07 February 2008

Das Capital


The Re-Up Gang, i.e. Clipse (Pusha T and Malice) plus Philly rappers Ab-Liva and Sandman, has just released the sequel to 2005's seminal We Got It 4 Cheap Vol. 2 mixtape, the aptly (and lugubriously) titled We Got It For Cheap Vol. 3: The Spirit of Competition (We Just Think We Better). I haven't had a lot of time to absorb this yet, so we may come back to it, but time is of the essence as Re-Up is giving this shit away F-R-E-E over at their label website. Do yourself a favor and opt for the Drama-less version, unless you like DJs shouting out their name over your raps, in which case be my guest.

First impression: Clipse maintain the whole "drug dealers who rap on the side" ethos, rather than the more popular "I may or may not have dealt drugs at one point, but now I own three homes and have my own energy drink" ethos. Clearly the commercial failure of 2006's Hell Hath No Fury has had a profound effect on Pusha and Malice: several times on the tape they allude to the fact that there may be more money dealing coke that in hip hop. WGI4CV3 is definitely a hardcore nose to the grindstone affair; "If the album flops, we the Wire season 2 bitches, back to the docks".

Speaking of which...

SPOILER ALERT: If you watch The Wire and aren't up to episode 5 of the current season yet, turn back!

Season 5: B'more Sun plotline = thumbs waaay down; McNulty going haywire = thumbs kinda down; Marlo moving aside Prop Joe and taking over the connect with the Greeks = big thumbs up; Omar pulling some serious Batman shit in his hunt for Marlo = I can't even see my thumb because it is so high up.

Carl Wilson over at Zoilus turned me on to this feature over at the (shudder) Freakonomics blog: "What do Real Thugs Think of The Wire?" It's a diary maintained by Sudhir Venkatesh, a Columbia University sociologist who made his name documenting the Chicago drug trade, recording the reactions of "New York-area gang personnel" as they watch the show. Choice cut, from Part 4:
Flavor, the youngest in the room at 29, felt a strong tie to Marlo. “I can’t tell you the number of these old fools, like Prop Joe, that stand in the way when we try to make things happen. They always talk about the old days. F-ck the old days. I got kids, I got bills, I don’t need no old crumpled up, fat fool telling me to give my money up to n***ers who don’t do nothing for themselves.”
R-E-U-P-G-A-N-G, indeed.

06 February 2008

I'm Your Biggest Fan


Saw The Assassination of Jesse James by the Coward Robert Ford, which I will henceforth refer to as TAOJJBTCRF. I don't buy writer-director Andrew Dominick's crucifixion analogy - in fact I think the staged re-enactment of the famous death scene, shown later, with Bob Ford as himself, and his brother Charlie playing Jesse, is probably closer to the truth. TAOJJBTCRF is indeed as meditative as the critics asserted, and at two and half hours, it's probably more than a couple hairs too long. However it is a compelling psychological portrait of that strange breed of person so enamored with an idol that he or she becomes obsessed with subsuming them, and through violence transcending them. As Jesse James was a violent criminal, Robert Ford does not pay the usual price for assassination, and instead enjoys a notoriety, the film makes clear, equivalent to Jesse's. It is this strange, sad coda that is by far the most compelling part of the movie, a clean break with the studied portraiture that precedes it (at points TAOJJBTCRF is over-lovely, like a filigreed tea set in a doll's house ). Ford finally steps out of the role of Judas in Dominick's passion play and becomes a relatable, sympathetic human being whose misguided hopes have been cruelly, if deservedly, dashed.

TAOJJBTCRF was mostly lost in the Oscar shuffle, but it did receive one major nomination, for Casey Affleck's portrayal of Ford. That this nomination was for Best Actor in a Supporting Role rather than Best Actor in a Leading Role suggests that the nominators either had not seen the film or were so blinded by Hollywood's "star system" that they could not accept the fact that Brad Pitt's performance as Jesse James was the supporting one. (Perhaps I shouldn't be so hard on them, as the film was heavily marketed on the strength of Mr. Pitt's cachet, a strategy that did not forestall its inevitable commercial failure.) Regardless of the slight, Mr. Affleck is assuredly deserving of recognition, and I hope that he wins, though I doubt such a thing will come to pass.

"New York's Rock Experience"?


Picked this up from Idolator, so you can read that too, but stick with the man if you want the straight dope on this whole "New York's Rock Experience" brouhaha.

