Friday, February 27, 2009
Mildly Amusing Booking -- the moderately different (?) pitchfork rant
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This is sorta rich, I think...
Pitchfork just released their SXSW party schedule. I don't know every single band they booked, but I'd like to take a stab at some of the logic behind this booking, and do what will probably only take 5 minutes worth of "myspace research" in order to throw an educated guess at the rest. This is to be a sort of "why am I not surprised" in the tradition of attempting to guess to the spot their year end best-of list, which I recall a few of us did to a somewhat hysterical degree of accuracy, the proof of which likes somewhere in this blogs archives. ("But anyone could've!" exactly.)
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But first, my historical emotions on a website so beloved in these hallow halls that Noggin wrote a simple crack to automatically change its spelling in order we not refer them traffic via search engines algorithms (nerd alert!!)
The complaints about pitchfork in my mind have always been the same (and at this point you really have to start with the complaints). -- 1. They don't really ever go out on a limb, 2. while they explore what's going on in other cultures, going as far as to employ boots on the ground aka 3rd party bloggers, they often turn a blind eye to what is going on in the American underground, opting to cover what's going on in what I'll call "the American-underground-music-industry" instead, 3. they periodically write unfair reviews, both overly positive and negative, as a speculative and Machiavellian practice to create a buzz loop which will in turn "prove" their own relevance, as well as help maintain their ad revenues, often to the detriment of bands,(which like the American worker we will call "hard-working" for the sake of rhetorical flourish) and finally, 4. that, even though they have to be aware of everything mentioned above, they still manage to believe their own shit, which in turn causes them to "miss the point" more often than probably should be strictly necessary.
And that strikes me as just so crass, and frankly, unnecessary. It's as if they don't recognize real rock and roll exists, and so they organize themselves around some bizarre Warholian reproduction of it, to fill a void that doesn't exist. And while you can't just ignore what was going on in Britian in the 60s (as the classical narrative would tell it) as central to any historical retelling you would find in a History of Rock and Roll class at a mediocre 4 year university, the hierarchical promotion of the Beatlemania hero-aspect of it is counter productive to a concept of rock-and-roll-as-living-art (its been said a million times, but why rate albums from 0.0-10.0 in the first place?) It's like overturning Roe v Wade...you just can't ignore precedent, and the laughability factor comes in when you consider the level of canonization Pitchfork affords to 80s alternative.
But rock and roll is alive and well, and its not going anywhere, so i should probably unwad my panties and shut up about this particular matter, because its such a straw man to profess the DIY ethic and waste time attack the music industry on any level. But I think it can still be understood as a more proper Yin to the DIY circuits Yang than say, Capitol Records. The proverbial darkness without which light can't exist.
I am somewhat remiss at this point to have neglected to mention that especially during 2003-4 when I was first in college, pitchfork turned me on to a hell of a lot of music I wouldn't have been exposed to otherwise, including from college radio. Their best tool for me (in conjunction with allmusic.com) was their searchable database of reviews from the past few years, which by the way is no longer easily accessible, and which has inexplicably in my view seen deletions. The stuff they were covering at the time was also really exciting, and the majority of what made their year end list was good shit (note: The Rapture-Echoes was still head-scratchingly their 2003 pick for best album, speculatively because they were trying to push that [*cough* New York] record in order to appear as ultra hip as possible. Oops, called that one wrong.}
But I don't think they really know what's going on anymore. I mean, they don't cover the DIY circuit at all south of Baltimore/D.C, except some West Coast stuff. If you were them, trying to do what they do, wouldn't you actively pursue this? Fuckin Yankees! And they can pay lip service in the reviews but to me these SXSW shows they book (and to a lesser extent their festival) is the damning evidence that its as much them not knowing what they are doing as anything else.
Which is to say you can pay lip service in the reviews, but that's not even really where their focus lies these day, and booking is really the ultimate test, because you have to take sides.
The full Pitchfork SXSW schedule:
12:00 - Girls (Emo's Jr.)
12:30 - The Mae Shi (Emo's)
1:00 - Little Boots (Emo's Jr.)
1:30 - Max Tundra (Emo's)
2:00 - The Pains of Being Pure at Heart (Emo's Jr.)
2:30 - Woods (Emo's)
3:00 - School of Seven Bells (Emo's Jr.)
