Tone Rodent In Blogspace: March 2007

Wednesday, March 14, 2007

Amusement Parks On Fire

Amusement Parks On Fire-Venus In Cancer

APOF-Live

APOF-Blackout

APOF-Eighty Eight

APOF-A Star Is Born

APOF-In Flight

APOF-Out Of The Angeles

Tuesday, March 13, 2007

J Spaceman Talks About Acoustic Mainlines

here's a short interview with Jason about the Acoustic Mainline shows, here's the main bit:

So what are these shows all about, Mr Spaceman?

They’re special, smaller things. When you strip all the songs back to their bones it becomes just about the lyrics and my voice and if they don’t work then, they never will. I didn’t feel brave enough to do the songs on my own so I picked up this sort of accidental band. Now we’re a real band, I think we have something fresh. Spiritualizeds lives shows are full of electricity and LSD, whereas these are very fragile.

Who’s in your audience?

It’s a sort of split between people who’ve been there since Sapacemen3 days and there’s this other lot that have only recently found out about me. The audiences have been amazing. They feel it as much as we do. Someone mentioned me in the same breath as Brian Wilson recently and that was just completely bizarre. He’s such a big part of who I am.

How does stripping it all down affect the songs?

Some of the material works on a nostalgic level, some, with the more full on string arrangements work in other ways, as someone said to me, like Astral Weeks. It makes your brain do the work. Usually, acoustic shows are more folky, more story-songs, but these are something different. It is like church music.

What’s been your favourite show?

I think Edinburgh was the best show I’ve ever done- it was just beautiful. We played Ladies and Gentlemen We Are Floating In Space and people stood up to clap. Ten minutes later they were still clapping., The band were crying, I was crying, That was a really weird, snake-handling moment- everyone on their Saturday night drugs.

The band always look surprised by what’s going on.

They are, I think we all are! We take chances. I’m an alright electric guitar player, but I’m pretty amateur on the acoustic. None of us, apart from the string section, can really play, but we do try. I’ve got Doggen on Rhodes who’s usually a guitarist so we’re a bit tagged. But we’re ambitious.

What about your new album?

This year, I promise!

Saturday, March 10, 2007

Live Music?

Do You Like Live Music?

Check This Out!

Spiritualized-Rated X

Stylus Magazine's Seconds column examines those magic moments that arise when listening to a piece of music that strikes that special chord inside. That pounding drum intro; a clanging guitar built-up to an anthemic chorus; that strange glitchy noise you've never quite been able to figure out; that first kiss or heartbreak; a well-turned rhyme that reminds you of something in your own past so much, it seems like it was written for you—all of those little things that make people love music. Every music lover has a collection of these Seconds in his or her head; these are some of ours.

Like most things Jason Pierce has been involved with recently, there's a fairly ridiculous contributor/gear list on the inside of 2003's Amazing Grace, and as nothing is listed by song I have no real idea what specifically is being used on “Rated X.” There are the odd strings, horns, guitar playing both conventional and abstract (at one point it sounds like wire being stretched) and even vocals, but it's still an incredibly weird track by Spiritualized's standards: of the 5:19 running time just over a minute and a half is occupied with what I'd consider to be the actual song, and it's what happens for the rest of the time and the interactions between the two modes the song exists in that elevates the track into something special.

Part of its power lies wholly outside the song itself; at one point Pierce doubles a key lyric from the devastating elegy “The Ballad of Richie Lee” in “Rated X,” and with only the fiercely joyous “Cheapster” in between the two tracks your mind is dragged back to the total, wasted enervation of that song. But while “The Ballad of Richie Lee” is a remembrance of a friend who committed suicide, “Rated X” has broader issues, and a different kind of oblivion, in mind:
And you might think
The past is through
But the past goes right on through
And memory holds the hurt inside
Regret creeps up on you
So put your hand into my hand
And baby we'll forget
That life had even started
Before our hands had met
On “The Ballad of Richie Lee” those last four lines were as bleak as you can get, but here because Pierce is suffering not so much from a particular trauma as from memory itself, the obliteration of thought is presented hopefully; a slight amount of light seeps into Pierce's staticky vocals as he ends the “song” portion of “Rated X.” If he'd kept it short, like “Home of the Brave” off of Ladies and Gentlemen We Are Floating in Space he'd still have an incredibly affecting track. Of course, to get there, we had a minute and a half of what could be the band just preparing; the drum and guitar sounding incredibly tentative, the slight organ drone just a prelude. After he stops singing the song again subsides into this kind of half-existence for two minutes, the piano being tapped randomly, forlorn horns easing into view and apprehensively winding around the ductile guitar line, drums rumbling softly in the background.

On a purely sonic level the moment when the more structured part of “Rated X” kicks in, Mellotrons and soft distortion gently pitching the track aloft, is quietly stunning. But what makes the song so great is that the structure of the track, even of Pierce's delivery, mirrors the content to strongly. He begins the song by singing “If memory was written down / I'd cut it up / And cross it out,” and then proceeds to do just that, assembling and disassembling “Rated X” right in front of your ears. The first couple of times I heard the album the intro and outro were lengthy enough that I effectively forgot the middle part, as subtly rapturous as it is, and that Pierce would marry that structure to a song about the pain of memory and the trap of the past is a brilliant touch. He wants to externalize his history, make it something he can cut up and cross out, and although the less consonant parts of “Rated X” have their own musical appeal at first they serve precisely that function.

