Between The Static & The Magic

Tender Rain Comes Falling Down

2011-12-29T23:45:00.001-08:00

(image via Brooklyn Vegan)

Several months have passed since my last update and it isn't for lack of consideration. I could spiral off into a tangent about the importance of focusing on and absorbing real-world experiences, but I think that most everyone gets the concept of just tapering off every now and again from digital means. Most of all, my priorities changed and keeping up with this blog just hasn't been one of them. Between my father's heart-attack, spending a month in a hospital, losing my job, my sister getting married, my girlfriend moving in for a month, gaining a new a job, packing everything I own and relocating to Portland, my sister getting pregnant, and settling into my new house, it's safe to say I've been a little all over the place mentally and physically. However, one thing that always manages to keep things tied together is music. It's also the one thing I always feel is important enough to discuss and share via these sorts of means. So here we go, my annual year-end list of the top tunes and related music miscellany.

In comparison to 2010, this year has more than made up for the quantity of quality releases that were lacking last time around. There's been so much new music as of late, I feel like I can barely keep up. From brilliant debuts to dazzling follow-ups, it's been a non-stop barrage of aural treasures. Now, if you've been a follower of this blog or know me much at all, you won't be surprised who I've crowned with the top prize - Grouper (Liz Harris). However, to be completely honest it was a really close call. HTRK delivered a stunning sophmore effort in the wake of their late bassist, Sean Stewart, that was an amalgamation of melancholy, depravity and sexual compulsion. I think it'll be looked back on as true milestone in the noir-minded independent music genre. Similarly dark and eerie was the proper debut of Weyes Blood, who'd only been kicking around lo-fi limited cassette releases prior. On their The Outside Room LP, they tapped into a descriptive I'd already tagged fellow 2011 champions Tropic of Cancer with (“heroin-induced Nico”), while sounding quite dissimilar stylistically. Where Tropic of Cancer hit the nail on the head of the emerging goth-gaze genre, Weyes Blood stands to lead a new sect of the freak-folk scene by filtering their sound through a Carnival of Souls aesthetic. If there's a happy medium between the two, London's Still Corners may just be it. Their SubPop-backed LP Creatures Of An Hour has steadily been pricking up the ears of those who've stumbled upon it. The British four-piece have crafted a record that captures the shimmering aspirations of the much-missed Broadcast, while carefully infusing enough of their own identity to ensure it won't be mistaken as pure idol worship.

I'm going on far too long, so I will sum it up as I always generally tend do about these things: give 'em all a-go! Though I may have singled out the darker tones of the year in this summary, there's been plenty of lighter pop-shades too (see this year's releases by: Bleached, The Drums, Girls Names, Veronica Falls, etc). I'd highly recommend giving all of these releases a spin if they're unfamiliar to you. So, without further ado, here is the list of my favorites of the year...

Top 50 Favorite Albums of 2011

Grouper “A | A: Alien Observer & Dream Loss” 2 x LP
HTRK “Work (Work, Work)” LP
Weyes Blood & The Dark Juices “The Outside Room” LP
The Drums “Portamento” LP
Dirty Beaches “Badlands” LP
Blouse "s/t" LP
I Break Horses “Hearts” LP
Minks “By The Hedge” LP
Pink Playground “Destination Ecstasy” LP
Still Corners “Creatures of an Hour” LP
S.C.U.M. “Again Into Eyes” LP
Papercuts “Fading Parade” LP
Pains of Being Pure at Heart “Belong” LP
Veronica Falls “s/t” LP
Puro Instinct ”Headbangers in Ectsasy” LP
Iceage “New Brigade” LP
Young Prisms "Friends for Now" LP
Belong “Common Era” LP
Chapel Club “Palace” LP
Widowspeak "s/t" LP
Craft Spells “Idle Labor” LP
Crystal Stilts “In Love With Oblivion” LP
David Lynch "Crazy Clown Time" LP
Elite Gymnastics “Ruin” LP
Atlas Sound “Parallax” LP
Chelsea Wolfe “Apokalypsis“ LP
John Maus "We Must Become the Pitiless Censors of Ourselves" LP
Tim Hecker ”Ravedeath, 1972” LP
Leyland Kirby “Eager To Tear Apart The Stars” LP
Ringo Deathstarr “Color Trip” LP
Tomorrows Tulips “Eternally Teenage” LP
Selebrities “Delusions” LP
Sandwell District "Feed Forward" LP
The Horrors ”Skying” LP
Dum Dum Girls “Only in Dreams” LP
Girls Names “Dead to Me” LP
The Raveonettes “Raven in the Grave” LP
Vum "Nightsun" LP
The War On Drugs "Slave Ambient" LP
Brain Idea "Cosmos Factory" LP
Comet Gain "Howl of the Lonely Crowd" LP
Cut Copy "Zonoscope" LP
Cats Eyes “Cats Eyes” LP
Oneohtrix Point Never “Replica” LP
Real Estate “Days” LP
Sleep Over "Forever" LP
Phantom Payn Days “Phantom Payn Daze” LP
Slug Guts “Howlin’ Gang” LP
King Blood "Eyewash Silver" LP
TV Ghost "Mass Dream" LP

Top 30 Favorite EPs (12"/ 10"/ 7"/ splits) of 2011

Tropic of Cancer “Sorrow of Two Blooms” EP
Rites Wild ”s/t” EP
Grouper “Water People” 7"
Pink Playground “Sunny Skies” 7"
Pink Playground “Come Find Me/Ten” 10"
Dum Dum Girls “He Gets Me High” EP
Bleached ”Think of You” 7"
Bleached "Searching Through The Past" 7"
Mood Rings “Sweater Weather Forever” EP
Die Jungen “$” EP
Catwalk “One By Words” 7"
Blouse “Into Black” 7"
Colours “s/t” EP
The KVB ”Subjection/Subordination” CS
The KVB “Into The Night” 10"
Tropic of Cancer “Be Brave” 10"
Tropic of Cancer “The End of All Things” EP
Crystal Stilts “Radiant Door” EP
Dirty Beaches "Lone Runner" 7"
DVA Damas / Le Face split 7"
Les Demoniaques “Teenage Lust” 7"
Minks "Araby" EP
Petra Schelm/Warm Hands split CS
Visitor “s/t” EP
Zodiacs “Faraway Friend” 7"
Dirty Beaches / Ela Orleans split 12"'
Psychic Ills "Hazed Dream" EP
The Soft Moon "Total Decay" EP
Psychic Dancehall “A Love That Kills” 7"
Der Ventilator “s/t” 7"

Top 10 Favorite Shows of 2011

Dum Dum Girls / Minks / Dirty Beaches at The Casbah
Iceage at The Echo
HTRK / Tropic of Cancer at The Echo
Still Corners at Mississippi Studios
The Radio Dept / Young Prisms at The El Rey Theater
Veronica Falls at The Echo
Crystal Stilts at The Natural History Museum
Bleached at The Smell
DVA Damas at The Prospector
Crocodiles / Tamaryn at The Smell

Top 10 Favorite Record Labels of 2011

Captured Tracks
Mexican Summer
SubPop
Downwards
Slumberland
Blackest Ever Black
Sacred Bones
Clan Destine Records
FLA
Art Fag

Note: I've still yet to really listen to the new Tom Waits and PJ Harvey releases this year. Having admired both for quite a while, I'd imagine this list may get revised in the future. Oh, and Happy New Year friends!

A Blue Dahlia, A Black Tulip

2011-09-09T13:06:00.000-07:00

I finally scored an affordable vinyl copy of the 1993 gem Dirty Pearl by Anita Lane that's alluded me for far too many years. For those unfamiliar with this overlooked classic, it was the first musical output by Lane, whom is supported here by her then boyfriend, Mr. Nick Cave, and his gang of compatriots (Barry Adamnson, Blixa Bargeld, Alexander Hack, and The Birthday Party). It's a collection of songs she'd put together with the aforementioned pack over the course of 10 years. Stylistically, its influences are all over the place thanks in large part to the varied interests of the contributors.

(Anita Lane and Nick Cave)

While the overall album has a cohesion to it, thanks to Mick Harvey's production, the specks of experimental pieces shine brightest compared to the more traditional pop structure of other songs. The standout piece being the creepy-cool slither of “Blume”, which is literally more of an Einsturzende Neubauten track (as it also appears on their own Tabla Rasa LP) featuring Lane on vocals. It's ping-ponging harmonic notes deliver an icy, industrial chill while Lane purrs out sultry floral poetry. Bargeld lends his own German-tongue to deliver section titles between passages, giving the song a male/female contrast that only adds to its appeal.

Other highlights include “Jesus Almost Got Me”, a country-tinged ballad that brings to mind Mazzy Star's warm-haze filtered through an Ennio Morricone landscape, “Subterranean World (How Long?)” a dreamy, shoegaze-like shimmer that was penned by Die Haut and appears on their own Head On album, the slurching racket of “The Fullness of His Coming”, which is what you'd expect any Birthday Party-related tune to be akin to - loud, primitive and punishingly good, and “Picture of Mary”, another Bargeld mind-morpher that sounds like a lost contribution to a David Lynch production.

I'd highly recommend snatching this up if you ever see it, as its vinyl edition is most certainly long out of print and fetches quite a dollar on the Internet. Any and all Birthday Party or Einsturzende Neubauten enthusiasts pretty much need this for their files too, as its a key piece in the history of that whole incestuous Melbourne-Berlin-London post-punk scene. If format isn't your thing, then you can easily scour the web for a quick and easy version. The CD release came with the bonus Dirty Sings EP tacked onto it, which some could say makes a good case for the that version. I'm a vinyl guy at heart, and quite content with the originally intended format - even moreso now that this has finally landed in my possesion.

Exit Everything

2011-09-01T10:59:00.001-07:00

This smokes anything I've been anticipating to see or hear all year. Now if we could only get a U.S. screening of it - immediately.

Throw Yourself Apart

2011-05-20T16:45:00.000-07:00

The time to bury ourselves to avoid the scorching sun of Summer is fast approaching. I might burn through June, but come July my love will be at my side to keep me cool. In the interim, a video soundtrack to prep for the sweltering days ahead.

The World Was On Fire, No One Could Save Me But You

2011-04-08T10:52:00.000-07:00

Nostalgia and music go hand-in-hand, and it's an age-old concept that is quite easy to grasp. The soundtrack to our lives is most frequently the melodies of our favorite songs and the lyrics that eerily echo our experiences at a given time. So it seems natural that, at some point or another, the musicians of the world would use the feeling of nostalgia to dictate their musical directions. Now, don't be confused by what I'm implying. There will always be the retrograde trend of “what is old is now new”, its an ethos bands like The Strokes have made a career off of. Re-popularizing the fads of a previous era and applying a modern twist is almost a necessity in pop-culture, it's how we learn and diversify incrementally. However, nostalgia isn't as much the idea of 'retro' chic as it is an ache for better times. It is not about a sense of style so much as a depth of feeling.

As of late, I've been attracted to music that provides the aforementioned quality - much of which being in the original form of the artists of the 50's and 60's. I've been tracing the lineage of some of my favorite newer influences down to the originators, a process that's opened my ears to a lot of acts I'd never heard of along the way. Rather than outline a list of my discoveries from that experience, I'll instead point to several newer acts who evoke that sense of nostalgia so well. I hope giving them your attention might send you on your own little musical-discovery road-trip through some dusty, old used-records crates.

(Cover of Dirty Beaches ”True Blue“ b/w “Sweet 17” 7" on Zoo Music)

First and foremost, there is Dirty Beaches. Alex Zhang Hungtai can single-handedly be held accountable for a boom in used records sales this year. His homage to 50's and 60's era rock n' roll pioneers has made him a modern-day Elvis amongst the indie-world. His music is as evocative as his persona, matching lo-fidelity recordings with a high-fidelity one-man stage show. On last year's “True Blue” single, he stamped out some of his earlier, more experimental and instrumental-only recordings for a guitar-loop-based love-lament on which his croon became the focal point. It marked a new direction that was further exemplified on his terrific Badlands LP and In U.S.A. tour-only CDR, and his since garnered him with endless praise and attention nearly everywhere you look.

(Dirty Beaches ”True Blue“ video)

(Dirty Beaches “Golden Desert Sun” video)

With the stakes now raised, it seems Huntai's working even harder to keep up with the rate people seem to be consuming his music at. He's released several more singles, live sessions, a soundtrack to an upcoming independent film and still manages to compile mixes of his friends bands and imaginary Wong Kar Wai film scores while traversing the world. It's a beautiful and dedicated work ethic from a man whose sense of pride in tradition is as strong as his commitment to trend-rebellion.

(Cover of Die Jungen's self-released $ digital EP)

Another one-man music machine rising in the ranks is the U.K.'s Klaus Von Barrel. The man whose initials define his dark-wave alterego, The KVB, isn't content with just one project at a time. He's recently released an EP entitled simply $ under the new moniker Die Jungen. Now whether or not the title of his release is too imply he's banking off the charm of sunny, beach-town drifter songs or he just was marking it as an item for sale is yet-to-be determined.

(Die Jungen's video for ”Drowning“)

(Intro to Dark Days 011 short video soundtracked by Die Jungen's “In The End”)

The new project doesn't seem to have much info on it, but it seems more visual accompaniment is springing out of Von Barrel's vimeo account - which is a promising sign. Hopefully he'll be able to balance the two projects simultaneously, as both are equally intriguing. Where The KVB is an exorcision of post-punk, goth and minimal-wave demons, Die Jungen is an homage to the period of music that accompanied archival footage of light-leaked 8mm daytrips. It sounds more like all things washed out than even Washed Out wishes he could.

(Cover of Mood Rings Sweater Weather Forever EP on Double Phantom Digital)

Lastly, one of the most promising new discoveries to emerge this year are Atlanta's Mood Rings. While not a one man show, this four-piece band delivered an impressive 4-song EP recently on entitled Sweater Weather Forever, that's already got them the attention of like-minded predecessors like The Raveonettes. Mood Rings brand of psychedelic, bubblegum-pop delves into the deep terrain of reverb-drenched melodies and lulling vocals, making it an easy pill to pop for fans of the Phil Spector catalog or anyone wishing Marc Bolan had gone through a heavy Buddy Holly phase. Of the three listed acts here, Mood Rings definitely sounds the most aware of their modern surroundings. Fortunately, they keep the fidelity at bay, ensuring their vintage sound doesn't get overglossed in production.

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The Sorrow of Two Blooms

2011-03-18T15:00:00.000-07:00

Last year I had simultaneous exposure to Downwards label owner Juan Mendez, fellow blogger Camella Lobo, and their band Tropic of Cancer within a one-week span. It was a domino effect that lead me to befriend the two characters that interplay in all three facets mentioned. I hung out with Juan one night while he was in LA for business, and we chatted up a storm while outting at The Echo for Part Time Punks. He opened me up to his world of influences, many of which were new to my ever-seeking musical ears (most notably, Robert Rental). Camella and I keep in correspondence via the Internet whenever we notice similar gushings over new emerging acts in the goth, post-punk and broader indie-sphere, and her amazing blog has struck me on repeated occasions as being the most similar in spirit and interests as my own. Both also share an aesthetic appreciation for all things dark and noir in theme, and have healthy work ethics I admire in an increasingly post-Internet, lazy-artist landscape. This blossoming acquaintanceship is certainly one that I've been eager to expand on, as the couple remind me in a lot of ways of my existing best friends, William and Brandie Hart - creative, stylish, cordial and impeccable art/music taste. Fortunately, it seems the two are migrating back to LA after a stint away, which means I'll be picking their brains in-person some more.

