NO TIME TO WRITE THIS BUT IM GOING TO ANYWAY. IM BOARDING A FLIGHT IN 3 HOURS TO FLY HOME AND IM STILL AT WORK MAD SHIT TO DO BUT IM GOING TO DO THIS ANYWAY BALLS BALLS BALLS. THERE IS NO ORDER, NO LAW, THIS WILL BE HORRIBLY EDITED AND MOST OF IT PROBABLY WONT WORK BUT WHO GIVES A RATS ASS THESE KIND OF THINGS ARE ASININE ANYWAY.
1. Mae Shi - Run To Your Grave (Live at the sweaty-crack Market Hotel in Brooklyn this summer)
Ant and I got half naked for this one, not cuz we're gay or nothin' but because if we didn't, we would have DIED. The inverse of two naked dudes - one hypothermic, one not - spoonin' each other naked in a sleeping bag. We really do do this all the time.
2. Bourbon Ball French Toast at Lynn's Paradise Cafe in Louisville.
Somehow this video got like a billion views. I don't blame anyone who watched 30 seconds of this, but half a minute with this little beauty was not long enough. As Goldie said of the time he slept with Naomi Campbell, "I had to whack off like 4 times before I did it so I could last longer". Thats how this French Toast was for me...only without the drum and bass and gross-ness.
3. Lil' Wayne "A Milli" live in the round on FNMTV
Not only is this song fucking amazing, this is one of the best performances I've ever seen. Awesome enough to snap me out of an entire year's worth of web-cruising ennui.
4. Steve Reid and Kieren Hebden - "NYC"
Not even sure if this is out yet, so if not, refresh this page at around midnight in 8 days and POOF! Relevance! I've always dug Four Tet, and I thought his other collabos with Steve Reid were worthwhile, but this is the next step, more congealed, and fuckin beautiful. I'd call it this generations "On The Corner" if we even had a "Generation" or if I ever had the patience to sit through "On The Corner"
Check Out "Lyman Place" Here
5. Hot Chip - Made In The Dark
Early 2008 was pretty sweet solely because of my intimate involvement with this record. I was tasked to write a piece about the album for Metropop, and while the piece is just OK as far as I am concerned, my time spent in the hedgemaze that is "Made In The Dark" will never be described on paper. The record is big...really big. Bigger than the tiny blokes strumming guitars that we all first heard on the Mexico EP, and their "debut" Coming On Strong. With this one, from mere mortals they became Ultraman villains, huge shifting behemoths stomping entire cites under disco boots, ultra-rare sneakers, and wrestler boots.
6. Tokyo Gore Police
90 minutes that I wouldn't take back if you paid me. 90 minutes happily devoted to the most glorious Cronenberg-ian, RoboCopping, Body Horror-ing, Penis Cannon blasting Blood Leg flying Head Exploding Pigfucking insane madness since...well...fucking...anything. See this movie. Bring your Grandma, your girlfriend, and your ex-girlfriend. Who dares wins.
Uhh... NSFW OR ANYTHING ELSE
7. Evil Nine (Ft. El-P) - "All the Cash" (Glitch Mob Remix)
Yeah I know I already wrote about this, but it will be still be brilliant for at least the rest of the year.
8. Michelle and I getting featured on NPR. Thats just sweet. Sorry for the shameless self-promo but I'm proud god damnit.
9. CHECK OUT THE TITS ON TITUBA.
Best band name ever. The rest is inconsequential.
10. Discovering Shugo Tokumaru
His closet full of tiny percussion, his weird blues/slide-guitar via Japan riffs, and the way he pronounces "Parachute".
11. This Dan Deacon Performance, and the 14 hours that led up to it. Thanks Miles and Ant (and Milos, sort of), ya fucks.
12. The Bug - London Zoo
The sequel to Kevin Martin's debut as The Bug, Pressure. Call this one "The Legend of Curly's Gold"....except...good. Martin still fucks with the dancehall sound, burying it 6 feet below a rotten strata of broken speakers and fried amplifiers, tended by a scattering cabal of paranoid maniacs and thinkers with megaphones. Turn it up and say it with me now. "Skeng".
NO TIME TO ADD ANY MORE/WRAP UP. 08 WAS AWESOME. LETS START ANOTHER ONE. ME. OUT.
Tuesday, December 23, 2008
Monday, December 15, 2008
El-P Glitch Mob Zombies
Evil Nine (Ft. El-P) - All The Cash (Glitch Mob Remix)
Can't stop listening to this. El-P's density is his most attractive asset, and that's not a fat joke. Like most of his tracks, his lyrics are a grower, but the beat here is instantly accessible (a shower? too much). Regardless, the louder the better, and the dense lyrics ricochet off the Glitch Mob's drums like stray bullets.