When I mentioned to Alfred Soto that I wanted to talk about the song's use of memory and the past, he said he was thinking of doing something similar with Japan's great “Ghosts.” But while that song does make extremely effective use of a fairly spectral backing track and plenty of space for David Sylvian's voice, it's still more present in a number of ways than “Rated X.” This is a song that barely exists, that functions more as a waking dream (right down to Pierce's murmur) than anything else, and even has the verve to slowly lull you into slumber and then wake you back up afterwards; “Ghosts” is a synth-pop song, albeit an incredibly accomplished and interesting one. “Rated X” is one of the most intriguing and successful fusions of form and content I've ever heard, and while Pierce's lyrics might not work in a more forceful context, here they sound not just fitting but convincing. If you're ever going to escape the snare of temporal existence, this is the way you're going to do it, not drugs.

By: Ian Mathers
Published on: 2007-03-06

Friday, March 9, 2007

The Black Angels: Give Thanks, Passover (Again)

These are fighting times, people. We are surrounded by grit, spit, and bloody war, but in the distance moving forward is The Black Angels. They’ve returned unscathed from their first tour of duty with Seattle-based Light In The Attic Records, still armed with their self-proclaimed "Native American Drone 'N' Roll" and set to release their debut long player. Passover speaks of real-life horrors, death, and destruction with doses of love, sex, and healing. Don’t lose track, these are caring times as well.

Formed in 2004 and hailing from the mescaline-infused outskirts of Austin, Texas, this gang of musical misfits has been on the road non-stop since their birth. Growing in spades since their debut, self-titled EP, Passover showcases a band on the make. Spiraling upwards to the skies with the enemy straight on their trail, "The Sniper At The Gates Of Heaven" sees The Black Angels reaching high and stretching out with trance-inducing guitar lines from Christian Bland, Nate Ryan’s filthy medical dumpster bass, and the grizzly preacher vox of lead shaman Alex Maas. "Black Grease" is a bluesy monster full of swagger propelled by the primitive beat of drummer Stephanie Bailey and the mourning drone of organist Jennifer Raines.

10-songs deep, Passover has come again. Reflecting and questioning the intergenerational psychosis of American social life that surrounds us, The Black Angels put forth their answers in song. It’s a call to arms for those ready to join the good fight, a rock 'n' roll salvation during the times we need it the most. As Maas bellows on "Young Man Dead,": Fire for the hills, pick up speed, and let’s go...

ON TOUR:
Wed 3/14/07 Austin, TX Emo's Annex
Thu 3/15/07 Austin, TX Red Eyed Fly
Fri 3/16/07 Austin, TX Red 7
Fri 3/16/07 Austin, TX Antone's
Wed 3/21/07 Houston, TX Warehouse Live
Thu 3/22/07 Shreveport, LA The Jackrabbit Lounge
Fri 3/23/07 Baton Rouge, LA Spanish Moon
Sat 3/24/07 Birmingham, AL The Bottletree
Mon 3/26/07 Atlanta, GA The Earl
Tue 3/27/07 Mt. Pleasant, SC Village Tavern
Wed 3/28/07 Chapel Hill, NC Local 506
Thu 3/29/07 Knoxville, TN Pilot Light
Fri 3/30/07 Nashville, TN Mercy Lounge
Sat 3/31/07 Newport, KY Southgate House
Mon 4/2/07 Cleveland, OH Beachland Tavern
Tue 4/3/07 Columbus, OH Little Brothers
Wed 4/4/07 Pittsburgh, PA Brillobox
Thu 4/5/07 Washington, DC The Rock and Roll Hotel
Fri 4/6/07 Philadelphia, PA Johnny Brenda's
Sat 4/7/07 New York, NY Mercury Lounge
Sun 4/8/07 Brooklyn, NY Luna Lounge
Tue 4/10/07 Cambridge, MA Middle East Upstairs
Thu 4/12/07 Toronto, ON Horseshoe Tavern
Fri 4/13/07 Detroit, MI Lager House
Sat 4/14/07 Chicago, IL Empty Bottle
Mon 4/16/07 Minneapolis, MN 7th Street Entry
Tue 4/17/07 Iowa City, IA The Picador
Wed 4/18/07 Omaha, NE The Waiting Room
Thu 4/19/07 Lawrence, KS Bottleneck
Fri 4/20/07 St. Louis, MO Duck Room
Sat 4/21/07 Columbia, MO Mojo's
Thu 5/24/07 Portland, OR Doug Fir Lounge
Fri 5/25/07 Vancouver, BC Richards on Richards
Sun 5/27/07 George, WA Sasquatch Music Festival

Wednesday, March 7, 2007

Right Now

The Phonocaptors-Right Now

Dammit Hutto!

