Showing posts with label indie music. Show all posts
Showing posts with label indie music. Show all posts
7/20/16
Millennials For Bernie and Other News From The Modern Gutter
Wow 2016 has certainly been a year, between celebrity deaths, political chicanery, imminent race war with shooting-a-day news, terrorists wilding out everywhere, a surprise coup in Turkey, and the grand return of Pokemon combined with augmented reality, the Age of Indifference seems poised at the cusp of its Golden Age. It's almost possible to forget the insanity of the first four months of the year based on the last three months of the year. It's almost possible, even tempting, to think that we are at an all time high of crazy happenings
But things have been shitty for a very long time, haven't they? And it's probably our fault. In fact it is certainly our fault. We've done this. Some of us try to do better, some of us try to fuck things up, and the majority don't care. I like to think I fall outside of all these groups. I don't care; but I do. I want to do better; but I don't. I never really considered the option of making things worse... it seems there are plenty people on each side of every confrontation who can do that better than I could ever hope to.
So I was trying to come up with a good overview of the past ten months or so but there are so many squawking heads yakking about it that it doesn't matter. Plus, I'm a piece of shit idiot with nothing new to add or a redeeming perspective. Suffice it to say I get it: everything looks pretty grim. Things looked bad in 2003, and they look roughly as bad now, except there is more bad stuff? (I'll look into this after I kill myself, because fuck making that graph.) But there's also good stuff: like consumerism! So I'm going to recommend some pretty good stuff that'll help you get through July without killing yourself or fantasizing about killing every last human in an insane laser drug apocalypse in a doomed attempt to fix Earth and right all the wrongs.
4 Media Products Recommended by the Sloppy Blogger in Lieu of Depressing Screed About Modern World
3/23/13
New Sincerity and You: Counter-Counter-Countercultural Warfare
In today's culture of needy oversharing, cultural voyeurism, and [post-]post-modern irony it can seem as if nobody is willing to simply be their own self. It's possible that being a human being will no longer be as attractive an option as it used to be in the so-called 'simpler times' but most likely it is the old struggle in which mass culture tries to either force itself to be interesting or lays down a smokescreen of excuses about why it isn't. A reasonably recent phenomena, born out of cultural desperation and distaste, is New Sincerity. And, goddamn, the term is hot right now, and getting hotter by the moment – so come inside, place your bets, and learn a little something about nothing!
I'm no expert. New Sincerity, as a term, doesn't sit well with me, just like so many other facets of contemporary cultural shorthand. In many ways New Sincerity can be simplified as the diametrical opposite of that vague modern boogeyman 'the Hipster'. And yet, research I have done on the matter seems to suggest that mainstream 'hipster scions' are in fact loosely associated with New Sincerity. I don't really know what Zach Braff would say about the matter. Was Garden State actually a determined piece of New Sincerity propaganda? Did it manage to cash in on the credible? Worse yet, have the bewildering, out-of-favor films of Wes Anderson been appropriated by the movement? By the other movement?
My intention in this article has changed from simply making fun of New Sincerity to undertaking somewhat of a census about it. Mostly this will be the type of armchair cultural criticism I am known for, worldwide. For the most part New Sincerity is often used as a prescriptive term. In music this situation changes: many bands, hearkening back to the simpler, more heartfelt times of Bruce Springsteen, term themselves part of the New Sincerity movement, performing lyrics based less on conceptualism and cleverness and more on love, loss, sorrow, joy, and excitement. These are the earnest topics for music, but what keeps them from becoming pop music is a blend of aesthetics, identity, and intent. The prime axiom is to be authentic at all costs by not making attempts at authenticity, and never to ask 'what is authenticity?'
Unsurprisingly, New Sincerity stems from classic rock superstars such as Bruce Springsteen, Ted Nugent, John Mellencamp, and Bob Seeger, among others. Hair metal and psych are too ironic, or too insincere, or illegal, so lots of 'dad-rock' played to death on classic rock radio is actually questionable. Or perhaps they are valid inspiration, it's quite foggy to me and researching these kinds of things is slower than decisive critical strikes. What have these (and other) roots inspired?
Modern popular/indie acts such as The Hold Steady, Japandroids, Passion Pit, and evidently even Animal Collective are considered New Sincerity. These are just loose examples. To my mind the absolute pinnacle of new sincerity is probably Japandroids - they're not as bland as The Hold Steady and they're not politically or philosophically newly sincere. They just rock out and sing and holler and scream about partying, kissing girls, how life is and what they feel about it.