(artwork for the upcoming The Sorrow of Two Blooms EP)

So, with back story in mind, imagine my pleasure when my ears got a hold of the couple's newest musical offering, their upcoming 3-song EP The Sorrow of Two Blooms out soon on Blackest Ever Black. The release comes on the heels of a new Downwards single entitled “Be Brave” and 2009's “The Dull Age” b/w “Victims” 10". The three songs that comprise the newest EP are the duo's strongest to date, taking the minimal-wave and colder industrial elements of their previous releases and adding a dense haze of foggy atmosphere via synth-swells and heavily-echoed vocals. Opener “A Color” is already my favorite piece of music in their catalog, with a steady repeat cycle pumping through my digital music library. The track brings to mind ethereal qualities similar to some of my favorite drone masters. The classic 808-style back-beat clicks away as waves of Korg-strings wash in time with Lobo's lulling baritone. The continuous slow sway makes it feel like a lost Suicide and Spectrum collaboration fronted by a heroin-induced Nico. This, of course, is meant as a compliment, and knowing Mendez and Lobo a bit, they'll take the comparison as such. “Temporary Vessels” and “Dive (Wheel of the Law)” closely follow suit, giving the release a very cohesive quality overall and quickly moving it up the ladder as one of my favorite releases of the year thus far.

Give it a listen yourself, provided via SoundCloud:
Tropic of Cancer - A Color [Blackest Ever Black, 2011] by Blackest Ever Black

Do yourself a favor and don't sleep on this release. While they've already received attention and praise from several larger music blogs and magazines, Tropic of Cancer are about to become the buzz of the underworld crowd. Check out the official video for the tune “Be Brave”, currently available at select online music stores like Boomkat and soon to be available via the Free Loving Anarchists distro.

Love Is A Wave

2011-02-09T12:00:00.000-08:00

When I was around 20 years old, I saw the film Velvet Goldmine for the first time and was instantly infatuated with the bygone era of glam depicted so colorfully in the film. It sent my Bowie adoration to embarrassingly new levels (I recall a few instances of dawning crimson eye-shadow for performances with the old band I was in at the time), and inspired me to catch-up on all the other key figures of the glitter-pop movement. Roxy Music, T. Rex, Sweet, and so on, were added to my “to buy” list of records I'd always carry with me. It wasn't long before I realized Brian Eno's vital role in the development of genre, and after digging into (and falling in love with) Here Come the Warm Jets and Taking Tiger Mountain (By Strategy), I graduated onto his next sets of work. While I was a bit taken aback by his stylistic departure with Another Green World, I had no clue what to make at first of 1975's Discreet Music. I picked it up without question, took it home and played it for the first time without reading the liner notes. The odd minimal sounds were new to my ears and left me a bit confused, despite a general appreciation of the lulling quality of what came through the speakers. With a second pass through, I opened up the liner notes and read the story behind the album. It instantly made sense, and introduced my first loving appreciation for what was to become the ambient genre.

The story behind Discreet Music goes something like this. In 1974, Brian Eno was hit and run over by a taxi cab. The injuries he suffered were pretty severe and he was confined to a hospital bed for an extended period of time. A friend of his dropped off a record player along with an LP of classical harp music to help Eno keep in good spirits while immobile. One day Eno mustered up the energy to put the record on, but upon returning to his bed he'd realized that the music was only coming out of one channel and at barely audible volume. His energy was spent and so he laid in his hospital bed listening to the muffled sounds coupled with the natural city soundtrack outside his room window. It was in this moment that he decided to create a work that resembled this sort of tranquil environment of sound, and it was this concept that became Discreet Music - the first real ambient record to exist in the modern sense of rock and pop music. Some argue that the kraut-rock pioneers were dabbling in the genre prior to this, but the intention behind Eno's efforts seem far more fitting and focused. Since 1974, the genre has exploded and its influence can be heard nearly everywhere from dream-pop and shoegaze to industrial, electronica, experimental classical and left-field hip-hop.

The reason for the above anecdote was to provide a little insight into whats been presently running through speakers of my home stereo. While I've always been a fan of hazy, drifting melodies that wander about aimlessly, as of late its been what I've been craving more than anything else. It goes without saying that Grouper falls into this category heaviest for me, but my palette has expanded to include adoration for several other modern staples of the genre.

William Basinski is perhaps the most recognized figure in modern avant-garde ambient music. His Disintegration Loops volumes are often recommended first and foremost - however I'm most partial to his Meloncholia release of 2003. Below are a couple of my favorite selections.

Tim Hecker is another leading example of modern day music artists focused on haunting soundscapes. His first release under his own name, entitled Haunt Me, Haunt Me Do It Again, still stands ground as his strongest release to date. All his efforts since have been more than appreciated and well-received too, it's more a matter of mood. However, he's released a teaser for the song “The Piano Drop” off his upcoming album Ravedeath 1972 that is coupled with some excellent vintage footage of the first MIT Baker House Piano Drop. It's quite a compelling glimpse into what we're in store for.

Another acclaimed artist, whose The Blue Notebooks stole my heart in 2004 and cemented my love of experimental-classical infused with field-recordings, is the genius that is Max Richter. His compositions, especially on the aforementioned album, really resonated with me during a slightly desperate time in my past. His string arrangements, meshed with verbal passages and distant piano melodies, are the perfect remedy for any lonely souls in need of sympathetic company. Here's another example:

If you're interested in further listening, I'd recommend checking out Deaf Center, Belong, Jefre Cantu-Ledesma and Motion Sickness of Time Travel (thanks SJN) - and pretty much anything on the Type or Kranky record labels.

Suckered In By Sirens

2011-01-26T14:20:00.001-08:00

While I may have already documented my list of favorites of 2010 in previous posts, I never quite landed on what my favorite song of 2010 was (and for good reason). Trying to narrow it down to one song out of the plethora of amazing pieces is nearly impossible. While Grouper's “Hold/Sick” definitely had the most plays and still haunts me with each passing listen, it's not necessarily the kind of song I could put on at any time of day. It's more of a blanket I put on to keep the cold away (or inside, depending on how you look at it). The same could be said for Crocodiles' “Girl In Black” and “All My Hate And My Hexes Are For You”, also strong contenders for most played songs of the past year. Both possess a numbing effect that is often the exact prescription my mind desires - but aren't necessarily songs for every circumstance.

Truth be told, the song I covet the most for every occasion didn't even make it on my 2010 list because the album its on didn't quite do it for me. The tune in question is “Suckered By The Sirens” by Japanese indie-pop band Ice Cream Shout. I first came across it on a mix CD Sarah made me in September, and that tune in particular jumped right out of the speakers amongst the rest of the compilation. From the opening line of “Maybe you're lonely/Baby, you don't have to be”, I was owned. The gentle ukulele strums and tambourine rings, coupled with the soothing coo of Bob's vocals bring to mind an instant familiarity and fondness that charmed me in the same way Belle & Sebastian and Papercuts did upon first listen. With each successive listen of “Suckered By The Sirens”, I fall in love more and more with the subtle, understated song structure that builds oh-so affectionately. For example, when the first bass note comes in at 25 seconds, the song goes from a folky-lament to an ominous-dream, as Bob stretches out his vowel sound achingly below the grey low-end. Quiet ghost-notes pluck across the guitar and build up until Mika and Fumi's back-up vocals chime in sync with the haunted synth-notes that steer the song further down the road toward a slightly darker route. The repetitive clacking-beat keeps the song chugging along at an optimistic pace, but is counteracted by all the other elements in a way that satisfies it as both a song to wake up and fall asleep to. In a weird way, it actually reminds me of the success that was Beck's “Lost Cause”, an extraordinarily sad song that was uplifted into an undeniable pop-song thanks in large part to the carefully-coated sonic textures that sweetened its woes.

So, now that I've built it up beyond reasonable means, I present “Suckered By The Sirens” for your own consideration.

Oh, and in case you're wondering why this didn't make it on my year end list, it's due to the fact that its only one of two songs Bob sings on their entire album. While Ice Cream Shout certainly have a nice variety in their vocalists, I am not as partial to the tracks he doesn't take the leads on (sorry, no offense to the other two vocalists). Therefore, it didn't really qualify as one of my favorite albums. Bob's also got a new solo project he's calling Cloudy Busey, which seems quite promising based on the first song he's got up on the Ice Cream Shout bandcamp page. I'm looking forward to hearing much more of his work.

Pssssttt! Thank you Sarah ♥

My Heart Will Always Be True

2011-01-19T13:00:00.000-08:00

At the rate of sounding like a total sap and continuing on in my unabashed admiration for the lady two posts below, I must say that having someone new that you adore in your life is like being submerged in a vast ocean. While there are moments of utter terror and insecurity in realizing you're completely vulnerable to the unknown elements, there is equally, if not moreso, a fresh new sense of wonder. The reason being is that below the surface, the unknown provides a technicolor spectrum of scenery you'd never been able to imagine. You see things you would've otherwise only had glimpses of in dreams, you feel things you've only experienced in the imagination of songs or films, and you gain interest in subjects that never before had much influence on you. This ladder point in specific is the topic of today's posting, as Sarah, the lover of Eastern culture and the woman with wild-eyed desires to be absorbed in Asian culture, has turned me on even moreso to early Asian cinema.

While I've had interest in several films from that canon, Sarah's brought to light the gems of 50's Japanese noir. Wasting no time, she introduced me to Kichitaro Negishi's Crazed Fruit which has quickly risen to the ranks of one of my favorites. It's an amazing film whose subject matter, cinematography, pacing and soundtrack are all flawless. If you haven't seen it, I highly recommend you check it out. While I could easily be writing a post dedicated entirely to that film in particular, I've opted to instead showcase another film we recently watched that has also charted pretty high in my preferences - Seijun Suzuki's Underworld Beauty. While it seems to be somewhat recognized amongst film buff circles, it seems deserving of more attention in my humble opinion.

The film follows all the classic steps needed to make a successful film noir. There is a mysterious male protagonist with a somewhat seedy past (and prerequisite fedora), an unpredictable femme fatale always on the verge of mania, an understated romantic triangle, dense shadows, and keen attention to framing of shots. This ladder point is what was most apparent to me while watching the film, as I kept noting how amazing all the cinematography was in an era where film making was still in maturation.

Though I wouldn't necessarily say it was the most original storyline, by a longshot, and the ending was somewhat predictable a quarter of the way in, Underworld Beauty had more than enough to qualify it as a great film. Lead cinematographer, Wataro Nakao nailed this beautiful production to a T. For me, his handy work with the camera lens, lighting, and setting up breathtakingly dark and moody shots is what sealed this film into my heart. Below is a narrowed down compilation of screen-grabs I snapped showcasing some of my favorite shots from the film:

(I love the birdcage symbolism in the last shot - see also: Le Samouraï)

If you're a fan of classic-style film noir or some of Japan's lesser known features from the golden era, I'd say give Underworld Beauty a go. It's a fun watch from start to finish, and I'd be surprised if you didn't find the same charms in it as I did.

Oh, and as with Crazed Fruit, the score to this film was pretty terrific. If you find yourself enjoying the background soundscape while watching and are eager to hear more like-minded sounds, I'd recommend giving a listen to modern day groups like Monster Rally (yet another thing Sarah's turned me onto) and Dirty Beaches. They both seem to draw great inspiration from dusted film scores like these.

The Sound of Thunder Smiles on Everyone

2011-01-03T12:44:00.001-08:00

(photo of Crocodiles by Alex Kacha)

With 2010 at a close, it's time for my annual year-end list of favorite music-related releases and labels. While I feel that all the releases below were terrific additions to my music library, I feel as a whole, 2010 lacked just a bit in comparison to 2009. However, that's not to say these releases were lesser in comparison to the previous years. My regard is aimed primarily at the music sphere as a whole. There was a lower quantity overall, but the quality of those that did make an impression were just as impactful.

Topping out my full-lengths is Crocodiles' Sleep Forever, an album that has been really underrated, despite its increased exposure and generally positive reviews. The San Diego duo really blew away the competition, crafting an album filled to the brim with memorable hooks and sonic assault, all while staying true to the sound they'd set out to create from the very start. At eight songs in total, Sleep Forever is a short blast of post-punk bliss wrapped in hints of krautrock, new wave, shoegaze and the golden era of classic rock n' roll. Much like last year's owners of my top prize(and Crocodiles' former tourmates), The Horrors, they've created an album full of varied shades defined by a very conscious color-palette. Where their previous LP, Summer of Hate, seemed more focused on attitude and reactionary stances, Sleep Forever ventures towards subdued frequencies occupying the backdrop of unforgettable melodies. It's still an art-punk record in composition, but its production showcases the songs in a fashion that celebrates genre fusions and marks its own stylistic interpretation of classic pop-song writing. Oh, and for the record, contrary to every other lazy review, the Jesus and Mary Chain still don't really come to mind when listening to these gents. Spectrum, yep. Neu, sure. Suicide, kinda. Spector, who doesn't! But distorted feedback and the occasional big beat doesn't make 'em clones of the brothers Reid. It just means they dig some of the same stylistic preferences dozens of other bands before and after the JAMC did too. Now then, let's give that comparison a rest already.

Along with Crocodiles are countless other releases that are deserving of proper reviews in their own right. Beach House immediately comes to mind as a band that set a high standard early in the year with Teen Dream, a record just about everyone I know fell in love with at some point or another as it bloomed. The same can be said for The National's High Violet too. Captured Tracks' catalog delivered consecutively strong releases, from LPs by Wild Nothing and Beach Fossils, to singles from Minks, The Soft Moon and Catwalk. And it'd be criminal to not mention Dum Dum Girls, whose Sub Pop debut LP I Will Be stands out amongst the pack of Captured Tracks bands that've broken through a slightly more commercial audience. While Best Coast may have been the talk of the town in lo-fi pop bands making it big this year, Dum Dum Girls LP garnered far more repeat listens for me.

Lastly, for anyone whose kept up with this blog, you'd probably guessed that my choice for single of the year would go to Grouper, for whom my adoration has only grown stronger on the basis of her release of the “Hold/Sick” 7". The record marks a similar rise in production value as Crocodiles', and the ethereal nature of her guitar glides is more prominent than ever. Liz Harris can simply do no wrong, and the two cuts on this piece of vinyl serve as bridge into the ether world.

All that being said, I will now bestow upon you my list of 2010's best. Congrats to all the artists on this list for putting out stunning slabs of music, and to the promising newcomers like Southern California's Dva Damas, London's Chapel Club and Montreal's No Joy, I greatly anticipate more of your presence in 2011.

Top 40 Albums of 2010

Crocodiles Sleep Forever
School of Seven Bells Disconnect from Desire
Twin Shadow Forget
Beach House Teen Dream
Wild Nothing Gemini
Beach Fossils Beach Fossils
Dum Dum Girls I Will Be
The National High Violet
Tamaryn The Waves
Unkle Where Did The Night Fall
The Soft Pack The Soft Pack
The Radio Dept Clinging To a Scheme
Magnetic Fields Realism
No Joy Ghost Blonde
Akira Kosemura Polaroid Piano
The Art Museums Rough Frame
Autolux Transit Transit
Deerhunter Halycon Digest
Abe Vigoda Crush
Male Bonding Nothing Hurts
The Drums The Drums
Shout Out Louds Work
The Black Ryder Buy The Ticket, Take The Ride
Surfer Blood Astro Coast
Reading Rainbow Prism Eyes
No Age Everything in Between
Ryan Adams III/IV
Crystal Castles Crystal Castles
Candy Claws Hidden Lands
Morning Benders Big Echo
Foxes In Fiction Swung From The Branches
The Walkmen Libson
Wavves King of The Beach
Spoon Transference
Arcade Fire The Suburbs
Best Coast Crazy For You
The Dead Weather Sea of Cowards
Frankie Rose & The Outs Franke Rosie & The Outs
Dangerous Boys Club DBC
Wolf Parade Expo 86

Top 20 EPs / 7"s of 2010

Grouper “Hold/Sick” 7"
Red Drapes 1 EP
Chapel Club The Shore EP
Dirty Beaches “True Blue/Sweet 17” 7"
Dva Damas Brand New Head EP
Pains of Being Pure at Heart “Heart in Your Heartbreak/The One” 7"
Catwalk “Please Don't Break Me/No Room for Love” 7"
Minks “Funeral/Drunk Punks” 7"
Porcelain Raft “Tip of Your Tongue/Despite Everything” 7"
Deep Sht Weird You EP
Summer Camp Young EP
Monster Rally Monster Rally EP
Death In Plains Mustard Polo EP
The KVB “Black Sun” CS
Von Haze Von Haze EP
Wild Nothing Golden Haze EP
Crystal Stilts “Shake The Shackles/Magnetic Moon” 7"
Six Six Seconds “She Can't Say/Surrender (Your Heart)” 7"
Sleep ∞ Over "Outer Limits" 7" & CS
White Ring/oOoOO "Emotions" 7" & oOoOO oOoOO EP

Note: Crystal Castles “Not In Love” single with Robert Smith on vocals is insanely good, as was Canvas Kites “Wayside” single, but neither was released on a physical format, otherwise they'd both be near the top of this list.

