40 years gone, the legend of Jim Morrison has long since superseded the man himself to the point where clueless music journalists feel free to refer to his death as his “breaking on through to the other side,” a lyrical nod to the Doors’ 1967 classic single.
Such dimwitted tributes are, sadly, common currency. The image of the rebellious rocker valiantly passing over to the “other side” is a far more romantic notion than what occurred in reality (or at least in probability, as no autopsy was ever performed): Morrison and his junkie girlfriend took a suicidal cocktail of drugs overnight, leading the singer to vomit up his internal organs before slowly, and painfully, meeting his end in a Parisian bathtub.
The romantic image of Morrison is made even cuter due to the fact that he, by all accounts, was a misogynistic dog who’d fuck anything that walked on two legs, or maybe even three. Yet that’s what made him such a compelling figure: as a man, he was stirringly, disarmingly handsome and as a songwriter he was deceptively accomplished. He was the rock n’ roll ideal: irresistible and prodigiously talented.
While the abiding sonic image of the Doors as a group might be their longer, more psyched-up pieces, ‘Light my Fire’ was Robby Krieger’s baby and was driven by Ray Manzarek’s iconic keyboard melody. What Morrison brought to the party was a manic, almost primal energy, best exemplified by that distinctive guttural roar – he was in many…
A major similarity can be drawn between the works of Cormac McCarthy and the relationship between Dan Barrett’s Giles Corey book and album. Cormac McCarthy has always been a good enough writer that it was never really necessary for him to do anything different, but as the years wore on his books became a bit more streamlined and easier to read, as if the dross of pretension was smelted away leaving pithy wisdom and a fine sense of humor. His earlier novels plumbed deep into the human psyche and extracted dark things while his later works – starting with the Border Trilogy – are mostly about the good in people. Even No Country For Old Men, whose most memorable character is a representation of pure evil, is more about goodness and honesty than anything else. Someone like Anton Chigurh only serves to make the goodness more apparent. When you read his later works, you realize that that was his theme all along, no matter how he approached it. You could put his later works and his earlier works side by side and try to contrast them but eventually you’d have to just put them all together.
The release of Dan Barrett’s book and album is similar, the obvious and key difference being that they are inherently the same work presented in two ways. Attempts to separate them to decide which is more effective are ultimately pointless, as they are most effective when combined. The album is a…
We recieved a link to the webstream of the new Fair to Midland last night, and I finally got around to listening to it for the first time. Since things are slow right now I figured that I would give my initial impressions based on a single listen. For those that are into pain, there is also a track-by-track that was written in real time as I was listening to the album. Below that is the official video for “Musical Chairs.”
My overall impression of this album is that it is not nearly as instant as Fables From a Mayfly. The choruses and vocal melodies are good, but they aren’t as simple and catchy as they previously were. This shouldn’t be taken as a bad thing, though, because the album is definitely going to be one that grows on people. One negative that I can point out is that the vocalist was definitely much more restrained on this album. He never hits those high notes or odd melodies the way he did before. This kind of makes the first listen blend together a little bit because the vocals are all very similar for the most part. It’s also not nearly as heavy or chaotic as the song floating around Youtube would have you believe. Now that it’s established what is missing, we should get into what the album actually is. The music…
Watch this video for the new Queensryche song. If it helps with your decision, there are a lot of half-naked chicks in it. The song is called “Wot We Do” and it comes from the Seattle band’s upcoming twelfth album, Dedicated to Chaos. The video was created by the band’s vocalist, Geoff Tate, and features performance and backstage footage of the Cabaret shows that they did last year, and it’s a testament to just how far they have fallen. This is the same band that released the excellent concept album Operation: Mindcrime and once almost got themselves shot while trying to secretly record gang members talking so that they could include it on the song “Empire.” So, what went wrong? In interviews for this album the band have been trying to make it as clear as possible that this is supposed to be a very current and modern album. Geoff Tate told Paul Anthony of U.K.’s Rock Radio, “It’s kind of like an Empire record set 25 years in the future,” and drummer Scott Rockenfield said, “It’s huge rock but with a great dance vibe to it, real modern dance. It’s kind of like Rage [For Order] through a time tunnel, bringing it into the now.” If you’ve just watched the video for “Wot We Do” you have to be wondering what the hell they’re even talking about.
Despite the unequivocally loud – and at times violent – protests for ‘Idol Thoughts’ to make a return to the SputnikMusic blog, your humble and flattered reporter simply could not find the time to keep up with the goings on of J-Lo and Steven Tyler this year. Fear not however, as the over-saturation of music-based reality shows which span the globe nowadays, is always likely to serve up some form of quality entertainment.
While the ‘(insert country here)’s Got Talent’ franchise is usually more likely to serve up a contender for ‘Funniest Home Videos’ than reveal a musical genius, there is something about the ad-libbing kitchen sink nature of the show’s format which could attract an undiscovered gem.
Case in point is the aptly named James “Chooka” Parker, a contestant on the current series of Australia’s Got Talent. While rural Victoria is not exactly the Australian outback, it is not completely out of the question that young Chooka actually does not own a television, let alone the modern necessities that are a smartphone and the internet… The fashion sense definitely suggests so anyway.
Already the owner of more facial hair than the average red-head is likely to see in their lifetime, the self-taught 16 year old – yes, I said 16 – wandered on to stage for his debut appearance a few weeks back, ready to apparently make everyone laugh. What followed was a mixture of hooting, hollering and bewilderment, which later resulted in one judge calling him a “freak”……
Working-class hardman turned middle-class investigative journalist Ross Kemp has seen a lot of things in his time, not least the most vicious gangs ever to emerge from the barrios of Rio, Bogota and San Salvador, as well as Maori tough men, Timorese martial arts cults and Ricky Gervais.
