Genre: Alternative, Pop
Year: 2008
Location: Akron, OH
Label: Stereoprize Records Myspace
01. Who’s Scruffy Lookin’?
02. I Couldn’t Be Any Less Afloat
03. Red and Yellow Leaves
04. Good Luck Exploring the Infinite Abyss
The Noise Is is proud to present the newest record label out of Akron, OH…Stereoprize Records. Andrew from Stereoprize contacted me regarding his new-born label and first band, My Mouth Is The Speaker. While MMITS is currently busy recording their first full-length, Andrew has put their 2008 EP up for free download. Their sound is very alt-pop, and the production and vocals make for a solid EP. While this EP is young and full of energy, the bigger excitement should be regarding the wide-open future of Stereoprize Records. Still tuned for that.
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We used to think we were spinning
around the center of the Milky Way
at about half million mph.
Technology now suggests
we’re traveling about 600,000 mph.
Now we think the Milky Way
has 50 percent more mass,
with a second major arm of stars
spiraling outward from the Milky Way’s central disk.
Our understanding of the galaxy around us
is undergoing a paradigm shift;
but the only real change is the new space inside our heads.
We feel no new physical sensation;
we’re moving as fast as we always were.
What we do experience is our minds
catching up to our actual physical speed.
We are so exquisitely attuned to celestial motions
that we seem to be standing still,
no matter how our understanding of the universe changes.
This new thinking brings to mind a galactic paradox.
We cannot get an outside view of the Milky Way.
We’re blind to its structure and motions
because we live inside it.
We can observe the Andromeda galaxy
Because we can see the whole of it
in the distance with the naked eye
on a dark, clear night outside the City.
But there is no looking back at the Milky Way.
We can only imagine ourselves in it.
I watched the last couple of episodes of The Tonight Show with Conan O’Brien this past week. I hadn’t watched one episode of the late night talk show since O’Brien took over, but I always knew that I preferred O’Brien over his predecessor Jay Leno from watching Late Night for years. (That and his years with The Simpsons were easily the best in that show’s history.) He is a vastly superior comic who doesn’t have to depend on clichés and newspaper clippings sent in by his viewers to write a joke.
His last few shows included a gag where he pieced together the most expensive comedy bits ever in order to run up NBC’s bill. One night, he dresses up the world’s most expensive car as a mouse whose theme song is the Rolling Stones’ “Satisfaction” and the next he “buys” a former Kentucky Derby winner dressed in a mink Snuggie™ watching restricted NFL footage. O’Brien outdid that with a giant sloth skeleton “purchased” from the Smithsonian, spraying an “original” Picasso with beluga caviar.
These bits were a stroke of genius as he appeared to be really sticking it to NBC by running up the bill for the show. It’s like that guy in the office who’s about to be laid off, so he gathers as many office supplies as he can fit into his car before leaving. The sketches were so convincing that it prompted outrage from viewers over wasted spending. This is the type of comedy that gets beyond those “wacky politicians in Washington” and men are from Venus” triviality. This is the same “outside-the-box” comedy that doomed shows like Arrested Development or…um…that’s pretty much the list.
Amidst all the comedy, in one truly sincere moment, O’Brien had this to say:
All I ask of you is one thing: please don’t be cynical. I hate cynicism — it’s my least favorite quality and it doesn’t lead anywhere.
While positive and gracious in his exit, O’Brien left me feeling a bit…well…cynical about the whole thing. His message was true and from the heart. He’s probably right in that cynicism doesn’t lead to many good things. Of course how can he feel cynical with that $40 million buyout from NBC…
Sorry. Cynicism just took over.
I don’t blame O’Brien for taking the money. I think it was shitty how NBC treated him. I’m with Coco on this one.
His cynicism comment got me thinking about the fine line between cynicism and critique. It’s hard in these days of post-Bushian patriotism and post-Obama Hope™ and Change® to critique anything without running the risk of the “cynic” tag. A cynic looks at an occurrence with skepticism and questions motives or perceived viability – or at least that’s how I take it. Why shouldn’t we closely examine every situation for inaccuracies, inconsistencies, or dishonesty? Should we just accept everything at face value? Is everything as wonderful and altruistic as others would like us to believe?