Apparently some outfit I've never heard of, Emmis Communications (they apparently own a smattering of FM stations in NYC, L.A., Austin, Indiana, and,uh, Bulgaria) has decided to bless New York City with its third rock radio station, 101.9 RXP, a.k.a. "The New York Rock Experience." According to this here press release, the station will differentiate itself from the competition - Q 104.3 and K-Rock, classic and modern rock stations respectively - by playing "a new adult blend" merging "New Music, Classic Rock, Alternative & Local Rock" a.k.a. "The New York Rock Experience." To wit:
101.9 RXP will feature a variety of rock from artists like Franz Ferdinand, Bruce Springsteen, Nirvana, Coldplay, U2, Pearl Jam, Dave Matthews, The Police, Beck, Radiohead, The Who, Oasis, Arcade Fire, Social Distortion and REM ... a playlist not determined by era, but rather by the acoustic quality of each song, as determined directly by on-air personalities and staff.
Now, you may ask yourself, is it necessary to have "on-air personalities and staff" "determine" a playlist heavy on Bruce Springsteen, Pearl Jam, Dave Matthews Band, REM, and U2? (Oh, right I forgot about the Arcade Fire and...Social Distortion.) Also, what's with this "acoustic quality of each song" nonsense? I'm guessing they mean that their playlist will be determined by either the subjective tastes of their "on-air personalities and staff" or, more likely, the same road-tested melange of Jann Wenner-approved canonical canon-ness that any ol' Clear Channel computer could spit out, neither of which translates as "acoustic quality." Acoustic quality, you see, would relate to the quality of the recording from a technical perspective, as opposed to an assessment of a song's artistic merit; I don't think anybody's gonna be DQing the new Red Hot Chili Peppers product because of digital clipping (if you have ears, you owe it to them to take a gander at Nick Southall's manifesto on the subject, "Imperfect Sound Forever"). Words have meanings, people.

Don't get me wrong, I don't mean to pour on the Haterade. In fact, I think the appearance of "The New York Rock Experience" is a heartening development. A few years ago rock radio in NYC was on the ropes, with WNEW and K-Rock switching to all talk formats, leaving Q 104.3 as the last remaining game in town (though here in NJ you could still pick up WDHA, WRAT "The Rat" - I had an awesome bumper sticker on a long gone Saturn - and G Rock radio ). Since then, K-Rock has abandoned the asinine "Free FM" format, and now we have a new player making the scene.

Look, I listen to a lot of rock and roll: it's what I like the most, and I can't change it and I won't apologize for it. God made me this way for whatever reason. Certainly, I like to think that I maintain an open ear, and I love a lot of non-rock music, but as for what Lester Bangs referred to as "needle time", rock and rock derivatives are the overwhelming favorites. So I cannot begrudge the tastes of people like me who really want to OD on riffs, even if those riffs belong to The Eagles or RHCP or Oasis. Hell, you wanna talk about junk food, give me AC/DC, The Clash, Led Zepp, Springsteen any day of the week - and I have no doubt that "The New York Rock Experience" will give me them every day of the week.

The real question, in my mind, is whether this thing will sink or swim. Obviously, I know fuck-all about the radio biz, but I've seen stations and formats come and go, and I have memories of a youth wasted to strains of K-Rock. Personality, I think, still matters: hence the demise of sonic nightmare Jack FM - simply a playlist heavy on '80s faves programmed and played by a computer; the very definition of impersonality, your car as waiting room. The bond my friends and I formed with K-Rock was certainly based on the music, but there was also a sense that the station was a hub - we knew its disc jockeys, met them at concerts, collected a ton of bumper stickers and other assorted swag. I think those days of centrality are long gone, a victim of the iPod, or the Internet, or whatever other technological and demographic changes are slowly eradicating interpersonal interactions. But the underlying concept of building a listener base by developing relationships that progress beyond playing the same Tom Petty records still holds some water. Still, a little o' this never hurt no one.

The Day After Super Tuesday

Life is good

So a bajillion states held their presidential primaries/caucuses/conventions yesterday. What we learned about the Republican and Democratic Contests:

- The Republican nomination is McCain's to lose: Mitt Romney, thanks for playing. John McCain swept the big prizes yesterday, winning New York, New Jersey, Illinois, Missouri, and California. Romney took his home state of Massachusetts, and handily won Utah and Colorado handily as well - both states with considerable Mormon populations; he also nabbed a fistful of tiny states: Minnesota, Montana, and North Dakota. Yet the surprise story last night was left-for-dead Arkansas Gov. Mike Huckabee, who opened the day with a win at the West Virginia G.O.P. convention after McCain delegates threw him their support in a effort to block Romney (who later cartoonishly criticized Sen. McCain's "Washington insider ways"), and then took Georgia, Tennessee, and Alabama in addition to his home state of Arkansas.