It's not slavish imitations of Springsteen topics about living in a shit down and running out of hope, or shooting up a bank in the back-roads of Nebraska. One has to admire the mixed positivity in songs about change, nostalgia/heartbreak, or raw excitement. The sense is that it's all youthful enthusiasm and angst, sometimes regret, and the energy cannot be denied. Their lack of pretense, deliberate simplicity and raw force all stand in contrast to established hype bands like The Hold Steady (with Springsteen and hearts worn on the sleeves). However, Japandroids' sophomore album is either too earnest or actually ironic in the ennui mode (or simply underwhelming after their debut), which may or may not say anything about New Sincerity.
Myself, I think the best part is that New Sincerity is often hailed as the redemptive force of contemporary hipster culture. It's a pretty great lie, but it makes everything seem much more epic and heroic, as if there really is a struggle against insincerity in culture. I stress, again, that the modern hipster has roots in Victorian England and earlier German youth movements. We see again and again the sorrows of young Werther in the trappings of a modern-day dandy. However it was inevitable, after the crushing nihilism of the 80's and the strung-out apathy of the 90's, that some kind of cultural force would rise in opposition. The only questionable thing is whether terming it 'new' is not a smidgeon untrue.
I'm no expert. New Sincerity, as a term, doesn't sit well with me, just like so many other facets of contemporary cultural shorthand. In many ways New Sincerity can be simplified as the diametrical opposite of that vague modern boogeyman 'the Hipster'. And yet, research I have done on the matter seems to suggest that mainstream 'hipster scions' are in fact loosely associated with New Sincerity. I don't really know what Zach Braff would say about the matter. Was Garden State actually a determined piece of New Sincerity propaganda? Did it manage to cash in on the credible? Worse yet, have the bewildering, out-of-favor films of Wes Anderson been appropriated by the movement? By the other movement?
My intention in this article has changed from simply making fun of New Sincerity to undertaking somewhat of a census about it. Mostly this will be the type of armchair cultural criticism I am known for, worldwide. For the most part New Sincerity is often used as a prescriptive term. In music this situation changes: many bands, hearkening back to the simpler, more heartfelt times of Bruce Springsteen, term themselves part of the New Sincerity movement, performing lyrics based less on conceptualism and cleverness and more on love, loss, sorrow, joy, and excitement. These are the earnest topics for music, but what keeps them from becoming pop music is a blend of aesthetics, identity, and intent. The prime axiom is to be authentic at all costs by not making attempts at authenticity, and never to ask 'what is authenticity?'
Unsurprisingly, New Sincerity stems from classic rock superstars such as Bruce Springsteen, Ted Nugent, John Mellencamp, and Bob Seeger, among others. Hair metal and psych are too ironic, or too insincere, or illegal, so lots of 'dad-rock' played to death on classic rock radio is actually questionable. Or perhaps they are valid inspiration, it's quite foggy to me and researching these kinds of things is slower than decisive critical strikes. What have these (and other) roots inspired?
Modern popular/indie acts such as The Hold Steady, Japandroids, Passion Pit, and evidently even Animal Collective are considered New Sincerity. These are just loose examples. To my mind the absolute pinnacle of new sincerity is probably Japandroids - they're not as bland as The Hold Steady and they're not politically or philosophically newly sincere. They just rock out and sing and holler and scream about partying, kissing girls, how life is and what they feel about it.
It's not slavish imitations of Springsteen topics about living in a shit down and running out of hope, or shooting up a bank in the back-roads of Nebraska. One has to admire the mixed positivity in songs about change, nostalgia/heartbreak, or raw excitement. The sense is that it's all youthful enthusiasm and angst, sometimes regret, and the energy cannot be denied. Their lack of pretense, deliberate simplicity and raw force all stand in contrast to established hype bands like The Hold Steady (with Springsteen and hearts worn on the sleeves). However, Japandroids' sophomore album is either too earnest or actually ironic in the ennui mode (or simply underwhelming after their debut), which may or may not say anything about New Sincerity.
Myself, I think the best part is that New Sincerity is often hailed as the redemptive force of contemporary hipster culture. It's a pretty great lie, but it makes everything seem much more epic and heroic, as if there really is a struggle against insincerity in culture. I stress, again, that the modern hipster has roots in Victorian England and earlier German youth movements. We see again and again the sorrows of young Werther in the trappings of a modern-day dandy. However it was inevitable, after the crushing nihilism of the 80's and the strung-out apathy of the 90's, that some kind of cultural force would rise in opposition. The only questionable thing is whether terming it 'new' is not a smidgeon untrue.
