Wednesday, February 9, 2011

free from damage, injury or decay

Lest things fully slip into some haggard (yet alluring) blend of Tongue's aural eroticism and a semi-semi-relevant Hipster Runoff spin-off, I have some sense of duty to dust off a bit of real estate with property lines snuggled between the 'outsider' or avant, and the 'hipster' pop music that seems to be the source of oh so much derision.

(incidentally, I have peer-reviewed studies that indicate 'hipster' means precisely the same thing as 'indie' or 'emo'. which is 'nothing')

I am alright with being the one who defends Vampire Weekend or James Blake. Because I know what they are supposedly aping; I've heard the source material. But that doesn't make "Horchata" any less infectious (and leave any 'whitewashed, faux South African' gripes at the door, I'm busy nodding my head). And Blake might be a skinny, white Brit but homeboy also croons like Antony and manipulates his Macbook like Stockton to Malone.

The Truth (holla!) is never as interesting as The Wish (gotta recruit her).

Tuesday, February 8, 2011

Clarify: Italo, young and old

old


young


old

Q: Are We Not Men?

[Part 1 in which The Truth goes back on his word and delivers more content than promised]


Devo answered this question in the title of their first album - "We Are Devo" was the reply - a wry satire, the robotic voice a token of the detached, lifeless hipster persona, constantly defining itself 'in opposition to' whatever mainstream cultural values were at the moment, and therefore as baseless and arbitrary as mainstream culture itself. It also charts the 'devolution' of civilization back into a state of tribes, niches, fashions, away from the promise of technicolor pluralism offered by mass communication/the TVs/the Internets. Of course, ironically, the Internet has finally exposed hipsterism for the fraud that it always was (even though at one point, it did serve a valuable purpose as underground information exchange). Devo was probably responding to pressures from the Cleveland art scene it had started from (along with groups like Pere Ubu, who never 'sold out' and remain hipster bedfellows to this day) to 'conform' to a strict set of aesthetic values. Anyone who's ever been part of a scene, even your local church bingo scene, knows this pressure, and what a pernicious bitch it can be, esp. when you're trying to do something creative.


(and you thought David Byrnie had cool dances)


[Psuedo-social-psychology preamble over, getting to the point]


I was reminded of this when I was reflecting on one of the more recent hipster fads, Italo Disco. "WTF is Italo Disco", I asked myself somewhat rhetorically back in 2k7, when the term first 'sprouted' like a head of cabbage. I kind of knew what it was - after all, who hasn't heard the ultimate Italo Disco track - 'Rhythm of the Night'? I was a little bit concerned, though, too, because there was something 'trending' right beneath my feet that I was woefully ignorant of (honestly I felt a lil bit insecure about this). I should have remembered then one of the Principles of Rock: HIPSTERS NEVER DO THEIR OWN RESEARCH. Trends do not happen because a bunch of white tweens take a break from messing up their Chuck T's to go dig up an obscure (foreign) subgenre from the past. That's too much work, too risky. No, there's ALWAYS an intrepid and tastemaking label behind these 'flash' trends. (Let's call them White Squalls, in homage to White History Month):


(P4K-endorsed trends + Music Festivals = giant wave.)


I just stumbled across the label responsible for the Italo Disco trend a couple months ago by accident, called, unsubtly, Italians Do It Better. A quick review shows that they launched in 2k6. This is such a classic example of trendy labels it should be a case study. Flashy, evocative graphics, high quality vinyls, limited everything, MODERN MODERN MODERN bands. Notice they don't reissue too much real Italo Disco from back in the day (which would actually be valuable, since that stuff is hard to find). Instead they have modern, easy-going tweens making psuedo-Italo Disco, and referencing it all over the place. This is a key element to the equation. Remember in the late 60s, when bands all wanted to look like Civil War generals? Do you think they dug up Civil War era sheet music and played it on accordion? Nope, they just listened to Big Pink. Hell, it's what made the Rolling Stones cooler than the Beatles; you could say you 'listened to blues music' when all you listened to were the Stones! "Close enough is always good enough (usually better)" - the hipster motto.


Anywayz, there's a reason the trend gained traction so fast - a lot of stuff on IDIB is pretty damn immediate and good.



(Drew is downloading this) DISCLAIMER: I take no credit for 'discovering' Glass Candy. This is simply their latest single.