For the McCain camp, the big picture is bright: their candidate now has a commanding lead in delegates thanks to the RNC's winner-take-all format, and the chief opposition, Mitt Romney, is clearly on the ropes. All is not rosy on the Straight Talk Express, however: self-identified conservative voters - i.e. the Republican base - went overwhelmingly against Sen. McCain, splitting their votes between Romney and Huckabee. This trend was most obvious in the South, where conservatives actually threw Huckabee a few victories, but was palpable to the extent that only in the Northeast and California, where moderate Republicans are still the majority of primary voters, did McCain win any outright majorities. In the long run this speaks to a general lack of enthusiasm among movement conservatives for a McCain candidacy, as indicated by the vociferous opposition by a number of prominent right wing media figures, among them Rush Limbaugh, Ann Coulter, and Focus on the Family's James Dobson. Whether or not this will translate into soft support in the general election remains unseen, and probably hinges a great deal upon who the Democratic nominee ends up being.

- Hillary Clinton is in 1st place (by thismuch) : The reality of the situation is that Hillary won a 10-8 decision against Obama last night, winning the big prizes on paper, and emerging with about a hundred more delegates. The perception, which is probably more important, is that Hillary won on a TKO, decisively beating Obama in New York, New Jersey, California, and, unexpectedly, in Massachusetts, where the bulk of the state's Democratic establishment made a big show of throwing him their support two weeks ago. Obama was viewed as making a charge in Clinton's backyard in recent weeks - Slate referred to NJ as a "toss-up" state, even though polls had consistently had Hillary ahead by comfortable, if diminishing margins - but she fended him off, restoring momentum to her campaign in time for what could be a long home stretch.

The good news for Obama is that he not only survived Super Tuesday, but he's still in pretty good shape, having won thirteen states to Clinton's eight. Hillary enjoyed a tremendous built-in advantage, with New York and New Jersey virtually assured to go her way, but in neither state did she run up an enormous margin of victory, winning by only 13 and 10 points respectively (by contrast Obama took his home state of Illinois by 31 points) . In Connecticut, also considered Hillary's backyard, Obama actually managed to eke out a victory. In view of the Kennedy endorsements (and comparisons), losing Massachusetts was definitely a blow, but not an insurmountable one. The fact is that the schedule from here on out - with no more than four states on the table at one time - favors Obama's hands on approach. The more time he spends in a state, the better he does (unlike Rudy Giuliani); furthermore, as evidenced by his surprising pluralities throughout the South, Obama has been able to mobilize African-American voters (whom he carried in some instances almost 90%-10%), a fact that will undoubtedly help him in states like Maryland, Virginia, Mississippi, Texas, and Pennsylvania. Obama also enjoys a fund-raising edge, bringing in a record $32 million in January - money that will enable him to endure a protracted primary season.

For state-by-state breakdowns, as well as the schedule of upcoming primaries, I recommend the New York Times' Election Guide site.

05 February 2008

Barack Obama for President

It's about...

If you accept the media hype that the 2008 Presidential Election is about the concept of change qua change, you cannot go wrong with any of the four major party front-runners. John McCain, Hillary Clinton, Mitt Romney, and Barack Obama each represent a significant deviation from the close-minded mendacity that has characterized the presidency of George W. Bush, an over-pampered, under-equipped ne'er-do-well who basically admitted up front that he was a little light in the resume for this gig, and then picked the most venal gang of hacks and ideologues to govern in his stead. Each of the four candidates vying to replace him have demonstrated their ability to lead competently in different venues; each has a record of considerable personal achievement, both in public service, and, especially in Romney's case, the private sector. We can rest relatively assured that the personal defects that have rendered President Bush a failure will not repeated; the question, then, is what kind of change do we want?

