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Jai Yen

It's hot out there!

I made a mixtape for an awesome Romanian blog called WARMER CLIMES. Ever since the disastrous spill in the Gulf of Mexico I’ve been researching the various creatures that will probably die out or become seriously endangered, and I’ve begun a fascination with the DYSPHOTIC ZONE, the first layer of the ocean beyond the reach of sunlight. High school biology revisited:

How amazing would it be to hop into a submarine and check out some bioluminescence? Here’s the track list, ordered into three parts given my submarine fantasy:

Part I is the dream, the excitement before departure:
Joy Orbison – So Derobe
Dark Sky – Leave
X-102 – Mimas
Zomby – Float

Part II is The Mission
Turzi – Buenos Aires
Fabio Frizzi – Escape from the Flesheaters
Black Dice – Nite Creme
Wish – We Are Fools

Part III is diving far past sunlight, and the inevitable return to the surface.
Art of Noise – Crusoe
Oneohtrix Point Never – Preyouandi
Zs – Black Crown Ceremony II: Six Realms
ARP – Catch Wave
Ocrilim – Part 7

Download it HERE.

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just a little addendum to my prior post: everyone’s always yapping on about how ariel pink essentially birthed glo-fi, which is great and all; i mean, ariel pink’s sound prior to before today was nigh revolutionary among indie artists at the time, especially during the painfully precious early-to-mid-oughts, and it was one all his own. so it’s about time he and his band have gotten due recognition. but one name i’ve rarely heard credited for entertaining glo-fidelity before it glew so brightly is that of sound artist william basinski. basinski had been doing his thing long before ariel pink, making odd sound compositions on tape because tape sounds weird while cassettes were actually still popular (!). i surmise that basinski was at least almost as influential on the glo-fi scene as ariel pink, albeit not because of his ultra-hip underground status, but rather because of the widespread critical attention paid to the disintegration loops (music better summarily described as “memory tapes” than any i’ve ever heard). basinski surely wasn’t alone in his practice, but i’ll be damned if these achingly gorgeous hymns to material senescence hadn’t sown some seeds now being harvested by the likes of washed out, toro y moi, memoryhouse, baths, dem hunger, e&e, and whoever else the fuck you know, sounds like 2010 sounding like 1990 all over again (and again, and again, and again….)

no?

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so i know i’m behind the ball on responding to this bit in the NYT, but it merits further musing on the apparently all-consuming sub-genre of indie pop lovingly known as GLO-FI:

1 – what the hell does glo-fi even mean any more when it includes acts like sleigh bells and memory tapes? does glo-fi = synthy indie pop + hella beatz? memory tapes’s unquestioned inclusion in the genre leads me to believe as much, since his sound really does not strongly conjure what the name invokes – i don’t care how many times you pitch bend those synth leads to make them sound “warped,” this is just shoegazey bedroom dance pop (see #1.1). yet glo-fi, as i understand it (as does simon reynolds), spins the hauntology of acts like burial and ariel pink into something more blithely nostalgic, pushing them in a brighter, breezier, more wistful and new agey direction. thus, i don’t care if sleigh bells is even slightly referential to 90’s jock jams-style dance pop, or if memory tapes gets his portamento on atop hazy synth pads – these acts are hardly representative of this admittedly elusive sub-genre of pop.

1.01 – as far as its descriptive quality, “memory tapes” actually kind of works better than “glo-fi.” alas, it’s taken. if only hipster runoff would have suggested “memorex.” (see #3).

1.1 – (re: kuo’s #5) why the confusion over shoegaze vs. glo-fi at all? are we just at the time where enough indie fans have forgotten that shoegaze happened? might as well include deerhunter, wild nothing, and the pains of being pure at heart while you’re at it, then…

2 – kuo seems to like the teengirl fantasy record quite a lot. i am glad! while its glo-fidelity is somewhat tenuous to my ears, this ohio duo’s loopy dub, which falls somewhere between the field and technotronic, fuses trad pop and straight-up electronic dance music with more aplomb than gui boratto. if their upcoming self-titled is anything like their free CD-R from last year, the indie world better be ready for some TREATS (damn you, sleigh bells!!).

