|
|
|
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the intoxicating moods and sonic textures of TRIP HOP icon TRICKY.
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
0 Comments
photo & text by nacrowe
basically everything related to THE SMITHS i was was predisposed and probably indoctrinated to appreciate from my father. he's definitely to blame for my love of all things MORRISSEY and JOHNNY MARR in all their permutations. i can place myself in our beat-up burgundy early 80s HONDA ACCORD shuffling along IMPERIAL HIGHWAY with him listening to tapes of BONA DRAG (HMV, 1990) or STRANGEWAYS HERE WE COME (ROUGH TRADE, 1987) on the stereo as he drove to work in LA HABRA on a typical sunny SOUTHERN CALIFORNIA afternoon.
i distinctly remember when he received the early ELECTRONIC singles "GETTING AWAY WITH IT" and "GET THE MESSAGE" and how i'd stay in his office reading CALVIN AND HOBBES listening to them on repeat. i had no idea who BERNARD SUMNER or NEIL TENNANT was or even NEW ORDER or PET SHOP BOYS for that matter. but this was my introduction to ELECTRONIC MUSIC in general. ELECTRONIC (FACTORY, 1991) by ELECTRONIC was the basis for all other further explorations into SYNTH POP and INDUSTRIAL MUSIC in my teens. basically everything from DEPECHE MODE to KMFDM and THROBBING GRISTLE started with those first few ELECTRONIC singles for me. i dont believe the single "DISAPPOINTED" was initially on this album, but i think it was released as a single around that time. for me those three singles ("GETTING AWAY WITH IT," "GET THE MESSAGE," and "DISAPPOINTED") are permanently etched in my experience of early childhood. a few years ago i saw JOHNNY MARR playing a solo set at IRVING PLAZA in NYC with my father and brother and he played "GETTING AWAY WITH IT" which was beyond cool. i know i come across as a fanboy (because i am), but the versatility of his musicianship in various contexts is pretty mind-blowing. it is probably why myself and many others are always interested in what collaborations or musical avenues he is venturing down next. if you are not familiar with this record, in my opinion it is definitely the ELECTRONIC record to find. 
photo manipulation by nacrowe
filmed in SEATTLE after the initial wave of GRUNGE had crested and crashed, HYPE! (HELVEY-PRAY PRODUCTIONS, 1996) is very much a contemporaneous attempt to make sense of what turned out the be the last organic pre-internet mass cultural phenomenon in AMERICAN history.
utilizing interviews from participants from bands the likes of SKINYARD, THE MONOMEN, BEAT HAPPENING, THE MELVINS, SCREAMING TREES, SOUNDGARDEN, THE FASTBACKS, MUDHONEY, TAD, GAS HUFFER, COFFIN BREAK, THE SUPERSUCKERS, LOVE BATTERY, 7 YEAR BITCH, THE GITS, DEAD MOON, PEARL JAM and THE WALKABOUTS among others and scene producers like JACK ENDINO, STEVE FISK, FRANK HARLAN and photographer CHARLES PETERSON as well as local indie record label founders CALVIN JOHNSON (K RECORDS) and BRUCE PAVITT and JOHNATHAN PONEMAN (SUB POP RECORDS) it has been repeatedly said that due to this scene's relative isolation from all but major touring acts in the 80s that a void was filled by local bands that had a fierce DIY ethic informed by HARDCORE and INDIE ROCK of the period. when this insular scene burst open nationally in the wake of the success of ALICE IN CHAINS, SOUNDGARDEN, PEARL JAM and, of course, NIRVANA, things became more unbalanced in the scene once a financial motive got involved. suddenly catwalks where filled with flannel and opportunistic bands moved to SEATTLE to be "discovered" and outright careerism polluted the once vibrant scene that house and nurtured misfits. i found the crux of this film to be that intersection between art and commerce. that point at which expression is informed by winds of passing fad. once your scene is a fad, where do you go? what do you do? the film never really answers that question but offers an amazing look at how such commercial interests affected that small intimate scene at a time it was wholly unprepared for it. and yet it seems inevitable that once you become en vogue, your season will ultimately fade and another thing will replace you. i think fortunately for SEATTLE, to this day that city name is synonymous with highly influential strains of ALTERNATIVE ROCK, INDIE ROCK and even SLUDGE METAL. it is still relevant to anyone who loves ROCK AND ROLL. there is still a purity to listeners to this day. of course, this idea of commerce affecting a scene's perceived purity makes no sense in today's climate. through technology there is no more isolated local scenes, the playing field is relatively horizontal in terms of means of exposure and music distribution. when nobody is making money anymore from music, those lines that existed during the filming of this documentary seem rather quaint by comparison. interestingly, director DOUG PRAY 20 years later revisIted the scene and talked to some of the same participants again (video embedded below) about the impact of that initial wave. for most of them they just kept on their same path and nurtured upcoming artists. for band that came about long after GRUNGE came and went, the true legacy is that commercial viable artistry that is vibrant can come from anywhere, even SEATTLE. 