Being an open-minded, forgiving sort, I would love to write-off Bush as a singular disaster and at least partially exculpate the Republican Party at large for the scope of our continuing national disaster. However, it must be noted that those same "Reagan conservatives" who now cry apostasy at our Bungler-in-Chief for his infidelity to "principle" eagerly lined up to applaud the tax giveaways to the wealthy, the exploitation of national tragedy to cow and subdue political opposition, and, worst of all, the campaign of misinformation ("misinformation" being a polite word for "lies")that led to our abortive invasion of Iraq - a misadventure that single-handedly eradicated any diplomatic or military advantages we enjoyed in that brief atmosphere of post-9/11 international amity. Many still endorse the most profane excesses of the War on Terror, including the unconscionable illegal wiretapping of American citizen's private communications and the use of torture tactics on detainees (Candidate Romney: "My view is that we ought to double Guantanamo.").

If I had to pick between the two Republican frontrunners, I would choose McCain over Romney in a heartbeat. Senator McCain has demonstrated a continued willingness to break with his party and this president, whether on campaign finance reform, reckless tax breaks, immigration, or opposition for torture. He is obviously a man of great personal integrity and intellectual independence, and he would undoubtedly restore significant luster to a tarnished institution. Romney, on the other hand, has displayed an unbecoming taste for political expediency; approaching his candidacy like the business consultant he is, Romney identified a gap in the field for a standard issue pro-business social-conservative, and has offered himself up as such. Unfortunately, such stances contradict his most germane personal and political experience: his four-year tenure as governor of Massachusetts. Indeed, Romney's presidential bid reads like an explicit repudiation of his past; even his signature achievement, an inventive universal health care mandate (the product of compromise with an overwhelmingly Democratic legislature)has been treated as a liability at a time when America's health care system is in need of a dramatic overhaul. Given the cynical ambivalence with which he views his own interchangeable "beliefs", it's not precisely clear why Romney is running, what we would get if we elected him, and why we would want to do so in the first place.

Senator McCain is not without his downside, of course. At issue is his continued support for the Iraq war, and his promise to keep us embroiled there for the foreseeable future. He as well as anyone knows that this policy is untenable - even the surge he so avidly championed will soon come to an end as combat brigades prepare to rotate back to the States with no forces prepared to replace them. Furthermore, though the surge undoubtedly improved the security situation in Iraq, much of this success is attributable to alliances of convenience with Sunni militias targeted against al Qaeda in Iraq. With no meaningful headway made towards a political solution, is it reasonable to expect these militias - militias that previously dedicated themselves to attacking American soldiers - to remain in our camp while the Shiites consolidate power? There is no end game, and we need a president focused on the best way to extricate the nation from this mess, not someone prepared to muck about for another decade.

For the necessary change then, we must turn to the Democrats, Senators Hillary Clinton and Barack Obama. On the major issues, there is little daylight between the candidates; indeed, The New Republic characterized the Democratic primary as a "fight to the death between Diet Coke and Coke Zero." Both propose a phased withdrawal of American forces from Iraq; tax cuts targeted at the middle class and based on expanding the Earned Income Tax Credit or some variation thereof; a hybridized private-public form of universal health care (as opposed to a single-payer, entirely government-funded and administered model); and a path to citizenship for illegal immigrants in concert with tighter border enforcement. Regardless of which candidate wins, we are thus promised that the restoration of a progressive agenda sidetracked by eight years of neglect and outright hostility will be central to their candidacy and their presidency. Given the alternative - a Hell House of which has been erected for your perusal at 1600 Pennsylvania Avenue - we can even feel relatively assured that they mean it this time.

Furthermore, for you amateur semioticians and sociologists out there, who these candidates are represents a significant departure from the previous 218 years of presidential precedent. Sure, you can argue that Americans should vote on the issues, and indeed they should: that's why I am decidedly against Mssrs. McCain and Romney and their promises to basically do it the same, but different. As I have just established, however, I don't see much of a policy divide between Clinton and Obama, at least not one I can use as a basis for extrapolation. Yet I also don't see identity politics as particularly useful for making a selection, though if I were a women or an African-American instead of a white male I probably would (or in Romney's case, a Mormon). Let's just agree that the day that either a women or a black man sits in the Oval Office will represent a seismic change from two unbroken centuries of white male monopoly on executive power. Call it a wash.

So why, oh why did I end up picking - not settling for, mind you - Barack Obama? Well, I like to be inspired, and he's inspirational. Frankly, I'm just as cynical as most of you mopes or anyone who's endured the last eight years of terror and the manipulation thereof, rinse-repeat. But why not go with the guy who is talking about hope? The presidency, after all, is kind of a mirror for the nation, case in point, JFK in 1961: "Ask not what your country can do for you - ask what you can do for your country."; George W. Bush in 2001: "Go shopping." What do we want to see in the Oval Office? In my case certainly not a Republican, because you get what you pay for and we'd be stupid to pay for anymore of this, but I don't want the Hillary and Bill Show either, to be perfectly honest.