3:30 - Wavves (Emo's)
4:00 - Dirty Projectors (Emo's Jr.)
4:30 - King Khan & the Shrines (Emo's)
5:00 - A-Trak/Major Lazer [ft. Diplo] (Emo's Jr.)
5:30 - Department of Eagles (Emo's)
Keep in mind, pitchfork could have gotten WHOEVER THEY WANTED and run this show HOWEVER THEY WANTED at ANY VENUE THEY WANTED, and yet they make THE SAFEST PICKS POSSIBLE WITH A CLEAR REGIONAL BIAS. OK, so who'd they get for their big "were the best, come to our party" rock show (and it goes without saying, I wonder which of these bands is getting paid and which aren't).
The things that stick out about this show to me: 1. Where are all these bands from, oh yeah, New York, LA and San Fransisco. 2. The inclusion of Woods and Wavves. I don't know much about these bands other than to tell you they have already for all intensive purposes "blown up." They were on Todd P (influential NYC promoters) email list in Capital letters for like months for about 4 different shows, which is highly unusual for his mailing list. I also bought a Vivian Girls 7" that is on Woodsist, which, as I was putting 2 and 2 together, is a hip NYCcentric label run by the band Woods. Cool! They are probably cool dudes, and these are bands I would like to see over SXSW if I get a chance...its not the bands, its the regionalism and conservativeness masquerading as edginess that bothers me.
School of Seven Bells is a Brooklyn band soon to open for Black Moth Super Rainbow. I for some reason thought this band was from San Fransisco and related to Deerhoof. Even without the BMSR dates, I would have bet this band has a booking agent, being as though the other shows they are playing over SXSW are at Mohawk (Rhapsody daytime party), Transmission's new Radio Room (Mojo party), this pithfork show at Emos, and, hey, throw in a show at the Urban Outfitters, why not, Bloc Party (remember them?) played there.
The Pains of Being Pure at Heart (NYC) to me are an interestingly obvious pick (couldn't get Vivian Girls?) Pitchfork has been pushing this storyline like this whole sound is in a revival right now, because they found a band in England that sounds the same (as if there is any creative England --> USA musical interaction right now), but what they say it's a revival of is like Cherry Red 80s indie pop. One band they bring up is The Shop Assistants, and while I only know of, have listened to and enjoyed that band specifically because of press related to these "revival" bands, its sort of ignoring the fact that Cherry Red was the no-respect bastard little brother to Rough Trade in its own time, and while The Shop Assistants wrote some cool songs, Cherry Red got no respect at least partially BECAUSE THEIR ROSTER WASN'T THAT GREAT. So it stands to reason that the non-top dog doing this sound may also be NOT THAT GREAT. But I haven't seen em
Hard to ever complain about the Dirty Projectors (NYC) on a bill, regardless of whether or not its a "safe" pick, but if you're giving this tastemaker/regionalism arguement of mine weight, don't forget this is the same band that at one time used as a press quote (I think from 2005ish) "'The best band in NYC right now' -Todd P"
Then follow that with, shockingly obviously in 2008, a big garage band. Couldn't get the Black Lips? Oh no shit? King Khan, really going out on a limb there. Follow that with big name party DJs (which you stick at Emo's inside???)....and then follow that with Dept. of Eagles (NYC), guys known for their use of texture on a completely unsuitable sound system (less suitable than Emo's Inside even.)
So, pah, I laugh at you Pitchfork!!!! I'd rather go see those bands at the Todd P Mrs. Bea's shows anyways, DUH.
Oh and assuming no bad shit goes dow, our shows are gonna be the shit this year. Like, next level the shit for real. Still getting the slots in...
Wednesday, February 25, 2009
Tuesday, February 24, 2009
versatile style
dj screw: do g's get to go to heaven? - richie rich
(1) dj screw: reason for rhyme - mjg & eightball
(2) same song, different version
original mjg track on yt
original richie rich track on yt
i posted the richie rich song because the first version of reason for rhyme uses the richie rich beat and it makes the song so different from not only it's original version, but the second chopped/screwed version as well. you can enjoy both songs on totally different levels. another thing i love about dj screw's mixes. for a particularly great song, he will use it mulitple ways so you can really just trip out on them both and experience all their facets. like when he rewinds a certain lyric and plays it again and again and then just chops it up so the words are barely distinguishable. this happens on the second version. i like the first one a lot though because it lends this slow and sad character to the song once you've come from listening to the richie rich track, they follow each other on dj screw's mix. you can really focus on the lyrics in this one although the climax of the song sounds and feels totally different in each version. the second version is really epic because dj screw takes that climax to a whole nother level and it's so fucking amazing. he really goes wild on the turntables and picks out the craziest rhymes to play over and over again. i love when you can tell that dj screw had a lot of fun screwing the song and how much he just enjoys the song for itself. just the way he treats the best parts of this song can inform you about that i think. he makes you feel it just like it should be felt, in the club, all those bass vibrations, rhymes giving you goosebumps.