Top 15 Best Shows of 2010

Unkle at El Rey Theatre
Crystal Casltes & Health at Echoplex
Abe Vigoda & The Art Museums at the Echo & Echoplex
Grouper at On Land Festival, Woods, The Smell, Aquarius Records & BAM/PFA
The Drums & Surfer Blood at the Glass House
Dum Dum Girls & Crocodiles at the Echo
Beach House & The Middle East at Soho
Hunx & His Punx & Frankie and the Outs at the Echo
Stag Bitten & Terraform at Fern's
Dangerous Boys Club & Frankie Alpine at Show Cave
Zola Jesus, Zombelle & DJ Pete Majors at Echo Curio
Beach Fossils & Bear in Heaven at the Echo
Dva Damas & Green Screen Door at Rocket Boat
Cold Cave & Spoon at The Palladium
Belle & Sebastian at Hollywood Forever

Top 10 Record Labels of 2010

Captured Tracks
Zoo Music
Art Fag
Mexican Summer
SubPop
Hozac
Downwards
No Pain in Pop
Family Time Records
Free Loving Anarchists

Now then, what were your favorites of 2010?

I'd Follow You Into The Sea

2011-01-02T00:00:00.000-08:00

She is absolutely amazing and I am the luckiest guy alive. My love and I.

Clouds All Seem So Out of Place

2010-12-29T10:59:00.000-08:00

”The true tragedy of depression is its ability to overshadow the obvious goodness in one's life, and the inability for others to understand how unwanted the disease is by those afflicted by it - furthering the feeling of disconnection and continuing the detachment and trend of self-destructive habits. The person maintains sight of logic, yet is unable to persuade themselves into actually feeling rationally about matters. They realize the process of how things should develop emotionally, but are unable to get themselves there despite their own true desires to be satisfied, adjusted and self-confident...

...in some instances, the afflicted begin to feel, in recognition of their disease, that unnecessary weight is being placed on others they care for at the hands of depression. They distance themselves from those they love in order, in their mind, to not burden those they value. This self-isolation furthers the depths of their feelings of solitude, creating a viscous cycle leading toward often divisive exchanges when put in confrontational circumstances.“ ~ Alan F. Schatzberg

They Keep Calling Me

2010-12-10T12:06:00.000-08:00

Another song and video that's presently winning my attention. Looking forward to the full length by Banjo or Freakout due out soon.

You Find Yourself Stopped Again

2010-11-20T15:46:00.000-08:00

Because sometimes it's okay to want to stay under the covers alone.

P.S.
This British bloke as Porcelain Raft may just conquer the world.

It Was Only a Dream

2010-11-20T12:45:00.001-08:00

Because sometimes it's okay to want to dance alone at home, even if you're a guy.

P.S.
These Finnish lads in French Films may just conquer the world.

Hold The Way

2010-11-06T17:32:00.001-07:00

Let the record show that when the day comes that I awake no more, I wish to be buried in a classic black casket with chrome detailing, white or red interior fabric, and no religious markings on the lid. I wish to be put into the ground toward the evening, preferably around sunset or a bit later.

I also wish to be transported to the burial grounds in a pre-1970's Cadillac Hearse, or equivalent looking one. If possible, bury me near a tree - as I would prefer the shade. The location of the grounds can be wherever convenient for my family. I would like a proper standing stone with an inscription in a serif typeface (Caslon or Garamond), with my full name, lifespan and the quote “Idealists do not survive their hearts.” The quote may change by then, which I'll make known if so. I would also like to be dressed in a black suit, with matching vest and tie, with a white shirt - my hair to be slicked back, my hands folded over my chest.

Most importantly, and if it all possible, I'd love for Liz Harris/Grouper to be there to perform a few songs or soundscapes she deems appropriate - though I'm quite fond of “Hold The Way”, “Poison Tree”, “Heavy Water/I'd Rather Be Sleeping” and “We've All Gone To Sleep”, and especially that one new song that's yet to be released aside from on live recordings in which she says “I don't want to break you heart” somewhere during it. If she's not willing or able to, simply playing those songs and any other Grouper songs would suffice.

I would also prefer not to have any religious rhetoric spouted off, as I've never believed in anything of that variety and to imply that I did would be a grotesque farce. If loved ones want to say a few things, that's fine and well - whatever comforts them.

I'd also like someone to contact Lisa Nasby and let her know of my passing, and tell her that the small gesture of comfort she offered me (a stranger she'd just met) in the tree of Jenny Adam's backyard (after finding out Jenny, my girlfriend, told my best friend she'd preferred him) in the Summer before junior high is still one of the kindest things anyone's ever done for me.

Lastly, I'd want everyone to hug my Mom, in the instance of a lucky fortune I might have to pass before her (so as to not have to experience what losing her would be like). Hold her tightly and remind her that I am still with her, no matter what. No God, Devil or self-doubt can ever remotely, for even a second, change the love I have for her, and tell her how much I've always told people how lucky I am to have such an amazing Mother.

Don't read into this as an implication of any intended self-harm. We live in an era of digital documentation - this is simply a “just in case.” I've been to enough funerals to know how I'd like my own handled - that's all. I have no plans of going anywhere anytime soon.

Beyond Our Gray Walls

2010-10-27T16:31:00.000-07:00

“There are so many dreams beyond our nights, and so much sunshine beyond our gray walls. But we can't see it when we stay at home. There is so much sky above our roof. Is the door so old that it won't open, or are we at home because we're afraid of catching a chill?” ~Francoise Hardy

I Shut My Eyes And All The World Drops Dead

2010-10-27T10:25:00.000-07:00

Happy Birthday, Sylvia Sweet.

Our Laughter Will Scare The Sun

2010-07-30T08:00:00.000-07:00

I've been absent from Blogger for a couple months, a bit too caught up with the easily addicting Tumblr, which offers really convenient posting options. I've decided to focus again on this platform, as the content requires more effort and the writing exercises actually provide a bit of a mental release. In other words, sorry and I'm back on this train for now.

Since my last posting, I've taken two different road trips up to San Francisco, both of which yielded two very different experiences and both of which were terrific. Below is an account of the first (to the best of my severely fading memory).

At the end of July, I packed up my car and headed North with two friends (Matt & Noah) to accompany me on a trip to see Liz Harris/Grouper perform a sound-installation called SLEEP at the Berkeley Art Museum. We left on a Thursday night and drove as quickly and directly as possible up the 5 freeway, through its flat and often desolate terrain. We stopped only for gas and the occasional snack or pee-break, and my companions were terrific distractions from the headlight-spells. I usually fall under a weird blurring-gaze when driving for more than an hour or two at night. Thankfully, both Matt and Noah have much sharper senses of humor than I do, and I mostly remember a lot of laughter and bad German-accent imitations. And, of course, endless discussions about music.

We reached Noah's families house in Novato, where we were to be staying, at some time around 1:30 AM only to be greeted by a beautiful deer on the hillside by where we were parked. We let ourselves in and pretty quickly passed out on our pillows, in anticipation of upcoming excursions. The next day, Friday, we were up early, munching on bagels, noting the brilliance of a painting hung up in the room we were staying in, and watching Noah's cameo in a cheesy rom-com flick that his Mom was quite proud to show us. We digested our breakfast, washed up and were out the door in search of records.

(The cat on a bookshelf painting in the guest room,
which is on the opposite wall of that exact bookshelf)

We reached Berkeley around noon, rummaged around all the usual spots and landed ourselves some good vinyl catches. We killed some time roaming around, probably shoving more food in our faces in the process, and eventually neared the point before it was time to head to catch Liz's set. Right before we walked over to the museum, we popped into a bookstore on Telegraph, where I randomly picked up an eye-catching title called Journal of a Solitude by May Sarton. I've since grown quite fond of the book, and Sarton as a figure. I think she'll be a topic worthy of her own dedicated post at a later date, so I'll leave at this for now.

Afterward, we hustled over to the museum in time to catch the show, which was a tranquil, ambient affair that focused on experimental noise-reflection more than song performances. Like always, I was entranced, but I could tell Matt and Noah weren't as convinced - understandably so for those outside of the cult of Grouper (you either love her music and experiments or you just don't). This particular exhibit was focused more on the patterns and sound-cycles that would occur in a pre-designed interior, made with walls that would reverberate and echo sound waves into a barrage of minimal-noise that washed over the audience in different ways, depending on their position in the venue. It was a really unique experience, and I look forward to seeing how else Liz aims to present her soundscapes in the future.

(Sound diagram of Liz Harris SLEEP sound-installation by Liz)

The performance ended earlier than I'd expected, so we found ourselves with some time to kill in the later hours of the night. The guys suggested we go to a bar, whose name escapes me at the moment, and I obliged. We found ourselves there on 'game night', which was a fun little distinction I wasn't expecting. The bar left out board games on all the tables, and had a dart-board room and pool table for customers to enjoy. We played some Connect Four, had a drink or two, and enjoyed a few rounds of darts before heading out and back to Noah's parents' place to crash.

On Saturday, we were up early again to maximize the last day of our stay. We swiftly packed up our stuff and were out the door after some appreciation was doled out to the lovely Green's for having us. We had one main objective left to fulfill, and that was to get our hands on some sandwiches from the infamous shop known as Ike's Place. Noah had been gushing for a while about how good of a joint it was, so we made a point to include it on our to-dos for the trip. We got into the city, scoped out a tourist attraction that Matt suggested we see, stopped off at Amoeba Records for a quick breeze-through and met up with Noah's pal Scott, who accompanied us from there to Ike's.

Upon reaching our destination, we couldn't help but notice the line out the door and a third of the way down the block. However, the long line would not deter us, and only confirmed Noah's claims that this was the kind of place that warranted such excessive waiting. After about an hour or more, we finally reached the front of the line and ordered to our hearts' content. Having spent the excessive time waiting, I decided to maximize my options and order two sandwiches - one for the immediate lunch and one for later during the drive home. Both were terrific, and the vegan “dirty” sauce that was slathered on my fake-turkey sandwich is something to definitely be experienced. Sadly, that specific location of Ike's has now been closed down due to complaints from neighbors about the lines of people outside the nearby residences. However, I believe there are other Ike's locations worth looking into for those interested/able.

(Ike's Place sandwich sign)

After devouring our sandwiches and basking in the sunlight beaming down on the front steps of a nearby house, we were ready to head home. We dropped off Scott at a nearby location where he was meeting some other friends, and headed home to Los Angeles - bad German accents in tow for the whole ride down.

Faith In The Faithless

2010-07-19T12:30:00.000-07:00

While everyone seems to be clamoring over the microcosms of sub-genres like chill-wave and witch-house, it feels to me like another little seed is starting to spread root in the limbo between electronic, shoegaze and post-punk. It's a bit too mature to be considered dark-wave, a tad too bleak for synth-pop, and a smidge too guitar-driven to be considered electro, yet manages to weave in and out of all of the said categories combined.

Whatever it may end up being called someday, by a journalist far more clever than I, its pool of artists is starting to expand. Furthermore, they all share common aural ties and manage to evoke the same sort of visual elements. They're often clad in black, and have edgy features, making them shoe-ins as extras at the vamp-bar, Fangtasia, on HBO's True Blood series. Their press photos often depict highly stylized lighting environments or sterile, black and white grain. They seem to come from a lineage that spawned more recent predecessors like Autolux, Black Rebel Motorcycle Club, Ladytron and Unkle's latter efforts, and all seem a bit more fashion-forward than their nearest rock-relatives.

Musically, there's an emphasis on droning guitars, synthesized swells and live-drums inter-spliced with pre-programmed selections. Without fail, they also all share interplay between female and male vocals. Below are several of the most promising acts on the verge of major breakthrough.

Starting on the international end, there is the UK's Dark Horses. Formed relatively recently, and with only several demo tracks available via their website, Dark Horses already have quite a buzz going for them. They're fronted by Lisa Elle, whose best known for her work as a guest vocalist on several Unkle tracks under the name of Elle J. Her stellar pipes on this year's Where Did The Night Fall sent me tracking down the mysterious singer's other associations. In Dark Horses, Lisa Elle's sultry vocals are the focal point of icy instrumentation by a backing band that looks like Guitar Wolf rivals. Musically, they borrow Velvet Underground's tinny-drug rock ala “Here She Comes Now” and slow it down to a crawl-pace, emphasizing some of the Eastern-psych tones and drenching in synth-string drones. While they've yet to release anything officially, they've already gained a loyal support-base of musical kin from Kasabian to The Kills.

(Black Ryder Buy The Ticket, Take The Ride LP)

Next up are Black Ryder, hailing from Australian shores. After splitting from their previous band, The Morning After Girls, Aimee Nash and Scott Von Ryper started up Black Ryder with a major focus on a more dreamy, shoegaze inspired direction. Borrowing from obvious touchstones like My Bloody Valentine and Ride, they definitely lean more towards the traditional guitar-centric end of the spectrum. However, they manage to fuse in enough synths and vintage organ tones to give it a bit of a psychedelic shove. Their debut album, Buy The Ticket, Take The Ride has already been released in Australia and is about to hit our shores here via Mexican Summer.

(ZAZA Cameo EP)

And now onto Brooklyn, the hotbed for this burgeoning scene of bands. First up of this bunch is ZAZA, whom mainly consist of the duo Danny Taylor and Jennifer Fraser (formerly of The Warlocks), and are presently rounded out by percussionist Dru Prentiss (whose role used to be filled by Pains of Being Pure at Heart/Depreciation Guild wonderboy, Kurt Feldman). ZAZA craft haunting melodies and loop them in spin cycles, weaving a noir filled soundtrack akin to Radiohead's darkest moments. Fraser's bass locks everything into place while Taylor's vocals are free to whisper above the plains the sonics inhabit. It is backed by tom-heavy percussion, adding to the ghostly vibe of it all. ZAZA quietly released the Cameo EP this past year and despite their reluctance at heavy promotion, it's already landed on several publications' year-end lists and landed the band on some heavily-desired concert bills.

(Kordan Fantasy Nation EP)

Thanks to ZAZA's recommendation, I was introduced to their like-minded neighbors in Kordan, who are another Brooklyn-based act heavily engaged in the dark-wave addiction sweeping their Gotham locale. Where ZAZA create ethereal lullabies for the afterparty come-down, Kordan soundtrack the pre-party build up with faster-paced songs drafted around cold-wave drum sequences and synth-pop melodies. Last year's Fantasy Nation EP caught the attention of Filter Magazine, whom gave the band some much-deserved acclaim. They've since been on a steady climb upward and seem to be gaining more momentum with each successive live show.

(Von Haze Von Haze EP)

Lastly, the newest addition to this noir-esque grouping of bands is Von Haze. Comprised of another male-female duo, Von Haze were best described to me by Neil at Origami Vinyl. He said “It sounds like a post-punky version of The Kills, if they were really, really slowed down.” While the fashionable, male-female aspect lends itself to those sorts of comparisons, the band deserve a little bit more credit in terms of their actual sound. There's elements of Swans in their snail-like pacing, and the buzz-saw guitars owe a debt to early industrial pioneers, but there's also an undeniable bizzaro quality to their electronic elements that brings to mind old goth and cold-wave. It's actually strikingly similar on the slower tracks to Lumina, the side project of Horrors front-man Faris Badwan and former Ipso Facto member Cherish Kaya. Regardless of musical terrain covered, Von Haze is on a clear path to recognition based on the merit of their self-tiled 12" EP out now on Hippos in Tanks.