Clinton's camp has already made it clear that they view presidential politics as an existential knife fight in a phone booth, a perception no doubt colored by the Lewinsky affair. Says adviser Sidney Blumenthal: "It’s not a question of transcending partisanship,”
It’s a question of fulfilling it. If we can win and govern well while handling multiple crises at the same time and the Congress, then we can move the country out of this Republican era and into a progressive Democratic era, for a long period of time.
Clinton is more qualified for the presidency (or rather to be the Democratic nominee, which is more than a semantic distinction), the argument goes, because she has already survived the "Republican attack machine." Her team is girding for four more years of the same dogfighting that has persisted since Newt Gingrich tried to crown himself Prime Minister after 1994's Republican Revolution. Obama's appeals for civility and his constant invocation of "hope" are seen as dangerously naive.

Isn't this a reductive argument though? Let's face it, the first Clinton presidency, operating from seemingly the same premise, sure as hell didn't usher in "a progressive Democratic era, for a long period of time." Are partisan politics a zero sum game, where the Democratic interest must always be advanced at the expense of the Republican position, or vice versa? Or mightn't we be able to use someone who can see all sides of an issue?

In all honesty, that's what Obama brings to the table. The reason that he appeals to independents and yes, even some Republicans, is because he doesn't treat their perspectives as obstacles to be overcome but points of view to be considered and perhaps even synthesized. I know that in the Bush era bipartisanship has been equated by progressives with rolling over and playing dead, and not without reason. However, I also don't think that anyone who navigated Chicago's famously murky political waters to get to where Obama is can rightfully be called naive. I think that he's a guy who knows how to push when it comes to shove, whereas I think Hillary only knows how to push.

I voted for Barack Obama because I think it takes guts to talk about hope in America today. It takes guts to talk to Democrats about the need to mend fences and reach out to Republicans after a presidency where we've gotten nothing but the bootheel. It takes guts to challenge the American people to take some responsibility for the future of their country. He talks the talk; I look forward to seeing if he can walk the walk.

"How'd It Get Burned? HOW'D IT GET BURRNNNED?"



04 February 2008

Black Helicopters, Egg Sacs, and Other Dispatches From the Home Front


Props to Ashley Judd for letting herself look as unglamorous as she does in Bug - not playing a serial killer, literary figure, or some other Oscar-bait role, I mean - and William Friedkin for proving out thirty years after he'd seemed to have dried up; there were flashes (1980's Cruising, 1985's To Live and Die in L.A.) but no spark until now. I can see why this movie didn't attract any indie lust: it's way over the top (the tin foil decor in Act II seals that deal), graphically unpleasant (I wanted Calamine lotion in the worst way), and it goes from "vaguely unsettling" to "totally fucking nuts" in no time flat. I don't know if Bug is particularly sociologically relevant, except, perhaps as an examination of Lyndon LaRouche's cult, though I've heard all the usual post-9/11, present-tense Iraq War paranoia static. It is unafraid of laughing at itself, as the memorable Ashley Judd vs. pizza box sequence proves; two minutes later the mesmerizing, disturbing finale proves that it's not afraid to laugh at us, either. From the play by Tracy Letts - which is undoubtedly springing up on a thousand college campuses as we speak on the strength of his August: Osage County - and featuring outstanding turns by Michael Shannon as a deranged vet, and Harry Connick, Jr. as Judd's abusive ex-con ex-husband.

Brutal Youth


It's unavoidably self-indulgent - Dito Montiel directed the movie, wrote the memoir upon which it was based, and flattered himself by casting Shia LaBeouf as The Artist as a Young Man and Robert Downey, Jr. as The Artist circa 2006. Also A Guide to Recognizing Your Saints is notable for being perhaps the most pro-gentrification movie I've yet seen - witness Astoria transformed from an open sewer overrun by street gangs of feral teens to a clean, quiet neighborhood where people have choices beyond escape, death, and stagnation in just twenty years. Ultimately not a bad film, but far from a great one, considering that "Urban Coming of Age Drama" ought to have its own shelf at the Blockbuster; salvaged from file-under-forget status by solid performances by the aforementioned Mr. LaBeouf and Chazz Palminteri as Montiel's old school father. Ninety-eight minutes later I still can't figure out where the title came from though.