photo & text by nacrowe
written in the intervening years after GEORGE W. BUSH's disastrously incompetent and misguided (to put it diplomatically) decision to lead AMERICA into war with IRAQ, ASSASSINATION VACATION (SIMON & SCHUSTER, 2006) by SARAH VOWELL is a memoir about her pilgrimage to sites associated with the murders of past presidents ABRAHAM LINCOLN, JAMES A. GARFIELD, WILLIAM MCKINLEY and their assassins.
yes the premise of this book is all a bit morbid, but her humor and enthusiasm for the subject is what makes this book ironically so pleasant and enjoyable. learning about MARYLAND's racist state song or VIRGINIA's often quoted state motto (by JOHN WILKES BOOTH and TIMOTHY MCVEIGH alike) makes you question the sanity of our system of government all over again. or at least have some respect for how the rancid sausage is made. furthermore, learning about the entrenched corruption and incompetence between government and business during the GILDED AGE of the late 19th century, it is difficult if not impossible not to make the connection to the BUSH ERA. furthermore having read this in 2021, from my vantage point GEORGE W. BUSH comes off as child's play next to the malice and fear-mongering that defined the recent DONALD TRUMP era (and still does to present). the real star of the show seems to be how far the party of LINCOLN has fallen. getting acquainted with GARFIELD and MCKINLEY makes you appreciate the machinations and swell of corporate interests that swayed foreign and domestic policy back then. its beyond depressing. this is also the type of book that i found myself constantly googling photographs, statues, tombs and historical markers related to obscure figures lost to history like EDWIN BOOTH (legendary SHAKESPEAREAN actor and older brother of JOHN WILKES), ROBERT TODD LINCOLN (eldest son of ABRAHAM), ROSCOE CONKLING (REPUBLICAN NEW YORK SENATOR) and MARCUS HANNA (REPUBLICAN campaign manager). what stood out to me was the section about GARFIELD's passing at the JERSEY SHORE. being a resident of the area, i knew about SEVEN PRESIDENTS BEACH but had no idea that presidents vacationed in LONG BRANCH multiple times. to me that fact was a bit of a shock. to learn that a church ive passed numerous times was where a president was aheld before transport back to WASHINGTON D.C. is pretty interesting and something i feel cheated in not knowing earlier. not since reading BRUCE SPRINGSTEEN's BORN TO RUN (SIMON & SCHUSTER, 2016) have i found myself getting out and finding local spots of historic significance. i was also relieved to learn that GARFIELD wasnt shot in NEW JERSEY, that happened in D.C. he just came north to convalesce and take in the warm climate. at least he passed in pretty area. definitely an idiosyncratic, personal and thoroughly enjoyable book that makes investigating history both humorous and absolutely devastating. highly recommended. 
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO that explores the experimental soundscapes of POST ROCK.