100%

Sonic Youth-100%

Bobby G + JAMC?

Bobby Gillespie has revealed he would be up for rejoining Jesus & Mary Chain on their comeback tour.

The Primal Scream star was the group's original drummer, but hasn't played with the rock 'n' roll legends for more than 20 years.

Jim and William Reid confirmed news of their reformation recently, with the band set to play the Coachella Festival in California in May.

Now, Gillespie has suggested he would complete the original Mary Chain lineup if they wanted. "If they asked me, I would play," he explained. "I haven't played with them since 1985, you know--it's a long time ago. The last time I saw them play was '98 and then they split up three days later."

Speaking about J&MC's decision to reform, Gillespie told the BBC: "Fantastic, I love them, great friends, heroes of mine, and I am so pleased for them."

Angel Sighs: Spiritualized Tribute Underway

Angel Sighs: The Music of J. Spaceman and Spiritualized

click above to be transported to the Spiritualized Tribute album website-it's just gone live and more things will be added soon! You can check out our cover of THESE BLUES! Also we're looking for some capital make hard copies of the album so... anyone interested? Or know anyone? Get In touch!

Cheers-Adam

Nick Cave's Letter To MTV

With all of the award shows happening here and abroad I can't help but be reminded of Nick Cave's letter to MTV in 1996...so I'll share it with you all!

TO ALL THOSE AT MTV,

I WOULD LIKE TO START BY THANKING YOU ALL FOR THE SUPPORT YOU HAVE GIVEN ME OVER RECENT YEARS AND I AM BOTH GRATEFUL AND FLATTERED BY THE NOMINATIONS THAT I HAVE RECEIVED FOR BEST MALE ARTIST. THE AIR PLAY GIVEN TO BOTH THE KYLIE MINOGUE AND P. J. HARVEY DUETS FROM MY LATEST ALBUM MURDER BALLADS HAS NOT GONE UNNOTICED AND HAS BEEN GREATLY APPRECIATED. SO AGAIN MY SINCERE THANKS.

HAVING SAID THAT, I FEEL THAT IT'S NECESSARY FOR ME TO REQUEST THAT MY NOMINATION FOR BEST MALE ARTIST BE WITHDRAWN AND FURTHERMORE ANY AWARDS OR NOMINATIONS FOR SUCH AWARDS THAT MAY ARISE IN LATER YEARS BE PRESENTED TO THOSE WHO FEEL MORE COMFORTABLE WITH THE COMPETITIVE NATURE OF THESE AWARD CEREMONIES. I MYSELF, DO NOT. I HAVE ALWAYS BEEN OF THE OPINION THAT MY MUSIC IS UNIQUE AND INDIVIDUAL AND EXISTS BEYOND THE REALMS INHABITED BY THOSE WHO WOULD REDUCE THINGS TO MERE MEASURING. I AM IN COMPETITION WITH NO-ONE.
MY RELATIONSHIP WITH MY MUSE IS A DELICATE ONE AT THE BEST OF TIMES AND I FEEL THAT IT IS MY DUTY TO PROTECT HER FROM INFLUENCES THAT MAY OFFEND HER FRAGILE NATURE.

SHE COMES TO ME WITH THE GIFT OF SONG AND IN RETURN I TREAT HER WITH THE RESPECT I FEEL SHE DESERVES - IN THIS CASE THIS MEANS NOT SUBJECTING HER TO THE INDIGNITIES OF JUDGEMENT AND COMPETITION. MY MUSE IS NOT A HORSE AND I AM IN NO HORSE RACE AND IF INDEED SHE WAS, STILL I WOULD NOT HARNESS HER TO THIS TUMBREL - THIS BLOODY CART OF SEVERED HEADS AND GLITTERING PRIZES. MY MUSE MAY SPOOK! MAY BOLT! MAY ABANDON ME COMPLETELY!

SO ONCE AGAIN, TO THE PEOPLE AT MTV, I APPRECIATE THE ZEAL AND ENERGY THAT WAS PUT BEHIND MY LAST RECORD, I TRULY DO AND SAY THANK YOU AND AGAIN I SAY THANK YOU BUT NO...NO THANK YOU.

YOURS SINCERELY, NICK CAVE 21 OCT 96.

Saturday, March 3, 2007

Turnover Issues Put Contemporary Director At Center Of Controversy

Paul Ha is being called out.
It's about time.

I worked there-I am one of those numbers. He doesn't care about anyone besides himself. After he came on and was very excited about the staff, one by one, month by month he took target practice. Making up lies and dismissing people. As I was being dismissed he told me to my face that at the Contemporary it wasn't about Art-It's about showing St. Louis what he has done for the city.

He is cold and calculating, he is not pleasant to work with and he plays out his "Napolean Complex" by dominating the people below him and especially those who are more educated than himself. It is sad to see that a once fine institution with wonderful people working hard for Art, has become only impressive because of a building.

I hope people take note!

Turnover Issues Put Contemporary Director At Center Of Controversy
By David Bonetti
POST-DISPATCH VISUAL ARTS CRITIC
02/18/2007