"There's Shit In The Meat"

I'm gonna puke...then I'm gonna go eat a Big Mac

Lessons from Richard Linklater's film adaptation of Fast Food Nation:

1. Stick to the chicken.
2. Illegal immigrants: they're just like us.
3. Yes, someone spits in the food.
4. If it makes you feel better, they clean the place where the cows get offed.
5. There are a lot of cheap-o gross out moments, where they show meat being ground and stuff like that, that aren't inherently shocking or alarming, but undoubtedly play to the prejudices of the liberal elitist types (like yours truly) who would seek this movie out.
6. Kris Kristofferson: Hollywood's grizzled old man of choice.
7. Also targeted: sprawl, meth labs, eminent domain. Capitalist machine killing America etc.
8. There are rats.
9. Every movie would be improved by a Bruce Willis cameo. Not a lot, but the difference between a B+ and an A-, certainly. "We all have to eat a little shit from time to time."
10. Ethan Hawke, thanks for dropping by and adding nothing.
11. Predictably, there is a horrible industrial accident at the meatpacking plant. Also "pre-existing condition" in Spanish is "condición pre-existing".
12. Too much undergrad philosophizing, delivered by undergraduates. Also: fuck the Patriot Act.
13. Maybe cattle are meant to be killed and eaten. Nice metaphor for post-industrial society, though.
14. The film's climax on the kill floor, which Linklater's been soft-pedaling the entire preceding 90 minutes, is precisely the grand guinol we've been anticipating, complete with decapitations and intestines rolling down conveyor belts. More of a pro-PETA moment than "I'm never touching hamburgers again" broadside, though. I mean, let's face it, if you eat any meat, regardless of whether or not it comes between a Big Mac bun, some cow is getting his head cut off for your enjoyment.

18-1


Maybe the greatest AFC champs ever.

03 February 2008

Redrum


Blood on the Wall's latest gift set courtesy of the folks over at Social Registry, Liferz, triangulates between the Frank Black (or is that Dave Thomas? or Jack White?) in brother Brad Shanks' voice, the Kim Gordon in sister Courtney's, and an aggressive approach to the electric guitar gleaned from 120 Minutes' heyday. It's better than the predecessor Awesomer, which also suffered from titlesucksitis and crappy cover art, and had the further misfortune of defining the BOTW "sound" without applying it to any memorable tunes. That mistake doesn't get repeated here.

Liferz is a good-times rock album on which the prefix "art" is silent and needn't be applied in the first instance. "Rize" chugs along to lyrics about "hustlers in love", "Lightning Song" gets on a serious late period Sonic Youth jag ("Here comes Satan's daughter/To take your hand/Crush your heart" et cetera). "Sorry About Sarah" almost pushes into full on Nirvana territory, falling short and settling for Siamese Dream-era Pumpkins, which is fine with me, because it's about time someone set out to exculpate the cream of the grunge crop not responsible for Candlebox or Puddle of Mudd or whoever; then it finishes with a pisstake on Sam the Sham's "Surfin' Bird", because this, refreshingly, is not a serious record (a point emphatically made by closing track "Acid Fight", which is apparently about an acid fight, non-metaphorical division).

I would say that it's too bad Liferz came out in January, though if you're going to soundtrack 2008, why not go for all twelve months of it?

Blood on the Wall's MySpace.
The Social Registry website.

02 February 2008

The "There" There


So after a(nother? Depends how you feel about "Careful") false start, Hot Chip's third full-length, Made In The Dark gets cracking at the 1:53 mark of track 2 when "Shake a Fist's" groove stops dead in its tracks and a voice dryly intones, "Before we go any further, I'd like to show you a game I made up called 'Sounds of the Studio'" and we are facialed with vintage Lil Jon synth blasts, like something they'd play on one of those "Music Express" rides at Six Flags (you know, the one where you go forwards and backwards, and the centrifugal force causes the person sitting on the inside of the car - your girlfriend - to crush the person on the outside - you).

Is this record better than The Warning? Well, that depends, I suppose, upon your perception of that album, which - don't look now - was practically on a Thriller or Born in the USA jag when it came to singles, count 'em: "And I Was a Boy From School", "Colours", "Over and Over", "(Just Like We) Breakdown", "The Warning", and "No Fit State". I can say right off the bat that every track from "Ready For the Floor" to "Wrestlers" is single-worthy, and you should probably ready some CD-Rs or playlists or whatever for all of the big name, blue chip remixes this album is gonna spawn.