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
i know that SUBLIME get a bad rap due to the fact that their fans are by and large assholes. and by that i mean oafish frat boy meatheads and their adjacent WHITE PRIVILEGE and warped sense of ENTITLEMENT that use the band as an entry point into REGGAE without having to understand thorny issues like JAMAICAN / AFROCENTRIC politics, history and culture. in essence SUBLIME get tagged for WHITE-WASHING REGGAE and DUB in a similar fashion to how ORANGE COUNTY third-wave SKA did for that genre.
i get that. i really do. the number of times ive been to a beach somewhere stateside or even in SOUTH AMERICA, SOUTHEAST ASIA or the MEDITERRANEAN where AMERICANS are vacationing and inevitably listening to "BADFISH" off of their 40oz. to Freedom (SKUNK, 1992) is to many to count. its cringeworthy. however, that being said i dont question the intent or integrity of the late songwriter BRAD NOWELL when he released his string of records in the mid 1990s. in a sense he was able to bridge the gap between SOUTHERN CALIFORNIA PUNK ROCK and ROOTS REGGAE, which he got into after a childhood trip to JAMAICA with his family. SUBLIME was one of several bands (311, RANCID, etc.) playing with this sort of hybrid but in my estimation they had more of an edge. they re-contextualized it for the work-class white inhabitants of the SOUTH BAY in greater LOS ANGELES. their eponymous, and final, record SUBLIME (MCA, 1996) was the high-water mark of the band and their sound. even now it sounds unique and hasnt really been co-opted and aped as was the case with other influential bands of the era, namely NIRVANA (which begot bands like PUDDLE OF MUDD, SEETHER) ALICE IN CHAINS (NICKLEBACK, GODSMACK) or RAGE AGAINST THE MACHINE (NU-METAL in general). songs like "SANTERIA," "WHAT I GOT," "WRONG WAY" and "DOIN' TIME" were all well-constructed hits on ALTERNATIVE ROCK radio at the time, but for me this record is really about the skanked-out bliss of songs like "PAWN SHOP," "APRIL 29, 1992 (MIAMI)," "SAME IN THE END," "BURRITOS" and especially "GARDEN GROVE." for me those songs successfully crossed PUNK ROCK with REGGAE in a cohesive, seemingly organic manner while lyrically providing commentary on issues of ECONOMIC INSECURITY, SUBURBAN BOREDOM and RACIAL INEQUALITY. just kind of sucks that the band is associated with FRATERNITY culture. i think NOWELL deserved better. 
photo manipulation by nacrowe
i mean first off, with a name life FULL OF HELL, what is there not to like about this absolutely brutal PENNSYLVANIA / MARYLAND GRINDCORE band?
what i love about this band is the blistering intensity of their music, they seemingly relish punishing the listener with their unrelenting waves of blast beats and pummeling riffage to the point of abstraction. on that front it makes total sense that they did a collaborative effort with noted POST ROCK outfit MERZBOW who likewise explore and juxtapose irregular sonic textures. again, FULL OF HELL is beyond brutal but there is a sense of composition and serious intent just below the surface. most definitely worth checking out. 
parodies by nacrowe
watch HERE this recent streaming video episode of DEER GOD RADIO dedicated to the stellar MUSIC PRODUCTION career of GREG KURSTIN.
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
DOUBLE FANTASY (GEFFEN, 1980) by JOHN LENNON and YOKO ONO is probably the most depressing album ever made. and that is not to say the songs are bleak or somber in tone, in fact it is the opposite. songs such as "BEAUTIFUL BOY," "WATCHING THE WHEELS" and "(JUST LIKE) STARTING OVER" find LENNON in a state of DOMESTIC BLISS, after surviving his years-long lost weekend away from ONO, and unbridled optimism about his new son SEAN. this record is so PAINFUL and HEATBREAKING to listen to because of its BUOYANT outlook and CHEERFUL, UPBEAT tone.