3 – i actually kind of hate the term glo-fi, even though it’s pretty much around for good. the fact that the moniker “chillwave,” courtesy of hipster runoff’s carles’s brilliant lampooning of the quest for a good genre name, has actually been eagerly appropriated by fans speaks to our consciousness of the absurdity in trying to establish a genre as it’s being made. with the more recent introduction of (ugh) witch-house (see #3.01), it seems like we’re getting to the point where a sub-genre is invented and hyped before music even exists for it. luckily, this allows for handfuls of artists to cash in super easy on the hype, given a rudimentary knowledge of basic production techniques. thanks, internet!

3.01 – witch-house really is just as dumb a name as glo-fi.

3.1 – though anything’s better than “hypnagogic pop”. awful, just awful.

4 – (re: kuo #6) curious, this snarky bit about how all of this music is primed for commercial use (it’s the only diamond that’s full! ha!). no doubt glo-fi’s commercial readiness results from its self-perpetuated hype; basically, then, kuo here gives further lie to the cynicism surrounding the hype that gave rise to glo-fi in the first place, a sort of “why not make glo-fi the next big thing? it’s not like we have anything better” – which is dangerously close to the “why not put this band in a hybrid car ad? better that than black eyed peas” sentiment that trailed behind iron & wine’s M&M’s ad (i mean M&M’s Iron & Wine ad!). but the latter why-not came first, which just goes to show how once ethical principles go out the window, and music starts chasing the hype, soon the artists come a-knocking at toyota’s front door, rather than the other way around.

4.01 – perhaps inadvertently, kuo’s article contains not one, but two references to apple products! is apple the official sponsor of the glo-fi hype?

4.1 – am i the only one who can’t help but project a trailer to an episode of glee behind sleigh bells’s “infinity guitars”?

5 – call glo-fi a sham all you want (i know i did at first), but as long as it continues to inspire more gorgeous music videos like these, i will be satisfied. (via gorillavsbear)

Toro Y Moi – Leave Everywhere from Heidi Petty on Vimeo.

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there’s been an interesting little tit for tat on teh blogs re: the rehabilitation of “Don’t Stop Believin'” as a hit for the ages (now available as totally awesome for the first time in the UK!). I think Scott’s right on point, here: a lot of popular music, back in the halcyon days of the great authenticity divide, was considered illegitimate solely based on the performer’s close ties with the industry. As these associations become eroded by time, the keepers of the pop/rock pantheon – largely including contemporary creators like David Chase – can capitalize afresh on the song’s genuine awesomeness without tapping into that aversion to big industry names. 2005 brought Journey back to younger audiences in a big way, not just thanks to the White Sox, but also Lauren & Stephen (fwd to 2:30 for a clip of the moment in the show. ah, how fan montages skirt copyright infringement….)


and the Family Guy bit where peter & pals sing the song at karaoke, and really, an endless string of college keg parties (if i could count the number of times…).

we know well enough how the advent of p2p filesharing and streaming video exonerated listeners of mainstream pop music from listening to the wrong thing, since we no longer have to pay money to the big bads in order to jam out to our bad goods. this, of course, also opened the door to major label top 3’s by indie tastemakers, and brought along with it the rap against rockism. funny, though, how many of us still feel guilty of our guilty pleasures regardless of money spent, signaling a sense of ethical value tied to music that goes beyond economics! there’s a lot to untangle with the ethics of musical taste; i’ll suffice it to say here that our lingering guilt for liking cheesy pop music is probably not without good reason. it is also largely responsible for the biggest prank in internet history. (…and another pop gem’s awesomeness hath been restored!)

so here’s an oldie-but-goodie that hasn’t yet triumphed anew:


in 1996, céline epitomized soft rock bombast, and thus everything that was wrong with mainstream music. now that hipsters have come to realize that smooth music really can rawk, it’s only a matter of time before this one blows up. which is to say, if it hasn’t already – i’ve already been led through a dozen or so sing-alongs with this song over the last couple of years, which has led me to believe that most people actually really love this song, deep down. granted, i hang out with more gay guys than the average american, but still – you bust this out at your next karaoke night, and just see whose devil horns shoot up first. because, friends, this song is EPIC, just like journey is EPIC and lady gaga’s videos are totally EPIC and this song too was so incredibly wtf EPIC!!!

