when AMERICANS think of public radio the dry, educational shows associated with NPR usually come to mind. these shows, much like their PBS television counterpart, are meant to enrich and cultivate thoughtful dialogue on a myriad of subjects.
this is not the BRITISH model at all. they have a celebrated station dedicated solely to news called the WORLD SERVICE, but they also have a number of stations dedicated to the arts, including BBC6 which is dedicated to modern ALTERNATIVE MUSIC (i.e. INDIE ROCK, TRIP HOP, ELECTROCLASH, ALTERNATIVE ROCK, INDIE POP, PUNK ROCK, etc).
the professionally mixed live performances are particularly well produced and include the likes of TRICKY w/MARTINA TOPLEY-BIRD, IGGY POP, THE PIXIES, LIZZO, JOHNNY MARR, QUEENS OF THE STONE AGE, BEAK> and STEPHEN MALKMUS & THE JICKS as notable past performers among many many others.
definitely worth a listen.
FROM THE BASEMENT was a live performance series produced by NIGEL GODRICH (RADIOHEAD, ROGER WATERS, BECK, R.E.M.) that lasted two seasons and aired intermittently on SKY TV from 2006 to 2009. shot and recorded without an audience, the bare studio room was an open canvas for the artists and directors, including SOPHIE MULLER, to present their music in manner they more or less had control over.
notable performances include those by PJ HARVEY, THE FALL, QUEENS OF THE STONE AGE, THUNDERCAT, THE KILLS, RADIOHEAD, CSS, SONIC YOUTH, FLEET FOXES, THE WHITE STRIPES and JARVIS COCKER of PULP
definitely worth checking out, especially for the quality of the live mixes, which honestly is a bit of a forgotten and under-appreciated art. enjoy.
gotta hand it to NOISEY on this one, GUITAR MOVES along with PREMIER GUITAR's RIG RUNDOWN series are arguably the two earliest (and most consistent in terms of quality) guitar-centric YOUTUBE series i was made aware of a few years ago. while RIG RUNDOWN follows guitar nerds asking gear questions to touring musicians and their guitar techs, GUITAR MOVES follows INDIE ROCK guitarist / producer / super-fan MATT SWEENEY of SKUNK & CHAVEZ as he interviews notable guitarists about specific "moves" they do that are unique to them.
as a guitarist myself (a very poor one at that), it is often the little recognizable quirks and idiosyncrasies of musicians you admire that make them stand out. its a very cool concept for a series and for the most part SWEENEY's contagious unbridled enthusiasm and knowledge of their catalogue disarms them into opening up about their approach and philosophy regarding creating music on guitar.
highlights include the JAMES WILLIAMSON and ACE FREHLEY episodes where SWEENEY is beside himself and you can see him returning to his 12 year-old self in awe of his idols as they teach and play classics like "SEARCH AND DESTROY" and "SHOCK ME" with him. for their sake, many of these songs have been incorrectly transcribed, so this allows them to educate the masses on how to play their songs correctly.
i'd also have to point out the JOSH HOMME episode as being notable as he talks about how childhood POLKA lessons influenced his approach to the guitar and how a well chosen sharp note on a scale can transform the feel and tone of a solo. just super practical stuff.
all in all there is mention of techniques such NASHVILLE TUNING (JAMES WILLIAMSON), OPEN G TUNING (KEITH RICHARDS), TAPPING (JOSH HOMME) among others.
if you play guitar, this series (which sadly has been discontinued) is well worth exploring. for his part, SWEENEY has gone on to interview musicians for other video series with bigger brands, but essentially this is the one that is worth (repeatedly) checking out.
the documentary AMERICAN VALHALLA (EAGLE ROCK, 2017) takes its name from a song off of IGGY POP's late-career album POST POP DEPRESSION (LOMA VISTA, 2016), which was a collaboration between the iconic STOOGES frontman and musician JOSH HOMME of QUEENS OF THE STONE AGE/KYUSS fame. this documentary follows their collaboration throughout the songwriting and recording process with interviews of both conducted by ANTHONY BOURDAIN (RIP).
i guess it should be stated that while IGGY and HOMME come from celebrated bands, both are actually quite unconventional musicians. lots of bands pay lip service to expanding their sound on subsequent releases, but if you track the career trajectory of both you will see that is actually the case. when IGGY reached out to HOMME, both took it as an opportunity to experiment and see what new creations could be manifested from their respective provided elements. it was interesting that in navigating this new relationship they based much on instinct and cooked the songs quickly in short order to not overthink it. just move forward.
i think this film at its core is about the nature of collaboration, especially when you have a history or legacy. it is about dismantling those expectations, both external and, more importantly, internal.
i remember when i was teaching i never slept particularly well because i was constantly questioning my plans. its not that they were inferior, i knew they were sound, but the opportunity cost of it all drove me nuts. there were so many options and how could i choose the right course of action that would best serve my students. i think that drive in part is what broke my heart about the profession, the fact that so many of my peers phoned it in. taught the same thing in the same order as years before, altering nothing. i saw the classroom as a dynamic venue for exploring ideas and challenging them against new technologies and world events. opening up the curriculum to show how these classroom concepts affect our understanding of both the world and ourselves. the fact that i did this in foreign countries, never on my home court made it that much more invigorating and scary at the same time. more colors to play with. i was willing to fail and being unable to settle down completely at night was the price i was willing to pay. risk nothing you get nothing.
what i am trying to say is that im well aware of this fear HOMME had in the film. how do i collaborate with an icon? make it worth his time and my time? and most frightening of all: the opportunity cost of all the other possible music i could write, that i could present to him. how do you conquer that fear?
you just do it by doing it. being truly in the moment. their collaboration was all instinct, mutually respecting and sharing that creative moment. in the moment. right now.
i loved that tightrope dance. i miss it.
note: but i wouldnt return to teaching. dealing with administrations that didn't have the students interests at front of mind cut my heart out. repeatedly. a bad one-sided collaboration rooted in politics.
great film. intriguing documentary on the nature of collaboration and cost required to make it a fruitful and meaningful endeavor.
MARK LANEGAN is a national treasure. i feel bad comparing artists sometimes when they are both great, but for my tastes (as i explained in a recent DEER GOD RADIO episode dedicated to 4AD RECORDS) LANEGAN is the equal if not superior singer to his celebrated SEATTLE contemporary CHRIS CORNELL of SOUNDGARDEN.
first off, i love them both. in fact i have a whole DGR episode dedicated to SOUNDGARDEN. what separates them to me is the depth of feeling that LANEGAN seems to drive from. there is something primordial, immediate and just dark that comes off in his singing, like he is channeling some deep inner pain in the best tradition of BILLIE HOLIDAY. when i listen to CORNELL i admire his abilities as a lyricist foremost and his range second, but its like comparing ELLA FITZGERALD with BILLIE HOLIDAY. one has better range and diction and the other has the voice that is suffering incarnate.
if you are unfamiliar with LANEGAN or his work in SCREAMING TREES, QUEENS OF THE STONE AGE or his solo work and collaborative albums, i highly suggest you check the dude out. definitely worth the effort.