this is one of those records that is nearly impossible to listen to and divorce it from the fact that LENNON was senselessly murdered by a fan shortly after its release. similar albums in this regard that come to mind are JOY DIVISION's CLOSER (FACTORY, 1980) and NIRVANA's NEVERMIND (DGC, 1991). but those two are not comforting records celebrating FATHERHOOD and the benefits of COMPANIONSHIP. knowing about LENNON's own biography and the role his mother JULIA played into his fear of ABANDONMENT (she deserted him as a child), the very idea of him finding a sense of IDENTITY and SALVATION through LOVE at the moment his life was snuffed out from under him is too much to bear. even now more than 40 years later. at the risk of sounding entitled i'll say emphatically that we were all robbed. i literally cannot listen to this record without getting emotional. LENNON most definitely had one of the most affective singing voices ever which is severely underrated during and after his time. the former BEATLE had a unique instrument in that regard that allowed him to come off EARNEST and TUNEFUL without coming off as overly CONTRIVED or PROFESSIONAL. it worked in his favor throughout his career and gave his material the illusion of being effortless and of the people. it gave his songs an EVERYMAN quality. to this day when i hear PUNK ROCK, i hear LENNON. since childhood every time i hear this album it makes me think of my father, much like hearing "BABY LOVE" by THE SUPREMES reminds me of my mother. its just such an astounding affecting achievement and too tragic for words. a seminal recording by an iconic generational talent that should be heard and appreciated by everyone. 
photo manipulation by nacrowe
MOOG (ZU33, 2004) is a documentary about DR. ROBERT MOOG and the cultural legacy of his namesake analog MODULAR SYNTHESIZERS. most of the film takes place at his home and nearby office, both in ASHEVILLE, NORTH CAROLINA, where director HANS FJELLESTAD interviews him one-on-one about the nature of innovation and creating instruments hitherto unimagined.
and for me that is the crux of this documentary. the idea of what goes into a market disruption. in his case, ROBERT MOOG had a curiosity to build and explore the sonic possibilities found in ANALOG CIRCUITS. and that explorer mentality to experiment with new technology and simultaneously seek out and nurture a community of artists and musicians that find value in your creation is rather inspiring. its almost cult-like. its hard now in the age of SAMPLES, TRIGGERS, AUTO-TUNE and various PRO TOOLS-related wizardry being a part of MUSIC PRODUCTION, both live and recorded in nearly every genre, to think back and realize how transgressive the MODULAR SYNTHESIZER was upon its creation. ROBERT MOOG talks about how people were angry at him personally, feeling as though he was ruining modern music. back then, and seemingly there is still is with an older segment of today's population (cough, cough, BOOMERS, cough), a decided bias against music that is not created utilizing a string-based, percussive or woodwind instrument. SWITCHED ON BACH (COLUMBIA, 1968) by WENDY CARLOS certainly showcased the musicality of MODULAR SYNTHESIZERS to a wider popular audience, but for some holdouts synths are seen as a fake and non-musical. i think from watching this documentary, you really get the sense of the personal, human touch ROBERT MOOG brought to his instruments, in part by allowing his community of artists and musicians to provide him with feedback that shaped further models that were more compact with an ever expansive array of features. in many ways this documentary is as much about that community as it is about his analog circuits and their technical wizardry. musicians featured throughout include KEITH EMERSON, BERNIE WORELL (PARLIAMENT-FUNKADELIC), DJ LOGIC, MIX MASTER MIKE (BEASTIE BOYS), DJ SPOOKY, MONEY MARK (BEASTIE BOYS), JEAN-JACQUES PERREY, PAMELIA KURSTIN, RICK WAKEMAN (YES) and WALTER EDMOND SEAR among others. obviously he was on to something because we are no in his world. there is no delineation anymore between the ORGANIC and INORGANIC sounds, its all blended. 
photo & text by nacrowe
i found VIBRATE HIGHER (MCD, 2021) to be a highly unusual memoir since TALIB KWELI, the celebrated NYC MC chose to utilize the form as a means of celebrating and voicing the struggles and passions of his community. it is a distant cry from an ego-driven boasting of past glories and a tired, myopic, self-serving rise-to-greatness against-all-odds narrative which is sadly par for the course of most autobiographies concerning famous musicians. in a sense this wider perspective of this seen in his memoir dovetails quite nicely with the authenticity and integrity associated with his music career. large sections of this book highlight his past major collaborative relationships with the likes of producers such as HI-TEK, J DILLA and 9TH WONDER as well as the extraordinarily gifted YASIIN BEY (formerly MOS DEF). hey pays homage to both those that provided the path (CHUCK D, NINA SIMONE, KRS-ONE, HARRY BELAFONTE, A TRIBE CALLED QUEST, FUNKMASTER FLEX, RAKIM, PRINCE and DE LA SOUL) as well as fellow travelers (DAVE CHAPPELLE, THE ROOTS, COMMON, ERYKAH BADU) along the way.
