version of this song is seriously the first piece of music I ever really loved, which I think explains my continued utter synth-geekdom / tendency towards all things electro. I distinctly remember getting frozen yogurt with my mom after hanging out at gym daycare while she did aerobics (can this scenario be any more 80′s WASPy?), this song playing on the radio, and glorious visions of patterned light tunnels and the future unfolding in my baby mind. Clearly, I was born to be a raver.
Speaking of which, new solo deejay name idea as of last night = DJ Harshmellow. Hot or not, people? HOLLABACK!
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.
