Heavy Rotation v. 59January 23, 2011
Featuring Zombie Zombie, Atlas Sound, Robyn Hitchcock, Ceremony and Gr†ll Gr†ll. Contains equal parts shoegaze and witch house. Contact email@example.com if you would like to have your fine piece of music removed from this post.
The latest in sustainable food: human cheese. You read that right. If nothing else, check out the sustainability flowchart in which something magical happens involving a child, a toilet and an El train car.
One of my favorite writers, P.J. O’Rourke, dissects the endless layers of bullshit political coverage that swallowed up the senseless tragedy in Arizona, turning five deaths into a petty partisan hockey fight.
What exactly goes on in these catalog dream homes? (Hint: mind games, pretentiousness and some wickedly funny punchlines.)
If you’ve heard their stunning debut (A Land for Renegades) or seen their killer G.I. Joe meets The Thing video for Driving This Road Until Death Sets You Free, their latest project will come as no surprise. Zombie Zombie pay off all their outstanding debts to John Carpenter with a pitch-perfect collection of covers tackling all his most famous themes.
This one’s a stomper. Respectful without being obsequious. Expansive without losing sight of the original. Wave off the nurse. Your blood pressure may be rising but you’ll feel just fine.
A dizzying eddy of a track, all exquisitely tangled multi-tracked vocals and electronic rushes balanced atop a loping, percussive chug seeming built from an amplified phonograph needle stuck in a perpetual runout groove.
Sadier’s vocals (and unintelligible vocalizations) redefine both “soaring” and “ethereal,” as does Atlas Sound itself.
This song (off Robyn Hitchcock’s latest, Propellor Time) always hits me right here (indicates heart) and right here (indicates throat). I couldn’t tell you exactly why but it presses all those happy/sad buttons at the same time. I think the ancients called this type of mixed emotion “bittersweet.”
I can’t tell whether this is a song of gratefulness or a song about loving someone so much you set them free.*
Luckiness in luck, lucky as it strikes you
Lucky in your veins
Luckiness in love, lucky ’cause she likes you
Over distant skies, over distant plains
Lucky in your veins
*Perhaps the wizened snot-nosed jangle punks known as the Dead Milkmen said it best with their track If You Love Someone, Set Them on Fire.
Once upon a time there was a band called Skywave who delivered a trebly bunch of feedbacking titled Synthstatic. It was destined to be one of those brightly burning candles that burnt half as long, or rather sputtered and went out completely soon after delivering their audacious platter of well-heeled noise.
Agreeing to disagree, the bandmates went their separate ways. One, a certain Oliver Ackerman, took his noisy toys and headed back to his shop, emerging shortly thereafter under two new names: Death By Audio, his effects pedal workshop and A Place to Bury Strangers, his eerie approximation of the banshee-in-a-windtunnel that was the Jesus and Mary Chain of 1985. (You’ve probably heard of them. I’ve mentioned them in passing a time or two.)
The other two, Paul Baker and John Fedowitz, headed off in a slightly different direction, armed with their Wonder Twin powers — form of a bottom-heavy squall of white noise. Ceremony was born, a torrid love child of the Jesus and Mary Chain’s amp-impaling feedback and the roiling bass swagger of Girls Vs. Boys.
Behold. The prodigal phoenix, rising from the ashes armed with brutal melodies spiked in poisoned emotions.
Somewhere, out on the wrong side of town, cruises a jet-black SUV. At the wheel: a doom merchant with trouble on his mind and time on his hands. The otherworldly pulse of bass announces his arrival and the child-like treble interjections only serve to highlight how incredibly dark the street becomes as his machine passes through.