While put together side-by-side, all these acts do have quite a variance between each of them; as a larger whole they seem to be drawing blood from the same aesthetic vein - and personally, I couldn't be more pleased. Long live noir-wave!

(All photos taken from each band's MySpace page. See credits there.)

The Clouds All Seem So Out of Place

2010-07-14T23:33:00.000-07:00

Crocodiles are back again with a new record due out in September called Sleep Forever, and they've already given out the title-track first single. It's a blistering piece of sun-burned pop with a shoegaze shimmer, and a great step forward from last year's terrific album Summer of Hate. I couldn't be more proud of their success.

Check out the tripped-out official video below:

And now watch them pull it off acoustically:

It's a real interesting contrast, yet shows how the root of the song is wrapped up in several vocal melodies more than any other actual instrumentation shifts. It brings to mind the approach adopted by many of the pop groups of the 60's, which shouldn't be surprising considering the adoration Crocodiles have expressed for this time period in music.

It's safe to say “Sleep Forever” is my official anthem for this Summer, much like “I Wanna Kill” was the same for the last one.

Sleep Forever (album) is out 9/14 on Fat Possum, while the single is slated for release some time in mid-August.

Your Messed Up Life Still Thrills Me

2010-07-10T19:35:00.000-07:00

Of all the French chanteuse of the 60's, Francoise Hardy is my favorite for several reasons. The most honest one being that I think she's arguably the most beautiful girl to have ever lived. Even now at the age of 66, she's still gorgeous. Secondly, she was a musician more than an actress or model. She could've easily focused on either of those occupations, like many of her contemporaries, but she stuck with music as her main outlet and continued making records long after Bardot, Gall, Birkin and the like. Third, she was the classiest of all the pop-singers of the time. She was hardly ever hamming it up for the camera or baring cleavage to sell records, and her fashion sense is still unrivaled. And lastly, because she was the most mysterious of the French singers. She didn't over-indulge and become a burnout, she didn't let ego get to her head and spout off as if she was a Goddess, and she didn't make any career ending mistakes. She stayed herself, or so it seems from an outsider perspective. It's this combination of characteristics that gained her so many esteemed admirers, from Bob Dylan, The Beatles, The Rolling Stones, Nick Drake and nearly every male French sensation.

So here's a pictorial ode to Francoise Hardy. My greatest historical crush from an era I wasn't alive to bare witness to. Le sigh!

Now when Hardy originally burst onto the scene, she was presented another bubble-gum pop artist. Her first few records, while good and fun, weren't the most original of her career. If you're new to her, a great starting point happens is the 1970 album La Question. It features about half a dozen songs penned by Hardy herself, and the other half with her songwriting partners. La Question is a really stripped-down album, featuring mostly just acoustic guitar and vocals with some modest bells and whistles. Hardy's vocals are lulled into your ear, making it a pretty ambient run with a hushed, sultry quality.

(La Question album cover)

La Question also happens to be the first Hardy album I ever purchased. I was working at a used CD store in Costa Mesa at the time, and a copy came in while I was at the counter. I remember just being struck by the cover art, which is just a great black and white photo of her leaning her head back, and deciding on the spot I was going to purchase it. It was an admitted instance of judging an album by its cover. Although, considering all her album covers feature her on the cover, I still feel a bit lucky I got started on the right one. Any of the below could've equally seduced me.

And lastly, I leave you with this video from her 1964 album Mon Amie La Rose. It's for the title-track off the album, and if watching it doesn't speed up your heart-rate (guys and girls), you may very well be dead.

After All Is Said And Done, We Were Just Too Young

2010-07-08T12:15:00.000-07:00

Another week, another drop. Here's another small collection of videos running the mill in my world.

The Spires “TAM” (thanks to Noah for the tip)

Black Tambourine “For Ex-Lovers Only”

Ringo Deathstarr “Some Kind of Sad”

The Go-Betweens “Right Here” (hilariously bad video, stellar song though)

Comet Gain “Stength”

Inca Babies “Opium Den”

HTRK “Poison” (Live)

Nick Cave & The Bads Seeds “The Carny” (Live)

Summer Loving Torture Party

2010-07-06T12:30:00.000-07:00

While most spent this past weekend celebrating their red, white and blues, I made it a point to celebrate more foreign affairs during the daytime. I finally got around to watching Sólo Con Tu Pareja, a film given to me by a friend whose taste in movies is always pretty spot-on, Mr. Rocketeam himself, Fu.

The story revolves around budding ad-writer, Tomás Tomás, and his misadventures juggling the romantic interests in his life. When one night he messes with the wrong woman, it sets off a chain of events that leads him to re-examine his life and personal philosophy on love. While the story itself may not sound like it has the most original plot line, it's undeniably infectious as a result of a terrific ensemble cast of primarily unknowns, clever writing and beautiful directing courtesy of the Cuarón brothers (who later went on to make the acclaimed Y Tu Mamá También).

The cinematography throughout was pretty impeccable, and watching the bonus features, I was quick to realize that the look-and-feel of the film had very much been planned out well in advance. The green-tones prevail above all else, giving it an automatic stylization akin to Melville, whose Le Samourai set new ground in French cinematography in 1967. It also shares a very similar pallette and tone to Goran Dukic's Wristcutters from 2006, which may be another reason why Sólo Con Tu Pareja felt so familiar upon first viewing. They're both love-inspired dark-comedies with a penchant for all things clinical-green.

The film also makes nods to Godard in its amorous depiction of the city from which the director hails. For Godard, it was always his showcasing of the Paris he knew and loved. For Cuarón, it's his passion for Mexico City at the height of its beauty. He takes foreign viewers on a rollercoaster through the heights of the city, and the beautiful architectural heritage that simply isn't depicted enough in films broadcast Stateside. I was left quite enamored and amazed at just how breathtaking Mexico City is (or perhaps was in 1991).

Though Y Tu Mamá También may have put the Cuaróns on the map in an immediate sense (Sólo Con Tu Pareja was actually considered a failure at the box officer), its this film that really set a precedent for all that was to come. If you have an hour and half or so and haven't seen this yet, do yourself a favor and snatch it up. It's hilarious, engaging and all-around entertaining from start-to-finish.

Oh, and if you like what you see, watch the Making Of featurette. It's pretty insightful and, as always, Criterion's presented it at the highest standard - right down to the packaging.

Blame It On My Wild Heart

2010-07-02T13:10:00.000-07:00

Before reading this post, please realize a couple of things up front. First off, I'm not trying to preach or force my ideology on anyone. Secondly, I don't judge people negatively for what they choose to include in their diets. Lastly, this post is driven 100% from the heart. My aim is to only help raise awareness and inform the very small readership I may have of a topic that's been on my mind the past few weeks. All I'd like to ask is that if you do start to read this, PLEASE do so in full and don't just disregard it at the earliest inclination that you know what it's all about. You can skim through every other post on here, but I hope you'll just consider this one in full and with a bit of a realization that I wouldn't write about it if I didn't think it was important.

Three weeks ago I decided to step up my actions regarding my dietary intake of dairy and animal-related products. I've been a vegetarian for nearly 14 years now, and in light of the recent Conklin Farms case (brought to my attention by Brandie), I've decided to step it up a notch and try my hand at a predominantly vegan diet.

I could sit here and try and explain the benefits of veganism, but I truly feel that most people already have a vague idea of the rationale behind these sorts of decisions. People either genuinely feel no sympathy for animals, feel slight sympathy but choose not to investigate the issue out of the potential discomfort it would cause them, or feel sympathy and choose to make a change in their own lives to alleviate the guilt that comes with knowing they're part of the cycle. I fall into this last category.

Again, I'm not trying to preach. It's a personal decision, 100%. Like politics, abortion, religion, etc. There's no way I could tell anyone they're right or wrong for how they choose to live their lives based on this topic, nor do I have a desire to. I am simply trying to just open up some eyes to an issue that does exist.

The below video has already made its rounds on the internet. If you've seen it, there's no need to watch it again. If you haven't seen it, I really believe it will be of some benefit to you if you do watch it. It will either disgust you or enrage you, both are reactions that will eventually lead to an actual consideration of the subject matter and your role in it. Keep in mind, I really DID NOT want to watch this, but I am GLAD I did for it impassioned me to make a change. Hopefully you'll feel the same.

If you just made it beyond 10 seconds of the video, I commend you. I could hardly stomach more than that myself. The reality is that this is an extreme example of the type of abuse that occurs at dairy farms. Are all dairy farms like this? I would certainly hope not. However, when your job is to tend to cows who are bread for the sole purpose of milking, and you are responsible for tending after them day in and day out, it's possible to see how a perverse resentment could arise. I'm by no means justifying any of the actions in this. I'm simply stating that even the most non-stressful jobs, which involve repetitive mundane tasks, can be frustrating. The people who committed the acts in the video are disgusting, and let their frustrations out in an unacceptable and horrific way - on poor, innocent, defenseless animals who have no ability to alleviate the situation. The truth is that many of these sorts of dairy farms with many of these types of employees exist - low-paid, low-conscience, low-intellect folks who live in rural areas and are so bored that they begin to entertain such obviously-wrong ideas.

These sorts of dairy farms can change. If enough people become aware and take measures to apply change to their own diets, it will effect the way they run their businesses. I'm not saying everyone should become vegan or vegetarian, but there are ALWAYS alternatives. Pay attention to what you eat and where it came from. It doesn't take much effort to ask your grocer or the restaurant you're at. There are humane farms out there that provide dairy and eggs from animals that are allowed to live and roam naturally, and are not bread for mass-production.

Having done more research today on the production of eggs, I was genuinely surprised by how misleading the egg-farming industry is in their packaging. "Cage-free" or "Free-range" or "Organic" are completely misleading labels. All of the above labels still mean these farmers can inhumanely clip chicken beaks and condense large numbers of chickens in small areas. Furthermore, did you know that a general practice for most egg-suppliers is to immediately kill any male hatched baby chicks, since they serve no purpose in egg-production? Do you know how they kill these baby chicks? They grind them in most cases, but also use gas and strangulation as alternatives. It's completely depressing to consider this. Fortunately, the Humane Society has put-together a list breaking down what the descriptions on egg-packages really mean. You can read it here.

To save you some time, if you're going to buy eggs, look for packages that contain the "Animal Welfare Approved" label on them. They're much harder to find in your local stores (and likely more expensive), but if you've got the heart - you'll seek them out.

For aspiring vegans/vegetarians seeking out options on where to dine-out, the following sites are terrific at reviewing just those sorts of places:

Quarry Girl
VegGuide
Happy Cow
Vegan Master List

As always, shopping at more natural-food based grocers is preferable to larger chains too.

Anyways, thanks for reading if you've made it this far. It's extremely rare that I will share my thoughts and feelings on a topic based on personal-choice, like this, but hopefully it has benefit some of you. I anticipate a few haters will be drawn to comment, in which case, you may want to save yourself some time. You won't find me arguing this issue - I'm simply putting it out there for consideration. It's up to you how you'd like to process it. I know there are hundreds of important issues out there, all of which could use our attention. I just felt compelled to share one that matters to me.

There's a Hint of Darkness in Everyone

2010-07-01T11:30:00.000-07:00

My commitment in life is to music, for it has consistently provided me comfort and companionship moreso than any other single thing in the world, save for perhaps my family. Accordingly, here is a pictorial ode to my greatest love.

(Photos courtesy of LIFE and Corbis)

“I will love you / ‘til the sky above you / shatters over you
and me / and lays us down to sleep forever.”

~ Crocodiles Sleep Forever

[Download the song free via Stereogum]

Come Back Again, To Here Knows When

2010-06-30T12:30:00.000-07:00

Continuing on the subject of the last post, of art in relation to music, I've considered the importance of a band mark or logotype. With my bias upfront, that I am a designer as well as a musician, I still feel there's a general importance towards how musicians brand themselves graphically that is often overlooked. A logo, logotype or mark helps create a visual identity that extends beyond just the aural experience of music. We live in a culture where fans try to increase exposure of the music they love by adorning band t-shirts, pins, stickers, and so on.

With that tradition well-established, musicians should recognize that their music is being represented in such ways and try to devote a little more care and attention to this extension of their music. For example, by simply using your mind, try and visualize what the logos of KISS, AC/DC, Metallica, The Rolling Stones or even The Misfits look like...

Were you able to recall them without Googling?

Now slapping together any old typeface and giving it a little flare may work for some, but smart, well thought-out designs fare much better in the long-term. That being said, the question becomes how do you make a "smart" band logo? Well, that's a question that's definitely up for interpretation. Let's first consider some non-music or artist-related logos. Below are ten examples of, in my opinion, truly smart corporate/business logos and marks.

(Gotham Books logo designed by Eric Baker
See: top of Empire State Building in NY & open books)

(Rocket Golf logo designed by Ethereal
See: two golf tees & rocketship)

(Wine Searcher logo designed by Gareth Hardy
See: reading glasses & two wine bottles)

(Wiesinger Music ~ Piano Service logo designed by Patrick A.
See: "W" and "M" & piano keys)

(Pencil logo designed by Reghardt Grobbelaar
See: pencil shape via type)

(On Wine logo designed by Piotr Chrobot
See: full wine bottle shape via type)

(One Constructions logo designed by Nido
See: building silhouettes & the number ‘1’)

(Gerber Reigler logo designed by Benoit Design
See: conversing speech bubbles for each consultant name)

(Lochness logo designed by Navy Blue Design
See: silhouette of Lochness Monster with water reflection via type)

(Guild of Food Writers logo designed by 300million
See: pen tip & spoon)

Now, to me, a good band logo should do one of four things (if not more than one): 1.) be consistent with the bands musical-genre style 2.) be consistent with the bands personal style 3.) be iconic and unique enough to standout 4.) be engaging enough to continue thinking about after you've stopped looking at it. The below ten marks and logotypes are just some that I could think of which exhibit at least one of the previously mentioned qualities. Some have already proven their lasting strength over time, while others are far too new to really make cases for.

(The Horrors Winklepicker logo designed by Ciaran O'Shea)

(Murder City Devils Skull logo designed by Nate Manny)

(Modest Mouse Anchor Balloon logo designed by Christian Helms)

(Sisters of Mercy Star Head logo designed by Andrew Eldritch)

(Queens of The Stone Age Q Circle logo designed by Hutch)

(Public Image Limited Ransom logo designed by Dennis Morris)

(Crass Cross logo designed by Dave King)

(Conflict Circle N logo designed by Paul Friday)

(The Dead Weather logotype designed by Alan Hynes)

(Male Bonding Suicide/Slash logotype designed by [?])

These visual cues, for better or worst, link music to a visual spectrum that surrounds us all in our daily lives. Whether it be in record stores, on wheat-pasted posters covering walls of busy streets or big bus bench billboards; we're steeped in it. My advice to musicians, while it may not be the most critical component of your music - it can only serve to help you gain a wider audience if your logo is done right.

For further reading on band branding, check out these site here and here.

Die By The Drop

2010-06-29T07:45:00.000-07:00

One of the perks of having a place all to yourself is you get to choose how you want to adorn the empty wall space inside of it. As a teenager and on into my twenties, I'd always managed to fill every negative piece of wallspace exposed in my bedrooms. Yet, I've been living in my current apartment for close to three years, and for some reason I've refrained from ever truly stylizing it. I've accumulated an endless supply of posters, photographs and assorted trinkets and doodads, but have up-til-this-point held back from really investing the time and energy to deck the place out. My bedroom, for example, still has virtually no artwork gracing its interior. When you contrast that with every other place I've lived, it's pretty surprising. Perhaps it's because I don't really want to stay in my current apartment for much longer; or it could also be due to the overwhelming sensation that fills me when considering the editing process needed to narrow down the vast amount of options I've accumulated.