Made In The Dark is definitely a continuation of the precocious white boy-cum-Prince kitchen sink approach they refined on the previous record after the too-many-jokes-bruv ethos of Coming On Strong. That's a good thing, because upon listening to opener "Out at the Pictures" the first time, my reaction was "Oh no, they're trying to move forward," which, contrary to popular believe, is not always desirable. Don't get me wrong, they do "move forward" as it were: they toured with Junior Boys (So This Is Goodbye = still brilliant) behind The Warning, and that cool-as-the-other-side-of-the-pillow aesthetic has rubbed off a little bit, burnishing the pathos that made tracks like "And I Was a Boy From School" and "Colours" so affecting.

All in all this one's even more of a Trojan horse for post-ironic human feelings, though I suppose that only repeated listens will determine if it "stands the test of time." One thing I can definitely say is that when it comes to electro loverman refinement, if you put this record on a continuum with Von Sudenfed's Tromatic Reflexxions and LCD Soundsystem's Sound of Silver, it would look like one of those monkey-to-man evolution wall charts.

You can preview Made In The Dark, due February 5th, over at Hot Chip's MySpace page.

01 February 2008

I've Been Working on a Piece That Speaks of Sex and Desperation


Patti Smith was punk rock in the sense that she was direct: she drew a clear distinction between artifice and the artificial, channeling her pretensions into full throttle blast of emotional energy that makes your chest feel like a kick drum every time you hear it. She has a lot of great songs, and at least two classic albums to her credit in 1975's Horses and 1978's Easter. On the latter resides my favorite track and her biggest hit, "Because the Night", co-written with Bruce Springsteen (who would perform the song in concert but never released a studio version of his own), and best known to people under 30 as a threatening-as-Ikea cover version perpetrated by 10,000 Maniacs on MTV's Unplugged.

Smith's version, which rose to #13 on the U.S. charts, remains definitive, principally because she acts the song rather than sings it: each phrase comes from some indefinite spot between Patti's solar plexus and her brain and radiates from there. She's a soul singer not in the genre sense but vis a vis her delivery. "Because the Night" conveys a lot of sentiments our affectless generation would rather express in circumlocutions:
Have I doubt when I'm alone
Love is a ring, the telephone
Love is an angel disguised as lust
Here in our bed until the morning comes
Come on now try and understand
The way I feel under your command
Take my hand as the sun descends
They cant touch you now,
Cant touch you now, cant touch you now
Because the night belongs to lovers ...
America has nothing to fear from strong women, but I will take Patti Smith over Hillary Clinton any day just because Hillary's a little too indie rock for my tastes.



I Now Pronounce Myself Pleasantly Surprised


The Adam Sandler-Kevin James reverse La Cage Aux Folles pour pension bennies comedy I Now Pronounce You Chuck and Larry is complicated art. At first glance, it is a negligible crudity, yet another attempt to tap light hearted homophobia in order to shakedown mainstream American audiences for those precious first weekend bucks. Yet, the longer the movie wears on, the less it seems an exercise in "gayface" than a sly metaphysical comment on the ignorance of a broad, broad swath of heterosexual male-dom.

Chuck (Sandler) and Larry (James), two Brooklyn-based firefighters, fake a domestic partnership to secure survivor benefits for Larry's following an on-the-job scare. The complications are thus: a) they're not gay - in fact Chuck's voracious heterosexual appetites are played for great sport (we can argue about gays, but there's no denying that women still get the short end of the stick - stick, get it? - here), b) they're firemen, one of those blue-collar, close-proximity professions that, in movie shorthand, serve as a fertile breeding ground for homophobia, and c) a city investigator (a wasted Steve Buscemi - ironically himself a one-time New York firefighter) suspects their domestic bliss is a hoax. The movie thus forces Chuck and Larry to (literally) sleep in the bed they have made by flaunting their gay bona fides at least until the storm blows over.

