A Few Good Records That Came Out This Year

This Will Destroy You - "Young Mountain" (Magic Bullet)

Working at a record store, you're exposed to so much day-in and day-out that it's easy to become jaded on new music, especially when what was fresh and new only a few months prior becomes the new black and yet another subgenre becomes oversaturated. For a while there I was burnt out on the whole 'post-rock' thing (mostly because 90% of those in the genre have an 'also-ran' vibe). Then something like this comes out and knocks some sense back into a sometimes lazy genre. Somewhere between favorites Explosions in the Sky and relative unknowns God is an Astronaut lie This Will Destroy You, with their influenced, yet original take on the whole instrumental thang.


Comets on Fire - "Avatar" (Sub Pop)

At first listen, you're almost taken aback at how...well...relaxed this album sounds in comparison to their last one. Then a minute later you realize that it's not a bad thing after all. You can tell this one's taken some influence from the Colossal Yes side project their drummer released this year, which I think makes the album even more well-rounded and awesome. After all, the world already has enough bands in it that are more than happy to release the same album over and over again, and not only is this different, but it's great to boot.


Boris - "Pink" (Southern Lord)

Last year's "Akuma No Uta" hinted at another side of Boris: the side that just wanted to rock the fuck out. This time around, there aren't just a handful of songs like that, but instead, most of the album is balls-out rock 'n' roll. There's still the droney track or two (which are still great) but most of the time is spent rockin' it the hell out.


Final Fantasy - "He Poos Clouds" (Tomlab)

I'm a walking contradiction. I think Sufjan Stevens and Sam Beam (Iron & Wine) are two of the biggiest pussies indie rock has ever produced, yet here I am digging a strings-laden concept album about Dungeons & Dragons. I can't begin to explain why I like this, so don't ask. It's just such a happy album, albeit one with lyrics like "his massive genitals refuse to cooperate/no amount of therapy can hope to save his marriage," that make you go "what the fuck?" out loud.


Edguy - "Rocket Ride" (Nuclear Blast)

Yeah, yeah, shut up. I know these guys are "cheesy" and that some folks call them "Edgay" just because they aren't all that serious, don't wear corpsepaint and don't have their name written in some thorny-looking font, but I don't care. These guys make some downright fun metal that harkens back to the New Wave of British Heavy Metal while adding power metal elements. If you're not smiling and wanting to sing along by the time the titular track hits its chorus, then you should probably lighten up a little.


Zombi - "Surface to Air" (Relapse)

If I ever make a horror movie, I know exactly who I'm calling first to score it. Zombi have single-handedly made prog-rock cool again (that is, it could be argued, if it ever was in the first place). Goblin would be most proud.


Gossip - "Standing in the Way of Control" (Kill Rock Stars)

The Gossip finally made a great album. I sort of liked their earlier albums, but on this one it all sort of came together (note to every guitar/drums only band: while the bass isn't necessary, it can only ADD to your sound). Beth Ditto is once again in top form as the reigning queen of rock 'n' roll vocals and the music is rounded out by the addition of some great bass playing and the addition of a dance/disco layer to their already-mastered blues/soul/rock 'n' roll abilities.


Wizardzz - "Hidden City of Taurmond" (Load)

Who knew the bass maestro from Lightning Bolt could beat the living shit out of a drum set too? Well he can, and does so with authority on tracks like "Whispers From Wallface." If you ever played the NES on acid, (which I sadly haven't) I'm convinced this is what it would sound like. Also check out his animation project "Barkley's Barnyard Critters," which is as awesome as it is absurd.


Acid Mothers Temple & the Melting Paraiso U.F.O. - "Have You Seen the Other Side of the Sky?" (Ace Fu)

AMT is hands-down the best live band I've seen in 2006 (so far), and their new album is a fine addition to their already-massive catalog. Trippy acid-folk ballads nestled in-between full-blown psychedelic freakouts best served with bloodshot eyes and a runny nose.

Danger: Diabolik!

Simply put, Danger: Diabolik is a treat. Think of him as an antihero master-thief cousin of James Bond or a precursor to Lupin III and you're on the right track. Based on the Italian comic series Diabolik, the movie is perhaps the closest any movie to date has ever come to staying faithful to the comic book medium. Shots are often broken up into 'panels' via object in the foreground and everything is appropriately over-the-top without being overdone to the point of cheesiness.

The movie itself centers around Diabolik and his love Eva, partners in crime hellbent on getting what they want, and hopefully embarassing any law enforcement that gets in their way. Diabolik spends the duration of the film stuck between the police (who will stop at nothing to apprehend Diabolik) and a crime lord who cuts a deal with the police that will clear his name if he delivers Diabolik. Mario Bava did a wonderful job of directing, and the cast definitely delivers. John Philip Law IS Diabolik, and Marissa Mel is hotter than any Bond girl I've ever seen (her character in Diabolik was recently featured on The Coffin Lids' recent "'Round Midnight" album). Throughout the movie, the situations Diabolik finds himself in become harder and harder to get out of, but just like Bond, you know he'll prevail; it's only a matter of how.