11/9/12
The Coup & Assorted Criticism, Hypery, Links
I feel like the world is generally ignorant of legendary marxist rap crew The Coup, or even worse, is actively skeptical or unreceptive to mentions of that group. I understand perfectly how people can be political, but I personally hold music to be much more honorable than politics, so the general lack of knowledge or enthusiasm about The Coup is baffling. It's understandable. I'm sure smug white people aren't The Coup's ideal audience, so lots of the people I most often deal with have nothing to say when I bring up The Coup.
Shamefully, I never really bring up The Coup at all when people ask me what I like to listen to. The near mythical production of Pam the Funkstress and Boots Riley's cutting rhymes. There was an awareness of the wrongness of things that should speak to anyone, at times. It's not particularly comfortable music, I suppose. It's a little incendiary, even. Revolutionary talk, whether posturing or not, is completely out of favor right now. It's seen something for teenagers, for the mentally unfit, or Russians, terrorists and other people we disagree with and distrust. Anywhere you look in the world, people will call revolutionaries dangerous, misguided, lazy, out-of-touch – generally before revealing their own lack of comprehension about the basic concepts of socialism or Marxism, whenever socialism is brought up. If you can't revolt and can't hold government to account, why pretend to be happy or enfranchised?
So, if you'd ask me, I'd say The Coup is important, brutally honest, unique, and unabashedly political. Music with a message is nothing new, but it is the nature of popular music to be inherently pro-capitalist or at least ignore the issue or posture about it. The status quo is referenced to establish a lack of privilege and it's on to fun verses about partying, women, crime, or drugs. Hip hop and rap are often maligned for being empty-headed and consumerist by the very people who understand or identify with it the least, and The Coup in particular would serve as an amazing rejoinder. For those reasons and more, I want to pay homage, and celebrate the release of a new album!
Shamefully, I never really bring up The Coup at all when people ask me what I like to listen to. The near mythical production of Pam the Funkstress and Boots Riley's cutting rhymes. There was an awareness of the wrongness of things that should speak to anyone, at times. It's not particularly comfortable music, I suppose. It's a little incendiary, even. Revolutionary talk, whether posturing or not, is completely out of favor right now. It's seen something for teenagers, for the mentally unfit, or Russians, terrorists and other people we disagree with and distrust. Anywhere you look in the world, people will call revolutionaries dangerous, misguided, lazy, out-of-touch – generally before revealing their own lack of comprehension about the basic concepts of socialism or Marxism, whenever socialism is brought up. If you can't revolt and can't hold government to account, why pretend to be happy or enfranchised?
So, if you'd ask me, I'd say The Coup is important, brutally honest, unique, and unabashedly political. Music with a message is nothing new, but it is the nature of popular music to be inherently pro-capitalist or at least ignore the issue or posture about it. The status quo is referenced to establish a lack of privilege and it's on to fun verses about partying, women, crime, or drugs. Hip hop and rap are often maligned for being empty-headed and consumerist by the very people who understand or identify with it the least, and The Coup in particular would serve as an amazing rejoinder. For those reasons and more, I want to pay homage, and celebrate the release of a new album!
7/30/12
This Moment's Most Hypeable Movie
Out of nowhere I see this movie trailer on YouTube. It's about the David Mitchell novel. There was one part of it I have read, the futuristic cyper-punk dystopia, which I thought was pretty sharp on a few levels, both as genre fiction and social observation. So the trailer, to me, makes the film look like it's the next Inception. Except potentially more confusing.
So Tom Hanks is in this movie, they've got 'Outro' by M83 playing in the trailer, and the words "EVERYTHING IS CONNECTED" show up on screen at one point – really exciting stuff. In a five minute trailer I've seen a bunch of stuff out of the movie. They've referenced a bunch of concepts: metempsychosis (this one's about to trend, trust me), love, action, dialogue, narrative exposition... if you watch the trailer you will discern a dozen more. Considering the nature of the trailer, I wonder if I've seen a condensed version, which also makes me wonder, taking the unfinished book into account, if it's going to be a must-see.
It sounds like the sort of achingly metaphysical and deep movie that will keep people thinking until they reach their cars or have walked for a half hour. It definitely looks cool, and you can forgive any foreseeable cliches and laziness by the sheer variety of settings. It just seems like the trailer generously lays the movie out and, really, how hard is it to pair the movie with a neat little conceptual trailer, even if it has to be half as long?