ps; new mix soon
lyrics
Verse 1, MJG, Eightball:
I'm MJG, the nigga with the versatile style
Check your calendar realize that I been here for awhile
When I was young I took the soul up out of rhythm and blues
When hip hop originated slowly paid my dues
And take my shoes, and try to walk a mile in my past
Without them salt shaker sheisters tryin to get in that ass
It's been too long, you motherfuckers fittin to feel the south
Shut your mouth, shut your do you little freak ass hoe
I'm bout tired of all this damn east and west coast shit
Especially when other niggaz tryin to work in this bitch
I paid my dues to the fullest, worked to god damn hard
For you too kill the industry and leave me out of a job
You niggaz strain yourself, to maintain yourself
And now you playin with enough rope to actually hang yourself
But you don't care, hell, you constantly fallin deep in the plot
Mesmerized from all the bitches and the money you got
You must of forgot they said that rap would never last ten years
And if your selfish to the fact, I'm tryin to have a career
Now listen here, what do we have, we got probable cause
To keep the pen on the paper and the glock in your drawers, nigga
Remember back when we used to do this shit for fun
Bein the dopest on my block made me ranked number one
No gun, just a pen and notebook paper by the sheet
In the crib, gettin funky off the next nigga beat
No electronics to make the shit that I wrote the chronic
Shit sick enough to bring vomit from your stomach
Quick as a comet, shield your eyes from the UV
Groovey, like a nigga from a Batman movie
Real about the shit that I express over dope beats
You can't say it was fake unless you grew up on my street
Concrete head niggaz, runnin from FED niggaz,
Po' ass scared niggaz, that came out dead niggaz
And all I ever wanted to be was an emcee
Did a little dirt and found it wasn't for me
Poetry flowin through my bloodstream like a drug
I'm addicted to rhyme because I love the buzz, nigga
My reason for rhyme
Because I'm true to this rap
My reason for rhyme
Because I'm real with this rap
My reason for rhyme
It ain't all about the cheese
Even though fat lp's can make a nigga g's
Verse 2, MJG:
My reason for rhymin, while I'm in, a position to be tellin
It's not about the fame and them bitches who be yellin
At my concerts, one verse, dicks up, quick fuck
Lies start spreadin now you tangled in a mix up
I gits up, do sits up, and squeeze my mental mindrame back in order
And use my hand as a tape recorder
Jottin down all the information placed in front of me
The good time, the bad time, the way I think it oughta be
Now follow G, can you comprehend?
If you can then drink a shot of Hen
Hit this hand on your silver end
Friends don't be friends and foes don't be foes
However the way you bring it, that's how you want it, I suppose
I can stay up out the game keep my aim on my paper
And I'll be sure to keep my pimpin real with Tony Draper
And I'll potray the man that I'm known to be
Dim the lights (Hip-tie) for the MJG
Verse 3, Eightball:
Give me a crowd of wild niggaz who love real hip hop
And watched smoke get soaked up, like water in a mop
Drop presidents among me and my own folk
And let that bullshit walk among the past with ghosts
Ain't no hope of bein takin seriously
When limited avenues are given to me
So, naturally I take shit and make shit mine
Jackin only for position in this thing called rhyme
Freestyle, not great, but if you wait for a second
I could write some shit down that could get a gold record
Thought about not the first thing that I think about
MJG and Eightball and hard is how we comin out
Runnin out, niggaz who can't hold on like En Vogue
Even though I moved out the mound I'm still ten toed
Down for the shit I do, the Suave House crew
True to this shit, because this shit is so true
smothers
So I made some playlists for you and your other.
Also, check out this audio blog. Kieran from Ecstatic Sunshine has been posting some great records. And by great, I mean, great records that I would post.