The DVD extras are actually somewhat entertaining for a 30+ year old movie based on a comic. The Beastie Boys "Body Movin'" video appears here, as it makes use of footage from the film, as well as giving the Beastie Boys ample opportunity to recreate some of the more action-packed scenes. Also included are two original trailers and a fairly-interesting 'from comic to film' short documentary.

Highly Recommended.

A Few of Rock's Unsung Heroes

I don't know if it's some sort of personality disorder or just some sort of mysterious attraction to the underestimated, but for as long as I can remember I've always identified with the underdog. When I listen to a band sing about heartache, loneliness, friendships or the doldrums of everyday life, it seems to mean much more to me when the band is working-class and putting their hearts into it. How much can you really 'feel' a song like the Police's "Message in a Bottle" when it's being performed in front of a stadium full of screaming people?

Lately I've become more and more entrenched in sincere and emotional rock/punk. Horace Pinker is a great example of this. "Pop Culture Failure" is a classic album in every respect, full of solid anthems for the twentysomething everyman trying to find a place in the world. J Church is another band responsible for numerous great songs that will never make it to most folks' ears. Any of the J Church singles collections ("Meaty, Beaty, Shitty Sounding" and "Slanted," for example) are manifestos of the disenchanted and horrified observers of society's decline.

I don't mean to put those words into the respective bands' mouths, but that's what I take away from the listening experience. There is no false bravado, needless machismo or unnecessary guitar noodling to interfere with the music, it's just raw feeling, something that's sadly lacking in most music these days, which makes these bands and those like them all the more special and significant. These artists aren't painting with absurdly large strokes meant to appeal to everyone, but instead they are doing what any true artist should do in my opinion: playing to themselves, and if someone else out there gets it, great, but if not, that's no reason to quit. To sum it up: this shit is for real.

Recommendations:


Horace Pinker - Pop Culture Failure



J Church - The Drama of Alienation



Husker Du - Flip Your Wig



Boys Life - Departures & Landfalls



Squirrel Bait - Squirrel Bait


Oh, and in case anyone out there made it this far, the name "Pop Can Park" is taken from a Horace Pinker song of the same title from their album "Burn Tempe to the Ground."

Rock & Roll Hates You

With the revived interest in "punk," so came the rise of these prissy fashionista poseurs. You've seen them countless times already so describing them is almost redundant, but in case you need a refresher, I'll indulge you. The guys wearing girlpants and slip-on shoes, shaggy hair, popped collars, pink and pastel-colored shirts, psuedo-distressed clothing, etc. The girls that want to look like Betty Page after a rendezvous with a buffet and the ugly stick. Rock & Roll hates you, and so do I.

I'm not saying we should all wear sweatpants and plain fruit-o-the-loom tshirts, but I don't think running through a mental checklist whilst getting dressed is ever necessary either. And it's not just the conformity in clothing that I can't get behind. It's most importantly the awful, awful music these sorts of people "like." I say "like" because most of what these people listen to has been ripped from the pages or (even worse) the covers of Alternative Press magazine. I won't name these bands because you know who you are and you know what you buy. Rock & Roll hates you, and so do I.

Just a few years ago Alternative Press was putting all those nu-metal bands that wear masks and make-up on the covers of their magazine. Are they really any different now? Are they feeding you fresh new bands or instead trying to kickstart the newest entries into the Rock & Roll Hall of Shame? I don't mean to be such a curmudgeon, but do you really think that the bands on the cover and with the 5-star reviews in your favorite magazines are there for any reason other than the fact that they have a good publicist? You've gorged yourself on hype without ever questioning the quality of your intake. Rock & Roll hates you, and so do I.

"Why do you care?" you may ask. In all honesty I don't. I know horseshit will always end up on top. That's the way it's always been and I don't see it changing any time soon. I just hate to see these people who have changed their image with the seasons and parted ways with any shred of dignity profit from it. I know that it's the way things work and I can't change it, but goddamnit I don't have to like it. Rock & Roll doesn't like it, and neither do I.

Victory Records Doesn't Care About Music

In case hearing any of their current 'artists' (with shockingly few exceptions) wasn't proof enough that Victory stopped caring about good music a long time ago, the recently leaked emails between label head Tony Brummel and Apple CEO Steve Jobs really drives the point home. In case you haven't seen it, Punknews.org reported it here.

The basic gist of the emails is that Tony Brummel feels that he deserves to be put on a higher pedestal than any of the others labels that have their music available on the iTunes Music Store, which is absurd. While I don't care for the iTMS for their use of DRM (restrictions on what you can do with the tracks you purchased), that's another subject entirely, and doesn't change the fact that Mr. Brummel is nothing more than a marketer of his own 'skinny tie & eyeliner' manufactured 'subculture.' Tony also falsely claims in the emails to be the "#1 Independent Record Label" (sorry, once you join the RIAA, you're no longer 'indie').