It's got me thinking all existentially, even at this moment, and for me this is the most hypeable moment of this particular upcoming film release. Really there's always a reason to cheer when a book is turned into a movie, or concerning movies anything that's not a sequel, prequel, remake, or franchise reboot. I just wonder if Cloud Atlas will suffer in the same way Hitchhiker's Guide to the Galaxy did.
Anyways it's a cool trailer. It starts out with ethereal music and then kicks into more tense music and then goes insane. Dudes on horses, clones in a future dystopia, inspiring quotes. Then an explosion and a moment of silence and M83 and some more inspiring material. It's hard to resist, and in just a few months we get to see if it meets or exceeds expectations.
So Tom Hanks is in this movie, they've got 'Outro' by M83 playing in the trailer, and the words "EVERYTHING IS CONNECTED" show up on screen at one point – really exciting stuff. In a five minute trailer I've seen a bunch of stuff out of the movie. They've referenced a bunch of concepts: metempsychosis (this one's about to trend, trust me), love, action, dialogue, narrative exposition... if you watch the trailer you will discern a dozen more. Considering the nature of the trailer, I wonder if I've seen a condensed version, which also makes me wonder, taking the unfinished book into account, if it's going to be a must-see.
It sounds like the sort of achingly metaphysical and deep movie that will keep people thinking until they reach their cars or have walked for a half hour. It definitely looks cool, and you can forgive any foreseeable cliches and laziness by the sheer variety of settings. It just seems like the trailer generously lays the movie out and, really, how hard is it to pair the movie with a neat little conceptual trailer, even if it has to be half as long?
It's got me thinking all existentially, even at this moment, and for me this is the most hypeable moment of this particular upcoming film release. Really there's always a reason to cheer when a book is turned into a movie, or concerning movies anything that's not a sequel, prequel, remake, or franchise reboot. I just wonder if Cloud Atlas will suffer in the same way Hitchhiker's Guide to the Galaxy did.
Anyways it's a cool trailer. It starts out with ethereal music and then kicks into more tense music and then goes insane. Dudes on horses, clones in a future dystopia, inspiring quotes. Then an explosion and a moment of silence and M83 and some more inspiring material. It's hard to resist, and in just a few months we get to see if it meets or exceeds expectations.
9/6/11
Lolnet.heh/msuic
Recently I overheard people talking about an album by Bon Iver. And I was thinking, to be honest, "Hippy Bon Jovi Nonsense". So I did my due diligence, business people, and the rest of you should know I visited wikipedia, followed up on the name-drops, and laughed at something I found. It's a piece of music journalism. Two pieces, actually. I like to call them the dueling reviews. They inspired me to do some listening many weeks ago.
And all that time those two reviews have stuck in my mind. Sometimes I catch myself thinking about them on the way to work, or while getting groceries, sometimes even in the middle of a conversation some spare remark will prompt the two Bon Iver reviews that Tim Sendra wrote, presumably for Allmusic. These reviews and the three-and-something years between them are, I think, representative of how the human socio-cultural system has shifted. Or maybe I'm a tin-eared bastard with a dumb, sloppy blog.
The two Bon Iver albums strike me as being remarkably similar. I haven't played them constantly; I haven't listened to either of the albums particularly critically (huh?); I have, however, listened to both of the albums in full at least four times. As far as I'm concerned, I have more respect for Bon Iver than for Tim Sendra, but Bon Iver has to admit that Tim Sendra has somehow managed to make Bon Iver weirdly important to me. I wouldn't have known about this band or even written them off if not for two reviews that produced a mysterious reaction in my mind. Tim Sendra, however, has explained where the last three years of my life went, for which I am in his debt - figuratively, of course.
The two albums are titled For Emma and Bon Iver, chronologically. Note how the second album title is eponymous. The fact literally does not matter to me. I somehow always think it's the first album, which may have skewed my idea of things, except that I knew exactly what Tim Sendra was talking about when he reviewed either album. Let me be concise for a moment: I think the first album is sincere and conceited; I think the second is sincere and conceited. I found both of them pretty enjoyable except they have a sombre, cool vibe to them. Let me post an image of Tim Sendra's review of For Emma. I hope he doesn't mind this mild intrusion, but I am acknowledging him as the author and Allmusic as the owner, so there's nothing to apologize about since I'm not planning on calling him uncouth names.