Random question: Does your subjective reality aesthetically correlate with mine? Prove.
Favorite Song Special Edition
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So, I was at a party this weekend and a friend of mine used the phrase "it ain't hard to tell". Naturally, I busted out the first few lines of the Nas song, and surprisingly I was met with confusion from the two females I was talking with. They'll remain nameless, but both of their names start with the letter C, one of them had a short-lived stint as a contributor to this blog, and the other DJs a country night at Spiderhaus on Sundays.
Anyway, I think both would consider themselves hip-hop fans, but didn't know this definition-of-a-classic. So I thought, HEY, TIME FOR A SPECIAL EDITION
I feel like It Was Written is a really overlooked album, but let's be honest, Illmatic is clearly the reason anybody still pays Nas any attention.
I once read a really apt quote that nailed Illmatic's importance. It asserted that if the genre of hip-hop was wiped clean and disappeared from history, you could reconstruct everything from Illmatic. There aren't many albums you can say that about.
Nas - It Ain't Hard to Tell (divshare)
BONUS:
This remix was released on an EP of Danger Mouse's early mash-up material. He puts Nas over a sinister Portishead sample and it sounds great.
Nas - It Ain't Hard to Tell (Danger Mouse Remix) (divshare)
DOUBLE BONUS:
A nice little remix of One Love, goes over well in loungey hip-hop sets.
Nas - One Love (Dimension Ball Remix) (divshare)
(divshare)
TRIPLE BONUS:
Recommended reading- the lyrics to Ain't Hard to Tell are after the jump.
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So, I was at a party this weekend and a friend of mine used the phrase "it ain't hard to tell". Naturally, I busted out the first few lines of the Nas song, but was met with confusion from the two females I was talking with. They'll remain nameless, but both of their names start with the letter C, one of them had a short-lived stint as a contributor to this blog, and the other DJs a country night at Spiderhaus on Sundays.
Anyway, I think both would consider themselves hip-hop fans, but didn't know this definition-of-a-classic. So I thought, HEY, TIME FOR A SPECIAL EDITION
I feel like It Was Written is a really overlooked album, but let's be honest, Illmatic is clearly the reason anybody still pays Nas any attention.
I once read a really apt quote that nailed Illmatic's importance. It asserted that if all of hip-hop disappeared, if the genre was wiped clean, you could reconstruct everything from Illmatic. There aren't many albums you can say that about.
Nas - It Ain't Hard to Tell
(divshare)
BONUS:
Nas - It Ain't Hard to Tell (Danger Mouse Remix)
(divshare)
This remix was released on an EP of Danger Mouse's early mash-up material. He puts Nas over that sinister Portishead sample and it sounds great.
DOUBLE BONUS:
A nice little remix of One Love, goes over well in loungey hip-hop sets.
Nas - One Love (Dimension Ball Remix)
(divshare)
"It Ain't Hard To Tell"
It ain't hard to tell, I excel, then prevail
The mic is contacted, I attract clientele
My mic check is life or death, breathin a sniper's breath
I exhale the yellow smoke of buddha through righteous steps
Deep like The Shinin', sparkle like a diamond
Sneak a uzi on the island in my army jacket linin
Hit the Earth like a comet, invasion
Nas is like the Afrocentric Asian, half-man, half-amazin
Cause in my physical, I can express through song
Delete stress like Motrin, then extend strong
I drank Moet with Medusa, give her shotguns in hell
From the spliff that I lift and inhale, it ain't hard to tell
The buddha monk's in your trunk, turn the bass up
Not stories by Aesop, place your loot up, parties I shoot up
Nas, I analyze, drop a jew-el, inhale from the L
School a fool well, you feel it like braille
It ain't hard to tell, I kick a skill like Shaquille holds a pill
Vocabulary spills I'm +Ill+
plus +Matic+, I freak beats slam it like Iron Shiek
Jam like a tech with correct techniques
So analyze me, surprise me, but can't magmatize me
Scannin while you're plannin ways to sabotage me
I leave em froze like her-on in your nose
Nas'll rock well, it ain't hard to tell
This rhythmatic explosion, is what your frame of mind has chosen
I'll leave your brain stimulated, niggaz is frozen
Speak with criminal slang, begin like a violin
End like Leviathan, it's deep well let me try again
Wisdom be leakin out my grapefruit troop
I dominate break loops, givin mics men-e-straul cycles
Street's disciple, I rock beats that's mega trifle
And groovy but smoother than moves by Villanova
You're still a soldier, I'm like Sly Stone in Cobra
Packin like a rasta in the weed spot
Vocals'll squeeze glocks, MC's eavesdrop
Though they need not to sneak
My poetry's deep, I never fell
Nas's raps should be locked in a cell
It ain't hard to tell
Sunday, February 22, 2009
taking the flyer game to the next level, son
The next level after this one is high resolution. From there, who knows where we can go.