You can always tell a lot about a record label or person by their use of the word "brand." In his first email, Brummel states "Victory Records is a lifestyle company and a brand," which immediately lets you know where his interests in the music business lie. While it's true that very few labels can operate on a low budget and little revenue, it's when money becomes your main priority that every word you say can no longer be trusted and sounds just like a PR campaign. In the emails he also brags about their Victory-only endcap at Best Buy, whom we all know are really interested in music as an artform and not just a commodity. The real kicker to me is his defensive claim that "Wal-Mart has shown us more respect." Pretty much every "independent label" I know of, regardless of the possible monetary gains, could care less about Wal-Mart stocking their record.

Probably the low point of the entire exchange occured at the tail end of Brummel's last email to Jobs: " As a human being - congratulations on beating cancer last year. Take Care." Even given the inherent loss of intent that typed speech is prone to, it's hard not to read that as being pure bile from the mouth of an asshole. I have to commend Steve Jobs for his retorts throughout the entire conversation. I'm not a big fan of the cult that Apple has built (it's just a computer, folks), but you have to admire someone who keeps a cool head when dealing with such a pompous (albeit self-made) ass like Tony Brummel. "I don't see us doing a major PR campaign around this - we have too much on our plate that's more important to our music efforts right now," says Jobs in his last email. Not only does he hit the nail on the head, but he comes across as just nonchalant enough to have probably given Mr. Brummel a fit.

As soon as the story went up there were several forums that had the naive idea of boycotting Victory; naive because the same people suggesting such actions are in all likelihood not the same people buying Victory's mass-marketed psuedo-rebellious tripe anyway. So what can be done about it? Not much, unfortunately. The people that buy Atreyu and Hawthorne Heights records are going to keep buying them, no matter how overproduced and awful they may be. The general music-buying populace doesn't care if the sounds and words coming out of the music are created for a completely commercial and financial purpose, so long as it has "a good beat." And just like that, we're back at square one.

Japan Brings It

I don't know what it is about Japan, and I won't go into some far-sighted cultural observation to try and get my point across, but the music coming out of Japan these days is just plain killer, especially in regards to rock music. I don't know what's in the water over there, but I haven't heard any band rock as hard as Boris or Church of Misery in a long time. Doom may have been born in England, but it's found a new home in Japan. Garage rock hasn't been neglected either. Everyone knows about Guitar Wolf, so I'll spare you the description, but Electric Eel Shock and Thee Michelle Gun Elephant are far more genuine and rockin' than the fake-ass "garage rock" of the Strokes and the rest of that crap they tried to push so hard in 2002.

Then there's the avant-garde/noise/experimental/whatever sector. Acid Mothers Temple is one of the most freaked-out psychedelic trips I've ever heard, and they're about to tour the states, so go see them. There's a CD I picked up after hearing one track: Koenji Hyakkei's "Angherr Shisspa," which sounds like nothing you've ever heard before, in a good and absurd sort of way. It's essentially whacked-out fusion-jazz with an opera-worthy vocalist. There's so much going on, you'd surely get a headache trying to dissect it all in one dose. It's a great album to throw on for the uninitiated, and is sure to elicit at the very least a "what the fuck?" You can hear the 2nd track "Rattims Friezz" over at SkinGraft Records' website, which is convenient, as it's probably my favorite track on the album. It may not be your style (and honestly, I doubt it's anyone's style at first), but it's so far removed from the mainstream that it's like an oasis in the middle of a desert.


I think all of the bands I mentioned above (except for Koenji Hyakkei) have tracks available at eMusic, who offer a free trial if you're so inclined. I'm not pimping the service for any other reason other than the fact that I've been very impressed with it and new stuff gets added constantly.

Tetsuo: The Iron Man

Tetsuo: The Iron Man is one of those movies that will never have a mainstream following simply because it doesn't have a coherent plot (nor a point, some might say). If you've seen David Lynch's Eraserhead or David Cronenberg's Videodrome and didn't care much for either, well, this one isn't going to do a whole lot for you either. Taking place in a strange industrial setting not too far removed from the setting of Eraserhead, Tetsuo is quite the odd piece of work, though it's definitely noteworthy for a directorial debut (I almost said "feature-length," but at it's hour runtime, it falls just a bit short).

The very basic storyline revolves around the main character (credited as simply "Salaryman") hitting a pedestrian who happens to be a metal fetishist, whatever that is. Perhaps as 'punishment' for his involvement in the hit & run accident, Salaryman begins to grow metal parts all over his body. I won't spoil the movie for anyone interested in seeing it, but you've basically already got the gist of the plotline, so if you're expecting any major twists and turns beyond what you've already read then you're not in for a whole lot. As a whole, I enjoyed the film and its unique style. There are lots of sped-up shots and some great stop-motion animation, not to mention the soundtrack (a solid mixture of experimental and industrial music).

Unless you absolutely love Lynch/Cronenberg, rent it first, but if you already enjoy either or both, it would be a no-brainer for your collection.

*While I mentioned above that it seems to be influenced by Lynch and Cronenberg's work, it's interesting to note that the movie itself seems to have inspired another film: Takashi Miike's Full Metal Yakuza (which is a truly awful, awful movie).