It seems to me an honest review. It's probably how Tim Sendra felt about the album. It's a fair representation and he does not oversell. He notes: 'subdued', 'isolated', 'voice', 'harmonies', and you can read the rest. I find the album decent, etherized and ethereal and with a few stand-out songs. "Lump Sum" is alright. In the end the album is alright. Some of the vocals are autotuned, so there is obvious conceit and if you are not a sensitive soul you will find these touches laughable or out-of-place. They are used for emphasis, don't sound entirely stupid, but still: fucking autotune in another heartfelt, subdued, harmonic indie-rock folkish lament. I don't even know if it's original but it surprised me.
So, cool album. Not something I'd want to listen to very often, but for times of illness or heartbreak I imagine it is suitable if unhealthy. In themselves, For Emma and Sendra's review are harmless enough and inoffensive. Now, gentle reader, please allow me to bring Exhibit B into these calm, idealized waters. Exhibit B is Bon Iver, the album, and Sendra's review as accompaniment in B sharp.
And all that time those two reviews have stuck in my mind. Sometimes I catch myself thinking about them on the way to work, or while getting groceries, sometimes even in the middle of a conversation some spare remark will prompt the two Bon Iver reviews that Tim Sendra wrote, presumably for Allmusic. These reviews and the three-and-something years between them are, I think, representative of how the human socio-cultural system has shifted. Or maybe I'm a tin-eared bastard with a dumb, sloppy blog.
The two Bon Iver albums strike me as being remarkably similar. I haven't played them constantly; I haven't listened to either of the albums particularly critically (huh?); I have, however, listened to both of the albums in full at least four times. As far as I'm concerned, I have more respect for Bon Iver than for Tim Sendra, but Bon Iver has to admit that Tim Sendra has somehow managed to make Bon Iver weirdly important to me. I wouldn't have known about this band or even written them off if not for two reviews that produced a mysterious reaction in my mind. Tim Sendra, however, has explained where the last three years of my life went, for which I am in his debt - figuratively, of course.
The two albums are titled For Emma and Bon Iver, chronologically. Note how the second album title is eponymous. The fact literally does not matter to me. I somehow always think it's the first album, which may have skewed my idea of things, except that I knew exactly what Tim Sendra was talking about when he reviewed either album. Let me be concise for a moment: I think the first album is sincere and conceited; I think the second is sincere and conceited. I found both of them pretty enjoyable except they have a sombre, cool vibe to them. Let me post an image of Tim Sendra's review of For Emma. I hope he doesn't mind this mild intrusion, but I am acknowledging him as the author and Allmusic as the owner, so there's nothing to apologize about since I'm not planning on calling him uncouth names.
It seems to me an honest review. It's probably how Tim Sendra felt about the album. It's a fair representation and he does not oversell. He notes: 'subdued', 'isolated', 'voice', 'harmonies', and you can read the rest. I find the album decent, etherized and ethereal and with a few stand-out songs. "Lump Sum" is alright. In the end the album is alright. Some of the vocals are autotuned, so there is obvious conceit and if you are not a sensitive soul you will find these touches laughable or out-of-place. They are used for emphasis, don't sound entirely stupid, but still: fucking autotune in another heartfelt, subdued, harmonic indie-rock folkish lament. I don't even know if it's original but it surprised me.
So, cool album. Not something I'd want to listen to very often, but for times of illness or heartbreak I imagine it is suitable if unhealthy. In themselves, For Emma and Sendra's review are harmless enough and inoffensive. Now, gentle reader, please allow me to bring Exhibit B into these calm, idealized waters. Exhibit B is Bon Iver, the album, and Sendra's review as accompaniment in B sharp.
5/27/11
Screenshot from the Internet!
I heard a story the other day, told by a TV newscaster, about confused animals forming an indie rock band in Sandusky, Ohio. I thought that it was about time animals found a new way to shit on us, and since none of the band members are insects, I'm happy. Mammals all the way or avians.(I say this with love since a fungus, virus or insect is most likely going to make the long run).
The internet is impossible to write about, but as soon as you use a bit of creative thinking and take a screenshot, you can explain almost everything:
There you have it : possibly the most advanced composite image of the internet, made for approximately one hundredth of a damn.
The internet is impossible to write about, but as soon as you use a bit of creative thinking and take a screenshot, you can explain almost everything:
There you have it : possibly the most advanced composite image of the internet, made for approximately one hundredth of a damn.
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