Amongst these options are a couple dozen silkscreened concert posters. A couple of them are up in my office room, while several others are hanging in my kitchen/dining area. All of 'em are starting to feel a little stale as of late, so I've been considering acquiring some new options. I already own a Dead Weather poster (the top one shown below) that's been waiting to be framed and put on display, so I decided to see what else they had in store that might compliment it. Upon doing so, I was struck by how impressive a lot of the designs are. Furthermore, they were all really cohesive despite being created by an array of different artists and studios.

(Designed by Aesthetic Apparatus)

(Designed by Alan Hynes)

(Designed by Jason Early)

(Designed by Todd Slater & Rob Jones)

(Designed by Rob Jones)

(Designed by Methane Studios)

(Designed by Silent Giants)

Now, whether or not you're a fan of any of Jack White's music, you can't deny his visual consistency. From the red-and-white candy-cane theme that branded the White Stripes, to the all black-with-hints-of-yellow that identifies The Dead Weather, he knows how to strike visually. He's proven this furthermore by hiring brilliant visual artists, like Floria Sigosmondi and Michel Gondry to direct his music videos, graphic designers like Rob Jones and Todd Slater to create concert posters and sleeve designs, and Brandy St. John to handle wardrobe styling for all three of his well-known bands. Simply put, White knows how to project an image and may inadvertently be the best accidental art-director the rock n' roll world has seen since Andy Warhol. He plays guitar, sings and drums like a beast, own a record store and label, and produces music for his own bands and others in his recording studio. Is there anything this man can't do?

The Sky Sometimes Is So Unkind

2010-06-25T15:27:00.000-07:00

The Summer is upon us, dear friends, and I for one have always felt that Summers can be merciless. Accordingly, I've made a little mix for the sun-scorched days where all you want to do is lay around motionless in an effort not to promote more beads of sweat from dripping down your well-soaked spine. I present to you, the Endless Summer/Bummer mix. Click on the image, download the mix, strap on some headphones, hit play, lay back, close your eyes and (hopefully) enjoy!

In My Little World, Life Lies Upon The Floor

2010-06-24T08:30:00.000-07:00

Around the year of 1998, or perhaps ‘99, there was a small, used record store tucked away in a strip-mall in the city of Costa Mesa called Doug's Discount Records. I used to go there after my classes ended at the nearby Orange Coast Community College, where I spent my last two high school and first two college years. Though it wasn't a very popular shop, especially in comparison to the more punk-catering Noise Noise Noise and Vinyl Solution, they had a pretty massive array of used vinyl. The real kicker was the fact that it was the only music vendor in the area that actually had listening stations. You could dig up a pile of records based on cover-art alone, and just spend your time researching the sounds on each one.

One day while pissing away some time at Doug's, I came across several LPs by Echo & The Bunnymen. Up til that point, I'd only ever really heard the band's name in passing conversations - most likely ones revolving around the topic of Joy Division or The Smiths. I can't recall if anyone in specific had suggested I check them out, or if it was my own curiosity, but one way or another, I popped them on the listening station turntables. My immediate impression wasn't one of awe, but I found enough interest in the sounds that bled through the headphones, within a minute or two of listening, to purchase them that day.

Now, to be honest, once I'd purchased the vinyl, I'd only given it several plays over the course of the next couple of years. It must've gotten overlooked by the constant influx of music flowing through my audio peripherals. However, somewhere around 2002, I started to really go back and take a thorough listen to Ocean Rain on account of “The Killing Moon” being featured in Donnie Darko. From there, my appreciation for Echo & The Bunnymen increased to the point where I now consider them one of my all-time favorites.

If you don't already know much about their music, there isn't much I can really say that will somehow magically make you understand. They were part of the UK's explosion of post-punk bands that formed in the late 70’s, but blew up with the rise of new wave in the 80’s. Ian Mcculloch, the band’s vocalist, was the object of affection for many a trench-coat clad teen during their heyday, including one Ms. Courtney Love (who has openly admitted to having a borderline stalkerish crush on the man). However, what really set them apart from the pack was their fusion of melancholic tones with a more pop-oriented jangly bounce. McCulloch was also one of the strongest vocalists from that whole scene, and he could go from heavenly, Bono-esque coos to Nick Cave-like barks to Bernard Sumner-ish breathy mutterings.

(Photo of Ian McCulloch taken from Last.fm)

(Photo of Ian McCulloch taken by Phillippe Carly)

(Photo of Echo & The Bunnymen taken from Last.fm)

When Echo & The Bunnymen split at the end of the 80’s, McCulloch went on to do what most expected him to do - pursue a solo career. He released several independent efforts, the most successful one being his first, Candleland. While I’ve covered mostly the Bunnymen’s tracks up until the point, the real basis of this post is to point out the beauty of that said record. Candleland was an amazing return-to-form and featured 10 terrific tracks, none of which felt like filler. The album expands on some of the Bunnymen’s electronic tinkerings, incorporating more of New Order’s approach - with songs all backed by pulsating dance-like drum beats. From the opening of the tender “The Flickering Wall”, with its Peter Hook-like bass lines to the down-right pop infectiousness of “Proud To Fall” and “Faith & Healing”, to the Brit-pop predecessor “In Bloom”, every song was single-worthy and on-par, if not better than, the best of The Bunnymen’s LPs. Candleland is criminally overlooked and underrated, in my humble opinion, and only further proves McCulloch’s relevance when compared to modern-day post-punk acts.

(Echo & The Bunnymen’s Ocean Rain and Ian McCulloch’s Candleland)

Despite the inevitable reunion, The Bunnymen and McCulloch haven’t really produced anything as noteworthy since Candleland last made its mark. However, there is indeed a new crop of bands pooling in the UK who openly acknowledge their brilliance, and proudly wear the influence on their sleeves. First up is Chapel Club, a London quintet who are starting to make some real noise and have already been snatched up by A&M Records in their home country. They match subtle yet well-emphasized vocals with some gorgeous guitar work that blends just the right amount of post-punk's mood with shoegaze’s atmospherics. They currently have two singles out, both of which feature stunning A-sides in the form of “O Maybe I” and “Five Trees.” The latter of the two tunes has even gained attention from The Horrors, who have offered up a remix version of the track.

(Photo of Chapel Club by Ben Rayner)

(Photo of Chapel Club taken from their Myspace)

(Chapel Club’s O Maybe I & Four Trees 7" singles)

The second band is the oh-so eloquent Red Drapes, also based out of London. This four-piece err more on the melancholic side of the spectrum, and fuse book-worm lyrics with reverb-drenched guitars and restrained sonics, bringing to mind early Interpol if fronted by a Morrissey disciple. They’ve self-released a limited-edition 5-song CD-EP that comes in one of the most handsomely created, hand-packaged sleeves I’ve seen in a while. While the band is currently pushing the lead track “Reflection” as their single, my favorite tune on the EP is another slow-burner called “Hush Now The Dockyard.” Completely without exaggeration, this EP is the second-most listened to record I’ve purchased this year (the first being Grouper, of course). The band have openly expressed their love and adoration of the early post-punk pioneers, and cite Echo & The Bunnymen as one of their primary influences. While I do hear the traces of said inspiration, Red Drapes manage to pay homage but still carve their own original take on the genre’s mope-filled mold.

(Photo of Red Drapes by Dan Wilton)

(Photo of Red Drapes by Wash-Out)

(Red Drapes self-titled CD-EP, limited to 100)

Both bands are picking up a lot of praise over the pond, and with any luck will receive the same response from U.S. audiences. I’m not holding my breath for them to take over America, as this country isn’t nearly as developed in musical taste-making as the UK – but I think both could do reasonably well if their music is exposed to enough eager ears.

For videos from Chapel Club, Red Drapes and Ian McCulloch, check these earlier video-drop posts here and here. It’ll be worth your time, I promise.

Follow Me Into Nowhere, Woven With The Utmost Care

2010-06-23T07:45:00.000-07:00

Well, I've decided to give this blog a little bit of a makeover. I'm not quite sure how much I like it just yet, so don't be alarmed if you see another change in the not-so-distant future.

Since November, I haven't really had much of a focus on fashion trends. I could chalk it up to a general preoccupation with other things, or the fact that my closet is a bit cramped as it is, but I feel it's perhaps due mostly to the fact there just hasn't been anything that's been very noteworthy out on the market. Spring and Summer are definitely my least favorite fashion seasons, as I'm just not one for bright colors or increased skin exposure. That being said, I've made an effort to put together a little group of items that do seem to hold my attention.

My main inspiration is a more refined “greaser” look. Taking the classic elements of what the pack in The Outsiders looked like, smoothing it out with a bit of James Dean and bringing it up to modern-day speed, while obviously emphasizing more of a dark nautre (as you'd expect from my tastes).

(Taken from Stockholm Streetstyle)

(Taken from Corpus Fall/Winter ‘09 Lookbook)

The key piece I've been hunting out is a slim, black-on-black letterman-style jacket. The rise in their popularity could probably be attributed to The XX, whose members have been seen in popular publications donning the said jacket. Balenciaga made a pretty great version of this in cut, but failed to vary the sleeve colors beyond the too-bright swatches of canary-yellow and a dark aqua-blue. Upcomers, COS, made a version of their own for their Winter ‘09 collection, but it's well sold-out by now, as did Corpus.

(COS Letterman Jacket)

(Corpus Letterman Jacket)

The jacket itself is strong enough that if you match it with jeans or slacks, it still gives off the same tone. The below items are just a group of things I found pretty appealing, which could tie the whole image together. I didn't focus on any denim pieces, as pretty much all skinny jeans are skinny jeans these days. I'm not one for flash or flare on my denim, just stick with any basic slim silhouette in a dark shade of indigo or just black and you should be good to go. Adding a small cuff to the bottoms, no more than an inch tall, is recommended too.

(Fred Perry Cable Cricket Sweater)

(Fred Perry Macqueen Tartan Shirt)

(CMRTYZ Micro Shredder Tee in Grey)

(CMRTYZ Micro Shredder Tee in Black)

(BBlessing Big Logo Tee in Black)

(Cheap Monday Slim Chino Slacks in Black)

(Fred Perry Kingston Twill Sneaker)

(American Apparel Hartwick Skimmer Shoe)

(Augusta Oiled Horse Boxing Boot)

Any pair of classic oxfords or even a simple sneaker, like Converse Chuck Taylors would suit this outfit well. The Augusta Boxing Boots, shown above, gives the ensemble a bit more edge - but I'd advise against tucking your bottoms into the ankle of the boot. It works for some styles, especially anything more on the industrial tip, but for this appearance I just think it would sort of convey the wrong message. My advice: pants cover over the tops of the boots and keep the tongues tucked in.

And lastly, the accessories - none of which are crucial - but are always a good tie-in. Keep the jewelery minimal, the belt buckle non-ornate and any carrying items slick.

(BJØRG Black Plated Silver Raven Head Ring)

(BJØRG Leather and Silver Bracelet)

(Fred Perry Contrast Reversible Belt)

(Fred Perry Side/Shoulder Bag)

And, of course, you could always use one of these to if you really want to get your point across. I never leave home without mine. Just kidding... or am I?

(Black and Brass Italian Stiletto Switchblade)

So there you have it, all the elements to convey the image of the “Greaser-Goth.” Yeah, I know, horrible name, but that's the best I could come up with on the spot. While all the other fashion forecasters are harping on about military-inspired collections, I am sticking to my guns (or knives rather) and evolving in this direction.

Where The Deepest Currents Go

2010-06-19T01:04:00.000-07:00

This past month I took a week-long vacation trip up to Portland to visit my two best friends, William and Brandie Hart. The timing worked out perfectly so that I was able to schedule it around Brandie's birthday, a Grouper show and to make good on an offer to perform some songs on-air at KPSU. Wrapped around those events were more of the usual shenanigans I participate in when in the company of my best friends. We ate tons of good food, shopped at a bunch of record stores, took day trips in and out of Portland, bought matching switchblades, wrote some songs together in a cold basement, took knife-wielding photobooth pictures, hiked through some amazing nature spots, played Ping-Pong, and laughed at ridiculous things only the three of us would really understand. The photo belows will illustrate just some of the events that transpired:

(Flyer for our debut performance as Black Prisms)

(Grouper & Ilyas Ahmed performing at a former funeral parlor)

(Will and Brandie near the entry of White River Falls)

(Old abandoned power plant at White River Falls)

(Crank shaft atop White River Falls entry)

(Brandie and Will in front of White River Falls)

(Will and Brandie inside a drainage house at White River Falls)

(Ski lodge Will took us to stay the night of Brandie's birthday)

(Our room at the ski lodge)

(William in the morning at the lodge)

(Photobooth shots we took at the Ace Hotel in Portland)

(My best friends in the world laughing at a Thai restaurant in Portland)

The problem with going to Portland, or anywhere Will and Brandie are at for that matter, is that when I return home, I inevitably feel a bit lost. Not “lost” in a somber sense, because I know where I fit in, just in the way that I have to readjust to being far away from that place and figuring out how to enjoy my time without them around.

Upon returning home from Portland, I received the terrible news that my Grandmother's health had been deteriorating quite severely as a result of the return of the cancer we'd been told had been otherwise remedied. I spent every night of the following week at my Grandmother's bedside at UCLA Medical Center, along with a steady stream of family and friends who'd come to see her. There was a tremendous outpour of love from every corner of our extended family & friend tree.

Sadly, on May 28th, my Grandmother passed away, leaving behind 4 sons, 8 grandchildren and a great grandson. It's a massive loss to my family and to myself, as my Grandmother represented the devoted matriarch who never, not for a second, ever shyed away from her family. However, I take comfort in knowing that she will be rejoining her late husband (and favorite dance partner), who'd passed away some 40 years earlier. She remained a single widow all the years after his death and never remarried. I will miss her dirty sense of humor, appreciation for Laurel & Hardy films, love of greasy pizza and amazing stories about the hardships she faced in her life.

Mahin Azma 1930 ~ 2010 RIP

Coupling the loss of my grandmother with another personal loss that also occurred in early May, (which I'm refraining from sharing here) has put me in a bit more of a state of limbo. Seeing and feeling the strong support of my amazing family during my Grandmother's passing makes the idea of moving away a really difficult one to see actually happening. On the other hand, being around my best friends in Portland provides me a really fulfilling companionship on a more regular basis, which I've pretty much given up finding elsewhere. I am lacking that stability in Los Angeles, especially as more of my friends here are drifting away down the avenues of their own hectic lives, and my romantic relationships all deteriorate due to my unrealistic, movie-like expectations of them.

I keep weighing the pros and cons of the situation, but have yet to come to any real conclusion. For now I'm just going to keep taking each day by day, and each night by the selection of records that get me through it. It'll all get sorted out one way or another, and if it doesn't... well, I've got a switchblade that'll provide me some answers too... just kidding. Lighten up, this isn't meant to sound as doom-and-gloomy as you're likely making it out to be. Everything will work out somehow.

Signing out,
Ronnie Barrows

P.S.
I'm on fire now with the Tumblr business. If you're not on that train yet, I suggest you hop aboard. It's an inspiration board you can take with you virtually anywhere.

Say No To Love

2010-06-19T00:58:00.000-07:00

My current philosophy on the subject just so happens to be the title to the charming new single by the Pains of Being Pure at Heart:

And here's another take and interpretation of that idea, by the UK's answer to the POBPAH, Veronica Falls.

Famous Last Words

2010-06-15T10:26:00.000-07:00

If you'd like to get in touch, for whatever reason, feel free to drop me a line here:

Risk It All On A Long Goodbye

2010-06-07T09:19:00.000-07:00

Here's another video drop since I'm a bit too lazy to put together a proper mix just yet.