EPIC-ness has caught on in a big way over the last few years, but you wouldn’t be caught dead in the mid-90’s sacrificing the indifference of your ironic hipness to the gods of the monster ballad. now, though, an epic quality is a boon: it evinces the balls that were ne’er to be found in the cynical nineties and early-oughts. not the balls of mortal men, mind you – i’m talking the balls of a performer who can carry the drama of a song through sheer force, through the bedazzling spectacle of vocal acrobatics and soaring guitar leads. let’s stick with my sexist metaphor for a while: these here balls might be contrasted with the brain of the songwriter that lends drama by different means: through a sly chord progression, or a poignant lyric, or what have you. what’s long been denigrated in music history is the songwriting brain that instead lends force to these balls, stroking them and caressing them in all the right places so that the performer might propel the song into the stratosphere of high melodrama juuuust at the right moment. in the case of céline, this happens right at 4:33 in the video – that “baby! baby! baby!” just hits so perfectly, right at the tail end of a lengthy chord progression stretching out the tension to beethovenian proportions, just as the tempo slows dramatically, readying the listener for the full rush of satisfaction that comes with the recognition of a chorus returned. this isn’t (just) a cheap pop trick – it’s a classically engineered narrative climax, a peak in the story told by sound in motion.

high drama in pop music has a long history of denigration, from country to soft rock to musical theater, as something that signals unrefined taste and sentimentality. high drama also has a longer history of artistry and admiration, from grand opéra all the way back to, oh, right, THE EPIC BALLAD. i reckon that its disparagement within pop music spheres, like that of journey, has to do with its close ties to industry, ties that are being remade all over the place currently. surely the ties will take hold again in all the wrong ways, but for the time being, it would be nice to appreciate just what is so great about big drama in big music. my boyfriend and i got into a tiff a couple weeks back on this point: he was of the mind that dolly parton’s “i will always love you,” like most originals performed by the songwriter, was better than whitney’s, and just because whitney could “sing the fuck outta that song” doesn’t mean that she did it better. to which i would agree that, yes, singing the fuck outta any song doesn’t automatically make it better, but what about singing the fuck outta something that needs to be sung the fuck outta? turns out that dolly’s song was conducive to the stop-and-start magic of whitney’s recording that, in my opinion, transcends dolly’s. (to be fair, dolly’s recording has way more heart, where whitney’s only has flair.) whoever arranged this song for whitney deserves a medal (although i imagine they’ve already made a fat dollar on the song, so whatevs) – starting off with whitney’s solo voice at the beginning was a brilliant stroke in itself, but the way it leads up to that caesura at 3:09, only for whitney to bust it open in a key one half step up, is a masterstroke in suspense and release. and then there’s whitney’s vocals (R.I.P.), coasting on effortless melismas and embellishments, sailing easy into the money spot – there are balls, people, and then there are whitney’s balls.


i’d be interested in reading and discussing more about what makes high drama good, as opposed to cheap – something broadway and opera fans know a lot more about than i do. in related news, i’ve got carl wilson’s book on céline and bad taste on the reading docket. i wonder if he talks much about the depreciation of big drama in pop tastes?

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i dare you to dare me not to comment on this.

looks like gaga is testing how far she can push the madonna comparisons.  immediately the music video for “express yourself” comes to mind, as well as the performances from the blonde ambition tour (1990) — the gun bra = cone bra from this era.   it’s also laced with some “vogue”, “oh father”, and “justify my love”.  ah, and maybe a little janet jackson’s “rhythm nation” circa those hard-lockin’ dance sequences, hmm?  gaga makes it look like doing pop music was nothing but creating a frappé of past successes anyway, if the song itself is any indication:

2 cups “don’t turn around” (ace of base) +
2 tbsp. “la isla bonita” (madonna) +
1 tsp. “fernando” (ABBA)

and blend.