Friday, February 20, 2009
Wednesday, February 18, 2009
nuggets: original artyfacts from the first psychedelic era 1965-1968
wiki page
fantastic collection of insane psychedelic tracks. some of my favorite songs are linked separately. i can't believe there's no dukes of stratosphear on here, coulda sworn there was...
vol 1 part 1
vol 1 part 2
1- The Electric Prunes: "I Had Too Much to Dream (Last Night)"
2- The Standells: "Dirty Water"
3- The Strangeloves: "Night Time"
4- The Knickerbockers: "Lies"
5- The Vagrants: "Respect"
6- Mouse: "A Public Execution"
7- The Blues Project: "No Time Like the Right Time"
8- The Shadows of Knight: "Oh Yeah"
9- The Seeds: "Pushin' Too Hard" // (youtube vid from a tv appearance in 1967)
10- The Barbarians: "Moulty" 11- The Remains: "Don't Look Back"
12- The Magicians: "An Invitation to Cry"
13- The Castaways: "Liar, Liar"
14- The 13th Floor Elevators: "You're Gonna Miss Me"
15- Count Five: "Psychotic Reaction"
16- The Leaves: "Hey Joe"
17- Michael and the Messengers: "Romeo & Juliet"
18- The Cryan' Shames: "Sugar and Spice"
19- The Amboy Dukes: "Baby Please Don't Go"
20- Blues Magoos: "Tobacco Road"
21- The Chocolate Watchband: "Let's Talk About Girls"
22- The Mojo Men: "Sit Down, I Think I Love You"
23- The Third Rail: "Run, Run, Run"
24- Sagittarius: "My World Fell Down"
25- Nazz: "Open My Eyes"
26- The Premiers: "Farmer John"
27- The Magic Mushrooms: "It's-a-Happening"
vol 2 part 1
vol 2 part 2
1- The Music Machine: "Talk Talk"
2- The Del-Vetts: "Last Time Around"
3- The Human Beinz: "Nobody But Me"
4- Kenny & the Kasuals: "Journey to Tyme"
5- The Sparkles: "No Friend of Mine"
6- The Turtles: "Outside Chance"
7- The Litter: "Action Woman"
8- The Elastik Band: "Spazz"
9- The Chocolate Watchband: "Sweet Young Thing"
10- Strawberry Alarm Clock: "Incense and Peppermints"
11- The Brogues: "I Ain't No Miracle Worker"
12- Love: "7 and 7 Is"
13- The Outsiders: "Time Won't Let Me"
14- The Squires: "Going All the Way"
15- The Shadows of Knight: "I'm Gonna Make You Mine"
16- Kim Fowley: "The Trip"
17- The Seeds: "Can't Seem to Make You Mine"
18- The Remains: "Why Do I Cry"
19- The Beau Brummels: "Laugh, Laugh"
20- The Nightcrawlers: "The Little Black Egg"
21- The Gants: "I Wonder"
22- The Five Americans: "I See the Light"
23- The Woolies: "Who Do You Love"
24- Swingin' Medallions: "Double Shot (Of My Baby's Love)"
25- The Merry-Go-Round: "Live"
26- Paul Revere & the Raiders: "Steppin' Out"
27- Captain Beefheart & His Magic Band: "Diddy Wah Diddy"
28- The Sonics: "Strychnine"
29- Syndicate of Sound: "Little Girl"
30- Blues Magoos: "(We Ain't Got) Nothin' Yet"
31- Max Frost and the Troopers: "Shape of Things to Come"
vol 3 part 1
vol 3 part 2
1- The Hombres: "Let It Out (Let It All Hang Out)"
2- The Golliwogs: "Fight Fire"
3- New Colony Six: "At the River's Edge"
4- The Daily Flash: "Jack of Diamonds"
5- Lyme & Cybelle: "Follow Me"
6- The Choir: "It's Cold Outside"
7- The Rare Breed: "Beg, Borrow and Steal"
8- Sir Douglas Quintet: "She's About a Mover"
9- The Music Explosion: "Little Bit o' Soul"
10- The "E" Types: "Put the Clock Back on the Wall"
11- The Palace Guard: "Falling Sugar"
12- The Gestures: "Run, Run, Run"
13- The Rationals: "I Need You"
14- The Humane Society: "Knock, Knock"
15- The Groupies: "Primitive"
16- The Sonics: "Psycho"
17- The Lyrics: "So What!!"
