This is "Red Square" from iiron, a release by the Russian-born, Sweden-based Ivan Pavlov. Pavlov recorded the guitar pieces in this track in the late-stage Soviet Union. I've had friends accuse me of liking far too minimalist music and, well, sometimes they're dead on.
Exactly one year ago, I took a short break from Come On Let's Go, letting my friends pick up the slack. Drinky provided Sub Rosa, Surfer Trixie. Andrew wrote Peer to Peer. CJ came through with Nothing New.nes.
Nine months later, I indirectly explained the necessity of those guest posts.
Today, I suggest you go re-read them.
I've previously mentioned my distaste for the song "Mad World," but this MIDI remix/video by BoingBoing's Rob Beschizza is great. I don't usually expect original content to come out of BB (much less good original content,) but, hey, this is some great music. The fact that I didn't immediately hit the mute button reminds me of the time I had to flee the floor at a drum and bass party because the DJ decided to kill the mix and throw Gary Jules' version on for no particular reason. I'm still pissed about that.
You can download the track here.
The following episode of Cow and Chicken aired once in 1998, before being banned from the air. It is called "Buffalo Gals" and it is pretty much exactly what you think a children's cartoon making fun of butch lesbians would look like. While I don't think it is outright offensive -- it's a big, dumb caricature, not a Jack Chick tract -- I am really, really amazed that this managed to get aired even once. I'm also fascinated with the episode because while there are plenty of examples of fey gay men on TV -- kids' shows or not -- you rarely get to see the bruiser-dyke trope.
Also, please turn off the, ah, helpful comments the uploader felt were necessary.
Complete with realistic bolt-action for the junior G-man in your family.
Pre-order and a get an official Mattel Whiskey Tumbler and Cirrhotic Liver playset free!
If you were awake during the early 1990s, you probably spent some time assaulted by visions of Home Alone. The movie used a scene from a fake '30s gangster flick as one of the numerous pranks Kevin McCallister used to foil Joe Pesci and the guy who was Older Kevin on The Wonder Years. It was titled Angels with Dirty Souls -- a direct take off the James Cagney/Pat O'Brien film Angels with Dirty Faces. Unfortunately, I don't know enough about that decade to tell if the main actor in Souls is trying to do a Cagney, so I'll let you judge for yourself:
Angels with Dirty Faces, 1938
Angels with Filthy Souls, 1992
Co. AceCovers and half a century off the mark.
Most of my memories of Elizabeth Taylor concern her everpresence in the supermarket tabloids. As far back as I can remember, only Michael Jackson is as memorable for being dragged through the mud the way she was. Between the tabloids and the constant parodies of her on every cartoon you could name, I knew her as Elizabeth Taylor the media figure and not Elizabeth Taylor the actress. Visiting my great-aunt's house in California in the late 1990s, I remember seeing a gorgeous shot of her on the cover of a copy of the Enquirer dated 1970something. My aunt, having emigrated in the 70s, long before the rest of the family, kept it as a souvenir of some sort. It wasn't until my twenties that I realized what sort of amazing actress she was.
I have previously delved into the 1950's bizarre penchant for finding consumer uses for that newly-discovered cure-all, radiation. So, in that spirit, here is the shoe-fitting fluoroscope. Why yes, this machine does use those very same X-rays for which you now have to equip lead armor while the technician flees the room. And, unlike a modern x-ray, instead of a momentary BRZAP, you get a good fifteen to twenty seconds of this action. You can read more about how we irradiated the boomer generation in the name of comfortable footwear here
I saw Godspeed You! Black Emperor live Thursday, on a show part of their first tour in nearly ten years. They haven't exactly been broken up, but rather pursuing different projects, one of which is/was whatever name Silver Mt. Zion is going under today. Anyhow, the show was at the Church of St. Paul the Apostle. I picked that day to go as it seemed to be a more, well, epic place to see GY!BE at, rather than Brooklyn's Masonic Temple, which seemed to be a pretty mediocre venue. I was also excited by the idea of a seated show simply because when I saw Silver Mt. Zion live, there was no crowd movement beyond just a small bit of swaying. And oh what a mistake my judgement was. Now, make all the "hipsters don't dance" jokes you want, but it's not like this is music that makes you want to do much but stare dead ahead and sometimes cry. And I know the Catholics have a reputation for being self-hating about as much as the Jews do, but holy hell even we don't use hardwood pews built in the 19th century to, apparently, keep Catholics awake during 4 AM Latin masses before going back to their jobs as chimneysweeps. It's saying something when the only padded locale was the kneeler. The pews ended up turning into an endurance test, with people evacuating the venue at the end of -- and occasionally, in the middle of -- every single song.
So, in effect, for three hours, Godspeed tortured every young person in NYC who made it to that show. I say three hours because the opening act was so abysmal the only thing to concentrate on was the pain. I have a standing blog-policy to not shit on anyone directly, so I won't mention his name, but holy hell if your music relies on three seconds of ethereal strumming repeated through an entire four song and the only other aspect to it is the lyrics, at least make sure the people in the back can make some goddamn sense of them. I'm not saying the people in the front fared any better, but what I heard was an old Flying Saucer Attack tape in an old boombox in a tunnel.
Godspeed themselves were great. It's hard to speak about the actual music because it was, well, exactly what how one would think they sound live. A little more squeaky and dissonant, but when they played "Moya" it only took me a few seconds to realize "oh, hey, that's 'Moya.'" They put the music that is on the album together on stage and sounded wonderful. Now, along with the band itself -- which I couldn't see from my pew -- they used a video artist. They had four film projectors set up to hit two separate areas, letting the video overlap itself occasionally, and a whole lot of film loops. Every song used different loops and the artist used them to different effects. Occasionally, they were just played straight. Sometimes, as in the video for "Monheim" below (thanks setlist.fm!) the physical loops would be sped up, slowed down, and burned. The burning effect was especially spectacular, albeit a bit hard to make out in the video above (which you should turn up to full screen and 1080p because damn if it is not an awesome video.) Below is a part of "The Sad Mafioso" shot by a different person and clearly using a different style of video.
So, the show was amazing and I really hope they come around again and I hope everyone who sat in the front has recovered their hearing by now. Also, I now own an official Godspeed You! Black Emperor t-shirt. The concept of the fact makes me giggle, a lot.
Mid-last year, I wrote a post about 2010's awesome indie game, VVVVVV and its kickass retro-styled soundtrack, PPPPPP. Souleye, the soundtack's composer even gave me a thumbs up (thanks Souleye, also Google Alerts!) VVVVVV pretty much kept me sane during finals week that year, giving my brain constant and much-needed breaks from the avalanches reading and writing required of a late-semester English major.
Now, Souleye -- known in the real world as Magnus Pålsson -- is releasing an arranged version of the soundtrack titled PPPPPPowerup! Along with the teaser above, here is a piano version of "Positive Force" performed by accomplished pianist Verdegrand. A more complete/mixed version will appear on the final album, along with a few more of his covers:
Just for comparison, here is the original version of "Positive Force":