Sunday, January 27, 2008

The Future of the Music Industry

I've been chatting with many different people in the last year about the state of the industry, and how I believe techonology has always been the catalyst for change. From printed sheet music to radio to phonographic records and so on, the business has survived large scale paradigm shifts in the past. (I mean, seriously, from traveling troubadors to a commodified product, what can match that in terms of scale? If anything the internet is suceeding in reversing the commodification of music. I really believe we need to reconsider that idea. Is music a commodity to be bough and sold?) Between studying Marxist aesthetics and writing for the Silent Ballet, not to mention interacting with my friends in various sectors of the music industry, I have come to regard the interference of capitalist structures with the ritualistic side of music as very troubling. Anyway, for more of my musing on these issues, see my upcoming interview with From Monument to Masses (monument-masses.com) on The SIlent Ballet. (thesilentballet.com)

But now to the point. When people ask me, "well, what do you think is going to happen? People clearly are less inclined to buy music, blah blah blah" I've supported an idea that others have pitched, some form of subscription service, an updated library of sorts. People will go to live concerts, trade music, buy records and t-shirts as souvenirs, and subscribe to services that give them unlimited listening access as a reasonable price (like we do with cable or something.) An article in the New Yorker about classical music several months ago described a similar system in place for classical music enthustiasts. ("The Well Tempered Web," 10/22 http://www.newyorker.com/reporting/2007/10/22/071022fa_fact_ross?currentPage=all)


So the in that context, check out the latest news from Last.fm. Very interesting.
(http://blog.last.fm/2008/01/23/free-the-music)

Friday, January 25, 2008

13 Blues for Thirteen Moons

The Silver Mt. Zion Memorial Orchestra & Tr-la-la Band- 13 Blues for Thirteen Moons
Constellation Records (www.cstrecords.com)
www.tr-la-la-band.com


So it’s been almost 3 years since Horses in the Sky came out, and I’ve been fortunate enough to see SMZ play several shows since then, including their first ever show in the US. The same few days they were in NY, they also appeared on WNYC’s fabulous Sunday night show, Spinning on Air with David Garland (see my past post on that.) That recording remains the best recording we have of SMZ. It is well produced but retains the live energy I’ve found to be missing from their other recordings. The band thrives in the live setting, especially the more folk oriented music of HitS (which beg to be danced to) as well as the improvisation and extended versions of classic songs reinterpreted by the ever expanding line-up.

Recently the bands latest record leaked, their 5th full length entitled 13 Blues for Thirteen Moons. I’m afraid I cannot share this album yet, but I would love to share my feelings on the band and the record. And I am very excited to get my hands on the vinyl version.

This record begins with 12 tracks, over one minute total, of feedback. This is not a throw-away, and don’t think that it is. It is preparing us, like the first scene of a play, gathering our attention and establishing the proper mood. Each short feedback phrase is distinct from the others. The last four tracks, which are inarguably the meat of the album, are each about a quarter of an hour. “1,000,000 died to make this sound” begins, and it is clear from the opening words that the band is here, at their most political, angrier and noisier. Each release the various Silver Mt. Zion incarnations produce is distinct from the rest. HitS showed the band developing as a 7-piece, incorporating new instrumentation, and exploring protest-music and tradition folk rhythms and melodies. With the release, featuring new drummer Eric Craven of Hangedup, they are delving into what is almost psychedelic rock. These songs may make use of group vocals and employ similar compositional devices as their past record, but this is a clearly different beast. The focus is entirely on the distorted guitars, downplaying the strings, which are making use of more effects than in the past. “13 Blues for Thirteen Moons” and “Blue Waters Blowed/ Engine Broke Blues” are departures for the band, dark and bluesy, with off beat drumming and waves of noise. Of the new songs played live over the last 3 years, “Blindblindblind” seems to be the favorite, and it’s studio manifestation doesn’t disappoint. Though compositionally reminiscent of GY!BE in some ways, particularly the clearly demarcated movements within each song, 13 Moons also has satisfying climaxes that make use of repetition of melodies and parts effectively without crossing into pop territory.

Efrim sounds great. Of course his vocal style is not for everyone, but I feel it suits the mood in a way that no one else’s can. Have you ever heard anyone cover SMZ? He has honed his style with over 100 lives shows over the last three years. The lyrics are superbly developed, and the band continues to progress and evolve, tinkering with new arrangements and compositions. Many of Efrim’s detractors, often GY!BE fans, prefer He Has Left Us Alone… or Born into Trouble…, both records I love very much. These records have a completely different aesthetic, however, as the band had a different composition and premise. Let us not forget that this is The Silver Mt. Zion Memorial Orchestra & Tra-la-la Band, and not A Silver Mt. Zion.

Is this better than Horses in the Sky? I don’t think that’s a fair question, nor is it one really worth asking. It's a different record, with different aims and different, incommensurable styles. I have long thought that the band had yet to make a record that could capture their energy. The songs just hadn’t been translated properly on tape yet. Maybe the new version of Hotel2Tango did the trick it, because this record, whether you think it sounds HitS electric or not, fucking kills it. Many of the same lyrical themes, arrangements, etc, but this time fucking balls out, angrier, louder, looser, and with a new drummer, well produced. This is an achievement.

I anticipate reactions to this record will be mixed. Some people will be missing out. Play it loud. Blast it out of your speakers. Or put on your headphones and smoke a joint if you need to. And come and see them on their upcoming tour.