funny, too, how just a month ago, xtina was accused of ripping off lady gaga in her own decidedly un-hip take on madonna, when here the video for “alejandro” comes off as a fresher, bigger budget version of xtina’s newest video:

yes, xtina is still mining those too-recent, too-dirrty days when pussycat dolls were huge and stilettos were  hott.   except here she pushes it off the precariously campy cliff of sluttiness-is-power that still held strong in 2005; now it just comes off as trying too hard: yeah, we get it, you like to get good and laid, xtina, and you’re still in control, despite that scary-ass gear.  what’s more interesting about lady gaga is that she doesn’t always seem to be in control in her videos.  okay, yes, she does light her captor on fire in “bad romance,” and yes, she and her hunny B has the diner sleeping with the (fried) fishes, and, yes, she ties up that one random soldier in this video.  but just as often, gaga is either held captive, or unable to secure the object of her desire — she’s a toy, a mannequin.  a more resonant icon, perhaps, for those of us increasingly aware of our lack of agency, whether sexual or political?  despite the darkness of gaga’s videos, this also renders her maybe a little less threatening and a little more relatable to teenagers than bondaged xtina.

beyond the obvious pop references, there are some filmic nods as well.  lynch, anyone?  how about this shot:

which seemed redolent of the man in the planet from eraserhead (1976):

or the closing “film meltdown” shot:

as the freaky laura-dern/dying-phantom face near the end of inland empire (2006)?:

i also got guy madden vibes throughout the video, gaga sometimes reminding me of isabella rosselini’s legless character in the saddest music in the world (2003):

oh, and of course, can’t forget the queen of chain from matthew barney’s cremaster 5 (1997):

right?? can we get barney on board with the next gaga video, please?

this is to say nothing of director steven klein, who more or less rips himself off.  did i mention klein did a piece for madonna’s re-invention tour?

it’s no secret that gaga’s likes to provoke skepticism of her originality as an artist, and seeing as her work is keenly designed to motivate discussion about what it is to be pop, this video doesn’t have me all too worried on that account.  she’s got us talking again.

the homoeroticism, on the other hand, while admittedly titillating by all accounts, also disappoints a bit.  here’s what gaga had to say on larry king last week about the video: “It is a celebration of my love and appreciation for the gay community, my admiration of their bravery, their love for one another and their courage in their relationships.”  what, like, our courage to worship chiseled adonises that act out their troubled masculinities through guns and synchronized dancing?  canny of gaga to play up the sex factor, but it’s unfortunate that she didn’t sex up the abnormal/queer body like she did with the lesbionic prisoners in “telephone.”  that was both startling and hilarious; this is both boneriffic and kind of boring.  can’t a pop diva play to her gay fans without playing the mostly-naked-beefcake card?  to that end, the last real mainstream success was– oh wait– xtina!

2004, folks — and that kiss is still more shocking and moving than anything in “alejandro.”

no matter, the video works.  youtube comments seem even more polarized than those from “telephone”, including a good amount of outrage on the rosary consumption (personally, my favorite moment).  let’s thank dinorock181 for keeping things real:

dinorock181
3 minutes ago
@NAVH94 she put a rosary in her mouth because she wants the lord in all of her cavities. including the oral one

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THERE ARE SOME BANDS THAT YOU WATCH AND FEEL LIKE YOU’RE TRULY WITNESSING SOMETHING SPECIAL. I DON’T KNOW WHAT IT WOULD HAVE BEEN LIKE TO SEE THE RAMONES FIRST SHOWS, OR MARS AND DNA, BUT I HAVE SEEN THE TELEPHONE CALLERS PLAY SOME OF THE MOST MIND MELTING SETS OUT OF ANY BAND IN MY LIFETIME. THESE GUYS RULE, AND THEY FINALLY HAVE A 7″, IT’S ABOUT FUCKING TIME. IF YOU’RE LUCKY YOU CAN FIND SOME OF THEIR TAPES LYING IN A DUMPSTER SOMEWHERE, BUT DON’T BE A JERK BRO, PICK THIS UP!