Glass Candy is one of those me-too poseur bands with talent. Needless to say, they're the backbone of labels like IBID. Back in 2002, they rode the 'post-punk' train until it derailed, took a few years off, heard about the Italo Disco trend, and relaunched. Whatevs, it's good music ya'll.


Anywayz again, Italo Disco is pretty much 'over' now. Chillwave (which also might be 'ovr' - jesus how behind am I??) superseded it - who knows what will come next... my guess if someone can figure out how to make R&B sound white enough (and sknny enough - the 'heavy lover' concept doesn't jibe with health-conscious whites heavily invested in slim fit wardrobes), then it'll be that.


Duty Now For The Future,

The Truth

Monday, February 7, 2011

Let's Talk Talk About Sex, Baby

I'd like to start off by bucking the trend, or rather - the title.  What does The Tongue think IS rock and roll?  

SHE is rock and roll.  Who is she?  Just some random you met in a blanket fort a couple months back.  Why is she so rock and roll?  Or better yet, let's explore why rock and roll is so sexy.

A girl telling you that she puts "Runeii" from Talk Talk's "Laughing Stock" on nearly every mix cd she composes is the equivalent of her falling to her knees 7" from your waist.  Atleast for me it is.  Doesn't every music man pine over the thought of drinking stouts and porters (stouts and fucking porters!) with a female that is genuinely thrilled that you kind of turned her on to "Spirit of Eden", demanding that she take repeated listens.  And then she does, and eloquently verbalizes why the tension between the ambiance, the percussion and the amplifier is so hot.

This is based on a true story.  And it makes me almost as flustered as the guitar tones on Hendrix's "Crosstown Traffic".  I wish every man this experience (no pun).  We all want a babe that can rock and roll with us, while also tolerating our affinity for The Blue Nile's "Hats".  Hey, sweetheart - you ran into a man that can enjoy the finer contemporary bullshit from the coke-soaked 80's.

Dedicated to all the women who turned someone on to Slowdive, to any girl who suggested making out to "In A Silent Way", and maybe to the UK ladies that like Bark Psychosis half because they're kinda cool and half because they've got a little secret.

That's Rock and Roll.

Friday, February 4, 2011

2011: a First Look


With my posts becoming rare and more scarce, I fear posting anything...but then I remember that most of this shit is crap anyway so who cares.

A Much appreciated Thanks to the Truth to help keep this alive. I don't know weather to find the co-incidence that all of the videos that he's posted all share the low fi super 8 camera vibe. Like 'look, we don't create new music, so its gotta look like its old too'...I dunno. Perhaps its a theme that these newcomers may be onto now, but whenever I see a car commercial with a throwback blurryness and song lyrics going "...and I'm happy to go running away.." you know where I'm going with this.

That being said, perhaps 2011 will be a glitch year...the start of a new era, pretty soon Hot Releases out of Carborro will be on 96 rock bumping...bumps, clicks, whatever you call the avant/noise/blahgshgjh genre...I know I am excited to hear the new Aphex Twin...and yes the stuff that comes out on Warp records.

Like this guy's new album

Wednesday, January 12, 2011

Once more for 2010

Here's one more notable event from last year that I didn't have the presence of mind to wrap into my Year in Review post: that is the unexpected return of Gary Wilson. If you've ever admitted to liking Midnite Vultures but don't know who this is then I feel sorry for you. His pretty-much-ignored new album, Electric Endicott came out 2 months ago, and you should get it. As far as coolness goes, this guy is a tsunami to the Average Hipster Band's grass hut.

I love this song.

That's all folks! Can Drew hold down his own blog for 4 months and keep us interested without posting pictures of his sister? We shall see...

Saturday, January 8, 2011

Oh yeah...

Sorry about my Best of 2010 being a bit of an embarrassment; not only did its sparse and uber-conventional picks show how little I get out these days, but I forgot even to include my favorite album of 2010! (I've had a lot on my mind lately, okay?) Said album is by Big Troubles. While you're listening to this ask yourself, "How did this not make it on to any critic's Best Ofs for the year?" I guess that Poison the Well-er-Sleigh Bells record really was better, huh? I find it funny that the top 20 or so 'best' albums of Pitchfork's Readers Poll (how democratic of them) also appear as the top 20 or so 'most overrated' albums of the same poll. Just a coincidence? We think not. That's just the type of shit that steers the TNRR ship, my friends. Don't listen to critics or confused media mega-site reader wannabes. Listen to us.