18- The Lollipop Shoppe: "You Must Be a Witch"
19- The Balloon Farm: "A Question of Temperature"
20- Mouse and the Traps: "Maid of Sugar - Maid of Spice"
21- The Uniques: "You Ain't Tuff"
22- The Standells: "Sometimes Good Guys Don't Wear White"
23- The Mojo Men: "She's My Baby"
24- Unrelated Segments: "Story of My Life"
25- The Third Bardo: "I'm Five Years Ahead of My Time"
26- We the People: "Mirror of Your Mind"
27- The Shadows of Knight: "Bad Little Woman"
28- The Music Machine: "Double Yellow Line"
29- The Human Expression: "Optical Sound"
30- The Amboy Dukes: "Journey to the Center of the Mind"
vol 4 part 1
vol 4 part 2
1- The Chocolate Watchband: "Are You Gonna Be There (At the Love-In)"
2- The Leaves: "Too Many People"
3- The Brigands: "(Would I Still Be) Her Big Man"
4- The Barbarians: "Are You a Boy or Are You a Girl"
5- Sam the Sham & the Pharaohs: "Wooly Bully"
6- The Strangeloves: "I Want Candy"
7- The Kingsmen: "Louie Louie"
8- The Knickerbockers: "One Track Mind"
9- The Wailers: "Out of Our Tree"
10- Harbinger Complex: "I Think I'm Down"
11- The Dovers: "What Am I Going to Do"
12- The Charlatans: "Codine"
13- The Mystery Trend: "Johnny Was a Good Boy"
14- Clefs of Lavender Hill: "Stop - Get a Ticket"
15- The Monks: "Complication"
16- The Sonics: "The Witch"
17- The Electric Prunes: "Get Me to the World on Time"
18- The Other Half: "Mr. Pharmacist"
19- Richard and the Young Lions: "Open Up Your Door"
20- Paul Revere & the Raiders: "Just Like Me"
21- We the People: "You Burn Me Up and Down"
22- The Lemon Drops: "I Live in the Springtime"
23- Fenwyck: "Mindrocker"
24- The Rumors: "Hold Me Now"
25- The Underdogs: "Love's Gone Bad"
26- The Standells: "Why Pick on Me"
27- The Zakary Thaks: "Bad Girl"
28- GONN: "Blackout of Gretely"
29- The Bees: "Voices Green and Purple"
30- Davie Allan & the Arrows: "Blues' Theme"
LazySong Wednesday
I realized a minute ago that HEY, IT'S WEDNESDAY.
I was jolted to this realization as I was picking out some songs for this queer night at Airport Bar tonight and I stumbled upon my favorite song. It's the dance version of December 63!
Frankie Valli and the Four Seasons - December 63 (Dance Version)
(divshare)
Hercules & Love Affair Video
Hercules and Love Affair do a pretty righteous version of Daniel Wang's "Like Some Dream", which I posted here a few months ago, before transitioning into their own song "True False / Fake Real". Props to the trombone player, he's pulling off some nice trills even though he's puffing out his cheeks which is like the first thing they teach you not to do in middle school band class.
If you were wondering, that black guy dancing around doesn't play an instrument or sing in any of the other videos, he just dances around.
Monday, February 16, 2009
Dark Chocolate Love
I don't know how you spent your Valentine's day, but I spent it in the beat factory cranking out this smash-hit. Vocals courtesy of my co-worker Lil' Troj.