the scope of this book is quite large and comprehensive and seemingly covers everything from PARENTHOOD, FAMILY, COMMERCIAL VS UNDERGROUND HIP HOP and ARTISTIC INDEPENDENCE to PAN-AFRICANISM, BLACK POWER, the CIVIL RIGHTS MOVEMENT and BLACK NATIONALISM to modern SOCIAL JUSTICE movements like BLACK LIVES MATTER. just on his ability to meaningfully cover that sort of ground with a sense of cohesion is quite the achievement. but admirers of his CREATIVE WORK and POLITICAL/SOCIAL ACTIVISM would expect nothing less. what i appreciated most about this book was KWELI's ability to articulate the seeming disparities and gaps between his PERSONAL LIFE and his PUBLIC PERSONA. specifically i am referring to how his career affected his relationship with his first wife and his time availability for his children early on. i thought that was particularly courageous to voice how he made mistakes in terms of INFIDELITY and paper-chasing early on and how that balance took a moment to suss out and recalibrate. especially since KWELI is often given the "CONSCIOUS RAPPER" tag in media profiles, for me as a fan it was particularly meaningful that he was able to fess up to when he didnt meet his own standards. that he was confident enough to admit his weaknesses and past mistakes just makes him that much more compelling as an artist in my opinion. makes him HUMAN. another thread throughout this memoir is the importance of FAMILY and EDUCATION. being the son of educators, KWELI despite his uneven academic career always seemed inclined to maintain a sense of curiosity about the world and his place in it. even well past his days at NYU, his first impulse when presented with a difficult situation is to educate himself or surround himself with knowledgable people. this happens with regards to business as well as political matters. he seems to be the very definition of what they called in EDUCATION circles a "LIFE-LONG LEARNER." what makes that instinct all the more noble in my opinion is his inclination to use his pulpit and PUBLIC PERSONA as a means of furthering that message. there is a risk and an opportunity cost to being so outspoken in your lyrics, perhaps you are limiting your commercial appeal to some demographic, but seemingly this is what makes him him. his AUTHENTICITY and CURIOSITY is the commodity he trades in and this memoir does his REPUTATION justice. i want to admit my bias as well, because given that i did my student teaching in graduate school at BROOKLYN TECHNICAL HIGH SCHOOL, KWELI's alma mater, i cannot help but root for the guy. he just seems like a conscientious kid that did well and never forgot his roots. his city. his people. VIBRATE HIGHER is a compelling memoir that educates just as much, if not more, about the struggle for political suffrage and economic/social justice of a community then the artist himself. i dont think he'd have a problem with that description of his book, which is probably why this is easily one of the better memoirs by a musician (of any genre) i have come across. highly recommended. 
parodies by nacrowe
join us TONIGHT at 10PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating the legendary BRITISH experimental ELECTRONIC MUSIC label WARP RECORDS.
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already, make sure and download the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
parodies by nacrowe
join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating DIMEBAG DARRELL and the legendary METAL band PANTERA!
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already, make sure and download the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
i know its hard to believe now, but there was a period - however brief - that THE OFFSPRING did not suck.
