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So I just turned today into a depressive Portishead day. This song is by far the most abrasive track from their most recent album Third. It was the album’s first single, and it heralded the return of one of my favorite bands back in ’08. “Machine Gun” kills me every time.
Portishead – Machine Gun
This is just a short story of how extraordinary the internet is.
At around 7:20pm tonight (May 1, 2011), I’m sitting at my desk playing Starcraft II, and a notification from the Huffington Post pops up on my iPhone. It says that Obama is to make a surprise statement at around 7:30pm.
I jump on Twitter and see a tweet from my friend that says:
Just a few minutes after I go on a mad fact-checking search through the New York Times, CNN, and other tweets, the deluge of texts from friends spreading the word starts. Within 10 minutes of the White House saying so, millions – maybe billions – of people know a piece of information.
The incredible part of this in my opinion is that this didn’t start while people were paying attention. It started on any normal Sunday evening. Now I’m just watching TV, waiting for the official announcement.
I’ve been to a few hip hop shows in the past. Not nearly as many as punk, indie rock, or electronic shows, but still, a few. Mos Def’s show last night at USC’s Springfest ’11 was like nothing else.
I’m about as knowledgeable about Mos Def as the average guy off of the street; that is, I know “Ms. Fat Booty,” “Sex, Love & Money,” and I’ve seen a movie or two he’s been in. I can’t comment on how many of the songs he played – or flowed through – last night are his, but whatever it he was playing couldn’t have sounded more like the high-brow rap innovator that he is in my mind.
For the first fifteen minutes, I was waiting for a song I recognized to come from the DJ (we’d just finished a set by MURS who covered Rage and The Bangles). But when songs blended together and lasted ten minutes with extended interludes of Mos improvising over muddied beats removed of any mid or treble tones, I just went with it.
An anecdote: During the dead pause between two songs, someone in the crowd was repeatedly yelling, “Ms. Fat Booty.” Mos turned to face the guy and said, “Hey, this ain’t a jukebox show.” That pretty much sums it up.
The word to describe the set: weird. It wasn’t fun, but I loved it. I’m not sure if this is the best comparison, but it was what Portishead would do if for some reason Beth wanted to rap. It was fantastic.
I deplore Skrillex and the music he makes. I cringe when people say things like, “I love dubstep! Have you heard of Skrillex?” Sure, you could make the argument that (like Deadmau5) he’s bringing people to electronic music that otherwise would have kept listening to Kings of Leon and Jack Johnson. Right. Because those are the kind of people I want at a Chemical Brothers or Aphex Twin show.
Tumblr is a wonderful thing. It gives us gems like this.
(via the infamous Coachella Forum)
Tonight I went through the new Britney Spears album. It’s streaming on the AOL Music site. This is not a review of that album, although I do intend to write one because I find it an incredibly interesting listen and lesson on pop development. I’ve become intrigued with the production of pop music as of late, and this album only pushed me further down that path.
I just want to point out a few things that I discovered while researching the production of her album.
Is it wrong that I think of Odd Future as 2011’s Die Antwoord with way more staying power? Regardless, that’s how I approach these guys.
Quick facts: OFWGKTA stands for Odd Future Wolf Gang Kill Them All, which is shortened to Odd Future. Odd Future is a collective of about ten 17-23 year-old rappers and producers seemingly headed by Tyler, the Creator.
I first listened to Tyler, the Creator’s “Yonkers” after seeing Kanye West’s tweet declaring the video for the song “The video of 2011.” I have a thing for stark, simple, black-and-white videos (“Single Ladies“, “My Love“, “Drop It Like It’s Hot“, “On To The Next One“, I could go on…), and “Yonkers” keeps pace with the rest. It’s unique, and it keeps with Odd Future’s reputation as spouting shocking and ridiculous imagery through their lyrics.
The collective has been quite prolific since late 2008 (Pitchfork has a great review of their mixtapes), but hadn’t garnered a ton of attention until late last year. I’ve only just started going through the mixtapes and watching their performance at SXSW, but I’m hooked. I can’t pass up the allure of young energy breaking new ground without much regard for their elders. I’ll definitely be catching their set at Coachella this year.
Update: Pitchfork just posted an interview with Odd Future. It’s loaded with gems. My favorite is…
Pitchfork: Did you ever imagine you’d be playing at festivals like Coachella and SXSW a year ago?
Tyler, the Creator: I didn’t even know about Coachella a year ago. I knew about SXSW because N.E.R.D. played here. It was never my goal or intention to play one of those, and I never realized how important it was until recently. I’m a believer that if you keep saying shit’s gonna happen it will. Like, I always talked about how I wanted a trampoline, and now I have one.
Update 2: If this isn’t the best interview ever…
I’m in Boston for my last spring break ever. I promised a friend that I’d eventually come out, and although it took me four years, I’m here. We spent the past few days in New York. I lived in the East Village and Lower East Side during the summer of 2009, and I learned then why people never leave.
I’ve watched this trailer for Hanna probably ten times over the past few months, and I think the movie looks like it’s going to kick ass. At about 1:30 into the trailer, this song kicks in, and in the credits it says that the score is by The Chemical Brothers. Oh yes.
Well, now we have the full song that’s used in the trailer. It’s called Container Park, and it is indeed a Chem’s original.
Me: Oh, look at this piece of art.
Friend: I could do that.
Me: Yeah, so could I, but neither of us did.
(via Design Milk)
I’ve gone through this album a couple times now. I love it. There are left turns all over the place. And not that Jamie xx deserves all the credit for the sound that The xx has carved out for themselves, but he is certainly something to be respected on his own.
Gil Scott-Heron & Jamie xx – The Crutch