Heard this at Le Pouission Rouge (worst. venue name. ever.) last weekend while Glitch Mob fucking KILLED EVERYONE...including their shitty opening act.
Thats all I got. Work has been wicked busy, and if anyone is going to be in Minneapolis next week. Call me. We drink the beers.
Friday, December 12, 2008
Name Drop Stones
I don't know much about the Rolling Stones, but surely this song must be their finest achievement. To their longtime fans, this song is clearly the one to judge the rest of their output by. This is their "Master of Puppets".
Monday, December 08, 2008
Too many damned blogs...
Hey there,
Apologies for a lack of updates. I'm sure both of you are pissed. Just added a new post at the now-functioning, consistently updated MRI blog. Check 'er out. Also added a new 30 seconds of nothing. Its nothing-tastic.
MRI Lightpainting
30 Seconds of Nothing
Love,
The Troof
Wednesday, November 26, 2008
Check us out on WebUrbanist.Com
Happy Thanksgiving folks,
Michelle and I were interviewed by WebUrbanist a few days ago. They were interested in our lightpainting and hit us up to do a feature. Apparently, their turnaround is lightning fast because its already up. Check it out at the link below, and send us some bonus internets.
MRI Lightpainting on WebUrbanist.com
Also, we just found out that National Public Radio's Science Friday wants to do a video piece about us, which we are shooting next week. So stay tuned.
Friday, November 21, 2008
Un-Google-able. Five Songs With “The Nothing Chorus”.
During CMJ my good friend Katie was putting on a week of events at 205, a club on Chrystie street. She hit me up last-minute-style one day and asked me to put together a quick "top 5" type article for a 'zine they were going to give out at the event. I had an idea I had been sitting on with no place to put it, so I fleshed it out and gave it to her. For whatever reason, it didn't run in the 'zine. Not sure I blame her or whoever made the editorial decision, as this kind of thing probably only amuses me. In truth, I had a blast writing it, and I hate seeing it go to waste, so I added some videos, and put it up here for y'all to check out. Enjoy...or not.
Presented for your approval:
Un-Google-able. Five Songs With “The Nothing Chorus”.
Ah yes, the songs with “nothing” choruses. Is there anything better? Sometimes they go “whooaaa whoa whoa”, sometimes they go “ah ah ahhhh”, and rarely do they make any damn sense at all. This is fine. Their lack of words and “lyrics” show a kind of primal sophistication that says, “To hell with a message, let us just yelp a bunch of sounds and really feel it.”
What follows is a list of five classic songs with “Nothing” choruses. They might not be the most obvious choices, but they are definitely the most aggressively idiotic, exuberant, and hilarious.
1. Howard Jones: “Things Can Only Get Better”.
This 80’s relic might not seem like much, but wait until this beast comes on in the grocery store while you’re rippin’ through the malt-o-meal aisle. Howard’s brainless chorus of (I’ll do my best here) “Whoa whoa whooooaaahh whoooahh whoa whooooaaahhh” interrupts absurdly optimistic verses and blaring horns that do nothing but turn your life into one of those sweet 80’s “turning-your-life-around” montages. This song was playing on my headphones once when I saw a bum pooping on the street and it made me want to high five him and go cram for a midterm.
2. The Kills: “Getting Down”.
Kind of a new one here. This song actually kind of sucks, but in the best way possible. Over nothing more than a punchy drum machine and a simple bass groove, The Kills eschew a proper chorus in favor of a good ol’ “ah ah ahhhh ow ow ahhhh” chant that will burrow its way into your brain and stay there until Howard Jones comes through to dig it out. I finally got to say “eschew” in a sentence. Fuck yeah.
3. Baltimora: “Tarzan Boy”.
Yeah, yeah, Listerine commercial yeah. Teenage Mutant Ninja Turtles? That too. Before all that though, Baltimora was just a simple Italo-Disco Project with a prancing Irish frontman. You know, a typical working band just trying to make their mark. To craft their massive hit, they took Tarzan’s war cry, savagely beat it in the basement of an Italian drag show, and unleashed it to scream atop a pile of canned 80’s instruments and lyrics about “monkey business…on a sunny afternoon”. Don’t ever watch this video. Ever.
4. Sam Cooke: “Good Times”.
Some next level “whoa”-ing here. Sam swings open the track with some golden “whoa”-ing and “la la”-ing and lets his voice melt the raw “whoa” into pure verbal honey, “It might be one o’clock and it might be three, time don’t mean that much to me, I ain’t felt this good since I don’t know when, and I might not feel this good again”. By the end of the barely three minute song it is clear: Be it “whoa” or words, Sam Cooke is an actual genius, not an accidental one. There’s no clever comment to add here, he’s a goddamn genius.