1994 was a big year in music for a lot of reasons, but i distinctly remember what it was like to be in elementary school in SOUTHERN CALIFORNIA when SMASH (EPITAPH, 1994) went big that year. at the time i was big into BASKETBALL and played lots of tournaments of with a traveling team, i even knew the coaches at the three high schools in my area (ORANGE COUNTY) as i was a known entity at that time. so i remember going to basketball tournaments all over the state when songs like "COME OUT AND PLAY" and "SELF ESTEEM" got played during warmups. at the time i knew THE OFFSPRING were a local band (BUENA PARK) and i knew the record was massive. i didnt have MTV as none of my friends had cable, but i did listen to 106.7FM KROQ out of LOS ANGELES. at the time i became conscious of music, the SEATTLE ALTERNATIVE ROCK scene was massive and ubiquitous so it was cool to know that a local band was on that level. this was a time that was before the national emergence of SUBLIME (LONG BEACH) and NO DOUBT (ANAHEIM) but concurrent with that of GREEN DAY (EAST BAY). looking back now, SMASH and its predecessor IGNITION (EPITAPH, 1994) were both albums that were made by musicians that obviously had a love for LOS ANGELES HARDCORE bands like THE GERMS (HOLLYWOOD) and BLACK FLAG (HERMOSA BEACH) yet were noticeable influenced by the melodicism of other local acts like THE ADOLESCENTS (FULLERTON), AGENT ORANGE (PLACENTIA) and THE DESCENDENTS (MANHATTAN BEACH). to my ears this record is a marriage of those two approaches and a fairly successful one at that. for some odd reason which i cannot explain, after this record the band decided to go a more "WEIRD AL" YANKOVIC route and make novelty songs that double as lame social commentary. for me and a lot of other earlier admirers this really killed their appeal. i am almost certain that there are some reading this that share this antipathy for the band in general. but there was a moment that THE OFFSPRING didnt suck. and this album was it. what caught me off guard was when i moved to NIGERIA in 1996 and met fellow classmates from places like ISRAEL, NORWAY, KENYA, LEBANON, ENGLAND and GHANA who knew about the band and were fans of the scene they came from. i realized then the true scope of this record. all future releases by seminal bands from my former hometown would be experienced as an outsider as i never moved back. i dont feel nostalgic about my time in SOUTHERN CALIFORNIA (i was happy to leave), but hearing this record, especially lesser known cuts like "GOTTA GET AWAY" and "NOT THE ONE" take me right back to being a pre-adolescent in ORANGE COUNTY. 
photo & text by nacrowe
originally a collaborative effort with her then-spouse, AESOP ROCK, DIRTY GHOST is essentially for all intents and purposes the NEW WAVE / POST PUNK influenced solo work of SAN FRANCISCO songwriter ALLYSON BAKER.
personally i just find the brashness of their music fun and intoxicating. to my ears it is just no-nonsense ROCK AND ROLL in the tradition of some of my favorite all time bands from DEVO to THE STRANGLERS. definitely worth checking out. 
parodies by nacrowe
check out HERE the latest episode of DEER GOD RADIO that explores the POST PUNK, INDIE ROCK and GARAGE ROCK influenced scene that was the ROCK REVIVAL of the early aughts.
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
with MIDNITE VULTURES (DGC, 1999), its hard to discern whether gifted songwriter / cultural chameleon BECK is parodying 70s/80s FUNK and R&B (a la PRINCE) or lionizing it. case in point is the song "DEBRA" which finds him coyly crooning and then wailing away with his impressive falsetto about his feelings towards a woman and her sister, whom he think is named, well, Debra. its so ridiculous yet virtuosically performed that it really walks that line. its also my favorite song on the album. to this day i cant discern whether it is pastiche or parody and maybe that ambiguity is the point.