But not even his experiences in the most deprived, most dangerous parts of the world could quite have prepared him for the slaughterous aural wrecking ball that is And So I Watch You From Afar’s Gangs. I gave it a rather ambivalent 3/5 on its release a couple of months back, but let’s hear what the far more discriminating and battle-hardened Kemp has to say…
Bon Iver’s second album, Bon Iver, Bon Iver, isn’t scheduled for release until June 21, but labels Jagjaguwar and 4AD have made this charming little widget so fans can get familiar with it before the big day.
Read staff member Cam’s review of Bon Iver, Bon Iverhere.
Bon Iver is simply the lush-est, loveliest album of the year. “Towers” and “Wash.,” in particular, are two of the warmest, most inviting songs I’ve heard in a long, long time; they each seem to weirdly possess the aural consistency of a warm blanket, or a nice cup of cocoa. Vernon’s voice is the main draw: his singing has improved tenfold, elevating to stratospheric and angelic heights and then descending to a low rumble, a restless sigh, or a breathless declaration, all within minutes.
There is something ill-fitting, discomforting about the manner in which the legendary Gil Scott-Heron’s passing has been treated by print media, particularly in Britain.
Scott-Heron was largely ignored in his lifetime by traditional media and by the mainstream in general. He had hits, undoubtedly, and his classic screed ‘The Revolution Will Not Be Televised’ has entered the pop culture lexicon almost without acknowledgement. However, until a recent revival on Richard Russell’s XL Recordings and a remix album chaired by Jamie of the xx, his cultural cache was cult – a musician whose influence far overreached his renown. Five years ago, his death would have been notable, but not this notable.
Much of it has to do with the success of his return to music – he hadn’t released a thing between 1994’s Spirits and 2010’s sardonically-titled I’m New Here – and some is due to print journalism sourcing more and more of its content from social media. But that doesn’t quite account for everything – some of the coverage given to Scott-Heron’s death has gone beyond hagiography, effectively crediting the man with creating the entire culture of hip hop (but only the nice, positive parts, of course).
It took me a while to figure it out, but then it all made sense: Barack Obama. While the President’s standing in the world has diminished somewhat since taking office, he remains an object of utter fascination for most Europeans, particularly in the English-speaking countries. Obama swept into the UK last week, leaving…
Following on from his cover of Willow Smith’s ‘Whip My Hair’ last year, late night talk show host Jimmy Fallon has once more grabbed his hat, guitar and harmonica to portray Canadian singer-songwriter Neil Young.
Choosing to cover a song from a much more mature artist this time around, Fallon turns his attention to Miley “Hannah Montana” Cyrus. And what better way to ‘Party in the U.S.A’ than with a couple of Rock’N’Roll hall of famers in David Crosby and Graham Nash.
“Nodding my head like yeah, moving my hips like yeah”.
One of the celeb-spotting highlights of my time at Coachella 2011 was seeing pop starlet Katy Perry, or should I say Katy Perry surrounded by a fat entourage of men allowing only the slightest glimpse of her pixie-sized body, walking across the field towards the VIP area. I found it mildly fascinating that, in a festival where numerous stars could be seen hobnobbing and generally enjoying themselves, Perry found it necessary to travel in a way that would paradoxically maximize not only her protection but also her visibility. There’s few things better suited to announcing to the world that HEY! PLATINUM POP STAR PASSING THROUGH! than traveling in a caravan.
Luckily, one of those few things is tour riders, one of the best ways to determine whether a pop star’s desire for control is beginning to spiral a bit out of reach. The Smoking Gun recently got a hold of Perry’s 2011 rider, and it delivers. We’ve all heard the “only brown M&Ms” horror stories common in the industry, but Perry, who prefers organic snacks, takes things to a diva-tastic level. Demands run the gamut from precisely delineated types of chairs (cream-colored armchairs, God help you if they’re in eggshell white) to a somewhat disturbing repulsion towards carnations (underlined AND capitalized, indicating potential harm to Katy if she is indeed exposed to such flowery trifles) to a comprehensive list of things her driver is NOT allowed to do, including…
Channing Freeman’s existential review of Lady Gaga’s Born This Way has received much attention on the Twitter Machine and elsewhere, however we’ve never before received criticism so thoughtful and so immaculately-presented as what follows. Mr./Mrs. Freeman will be licking his/her wounds after this one.
And, yes, those are pictures of the inimitable Gagster.
Those who knew of Lady GaGa before she got big with The Fame were certainly witness to a musician and songwriter with much potential. Sure her debut single Just Dance may have benefitted from the guest appearance of Akon, but by the time the single Poker Face was released, there were no doubts that Lady GaGa was going to become one of the biggest names in the pop world. One hit wonder she definitely is not.
The Fame Monster was a rather fitting sequel. Not surprising given that it was originally planned as additional content on a re-release of The Fame. Yet despite two very solid releases, the barometer is signalling some rough weather ahead with the release of the forthcoming album Born This Way.
So the big question to ask is why the worry? Yes the face and body attachments she has been wearing lately are weird, but GaGa has never really been one to build her fame on looking attractive, and this isn’t exactly the first video we have seen in which her appearance has been rather bizarre. Yes you would actually have to be one of her most loyal monsters to actually like the music video for Born This Way. Perhaps from a creative standpoint it is great that she has abandoned the generic approach of many other pop music videos. But from a commercial standpoint, it is hard to imagine it attracting more fans than it scares away. Even using a…
“It’s not like I ran for President and I said something really bad…”
Note: At some point in the last month or so, we may have given the impression that Rebecca Black hasn’t deserved all of the abuse and death threats that have been levelled at her. In light of this interview, we can see that some of the criticism was coming from the right place.
Note 2: She’s only 13. Give her a break. But fuck those are some dumb ass answers.