5. Black Rob: “Like Whoa”.
Alright yeah I know, there are other words in the chorus, but “Whoa” is the centerpiece. For Black Rob, “Whoa” can mean anything. And isn’t that the point? The musical “whoa” replaces words with pure feeling, no matter what the occasion. Doc Strange in the Range? Whoa. Grenade through your window? Whoa. Losing control of your brand new Semi Truck because you were screwing with the radio? Whoa. The “whoa” transcends language and crosses borders, and it will unite us all…which is totally what Black Rob was talking about. Duh.
In summation, the “Nothing Chorus” represents pop music at its most base and simple. Sometimes the human language isn’t big enough to express the emotion of Howard Jones, or Sam Cooke for that matter. Sure, there are lyrics between the primal yelps and hollers, but it’s the yelps and hollers that punctuate the words and give them feeling. For our short list, the evolution of language is an afterthought. As long as we can make the “whoa”, we’ll be fine. In “whoa” we trust.
Presented for your approval:
Un-Google-able. Five Songs With “The Nothing Chorus”.
Ah yes, the songs with “nothing” choruses. Is there anything better? Sometimes they go “whooaaa whoa whoa”, sometimes they go “ah ah ahhhh”, and rarely do they make any damn sense at all. This is fine. Their lack of words and “lyrics” show a kind of primal sophistication that says, “To hell with a message, let us just yelp a bunch of sounds and really feel it.”
What follows is a list of five classic songs with “Nothing” choruses. They might not be the most obvious choices, but they are definitely the most aggressively idiotic, exuberant, and hilarious.
1. Howard Jones: “Things Can Only Get Better”.
This 80’s relic might not seem like much, but wait until this beast comes on in the grocery store while you’re rippin’ through the malt-o-meal aisle. Howard’s brainless chorus of (I’ll do my best here) “Whoa whoa whooooaaahh whoooahh whoa whooooaaahhh” interrupts absurdly optimistic verses and blaring horns that do nothing but turn your life into one of those sweet 80’s “turning-your-life-around” montages. This song was playing on my headphones once when I saw a bum pooping on the street and it made me want to high five him and go cram for a midterm.
2. The Kills: “Getting Down”.
Kind of a new one here. This song actually kind of sucks, but in the best way possible. Over nothing more than a punchy drum machine and a simple bass groove, The Kills eschew a proper chorus in favor of a good ol’ “ah ah ahhhh ow ow ahhhh” chant that will burrow its way into your brain and stay there until Howard Jones comes through to dig it out. I finally got to say “eschew” in a sentence. Fuck yeah.
3. Baltimora: “Tarzan Boy”.
Yeah, yeah, Listerine commercial yeah. Teenage Mutant Ninja Turtles? That too. Before all that though, Baltimora was just a simple Italo-Disco Project with a prancing Irish frontman. You know, a typical working band just trying to make their mark. To craft their massive hit, they took Tarzan’s war cry, savagely beat it in the basement of an Italian drag show, and unleashed it to scream atop a pile of canned 80’s instruments and lyrics about “monkey business…on a sunny afternoon”. Don’t ever watch this video. Ever.
4. Sam Cooke: “Good Times”.
Some next level “whoa”-ing here. Sam swings open the track with some golden “whoa”-ing and “la la”-ing and lets his voice melt the raw “whoa” into pure verbal honey, “It might be one o’clock and it might be three, time don’t mean that much to me, I ain’t felt this good since I don’t know when, and I might not feel this good again”. By the end of the barely three minute song it is clear: Be it “whoa” or words, Sam Cooke is an actual genius, not an accidental one. There’s no clever comment to add here, he’s a goddamn genius.
5. Black Rob: “Like Whoa”.
Alright yeah I know, there are other words in the chorus, but “Whoa” is the centerpiece. For Black Rob, “Whoa” can mean anything. And isn’t that the point? The musical “whoa” replaces words with pure feeling, no matter what the occasion. Doc Strange in the Range? Whoa. Grenade through your window? Whoa. Losing control of your brand new Semi Truck because you were screwing with the radio? Whoa. The “whoa” transcends language and crosses borders, and it will unite us all…which is totally what Black Rob was talking about. Duh.
In summation, the “Nothing Chorus” represents pop music at its most base and simple. Sometimes the human language isn’t big enough to express the emotion of Howard Jones, or Sam Cooke for that matter. Sure, there are lyrics between the primal yelps and hollers, but it’s the yelps and hollers that punctuate the words and give them feeling. For our short list, the evolution of language is an afterthought. As long as we can make the “whoa”, we’ll be fine. In “whoa” we trust.
Wednesday, November 12, 2008
CMJ Recap Day 5 - Transexuals, Zombies, Strangers
Alright, lets wrap this up people.
The final night of CMJ came too quick. Looking back, the amount of good music experienced was staggering even for a New York Transplant who is used to this kind of thing.