This set-up is keenly executed, as James and Sandler (who is, incidentally, far more agreeable here than he has been in ages) eschew cheap "swish" caricatures and opt instead for a more, um, serious (?) exploration of what the middlebrow red blooded American male, accepting of homosexuality though still uncomfortable with close proximity to it, thinks is gay. Sure, there are moments that veer uncomfortably close to condescension - especially when Chuck punches out an anti-gay demonstrator (The Daily Show's Rob Corddry in a pointless cameo - if I had a sidebar I could explore all of the comedy talent squandered here in ancillary roles), implying, probably unintentionally, that gays need a strong heterosexual figure to stand up for them - obviously these dudes never heard of the Stonewall riots. There's also the obvious message clunkiness - evaluate people for who they are, not what they are, etc. For the most part, however, Chuck and Larry is an unexpectedly sweet film, a kind of Capra-meets-Farrelly Brothers version of Black Like Me firmly ensconced in the pre-Apatow comedic tradition. Indeed, in it's own way it's an incredibly subversive film as well, subtly portraying two men sleeping in the same bed, running a household, and raising a perfectly well-adjusted family. If that's not as potent a cinematic argument for legalizing gay marriage as has been aired in mall cineplexes yet, I'll be damned.

ILX See Me Pollin'


Music message board I Love Music (ILX) is conducting its year-end 2007 poll, which seems like as good a time for a brief reassessment as any, considering the sheer volume of '07 tracks and albums I only had an opportunity to sample in '08. Also, there's no such thing as a fixed "best of" list: you can only consider it a snapshot of tastes at a particular moment, so some favorites that did make my cut back in December floated up and down and in and out.

There are a couple of newfound faves on the singles/trax side that don't represent here because they weren't "nominated" by ILXors: Feist's "I Feel It All" and Archives' (now Grand Archives, and set to put out a record for Sub Pop on 2/19) "Sleepdriving" most notably.

Furthermore, ILX only asks for 20 albums and singles. When I originally put together the albums list, I set 50 as an over-ambitious goal, so as to give you the reader a clearer picture of what I consumed and a bit more variety to go out and pick over. Nowadays, to be honest, there aren't 50 records that I heard in 2007 that I would consider well-liked enough to be "best of" any particular year, even though they're not bad. 20 is a tighter frame of reference, but a more honest one as well.

Albums:

1. LCD Soundsystem - Sound Of Silver (DFA/Capitol)
2. Lil Wayne - Da Drought 3 (mp3 mixtape)
3. M.I.A. - Kala (Interscope)
4. Robert Wyatt - Comicopera (Domino)
5. Burial - Untrue (Hyperdub)
6. Low - Drums And Guns (Sub Pop)
7. Of Montreal - Hissing Fauna, Are You the Destroyer? (Polyvinyl)
8. Kanye West - Graduation (Def Jam)
9. Wu-Tang Clan - 8 Diagrams (Motown/Universal)
10. Spoon - Ga Ga Ga Ga Ga (Merge)
11. Iron And Wine - The Shepherd's Dog (Sub Pop)
12. National - Boxer (Beggars Banquet)
13. Patrick Wolf - The Magic Position (Low Altitude/Universal)
14. Liars - Liars (Mute)
15. Field - From Here We Go Sublime (Kompakt)
16. Daft Punk - Alive 2007 (Virgin)
17. Matthew Dear - Asa Breed (Ghostly International)
18. Robert Plant & Alison Krauss - Raising Sand (Rounder)
19. Against Me! - New Wave (Sire)
20. Amy Winehouse - Back To Black (Republic)

Singles/Tracks:

1. Rihanna feat. Jay-Z - "Umbrella" (Def Jam)
2. Justice - "D.A.N.C.E." (Ed Banger/Vice)

3. LCD Soundsystem - "All My Friends" (DFA)
4. M.I.A. - "Paper Planes" (Interscope)
5. Neil Young - "Ordinary People
" (Reprise)
6. M.I.A. - "Jimmy" (Interscope)
7. New Young Pony Club - "Ice Cream" (Modular)
8. Kanye West - "Stronger" (Def Jam)
9. Feist - "My Moon My Man"(Cherrytree/Interscope)

10. Of Montreal - "The Past Is A Grotesque Animal" (Polyvinyl)
11. Fall Out Boy - "Thks 4 Th Mmrs" (Island)

12. Björk - "Earth Intruders" (One Little Indian)
13. Dinosaur Jr - "Almost Ready" (Fat Possum)
14. Shackleton - "Blood On My Hands (Villalobos Remix)" (Skull Disco)
15. Voxtrot - "Mothers, Daughters, Sisters, Wives" (Playlouder) [ed: not '06?]

16. M.I.A. - "$20 / 20 Dollar" (Interscope)
17. LCD Soundsystem - "Us V Them" (DFA)

18. Gui Boratto - "Beautiful Life" (Kompakt)
19. Caribou - "Melody Day
" (Merge)
20. 50 Cent feat. Justin Timberlake & Timbaland - "Ayo Technology" (Shady/Aftermath)