Lil' Troj - Dark Chocolate Love
(divshare)
Sunday, February 15, 2009
Ensoniq Esq-1: First Impressions
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picked up one of these and this is the first 20 or so minutes ive spent with it.
the sounds are mainly presets (one exception), and are, in order of appearance:
KICK (doing all the drums actually)
SLOSTR
HARP2
wobbly bass courtesy noggin
MINIM
whoever put the idea in my head that these things lack in the low end can kiss mine also...i really hope you have a sub or some good speakers.
this basically makes me feel like im in the second world of sonic the hedgehog.
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The Ensoniq ESQ-1 is a hybrid synthesizer / sequencer. Hybrid in this case being defined as using digital sources for the oscillator waveforms, then run through tried and true analog filters. This provides for a pretty unique synth: without the drift and detuning that could be found in a VCO, many more base waveform possibilities, but all run through an analog signal path for really 'warm' 'phat' 'authentic' sound coloration.
Not to mention the modulation possibilities are really intense...3 independent (and equal) LFOs, FOUR envelope generators (which are not your standard ADSR type, but instead the Time/Level style), velocity + keyboard + modwheel.
The editing is beautiful...dedicated buttons for each function (filter, DCAs 1-4, LFOs, ENVs, etc) and then a slider that has actually held up surprisingly well. The screen is a gorgeous green/turquoise on black alphanumeric display (think old alarm clock).
There is a damn near flawless free vsti emulation of the bigger brother, the SQ80 over at http://www.buchty.net/ensoniq/.
and finally, the king of all youtubes:
Saturday, February 14, 2009
John Wesley Coleman // I wrote a poem
Hey I wrote a poem I'd like to share with you. This is not strictly "blog material" per se, but maybe it is, and it is related to music, so heres my story.
My poem was really fucking directly inspired by a poetry book called "American Trashcan" by John Wesley Coleman, that came with a CD release (I believe) on Monofonus Press.
That may be untrue, but what is definitely true is that JWC aka Wes is a guitarist in the Golden Boys, and when my friend Chris bought the new Golden Boys vinyl, he was given this book as an added gift. I read some of it at his house, really liked it, and he let me borrow it and I read the rest of it at home. It was also good because I was "freaking out" and there was some words in the poetry which said "its OK to freak out once in a while" so that took "freaking out" off the list of things i was freaking out about, which in turn really helped me untangle some things in my brain. Also his poetry is really funny.
Here's two of my favorite of Wes's poems from the book and then my own. His poetry is reprinted without permission, but I'm assuming its OK, and also, if you are smart and have some change lyin around you will go buy the book, or if you are even slightly more savvy, go to a Golden Boys show, get the record, and ask for the book of poetry free of charge. Also, these aren't strictly speaking "representative" of the book, they are just ones I really like.
"UNTITLED"
I HAVE a Girlfriend
Don't FORGET why?
You pee your pants
"MY DOG'S BUTT"
My Dog's Butt stinks.
I feed her bananas,
tortillas, bratwursts
turkey franks, Ramen
noodle, beer, cheese,
egos, syrup, shrimp fried rice,
cheeseburger, french fries, tea,
light bulbs, boots, shoes,
eyeglasses, cell phones, toilet paper,
toothbrushes, underwear, socks,
cassette tapes, compact discs,
Records, artwork, lyric sheets,
twenty dollar bills, DVDs, videocassette,
dishes, mattresses, pillows,
objects, dog food - Puppy Chow,
my soul. She drinks my tears
too, I am 29 years old and
my dog was born on Christmas
and is one year old or seven
in dog years.
There is also an awesome picture on the next page that goes with this one.
This one here is my poem. Its called "63, 81, 63, 81, 63, 81". If my bandmates let me, I will start doing some variation during this new Reverse X-Rays song, and maybe we will come out with a new record sometime and I will get to put it in poem form in the liners somewhere, since otherwise it will never see "release" given the fact that I will never write enough poems to even make my own DIY book of poems. And I tend to hate zines with poems in it. Also, I dont care if this is "good" or not, but i do hope you like it!
"63, 81, 63, 81, 63, 81"
63, 81, 63, 81, 63, 81
Take refuge in the imaginary
numbers
Don't limit your communications to words,
but communicate with words,
imaginary words,
and also
imaginary numbers
It is fascist to start every line, of
Everything
With a capitol letter,
But people used to do that
Because
The king liked it.
They had to Fight For Their Right To Party
and also to start lines of poetry with lower case words.
and numbers.
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