Monday, January 21, 2008

and it begins to come into focus...

When I arrived back in New York, Gianluca was already here, and Lexy transfered him to me. We had a lot of fun, seeing the city, hanging out, catching up with old friends. While Sam was here on break from Chicago, we hit the city a few times, and I got to catch up with Hanna Jamie and Lex before they left for their respective trips. Gianluca finally left last tuesday, and I've been now forced to begin to figure out what my life here during the next four months is going to look like. I am working at Purchase, so far only two days per week, but hopefully that will change here. In the meanwhile, I will be catering and temping here and there. I am working on my graduate writing samples by taking a graduate art history course. In addition to applying for a job on a farm in Italy this summer, I will be applying for jobs in NY and maybe Germany too, so hopefully something will materialize. I've applied for a Fulbright grant to do research in Sweden next year, which I really hope I recieve, as it will set me on track for the future and help me get into good grad programs. I've also applied to teach in Japan, and have an interview coming up in a few weeks. To stay busy, I will be using the Purchase gym, playing music with Ghazi and maybe Nick, and attending meditation groups in New Rochelle, and maybe White Plains. I've been making more art again, primarily working on collage and drawings. I think I'm going to get into silk screen again too. I am starting to write again. Maybe I'll get some work done on my screenplay, but if not, at least my TSB articles and reviews are coming along. I am finally going to be taking a German reading comprehension course. I am looking forward to these next few months. Sure I need to pay off my debt, and direction would be nice, but I'm not ready for an easy better paying job that will ultimately go nowhere. It may not seem like it at the moment, but I am too ambitious, and need to plan ahead. For now, I am content knowing that when all is settled, and I am an older man who has adopted responsibilities, that I will look back at this time in my life, and be at awe at the amount I have seen and done. I can't imagine feeling that I've wasted these years, or that I will ever say "man I should have been working then." Fuck that.

Writing like this takes the place of therapy I think. Writing, screaming (as in music, ritual concerts), and drinking with friends.

Thursday, January 03, 2008

Bands Who Put out Great Albums in 2007

I am not going to group this by rank or genre or anything. But here are my favorites released this year, and some comments about them. Also check out out Top 50 Albums on www.thesilentballet.com

Efterklang- (I fucking love this band. Both records released this year, Under Giant Trees and Parades, have blown Mew away; now they are officially the best band in Denmark)

Rogue Wave-(After too much post-rock and classical, sometimes I need some good rock.)

Kings of Leon- (I heard it this year anyway)

Port Royal- (A great follow-up to the masterpiece of Flares, this Italian ambient group continues to impress.)

God is an Astronaut- (Amazing post-rock group, I think from Scotland. This release showed tons of growth.)

GRAILS- (Dark, moody, organic. Also one of the best live performances I've seen in a while.)

Explosions in the Sky- (Many people seem to have been disappointed by All of A Sudden I Miss Everyone, but I loved it, especially the remixes. I think it will grow on listeners over time, like all their music. I am hoping for something a little more ground breaking on the next release though.)

Caspian- (Probably the best release of the year that most people haven't heard. The Four Trees is phenomenal, cohesive and interestingly arranged with noticable thematic elements tying the instrumental release together. Beautiful special packing as well.)

Do Make Say Think- (In truth, I was a bit let down by this release, but it grew on me and DMST are still amazing, even if Rust couldn't top &yet and hymns, which were amazing records. At least they tried some new things.)

Feist- (I love Leslie Feist, and apparently so does the rest of the world now. It's ok; I've seen her live numerous times and it was obvious that someone with her talent and charisma would make it big. Cheers!)

Holy Fuck- (Awesome electronic group from Montreal. This ep was so much better produced than there other stuff, very cool organic/electro stuff.)

Battles- (Just check it out. Great live, very weird, total progression from the EPs, and not for everyone.)

Radiohead- (I have nothing to say about this really. What else can be said? Grew on me big time.)

World's End Girlfriend- (I first heard this Japanese polymath when he did a collab with Mono last year. His solo work is amazing. Crazy, glitzchy multi-instrumental genre defying beauty.)

pg.lost- (A promising unsigned Swedish post-rock band.)

Blonde Redhead- (A dreamy pop album)

Eluvium- (Beautiful)

Lights Out Asia- (After 4 years, the project began as Aurore Rien continues with LOA's second release, a stunning blend of ambient and post-rock.)

Stars of the Lid- (This is an album to sleep/to drugs too. Very slow, but masterful developed.)

Slow Six- (just go read my review on www.thesilentballet.com)

Circa Survive- (On Letting Go really appealed to me, though some other's didn't seem to like it over their debut, which I also loved. Along the same lines with a few more experimental songs.)

Aesop Rock- (Not his best, but still amazing, great lyrics, and some nice beats. Cool delayed guitar and spacey bits.)

Tulsa Drone- (This record was scary on acid.)

65 Days of Static- (Yea, it's no fall of math, but its still solid.)

Giuseppe Ielasi- (Another awesome Italian making ambient music.)

Moving Mountains- (Pneuma is a solid rock record with strong song writing, arrangements, and local kids)

Looking-Glass Wars- (I was shocked at how catchy and well written these songs are.)

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I've been putting off really listening to Bright Eyes, Devendra, and Panda Bear, and I suspect they will all be great, so I'll mention them too. In addition, I urge you all to check out

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The Fountain Soundtrack, written by Clint Mansell- Performed by the Kronos Quartet and Mogwai. Still amazing!