I'm not sure what happened during the day, but I am guessing it involved me beating the piss out of Ant in Blitz The Leage 2. Yeah, I'm pretty sure that was it. After that, we stepped into a cold, wet night to Otto's Shrunken Head, a Tiki bar in the East Village to celebrate a friend's birthday party.
I put down a Zombie (best drink with confusing ingredients that ISN'T a Fog Cutter from the Red Dragon...Ogre, you know what I'm talking about) and a beer before heading to the Bowery. The agreement was that we would high five the birthday guy, run to the Bowery to see Marnie Stern, (Who has a restraining order out on Ant after the last time we ran into her.) A Place To Bury Strangers and Crystal Antlers, and then meet up with the party around 3 am. Surprisingly...we succeeded. We weren't thrown off course too terribly...pretty amazing.
We showed up to see the last 30 seconds of Marnie Stern...Ant threw his panties onstage.
Then it was Vivian Girls, who as of this writing, I have completely forgotten everything about...uhh...
Then I finally got to see Crystal Antlers, and they really did live up to the hype. I don't think there are any New York "fans" of this band, who know all the songs, and truly enjoy themselves non-ironically, but that's neither here nor there. They were noisy, and their songs went on for a long time, which is a good thing when it comes to noise. Check them out.
After that we stuffed in earplugs for A Place to Bury Strangers. They are loud as fuck and are pretty reckless with other people's hearing, which makes them great. I saw them for CMJ last year in a basement and it was deafening, so this year I was prepared. They weren't AS loud, but their squalls of noise were much thicker, making it harder and thus more rewarding to find the near-pop songs underneath. In my opinion, they killed it, and had me drooling and stumbling by the end of their set...which devolved into sheer feedback, the singer whipping his guitar with its own cord.
Their track "To Fix the Gash In Your Head"
The end of their set
After that, we reconvened with the birthday party to drink some whiskey and hear about the trannies that saw the birthday boys nuts by request. Good times.
Dying in a cab at 4 am on the way home, I was glad. CMJ was done, it was over. WIt was a fucking mess, but if you let yourself get into it, disregarding the branding, the bored audiences, the lame industry people, the hype, and the expensive drinks, the fact is that you have an opportunity to see a month's worth of unbelievable music in one short week. Just don't stop, you can't ever stop.
The final night of CMJ came too quick. Looking back, the amount of good music experienced was staggering even for a New York Transplant who is used to this kind of thing.
I'm not sure what happened during the day, but I am guessing it involved me beating the piss out of Ant in Blitz The Leage 2. Yeah, I'm pretty sure that was it. After that, we stepped into a cold, wet night to Otto's Shrunken Head, a Tiki bar in the East Village to celebrate a friend's birthday party.
I put down a Zombie (best drink with confusing ingredients that ISN'T a Fog Cutter from the Red Dragon...Ogre, you know what I'm talking about) and a beer before heading to the Bowery. The agreement was that we would high five the birthday guy, run to the Bowery to see Marnie Stern, (Who has a restraining order out on Ant after the last time we ran into her.) A Place To Bury Strangers and Crystal Antlers, and then meet up with the party around 3 am. Surprisingly...we succeeded. We weren't thrown off course too terribly...pretty amazing.
We showed up to see the last 30 seconds of Marnie Stern...Ant threw his panties onstage.
Then it was Vivian Girls, who as of this writing, I have completely forgotten everything about...uhh...
Then I finally got to see Crystal Antlers, and they really did live up to the hype. I don't think there are any New York "fans" of this band, who know all the songs, and truly enjoy themselves non-ironically, but that's neither here nor there. They were noisy, and their songs went on for a long time, which is a good thing when it comes to noise. Check them out.
After that we stuffed in earplugs for A Place to Bury Strangers. They are loud as fuck and are pretty reckless with other people's hearing, which makes them great. I saw them for CMJ last year in a basement and it was deafening, so this year I was prepared. They weren't AS loud, but their squalls of noise were much thicker, making it harder and thus more rewarding to find the near-pop songs underneath. In my opinion, they killed it, and had me drooling and stumbling by the end of their set...which devolved into sheer feedback, the singer whipping his guitar with its own cord.
Their track "To Fix the Gash In Your Head"
The end of their set
After that, we reconvened with the birthday party to drink some whiskey and hear about the trannies that saw the birthday boys nuts by request. Good times.
Dying in a cab at 4 am on the way home, I was glad. CMJ was done, it was over. WIt was a fucking mess, but if you let yourself get into it, disregarding the branding, the bored audiences, the lame industry people, the hype, and the expensive drinks, the fact is that you have an opportunity to see a month's worth of unbelievable music in one short week. Just don't stop, you can't ever stop.
Subscribe to:
Posts (Atom)