Dum Dum Girls “Bhang Bhang, I’m a Burnout”

The Drums “Forever & Ever Amen”

Chapel Club “Five Trees”

Chapel Club “O Maybe I”

Male Bonding “Year's Not Long”

Veronica Falls “Found Love In A Graveyard”

Sleep ∞ Over “Your World Is Night”

Ian McCulloch “Proud To Fall”

Blind As Our Hearts Eclipse

2010-06-05T13:57:00.000-07:00

April and May have been some of the craziest, busiest months I've had in the past few years. The former was primarily occupied by putting together the Post Penumbra show with my friends, as part of the Upper Six Hundreds. We spent so much time and energy in the last couple of weeks leading up to it, that for a moment I felt like a student in art school all-over again – pulling all-nighters and making a mess putting together a spectacle fueled from the creative channels inside.

The show itself was a great success and a testament to our will as an art collective. The theme for the show was based around the first light from an eclipse, so we blanketed the show entirely in white and stressed to the contributors that their individual pieces should try and follow in suit. We decked the place out in white fabric, white walls, white furniture, white ornaments and decor. Then, we ourselves, donned white to the extent with which we could. We had over 500 paid attendees, along with our own families and circles of friends and the night ended with a post-party in the space where everyone got pretty smashed and silliness ensued. Below are some shots of the evenings events:

(Fabric strewn ceilings with upside-down hanging table lamps)

(Spotlight desk lamps individually installed above to illuminate each piece)

(Sculptural and interactive installations)

(Band playing a set of cover songs with "white" or theme-related titles)

(Backlit shadow puppet theater)

(Illuminated ceilings and twist-fabric beams)

(Jellyfish-like fabric light fixture)

(Costumes worn by the collective - this is mine)

Art At Will also did a press segment on the event, interviewing some of the collective and guest artists, as well doing a nice montage of the general setup of the show. View it below, the portion on our begins right around the 3:25 mark - so feel free to skip ahead to it:

Aside from helping construct the show, I also contributed a piece entitled Hold The Way, which was largely inspired by the song of the same name by Grouper. I interpreted the mood of the song in my own way and adapted it to the theme of the show, creating the below using mixed media (wood, paint, paper, transfer toner, found photos & books, whiteout, etc).

I don't know what the future holds for the Upper Six Hundreds, there have been talks about starting our own permanent gallery. Regardless of what we do next, whether it be a gallery or another one-night-only exhibition like the past three we've done, it will be difficult to top the Post Penumbra exhibition.

To view more from the event, check out the Upper Six Hundreds blog. To view more photos, you can also check my Flickr set from the event.

Can't Go Wrong Without You

2010-05-26T13:14:00.000-07:00

I'm back from spending an amazing week in Portland only to arrive to really terrible circumstances. Perhaps I'll follow-up on this later, or perhaps I won't. For now, this seems to be doing the trick.

I'm Guided By Strange Lights

2010-04-21T14:37:00.000-07:00

The POST PENUMBRA show was a terrific success! A recap is to follow, but first some of the other sights and sounds filling my head.

There Is A Light That Never Goes Out

2010-04-21T14:00:00.000-07:00

Another lull in updates, for which I have no significant excuses other than simply lacking anything very compelling to report or share, and I've been keeping busy in other ways.

However, I do have something to offer up.

Post Penumbra Show Teaser from Fu Paullada on Vimeo.

This Saturday, April 24th, the third show put together by the Upper Six Hundreds, of which I am a proud part of, will be unveiling our newest group show. It's entitled Post Penumbra and marks our first venture outside the infamous Venice House. This time, our show has expanded significantly, and we've taken over a 7,000 square foot showroom at the base of the Packard Lofts in Downtown Los Angeles. There are 30+ contributing artists, and the whole event is a gigantic leap forward for our collective. We're actually becoming a bit more legitimate - doing proper advertising, getting city permits, and all-around stepping up the renovation process of the huge space.

If you're in Los Angeles this coming Saturday, I highly recommend stopping by and taking a gander at all our hard work. Below is the invitation, designed by our ringleader, Sami B. For more information about the Upper Six Hundreds, the upcoming show and our past works, please check out www.u600s.com.

Here is the full write-up about the show:

Prepare to enter this space using only your imagination. Existing beyond the 600th dimension, it is a mystical land that can only be experienced during the intensifying moments in which we call POST PENUMBRA. Prepare yourself for a timeless travel to an interdimensional world of luminous sights, wondrous sounds and the depths of dark minds.

The Upper Six Hundreds Present

POST PENUMBRA ART SHOW

Featuring Original Work By:

Lillian Emrani • Daniel Phillips • Samitra Borhanpour • Justine Serebrin • Kim Karlsrud • Betsy Grella • Meg Littler • Fu Paullada • Timothy Casebolt • Abigail Cosio • Mika Revell • Mehran Azma • Jennifer Doran • Donny Phillips • Bobby Musgrove • Julie Mitchell • Jeremy Kelley • Michael Fister • Christi Johnson • Maya Eslami • Lucia Loiso • Jessica Dalva • Allison Reimold • Jaw Cooper • Danielle Buerli • Jenn Romero • Tuna Bora • Robert Lepiz • Daniel Griffin

Also Featuring:

*Unforseen Musical Performances By A Family of Mystical Minstrels
*Live puppet show
*Live masquerade painting
*Intoxicating potions

Dressing in your best full-white attire is strongly encouraged, for ALL will be illuminated.

Saturday, April 24th • Doors open to public at 7 PM
Showroom of the Packard Lofts building
1000 South Hope St., Los Angeles, CA 90015
$5 Suggested Donation • All Ages Welcome

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If you can't make it, check back here, as I plan to document the night's activity. I'll also be posting some other exciting non-Upper Six Hundreds news in the coming week, as well as a little gift for you followers.

Are You Not The Same As You Used To Be

2010-03-01T09:42:00.000-08:00

All things that go up must come down. It is the way of the world, and trying to maintain a permanent happiness is a waste of the time you could spend just enjoying it while you've got it. This isn't a depressive rant, it's a perspective that actually dwells on optimism in a more realistic slant - rather than a sappy, hippie-esque solution of “it all works out in the end.” I can guarantee, that at least with death as a factor in everyone's life, it doesn't work out in the end. We all are divided from the things we love at some point or another. What works is simply the in-between; the work itself. The romantic notions of souls that live on, etc. has a sweetness to it that at 29 seems like just a sugar-coating for a bitter-truth none of us really want to think about much. What counts is the work, the effort, the intent. You should try to do something memorable without the expectation of it sustaining indefinitely.

So, let me document some more of the in-between; this is some of the work and some of the workers.

On Friday was the opening of the new group show at We Are Industry (as mentioned in the last post). It was a fun night, orchestrated quite well by the hard-working Jaymie Wile (owner of We Are Industry). Good people, good food, good drinks and most importantly, good art. My friends Matthew and Nathan were also a part of the group of artists who contributed to the showing, as well as a bunch of other people who I do not know, but was impressed by. Here's some highlights, for the full set of photos from the night, hit my Flickr.

I was originally working on an homage to Rowland S. Howard, but due to material complications (painting on top of roses isn't easy) I abandoned my initial effort and put together this design, which I was able to get printed and framed the day before the show. It's called “Gateways” and I'll let you read into it as you wish. Talking about the specific symbolism would just make me sound like a pretentious art-snob bullshitting meaning into something that was ultimately just made to be nice on the eyes.

I split from the art show early, as I had to head across the county to attend a farewell party in honor of a house where I'd spent many memorable nights with friends during college and afterwards. My dear friend Sami was moving out of the infamous Venice House which housed two of the biggest art shows I've been a part of, as well as the fucking best Halloween parties. Granted, my mood had dropped quite a bit by the time I'd arrived, I managed to stay long enough to catch some final shots of the unique faces that always inhabit get-togethers there. And again, the full set is on the Flickr business.

Keep Slipping Away

2010-02-05T20:40:00.000-08:00

A brief update to share a few new things I've got going on. First, I've started a new public Twitter page where I'm posting Twit-size music review of my LPs. I recently got a new (better) stereo setup and (bigger) record shelving unit, so I've decided to go through my collection one by one and review each LP I've got. It's a fun way at rediscovering some dust covered classics, as well as help decipher which to rid myself of in order to par down my collection. It's ordered alphabetically, and I'm still just on the A's. If you're into music reviews and that sort of thing, you're welcome read it or follow me here - Dust and Static.

At the end of this month I'm going to be part of a group art show put together by my friend Jaymie, over at We Are Industry. Some other great artists are involved too! So, if you're interested in heading out to the Monrovia area, it's February 26th at 7PM and should be good fun. Below is the flyer Jaymie has put together with all the info:

I'll try and take some good pics from the evening and post them afterwards.

I've also started recording some music under a new moniker, Black Prisms. It's nothing to write home about yet, just more experiments in some audio-recording programs I'm still trying to learn. I do this all on my own, at home, when I find the time between all the other things going on in my life. I covered Bob Dylan's “It's All Over Now Baby Blue” but coated it with a thick layer of haze. Click on the image below to download the song for free.

2010 has been a little slow to start in terms of music releases. I'm really liking the new Shout Out Louds record, Work. It's not out yet officially, but you know the drill. While it's not quite as memorable as Our Ill Wills, it's still got some great tracks on it. I especially like the subtly of “Play The Game”, and more of The Cure-channeling in “Show Me Something New.”

Also, despite being a late-2009 release technically, the Grouper/Roy Montgomery split is amazing. To be honest, I haven't even given the Roy Montgomery side a second listen, but that's to be expected. Liz Harris/Grouper is my absolute favorite musician around these days, and very possibly of all time. I can't write enough about how affecting her music is.

Lastly, the new A Place To Bury Strangers single, “Keep Slipping Away” off the stellar and highly recommended Exploding Head LP that came out last year is on a steady repeat as well. The video is terrific and fits the band and song perfectly. Check it out if you haven't already!

Collapse Into A Dream

2010-01-05T14:13:00.000-08:00

2009 was nothing short of amazing when it came to the quantity of quality music releases. Here's my take on the best it had to offer...

Top 40 Albums of 2009

The Horrors "Primary Colours"
The Raveonettes "In and Out of Control"
The Big Pink "A Brief History of Love"
Crocodiles "Summer of Hate"
Lotus Plaza "The Floodlight Collective"
Phoenix "Wolfgang Amadeus Phoenix"
Grizzly Bear "Veckatimest"
Atlas Sound "Logos"
Cold Cave "Loves Comes Close"
Camera Obscura "My Maudlin Career"
White Rabbits "So Frightening"
HTRK "Marry Me"
St. Vincent "Actor"
Animal Collective "Merriweather Post Pavilion"
Pains of Being Pure At Heart "s/t"
A Place To Bury Strangers "Exploding Head"
Rowland S. Howard "Pop Crimes"
Julian Casablancas "Phrazes For The Young"
Cass McCombs "Catacombs"
Gentle Touch "In Memory of Savannah"
The XX "s/t"
Tegan and Sara "Sainthood"
Speck Mountain "Some Sweet Relief"
The Mary Onettes "Islands"
The Black Ryder "Buy The Ticket, Take The Ride"
The Sunshine Factory "Vintage Revolution"
800 Beloved "Bouquet"
Former Ghosts "Fleurs"
Howling Bells "Radio Wars"
Handsome Furs "Face Control"
The Twilight Sad "Forget The Night Ahead"
Gliss "Devotion Implosion"
Hatcham Social "You Dig The Tunnel, I'll Hide the Soil"
Bear In Heaven "Best Rest Forth Mouth"
Hope Sandoval "Through The Devil Softly"
SPC ECO "3-D"
The Cave Singers "Welcome Joy"
Yeah Yeah Yeahs "It's Blitz"
The Dead Weather "Horehound"
Apse "Climb Up"

Top 20 EPs / 7"s of 2009

Grouper - all four splits (City Center, Pumice, Roy Montgomery, Xela)
The Horrors "Whole New Way" 7"
Crystal Stilts "Love Is A Wave" 7"
Best Coast "Black Iris Presents..." 7"
Zaza "Cameo EP"
Dum Dum Girls "Yours Alone" 7"
The Drums "Summertime EP"
Beirut "March of the Zapotec/Holland 2xEP"
Deerhunter "Rainwater Cassette Exchange"
S.C.U.M "Visions Arise" 7"
Ruling Class "Sleeping Beauty" 7"
Bon Iver "Blood Bank" EP
Crocodiles, Dum Dum Girls, Pens, Grafitti Island split 7"
Lovers Love Haters "s/t" EP
Demontre "Demo" EP
Depreciation Guild "Dream About Me" 7"
Liechtenstein "Survival Strategies in a Modern World"
Warpaint "Exquisite Corpse"
Tamaryn "Led Astray, Washed Ashore" EP
No Age "Losing Feeling" EP

Top 15 Best Shows of 2009

The Horrors & The Kills at Henry Fonda Theater & Glass House
Friendly Fires, The XX & Holly Miranda at Henry Fonda Theater
The Raveonettes & Crocodiles at the Glass House
The Big Pink & Crystal Antlers at Detroit Bar
Animal Collective & Grouper at Wiltern
Grizzly Bear & Here We Go Magic at Wiltern
The Dead Weather & Mini Mansions at The Roxy
St. Vincent at Hollywood Forever Masonic Lodge
Foreign Born & Best Coast at Spaceland
Dum Dum Girls & Pearl Harbor at Spaceland
French Kicks & The Broken West at Troubadour
Cold Cave at The Echo
Grouper & Nite Jewel at The Smell
Gliss at Spaceland
Hope Sandoval & Dirt Blue Gene at Mayan

Top 10 Record Labels of 2009

Art Fag
4AD
Captured Tracks
XL
Slumberland
Sacred Bones
Hozac!
Zoo Music
DiscError
Domino

Top 5 Music Blogs

BG
SSFDL
TIED - NT & NTRU / WKP / LWTUA
LMG
SA

Now then, what were your favorites of 2009?

Crowned By Sorrow

2009-12-30T10:49:00.001-08:00

Back in 1998, when I was 18 years old, my best friend Willy Graves and I were introduced simultaneously to a band called The Birthday Party via our friends Brady and Travis. They insisted we pick up The Birthday Party's Hits record one day while we were all out record shopping at Off The Record in San Diego. I remember both of us being in a bit of awe and confusion about the sounds we heard churning out of the speakers as we put it on for the first time. From that day forward, we pledged allegiance to the sinister stylings that Nick Cave, Rowland S. Howard, Tracey Pew and Mick Harvey concocted, and morphed our musical direction in that path. Willy took a real particular interest in Nick Cave, and became obsessed with the Aussie crooner, snatching up all his solo records and even his literary work. While I also was quite fond of Cave, my real attraction was to guitarist Rowland S. Howard.

To me, Howard emitted a haunting cool, with his sunken cheeks, dark hair, large-eyes, wirey figure and ghostly guitar prowess. I was always perplexed how he got his guitar to squeal and sustain with such power without becoming piercing or overly distorted. He created this lurching and spindly style of playing that I often attempted to emulate. Rowland S. Howard was not only a musicial inspiration, but also an aesthetic one. I remember on several occasions going so far as to ask my Mom, a former hair stylist, to give me a haircut just like his. Even the last guitar I bought, a Fender Jazzmaster (Howard played a similar Fender Jaguar), I held out for until I could find one with the trapezoid inlays on the fretboard due to Howard's having the same.

(Birthday Party-era Rowland recording his parts for “Jennifer's Veil”)

Sadly, last night my best friend William Hart informed me that Rowland S. Howard had just been reported to have passed away. William described it most earnestly, saying “I've never felt upset like this about someone I never met.” Beyond musical influence, he is responsible for adding a common thread to some of the closest relationships I've had with friends, particularly the two William's mentioned. The latter William and I took keen liking to Howard's post-Birthday Party work in Crime & The City Solution, These Immortal Souls, as well as his collaborations with Lydia Lunch, Nikki Sudden, and his solo efforts. In the early 2000's, we even started a band called Baby's Breath that drew heavily from those influences.