other standout tracks such as "BROKEN TRAIN," "GET REAL PAID," "SEXX LAWS," "NICOTINE & GRAVY" and "MIXED BUSINESS" all utilize the synth lines, gated reverb, clipped percussion and synth pad textures that make the genre such a sonically pleasurable experience. it is a fun record that seems less concerned with the pastiche techniques utilized in his universally celebrated ODELAY (DGC, 1996) record and more directly interested in exploring the sonic oeuvre of classic FUNK from ZAPP and LAKESIDE to PARLIAMENT and the THE GAP BAND with a healthy bit of AL GREEN, LIONEL RITCHIE and BOBBY WOMACK thrown in the mix. at least that is what i hear. this record is basically the answer to the question "what would a PRINCE record sound like if BECK made it?" it makes sense to me that he could pull it off given his staggering gift for songwriting and mercurial persona. and that core identity as a songwriter is what makes his discography so interesting, irregardless of genre or recording techniques, however experimental. this is his FUNK record, but he shines just as brightly in a FOLK or HIP HOP context. i first heard this record when it came out. at the time i was in boarding school in NEW ENGLAND and like most things i was exposed to during that period, i had no context for understanding it. at 15 i wasnt familiar with the pioneering DUST BROTHERS pastiche production innovations found within the BEASTIE BOYS' PAUL'S BOUTIQUE (CAPITOL, 1989) record, much less classic FUNK. i just knew it sounded energetic, fresh, idiosyncratic and above all else, fun. and that is pretty much why i still go back to this record. its just fun. its definitely worth revisiting and pays dividends for those seeking experimental audiophile easter eggs and classic pop hooks alike. recommended highly. 
photo manipulation by nacrowe
seriously, how cool is it that someone finally made a documentary about the DESCENDENTS?
FILMAGE: THE STORY OF DESCENDENTS/ALL (ROGUE ELEPHANT, 2014) is basically a celebration of the music and legacy of legendary HARDCORE band DESCENDENTS and their fraternal twin band ALL. the common link between the two is drummer BILL STEVENSON who famously also was a member of BLACK FLAG in the early 1980s, as has also moonlighted as an in-demand producer over the past few years that has overseen albums by everyone from RISE AGAINST, THE LEMONHEADS and LAGWAGON to A DAY TO REMEMBER. the film can be seen as a love letter from the PUNK ROCK community to a band largely credited with establishing the POP PUNK genre with its pummeling musicianship and anti-rock star frontman, the iconic MILO AUKERMAN, who sang songs that had melody and lovesick lyrics about not measuring up in high school. with peers like KEITH MORRIS (BLACK FLAG / CIRCLE JERKS), MIKE WATT (MINUTEMEN), BRIAN BAKER (MINOR THREAT / BAD RELIGION), GREG GRAFFIN (BAD RELIGION), BRETT GUREWITZ (BAD RELIGION), KIM SHATTUCK (THE MUFFS), DAVE GROHL (NIRVANA / FOO FIGHTERS) and subsequent bands they influenced like MARK HOPPUS (BLINK 182), FAT MIKE (NOFX), JIM LINDBERG (PENNYWISE), MIKE HERRERA (MXPX), TIM MICIIRATH (RISE AGAINST), TREVER KEITH (FACE TO FACE) and JOEY CAPE (LAGWAGON) all making enthusiastic appearances and giving praise about this criminally underrated band, it feels almost like THE SMITHS-level adulation. its touching. what i found most interesting in this documentary was how it covered the split personality of DESCENDENTS with their counterpart ALL, which was essentially the same band without MILO. this was amicable as MILO left to pursue a doctorate and career as a researcher in MOLECULAR BIOLOGY. how PUNK ROCK is that? but his departure left a void that couldnt be filled by subsequent gifted singers that played with ALL. the band never got the critical recognition or fan adulation as the DESCENDENTS. DAVE GROHL was the perfect person to speak about this dilemma. famously he lived through it when establishing FOO FIGHTERS in the wake of the swift and brutally public demise of NIRVANA. choosing to start a new band in the wake of a successful band can only be done for the love of the music he argues. FOO FIGHTERS were financially successful, ALL not so much. but their friendship and brotherhood is intact and the PUNK ROCK community has continued to support them. when i first heard the DESCENDENTS in high school i was immediately taken with how raw and almost uncomfortably exposed the lyrics were and how that contrasted with the aggressive nature of the music. they were HARDCORE band that went against any macho posturing. they sang about food and bathroom humor as well as being dumped; all with a melody. very distinctive. i had NERF HERDER as well in high school but to me it seemed more a straightforward POP PUNK record in the vein of many other bands. there was no tension or angst, just competent songs sung well without much fanfare or identity. the lesson of STEVENSON's example, and in essence he is the central figure in this film, is to be passionate about who you do and go for it. despite being awkward and overweight and dorky. use that to your advantage. be an outsider. be original. DESCENDENTS are originals and that is why they continue to be celebrated. 
