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slowsculptureWhy didn't somebody tell me I'm now THREE BLOCKS from the new Zia location?? Anybody? And you call yourselves minions. :P I haven't written anything about music in a while anyway, and I've missed it - so here are two quickies on songs that have demonstrated some staying power, at least in my head.
First: I heard a phenomenal track by Twelve Rounds, a couple of months ago, on a mix CD that Matt got from Candice. She threw it on because she thought the vocalist sounded a bit like Jessicka from Jack Off Jill and Scarling. While I can hear the resemblance, my first thought was, honestly, Britney Spears' Toxic. That moment of 'dark pop' earned itself a lot of closet fans, myself included - not Jarboe spooky, but definitely more The Addams Family than The O.C. If you've been quietly craving a track that un-ironically combines some boppy energy with some nice, transgressive growl, you just might agree that Sunshine, from My Big Hero, is the jam of the fucking summer.
(Summer of 1998, anyway. If you didn't hear it then, just pretend it's new - Ten years haven't aged this record a day.)
Second: I remember going quietly nuts, as the curtain rose at Peter Murphy's House of Blues show last year, trying to figure out what song was playing on the P.A. (That droning loves me; loves me not; loves me; loves me not.) It was obviously a Bauhaus recording - I pegged it as an outtake from the Sky's Gone Out sessions, but I was half wrong. It was, in fact, Zikir, the closing track from their 2008 album Go Away White. Apparently, that was their 'last reunion record, ever, we promise, for real this time' album, but I'll take that with a few grains of salt.
I had an interesting talk with the clerk at Zia about Bauhaus - he's a fan of dub beats and moody 80's goth, but somehow, nothing on the Bauhaus catalog quite interests him. I can't argue with that - you either like them or you don't. Zikir is as good an example as any of what divides people over them. It's a drone, not a jam; more poem-with-drums than song-with-poetry. But for the moments when that drone hits you just right, there's nothing else quite like it.
First: I heard a phenomenal track by Twelve Rounds, a couple of months ago, on a mix CD that Matt got from Candice. She threw it on because she thought the vocalist sounded a bit like Jessicka from Jack Off Jill and Scarling. While I can hear the resemblance, my first thought was, honestly, Britney Spears' Toxic. That moment of 'dark pop' earned itself a lot of closet fans, myself included - not Jarboe spooky, but definitely more The Addams Family than The O.C. If you've been quietly craving a track that un-ironically combines some boppy energy with some nice, transgressive growl, you just might agree that Sunshine, from My Big Hero, is the jam of the fucking summer.
(Summer of 1998, anyway. If you didn't hear it then, just pretend it's new - Ten years haven't aged this record a day.)
Second: I remember going quietly nuts, as the curtain rose at Peter Murphy's House of Blues show last year, trying to figure out what song was playing on the P.A. (That droning loves me; loves me not; loves me; loves me not.) It was obviously a Bauhaus recording - I pegged it as an outtake from the Sky's Gone Out sessions, but I was half wrong. It was, in fact, Zikir, the closing track from their 2008 album Go Away White. Apparently, that was their 'last reunion record, ever, we promise, for real this time' album, but I'll take that with a few grains of salt.
I had an interesting talk with the clerk at Zia about Bauhaus - he's a fan of dub beats and moody 80's goth, but somehow, nothing on the Bauhaus catalog quite interests him. I can't argue with that - you either like them or you don't. Zikir is as good an example as any of what divides people over them. It's a drone, not a jam; more poem-with-drums than song-with-poetry. But for the moments when that drone hits you just right, there's nothing else quite like it.