In October of this year, Rowland S. Howard released his second full-length solo record entitled Pop Crimes. It's a beautiful return to form from a man whose reemergence couldn't have been more welcomed or time appropriate. His playing style reshaped post-punk music, and its influence has been strongly popularized as of late with the success of younger bands like The Horrors, Crocodiles, HTRK and several others. While his death at any age would've likely seemed untimely, it is especially sad considering how well-received his newly released record is. Fortunately, there is no doubt in my mind that his legacy will love on beyond any expectant lifespan for such a talented individual.

R.I.P. Rowland S. Howard, 1959-2009

Roses In The Park

2009-12-09T14:52:00.000-08:00

For the past few months, I've been volunteering my Sundays to Project H and the Downtown Women's Center by assisting in the creation of garments and products from recycled/donated fabrics and goods. I was introduced to Project H by the always social-minded Fu-meyster, and invited to assist by our good friends Daniel Phillips and Kim Karlsrud. Together, along with several other volunteering designers and women from the shelter, we've made some really awesome products that will be auctioned off this Saturday at the Project H LA Event. The proceeds from the sales will go to the Downtown Women's Center, which is a nonprofit organization that provides meals, supportive housing, and a wide array of health, education, and other supportive services to homeless and very low-income women each year.

I know I've posted a few other events I've been a part of in the past, however this one is for a really noble cause and I sincerely hope any of you who are in Southern California this Saturday night will join us at the Project H LA Event held at Artecnica. Click on the flyer above to view the full information.

The Highway Is For Gamblers, Better Use Your Sense

2009-11-28T11:13:00.000-08:00

With Black Friday at hand, I've decided to take stock of the past year's staples in my wardrobe rather than invest in new threads with slashed prices. Besides, I've already been blowing my monthly allotted budget at the newly opened All Saints store on Robertson in LA, as well as buying new music gear for home-recording purposes (which I'll touch on this in a later posting).

My friends William and Brandie, along with their nice friend Christine whom I've met on a couple of occasions, have all posted great entries in the past about their own personal outfit anatomy. Following in suit, below are some of the additions I've accrued in the past year or two that you're likely to find me donning at any given time.

First and foremost, I went all out and bought this amazing All Saints jacket several months back. I won't lie, the price tag on it was the highest dollar amount I've ever spent on an article of clothing - but I can say without hesitance that it was worth every penny. It's perfectly tapered in all the right areas, the leather is really soft and broken in, and the chipped-paint on the buttons and zippers really give this the overall feel that I've had it for a decade. I never leave home without this jacket. If I were to lose it tomorrow, I would without a doubt buy another.

Continuing on the All Saints tip, underneath the jacket you'll notice the over-dyed plaid button-down also from the same label. I bought this pretty recently, but it's already a favorite. All Saints had the genius idea of including pliable wiring in all the major seams, making it super easy to make this look crunched and well-worn. For example, you can bend your collar, front placket or waist-edge and it will stay in the shape you've contorted to. Plus, the overdye-print gives it a bit of a darker edge, moving it away from a lumberjack-feel and more toward Rogue's Gallery-style sailor motif.

And again, another All Saints button-down, this time in a more formal vibe for those nights where plaid would come across as too casual. What sold me on this shirt was the bottom-front details, which were tailored in the shape of vest tails and unique three-button placket.

For every button-down, you need a t-shirt in case of rising heat. Below are just several of my favorites, but I've amassed more t-shirts than really would ever be necessary in this lifetime. First is a typical band t-shirt, which I have way too many of. This one is for The Big Pink, which I ordered online through their website. Aside from adoring the band, in general I think light colored shirts with photo-realistic prints really look great. I own a couple other in this vein, and they're always my go-to's when I'm dressing lighter.

The next is another band shirt, this time for Pains of Being Pure at Heart. When I initially bought this shirt at one of their shows, I wasn't sure how much use I'd put to it. When I got home, I tried it on and the neck rib was sewn poorly and bunched up really tight. On a whim, I decided to stretch it out, which actually caused the rib to tear. So, I decided to cut out the neck rib entirely, and split the seams on the sleeve and waist edges to unify the feel. It was the best decision I made, as I now wear this shirt all the time and love the liberal neckline which is loose, but not of douche-bag level proportions (sorry, but guys in deep-V's, you need to cut that shit out - you're not J.Lo).

One of the most comfortable t-shirts I own was given to me by my old co-worker. It was a sample the company had bought, designed by Nice Collective, and I'd always fancied it for it's faux-Slowdive graphic. The cotton is really softened, to the point where it just slips on and off like nothing. The graphic was screened from the inside, giving it a really faded appearance on the outside and typography-based image is perfect in its nod to the shoegaze greats.

Lastly for the tees, here is a shirt I bought from Ever a few months ago. Again, really soft-pressed cotton that's really light to wear. I purchased this solely for the graphic, which is screened over the front pocket, giving it a bit more dimension. I have no idea whose in the graphic, but I like how it resembles Suicide a bit.

Onto bottoms! I'm not really much for slacks, I just don't ever find a good fit and don't want to pay the price of tailoring. I stick to denim jeans, and when I find a good pair, I wear them religiously. I also make it a point to not wash them, especially black ones, because once the first-wash fade kicks in - they lose some of their charm. Obviously if they start getting gross, I will, but the two below I've owned for the better part of the year and haven't washed once. If you're careful and generally clean, you won't have to and it never becomes a hygiene issue.

In April, I bought William a pair of April 77 Joey fits in black, as it was on his wishlist of things. After seeing them in-person, I decided to kick down the cash and buy two pairs for myself. I'm so in love with the black ones that I bought yet another pair in the same color in case the ones I wear daily rip. The fit is incredible on these and the construction has been super sturdy thus far. These are definitely the most worn items I own presently.

And what would a good pair of jeans be without an equally good pair of shoes? This year marked my first in owning more then three pairs of shoes at any given time. For running comfort, I'll jump in to my Fred Perry plimsouls or Adidas sambas (both not pictured), but during the work week, I'm generally found in any of the following.

First is the best thrift-shopped pair of Oxford I've ever purchased. These beauties were already well-worn in, and are the most comfortable dress shoes I've ever owned. Sadly, they're starting to fall-apart, but I will continue to wear them until their untimely death.

A couple of months ago, I scored these beautiful Repetto Oxfords on sale from the equally stunning Confederacy boutique in East Hollywood. They've got a really slim-profile heel and the leather is ridiculously soft - which means these will only come out on special occasions, as I'm worried they could tear quickly if they're sported daily.

And then there is my newest footwear addition/addiction –these All Saints military-style boots. They're far and away the most rugged looking shoes I've owned, but are incredibly comfortable. All Saints scores again, adding a side-zipper to conveniently allow for taking on and off, instead of going through elaborate maze of laces. You can wear your jeans tucked into 'em or over top, and either way they look great.

Last, but certainly not least, there are the accessories. Let's start at the top and move clockwise, first covering the grey Fred Perry wallet (and self-added chain). Got this for free from a store that sympathized my bleaching incident that occurred a couple months ago with a newly purchased Fred Perry button-down. The wallet is great and durable, but a little on the thick side. I like the zipper enclosure, which ensures nothing falls out in transit. Next is my smorgasbord of keys and basic silver clasp key holder. Not sure what to say except that having these dangle from my back belt loop often gets me mistaken for a janitor or store employee. I can't help the fact that I need all those keys (and always necessary bottle opener). Moving on, I found this pair of sea-foam green Wayfarer knock-offs for sale at some street-side vendor for $5! The color is semi-translucent and I haven't seen a pair like 'em since. Next is my Rogues Gallery necklace, which I've had for a couple years now and was a gift from an old co-worker. I've got a penchant for all things nautical, and this necklace keeps in that theme. Following that are my assorts bracelets, pins and my sole ring. The leather coiled bracelet on the left was a cheap H&M pick-up, which I've adorned with an amazing clockworkd-gear pin given to me by the very kind Catherine (whom I have been lagging big time in returning a thank you gift). At the top of that bracelet, you can see my sterling silver skull ring, which I purchased from Necromance. I used to have difficulty finding rings that felt comfortable to wear, but this one is just right in sizing. To the right, you can see a single-band rubber bracelet given to me by William's Mom. It's adorned with an anchor, and I've since added a silver charm of fangs sent to me by Will and Brandie for my birthday. I'm actually intending on putting that charm on a necklace, but haven't found a good chain for 'em just yet. To finish it all out, everything is lying atop a black and grey Union Jack scarf I purchased from All Saints.

So, that's that. My anatomy, detached of me. As always, I'm curious to read and see other people's own interpretations.

You'll Be The Dust of The Room

2009-11-09T07:18:00.000-08:00

I know this is a couple of weeks after the fact, but I wanted to write a bit about the group art show my friends and I put on called The Alchemy Archives. It was the second installment by our group, which we call the Upper Six Hundreds, and it absolutely topped our previous show. We spent a lot more time, effort, and money with the latest exhibition and it paid off. The evening went of with out much of hitch. There was costumes, artwork, movie, live music, sets, and so much more than I could possibly try to sum up. Below are pictures that do it a little better justice, but still not nearly enough as seeing it all in person. We're starting to talk about plans for our third, in which case, I encourage you all to attend.

You can view more photos I took from the show here. My good friend Fuser, also part of the Upper Six Hundreds, has also posted a set of his photos here too.

Hold The Way

2009-11-08T21:00:00.000-08:00

I know I've written about Grouper (Liz Harris) once before, after first discovering last year's Dragging A Dead Deer Up A Hill. However, since then she's really come to dominate my musical likings. With 2009 nearing a close, the inevitable list of albums I'll be putting together to compromise my list of Favorite Albums of The Decade has been ever-present in my mind. In examining my listening trends, I realize nothing has quite topped her album in the last ten years (though some have come close, mainly Interpol's Turn On The Bright Lights from 2002). In anticipation of what her forthcoming new music might behold, I've been seeking out all the other releases she's put out prior to Dragging, which include two prior full-lengths and a handful of 7"s and split-releases with other like-minded acts.

What's so engaging about Grouper is the space she provides in her actual music. Often her songs are nothing more than a couple of distant melodies that are repeatedly piled atop one another to the point where they reach this ethereal calm. Without sounding like a total sap, my absolute favorite way to experience her music is late at night, driving around alone on usually-busy streets that become dark and desolate by midnight. It takes me to a place where I can fixate and reflect without distraction, like the occasions in which you're in a dialog with someone and you lose focus and end up staring at some inanimate object unknowingly before being snapped back into the realm of full-attention. It's the best way I can describe it. Try it sometime.

Here's a video of her newest song, “Hold The Way”, which is slated to be released as part of an EP whose full details are yet to be announced. It captures the haunting feeling pretty accurately, but stylistically shows how she's varying her sound in a slightly new direction. The video itself is pretty stunning. It should be noted that the meat of the song doesn't kick in until a minute or two in.

Even if you don't quite like it, I still suggest you give Dragging A Dead Dear Up A Hill a real whirl. Its effects are like few I've felt before. Here's a nice fan-made video for one of the actual album tracks, “Heavy Water/I'd Rather Be Sleeping,” which I never seem to get sick of hearing.

Grouper is made up just one woman, Liz Harris, and she is based out of Portland. If you like her music, please support it the right way. Here's her MySpace and her Blog.

You Know Someday You'll Slow

2009-11-08T18:41:00.001-08:00

Days are bleeding into weeks then months then years, and I am watching it all accelerate and just shaking my head a bit in simple acknowledgement that there's nothing I can do about it. I've wasted so much of my time and energy holding onto things, or people rather, I should've just walked away from upon first sign of negligence. Unfortunately I didn't, and now I'm starting to really see how wasteful I've been with my days. Life's too fucking short to let anyone treat you like a possibility, or an option – so don't do it. People have factored me like so, and to be honest, I've done the same to others. Nobody should lack respect for themselves to that capacity – to let another dictate your relevance in their life. In all fairness, in a lot of my own circumstances, I've knowingly chosen to take on the role of being someone else's doormat or personal esteem-boost. Today though, I seem to be latching onto more of a third-person's view of how my naively idealistic and romantically-skewed dedication has stalled me from being at the place in my life I'd hoped to be at by this age.

Long story short, I've always known I've wanted to be a father and, now at 29, for the first time ever, I'm starting to see that the window of opportunity actually has an expiration date. I'm thinking in terms of practicality for a future where I'm not so old that I can't relate to my children. I don't want to be 40 and having my first child. No offense to anyone who is around that age, or had parents who were when they were born. I just want to be a fun Dad, the kind who can still goof off and chase the kids around the house without having to stop to catch my breath. I've always known, without much doubt, that I'd want kids someday. Maybe it's overcompensation for the experiences my Dad was too busy to provide toward me - but aside all that, I just really think I'd be good at it, you know?

So now, approaching 30 in less than a year, I'm starting to feel the tick of the clock. I want to build a relationship that I can trust before I get married. I hate to set specifics on it, but I can't really imagine proposing to someone who I've been with for less than two years. I'm not saying I wouldn't propose sooner if I absolutely knew the person was the end-all-be-all of my life. However, the last thing I ever want is a divorce, so I think a couple years together isn't an unfair expectation to ensure a true commitment to a marriage. If I was to get married, I also would want to spend a couple years just really spending time with my wife - just the two of us, traveling about and living up our fleeting days of true youth before deciding to dedicate our time and energy towards a family. So, that all being said, in the instance I met my future wife tomorrow, by the time we'd get married and had our first child, I'd be somewhere near 35. If she's on the same agenda as I am, she'd hopefully want a second - putting us somewhere near the end of our 30's, start of our 40's.

Anyways, I know all this timeline plotting ruins the spontaneity and builds expectations, but I'd be foolish to just cast it all to the wind. I guess I've just come to the conclusion that my over-the-top (and narrow-focused) romanticism may be what's actually causing my delay in meeting someone who I could feasibly spend the rest of my life with.

I used to abhor the idea of ever “settling” for someone. Even typing it out now, I still don't think I ever could marry someone I wasn't 100% sure of being “the one.” However, I've built up this bullshit criteria in my head that's kept me from actually giving some people a real shot. I've let something like music, my biggest passion in life, be the basis of which I assume personal compatibility. It's a fucking joke if you really think about it. I'm not going to lie and say there isn't this huge part of me that feels music is the strongest way I can relate to others, but to let that dominate my assessment of someone's character - it's like, where the fuck do I get off? Do I really think that my life with someone who I couldn't listen to records with would somehow negate all the other things I could share with them - like a family and a home?

Maybe I'm getting too John Cusack at the end of High Fidelity right now, but it's coming from a real place of self-questioning. Last week I put my first offer on an actual home I was hoping to buy (it ended up being sold to another buyer who offered all cash upfront). Walking around inside of it, I could start to see all the puzzle pieces fitting together – I just wished I had someone there with me who I knew I would be sharing it with.

All I know is that I'm not wasting any more time waiting on people who can't decide what they want out of life. For the young, don't stress yourself out over it - you'll find your own place in due time. For those in similar positions - I wish you luck in taking hold over the time you have, even if it means walking away from someone you told yourself you'd wait forever for. In the end, if forever is how long they'd make you wait, clearly their agenda never had you in mind at all.

Sorry for the weight of the post.

Some Things I Fear Never Will Be

2009-10-31T08:56:00.000-07:00

They've done it once again, and I am rendered completely envious.

Somewhere in Seoul, someone is suddenly feeling a bit restless by the lyrical connection to this song.

Night Walks With Me

2009-10-23T09:14:00.000-07:00

For any of you in the Southern California area, tomorrow night (Saturday October 24th) will be the reception for the newest installment of our group art exhibitions, this time called The Alchemy Archives. It absolutely blows away our last show, which I'd posted about previously. We've spent a lot more time, energy and money on this newest one and it's going to be an event that you shouldn't afford yourself to miss. There will be art, music, films, absinthe fairies, a futurist, an oddities display collection, costumes, crafts and drinks (did I mention absinthe?). I will certainly follow-up with a more elaborate post documenting the madness that will likely ensue. For those of you interested, below is the flyer outlining all the information. Drop me a line if you do plan on attending. It's open to the public and there is a $5 suggested donation at the door, which gets you a drink ticket and access to all the corridors. Attendants are encouraged to come costumed, but not required by any means. The whole event is themed in a turn-of-the-century, London Fog, steampunk, Jack The Ripper, German expressionistic feel.