photo & text by nacrowe
BURMA CHRONICLES (DRAWN & QUARTERLY, 2008) is an autobiographical memoir by FRENCH cartoonist GUY DELISLE that depicts his yearlong tenure in MYANMAR while his wife was stationed there as part of her work with the international NGO DOCTORS WITHOUT BORDERS. to state the obvious, this era in the history of MYANMAR predated the military junta's experimental flirtation with democracy and the release, political rise and swift downfall of AUNG SAN SUU KYI. it also predates the genocide currently taking place against the MUSLIM ROHINGYA population in the southwest of the country.
what makes this book interesting, much like his other works cataloguing similar stints in NORTH KOREA, CHINA and ISRAEL, is deft manner in which DELISLE presents a culture through his personal experiences as an expatriate with everyday people. given his status as his wife's "plus one," he essentially uses this unique opportunity to critical examine his daily mundane interactions. this manifests in a narrative that is made up of intimate vignettes about dealing with issues ranging from the systematic (MEDIA CENSORSHIP, GOVERNMENT CORRUPTION, FOOD INSECURITY, INTERMTTENT ELECTRICITY and UNRELIABLE INTERNET CONNECTIONS) to the personal (LOCAL CUSTOMS/FASHION/CUSINE, RELIGIOUS HOLIDAYS, GENDER ROLES and FILIAL PIETY). sure there are times when his observations come off a bit PATRONIZING and even PATERNALISTIC, but in my experience that is part of the process of acclimating to new surroundings and normative culture that differs from your own. so i dont fault him too much for that, in fact i think its a testament to his honesty to include such and gives this graphic novel a sense of authenticity. as ive mentioned in this forum before, i formerly worked in MYANMAR in the northern city of MANDALAY, which is far from the metropolis that is YANGON where DELISLE resided more than a decade before. there were things i learned from BURMA CHRONICLES about my area, specifically KACHIN STATE which was to my north. i taught children of their military during my tenure and i really had no idea about the jade mines located there and the dismal, sub-human conditions endured there by local workers at the behest of foreign companies (mostly CHINESE). i did not know about the narcotics problem there and how it worked within a broader GEOPOLITICAL STRATEGY by the military junta. of cause looking back, who would have told me? i was literally surrounded by AMERICANS, some of the CHRISTIAN MISSIONARY persuasion so at the very least they were highly unreliable on most any subject. having been a PEACE CORPS volunteer in ALBANIA i worked in concert with some foreign NGOs so i found it interesting learning about the politics regarding the mission of DOCTORS WITHOUT BORDERS and the decision matrix they utilize to deem a situation beyond salvageable. in BURMA CHRONICLES DELISLE and his family leave because the organization determined that they were rendering services that should be provided by the government. in essence they were aiding in the lack of development and progress by the military junta. i find that sort of thing incredibly interesting. too often in ALBANIA i felt that PEACE CORPS was more interested in what we got our counterparts to produce rather than having them self-determine and work towards mutual goals. that over time all we provided was a crutch for the locals to rely upon instead of becoming more self-sufficient. it is nice to know in this instance that responsible NGOs take their mission seriously and are willing to depart if the conditions do not present themselves. of course, i admit that an NGO is different than PEACE CORPS, which is an extension of the STATE DEPARTMENT, so maybe those missions and their ethos dont match exactly, but all the same it is not in the AMERICAN interest to have developing countries rely on us for expertise. or maybe it is? i thought DELISLE did a stellar job of elucidating the experience of adjusting to living in a developing by a WESTERN expatriate, worts and all. i highly recommend this graphic novel to anyone interested in learning about that experience or even a pre-"democratic" MYANMAR for that matter. cant wait to seek out his other publications. 
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO dedicated to the singer-songwiter HARRY NILSSON.
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
|
June 2021
All
|