Body Next To Another

2009-10-20T01:41:00.000-07:00

And this new song, “The Ocean”, by Tegan and Sara is my favorite off their soon-to-be-released album Sainthood (which is currently dominating my car stereo).

And the live version...

What gets me the most is the line that makes up the chorus, It's been so long since you've said, “Well, I know what I want and what I want is right here with you.“

Yes, I really do like Tegan & Sara. There's only so much darkness and mystery one can shroud themselves in. Sometimes I need a pop fix – deal with it.

Keep Your Eyes Ahead

2009-10-12T00:57:00.000-07:00

It's a done deal. I'm 29, and I'm feeling quite alright about it. I spent Thursday night thru Sunday morning in Portland, Oregon with my two best friends, William & Brandie Hart. It was my third time visiting Portland within the last 10 or so years, and it was by far the best experience I've had thus far. Will & Brandie moved up there earlier this year, much to my playful objection, and as a result my bitterness toward the city that stole them away had increased. However, having experienced it through their hands, I've gained a much great appreciation for it.

On Thursday, we hit up the Doug Fir lounge to catch The Depreciation Guild and arrived early enough to see Warpaint play a great opening set of their brand of Los Angeles ethereal jams. The highlight of their set was the tune “Billie Holiday” that sounded like a female-sung Grizzly Bear treatment. The Depreciation Guild soon followed and played another great set that was on par with the one I'd seen a few weeks earlier when they were in Los Angeles supporting The Pains of Being Pure at Heart.

(Warpaint live at Doug Fir Lounge)

(The Depreciation Guild live at Doug Fir Lounge)

We high-tailed it out of the Doug Fir to satisfy our stomachs, and stuffed ourselves with delicious eats from the local food carts Brandie & Will had spoken so highly of. The food cart "scene" is pretty awesome in Portland and seems like a growing industry for young people who don't have either the time or investments to establish a full-fledged restaurant. Following our late dinner, we drove around a bit and the Harts gave me a pre-tour of the town during the late hours.

Friday morning, we got up pretty early and ate breakfast at one of the best restaurants I've been to. It's called Gravy, and thanks to their notoriety for big meal portions and incredible dishes, there was a line to get in that stole away a good 30 mins of our adventure time. However, after experiencing one of their omelettes, I can assuredly say it was well worth the wait. Following breakfast, we occupied the remainder of the day and evening hitting up every interesting retailer in the area. From the amazing four-story Powell's Books to Jackpot Records to half a dozen antique stores and vintage shops, I was treated to the full-spectrum of sold-goods in Portland. By the time we wrapped up our shopping excursion, I had 6 books, 2 records, an antique owl desk-bell, half a dozen various print decor pieces for my apartment and a beautiful marble-red Italian Stiletto switchblade that I'd long been dreaming of owning.

(Will & Brandie being coffee addicts at Gravy)

(Will trying to get a piggy-back ride from Brandie at Powell's Books)

We finished off the night with some amazing pizza from a place called Scholl's, followed by a quick jaunt thru an old school that was converted into a hotel, whose bottom floor had various rooms that housed different themed bars. It was definitely one of the most interesting establishments I'd visited while there. We arrived back at the Hart's home before midnight and spent the last hour of my 28th year watching a random Coffin Joe movie on the television. When the clock struck midnight, they wished me a Happy Birthday and a minute or two later I received an unanticipated phone call from someone quite dear to me.

For my birthday, aside from the amazing box of gifts filled with all sorts of great trinkets, antiques and books they'd given me when I woke up, Will & Brandie proposed taking me to Astoria (two hours Northwest of Portland) to visit the various landmarks that were featured in my favorite childhood movie, The Goonies. It was a symbolic gift that few other people in my life would ever think to do for me. I'm an absolute Goonie at heart, so it really did help curb the doom-and-gloom feeling that comes with the knowledge of getting older.

After grabbing bagels and filling up the tank, we hit the road for Astoria. We arrived sometime around noon and immediately headed straight for the sites Brandie had gathered info on from thegoonies.org. First was the jailhouse that the Fratellis broke out of, then the museum where Mikey's Dad worked at, followed by a visit to the actual house that Mikey and Brand lived in (also where Chunk did his famous Truffle Shuffle in front of), we drove past the bowling alley Chunk was seen in briefly, and finally we headed to the Astoria Column (where many of the scenic shots from the movie were taken. Once there, where we climbed up the 164 circular-stairs to the top of the column and launched off styrofoam gliders that Will & Brandie purchased at the gift shop. Oh, and to emphasize the Goonie-quality of it all, we munched on Baby Ruth candy bars while taking in the amazing view of the area. We concluded the trip to Astoria by visiting the Peter Iredale Shipwreck and running around the sand dunes off its shore.

(Fratelli's Jail House from The Goonies)

(Inside the Flavel House Museum)

(Brandie & Will in front of the Goonies house driveway -
the middle of the sign reads “Goonies on foot welcome”)

(The Goonies House!)

(Brandie & Will launching their flyers off the top of Astoria Column)

(Will & Brandie at the dunes in Astoria)

The whole experience was far greater than I am conveying here, but in an effort to not go into to much detail, you'll have to accompany this summary with the full set of photos I've posted from the trip here.

We left Astoria and arrived back in Portland in time for some dinner at Dots Cafe (which is really more of a bar) where I scarfed down an amazing Vegan Medley, and a last minute pit-stop at Pix Patisserie for some macaroons. We landed back at the Hart's house where we wrapped up the night with some RoboCop and the realization that my 7:10AM flight back home meant we'd have to be up in a few hours. We all crashed after midnight, and woke up again at around 5:00AM. I packed all my stuff, headed to the airport, said our good-byes and I was back in my apartment in LA by 9:30AM.

The trip was brief, but Will & Brandie made the most of it with me and maximized it to the fullest. It's a weekend I won't soon forget and the best possible way I could've hoped to spend my 29th.

(29 ain't so bad)

What I'd Give To Make It Stay - 100th Posting

2009-10-06T21:53:00.000-07:00

Prep yourself now, I've got a feeling this might be a long-winded diatribe about nothing in particular other than some inward-glance-meets-outward-reflection. This is my 100th blog posting at this specific spot on the Internet. And while that triviality really is quite meaningless, I have this weird, self-imposed feeling I've got to make it count. So here it goes. Ready?

In 4 days I will be turning 29 years old. It marks my last year as a twenty-something, and puts the discomfort of a generation gap between my teen years right in front of me. Truth be told, I really don't give to big a shit about it - but on the other hand, I'd be lying if I said I didn't feel like it was at least a little symbolic. I've never been one to fear growing old, perhaps because I've always felt like the typical shenanigans associated with being “in your twenties” never really interested me. I've always been a bit old-fashioned, you could say. But as I inch closer to a more severe era of adulthood, I can't help but prematurely miss the interests that defined me for the last 9 years.

Now, don't get me wrong, I'm not completely ill-guided enough to think that there's no more goodtimes ahead of me after this next year. I just grow fonder of the memories that have passed. A couple of days ago I was sorting thru photographs and inadvertently took a trip down nostalgia lane. Pictures of old friends, past shows, forgotten adventures and the canon of old romantic flames reminded me of the fact that I've lived some amazing days (and nights). It made me wish I could go back to so many of those moments and watch as a spectator from a distance. Sadly, Marty McFly & Doc haven't quite perfected the delorian time-machine quite yet, so I'm left with the dwindling memory-recollection I am still lucky enough to have. The images serve as documentation, and that documentation acts as a gateway into a part of the mind I think most of us forget we're so fortunate to have. Without memories, the past is lifeless.

In keeping with that sentiment, I think that as important as it is for you, the fellow bloggers, to write in your blogs about things like your interests in fashion, music, films and other elements of pop-culture - it's even more important to document your life. Your experiences may not be as immediately of interest to an outsider whose stumbled upon your spot on the Internet while searching Google for information on a band you might've mentioned in your blog. However, the connection they might make by reading one of your experiences to one they might've forgotten about is ten times more valuable, in my opinion anyway.

If you've spent a few minutes browsing through this blog, you'll know I sprinkle my posts with occasional elements of things that occur in my life outside of just my tastes and opinions. Well, my goal for this next year is start doing a lot more of that. I'm going to try and get a little more personal again. As such, I realize that I'll be inviting criticsm about things that matter far more to me, and I will inevitably second-guess the concept and likely refrain once again. If you're a naysayer and enjoy taking the piss out of me, I don't really blame you. But I'm asking here, as a human being, for you to please just save it. Whether or not you think I'm a self-absorbed, hipster, emo-wranting, rhetoric-spouting dimwit - voicing it won't be revelatory in most cases. Anything negative you think about me, I guarentee I've thought about myself already. If you're smart, you'll consider the same of yourself - otherwise you could be in for a rude awakening.

It's just the way it goes.

I won't hide the fact that the last request stems from a pretty scary notion I've been thinking up - which is to put into public some writing and documentation about my very personal life. If you've read or seen High Fidelity, you might have a gist of what I'm getting at - revisiting old relationships and putting down the experiences in words, giving all the specifics as best as I can remember from my point-of-view. My current dilemma is whether or not I should put it on display here in this blog, or if I should I start (yet) another sub-sect blog that might be easier for me to privatize should I start to feel like vulnerability of its contents are too much for me to handle on a broader audience scheme?

Anyways, I'm probably spinning my own wheels at this point.

Thanks to all you blogger friends who've left comments on here, and to you public (and private) subscribers who for some reason or another have deemed this blog worthy enough to keep tabs on. I hope you get something out of it. If I wasn't so lazy during my downtime from work and the other commitments in my life, I think this whole thing could be a lot more interesting. I'll try and work on that. In the meantime, I'm heading up to Portland for a few days of memory-making with two of my best friends in the whole-wide-fucking-world.

...29, see you soon.

Sleeping Off A Century

2009-09-11T10:51:00.000-07:00

I will post again more in-depth on the topic, but Cold Cave's Love Comes Close is a phenomenal album and song. I can't recommend it highly enough. The following lyrics filter down my state of mind into a few poetic lines:

“Love comes close, but chooses to spare me.
Death comes close, but ceases to take me.
I want to twist the knife a bit deeper,
To siphon the love from the heart I believed in.”

Sirens In The Deep Sea

2009-08-24T08:22:00.000-07:00

Samantha Valentine, of Ipso Facto and R O M A N C E, has charmed me with her sinister ways. She now shares company in the pantheon of my heart alongside my other dream girls Annie Clark (St. Vincent) and Audrey Tautou. I have no idea what she's really like in-person, but based on the way she chooses to present herself stylistically (gothic-flapper-lolita-femme-fatale) coupled with her musical talents (she plays bass and DJs regularly) and the fact that she's British (the accent alone could win me over)... well, let's just say I'm now a devoted fan.

Alright, I know this sounds ridiculously superficial, but come on - don't you think we look like we'd be a good match?!

(Samantha Valentine)

(Yours Truly )

Somebody back me up here. Please? Alright, alright, well a guy can dream, can't he?!

Back to the real world we go. Hope everyone out there in the blogosphere is doing well. A legitimate post is coming soon, and everyone I've been meaning to mail things too... soon, I swear!

P.S.
I jumped on the Tumblr bandwagon, for anyone interested. It will be limited to inspirational photos and quotations only. You can find it here.

In A World Where You're Half Right

2009-08-20T09:40:00.000-07:00

Sorry for recent video posts, time's just not on my side at the moment. Music, however, definitely is. Canvas Kites is the new band Thom started after the break-up of Mercy Arms. Of all the projects to rise from the ashes of that bands' dissolution, this is my favorite so far. It's a bit more on the indie-pop/twee side of things, and though I miss some of the mysticism and mood of Mercy Arms, this new project has a lot of potential going for 'em

And They're Waiting For Us To Arrive

2009-08-19T12:05:00.000-07:00

To me, it's about a seeing something in your mind that's quite far away from your present life, but knowing it's real and it's something worth investing all of your energies to attain. It's about the exhausting distance that needs to be crossed to make a dream really exist, and willingly choosing to travel it.

It sounds ridiculous to say, but I feel this song.

This God Forsaken Place Keeps Bringing Me Down

2009-08-13T22:34:00.000-07:00

I recommend watching the first part of this video. I absolutely adore this song, “Broken Halo”, which I first came across on one of the podcasts put together by The New Thing (the source of so many musical introductions into my listening-sphere). If there's any justice in this world, Demontré will soon be the subject of much buzz. It's a modern-day take on the death-rock formula that made Bauhaus and Christian Death so appealing to begin with. As a three-piece, they execute the song so well live.

London strikes again.

Poison In My Head, Gun Love Hurts

2009-08-12T07:55:00.000-07:00

I've been trying to set aside time to post an entry about all the things I've wanted to properly write about (new camera, records, fashion pieces, reading material, movies, events), but every time I get a free minute - I decide to spend it away from the computer. That being said, this is just a small tidbit of whats to come.

The European post-punk scene is just exploding with great new music. I come across a new song or record that soaks up all my interest (and money - damn import costs!) every week. First it was new stuff by The Horrors, The Big Pink, HTRK, and S.C.U.M., and now I'm falling for another flux by ROMANCE, Hatcham Social, Factory Floor, Ulterior and the bloom of related bands (Ipso Facto, KASMs, ADVERT, Wild Palms, etc). What I find so refreshing is the intended spectacle of it all. Here in the U.S., the "indie" scene plays it so safe and neutral. Everyone looks pleasant and approachable, and the music tends to follow suit. There's absolutely nothing wrong with that, I just have a thirst for something more sinister lately. Attitude is significantly absent in the majority of music being generated here, Stateside. Seeing a band live is a whole other element that is crucial to the overall experience of music. I find myself responding more and more to bands whose music is accentuated further by their attention to their visual aesthetic. I'm not talking gimmicks like matching outfits or synchronized stage-theatrics - just the sense that the musicians in the bands are like-minded. I hear people make references to the Birthday Party and the Jesus and Mary Chain as bands that had more of a gang mentality to them and I really appreciate that element. Here's a short list of bands, past to present, who seem to encompass the traits I speak of - an edge of darkness/mystery and a sense of a sinister bond.

(The Velvet Underground)

(Joy Division)

(The Birthday Party)

(Bauhaus)

(Throbbing Gristle - *Wm wears my mix!)

(The Jesus and Mary Chain)

(The Telescopes)

(The Gun Club)

(Suede)

(The Kills)

(Ipso Facto)

(The Horrors)

(S.C.U.M.)

(Romance)

(The Mercy Arms)

(The Ruling Class)

(HTRK)

(Ulterior)

With all due respect to my current band, we lack this element I admire greatly – which has been something that's been on my mind quite a bit lately. I suppose it's because we don't really associate outside of our scheduled band practices and when we play out. In my past bands, especially The Nightmare Syndicate and Baby's Breath, I felt far closer to the people involved (especially both the William's from each band). I felt a shared vision and appreciation for the same sorts of aesthetic directions that influenced our music. This basic principle has also leaked over into my personal life. Without digging into it much, the closest I've ever felt to someone was the person whose shared the same passions and influences. When I've been around her, it's felt like that movie-esque gang-mentality - almost in the outlaw sense. Think Bonnie & Clyde, Sailor & Lula (Wild at Heart), Clarence & Alabama (True Romance), Julien & Sophie (Love Me If You Dare) - us against the world. And again, the same bond is what separates people from being my acquaintances and real friends. I know this is nothing very revelatory in what I'm speaking of, just something that's been on my mind more and more – the importance of being around people who share your passions and being influenced by people who have distinct passions of their own.

Now if I could only attain my dream girl, move to Portland with her and convince Fu to follow along, start a band with Will & Brandie, and make amazing music I could feel proud of, I think I'd be set for life.