Because we question one’s motivation or analyze the unseen effects of an event does not mean we are adding nothing to the conversation as the term “cynic” implies, especially in O’Brien’s use of the word.
Is the age of cynicism dead? Did it get thrown out with irony? It sure seems that way sometimes.
Take the Pavement reunion. No one, including myself, thought this gig would happen once much less a full-blown world tour that includes every summer festival on the circuit. It seemed as if front man Stephen Malkmus was tired of working with suspect musicians and the rest of the band was tired of his ego. A reunion seemed out of the question.
Why are they getting back together? It has to be the money. Look at the killing Pixies made. Dinosaur Jr is more popular than ever. Even a band like Cap’n Jazz reunited for one night not just to relive old times and to give their fans another taste of what they miss, but it also happened to coincide with C’nJ off-shoot Joan of Arc’s album release and tour. These bands all wanted to make some cash off their legacies while they still could.
I’m not saying there’s anything wrong with any of this. It’s great that Conan O’Brien was at least able to walk away with millions (sadly sans the masturbating bear). I love that my favorite band Pavement will make a ton of money this summer. They should. I won’t begrudge them that. If pointing out monetary benefits as motivation or somewhat justifiable consolation makes me a cynic, then so be it.
Cynicism is not dead (nor irony). Sure, it’s critique’s older, uglier step-brother, but it’s necessary. It shouldn’t paralyze us with apathy. However, it also won’t keep us from smashing those rose-colored glasses of ignorance. I’m okay with tempered cynicism. It has it’s place no matter what Conan O’Brien or anyone else has to say about it.
Of course, as I write this, I’m wondering if I just wanted to up my visitor count by mentioning “Conan O’Brien” and “Pavement reunion” all over this post. Maybe I am, but it doesn’t mean that this post holds any less truth.
Oh, and cynicism is welcome in the comments. See, there is a place for cynicism in this world.
It has often been remarked: Children do not love. They merely care.
**
**
As a society becomes more childish, it becomes more concerned with the family and its maintenance. This reflects the inability of the society’s members to conceive of anything else as the engine or the goal of human endeavor. Mature societies are confident in their parenting and other family skills, and hardly ever comment upon them.
**
**
Intellectuals sometimes become annoyed easily because they have an inner life. They are busy working out the sentence structure of their thoughts, so to speak. For most people, thinking remains amorphous unless it is written down. For the intellectual, writing is incidental to the real task of thought.
**
**
The Underground Lady spends most of her time in used bookshops and old museums, and empty spaces long abandoned by a society set upon going only to the noisiest, most pointless places.
**
**
Nightclubs should be banned. They replaced the cafe and thereby made people more stupid. The “bar” is America’s compromise—where, being neither cafe nor nightclub, everything is tepid, from the conversation to the booze.
**
**
Political corruption flourishes in America because the people drink beer rather than real liquor. No politician was ever corrupt in Ireland, for example, that didn’t get what was coming to him in the end. Drinking whiskey is a good education for revolution—it teaches one about the potential for riot inherent in every crowd of strangers.
**
**
Americans have to learn how to scare their politicians more, and each other less.
**
**
The real reasons that America is not respected in the world today are that it is regarded as a nation of buyers rather than sellers, of talkers rather than doers, of fighters rather than builders, and so, of children rather than grown-ups. Notice that this is a complete reversal, on every count, of how the world saw America a mere fifty years ago.
**
**
The intervening time-span in the above, regarded by many Americans as a period of unparalleled triumph, was in fact a phase of precipitous moral and cultural decline. All the popular measures for the nation’s ”success” in America today mislead and misinform.
**
**
Europeans who believed once that America’s decline would profit them, are learning now how wrong they were.
**
**
In order to regain its past levels of success and cohesion, America must ignore all the prescriptions being offered it today by its internal political, corporate and journalistic classes. They are a large part of the problem.
**
**
Detachment comes at an awful price, especially where history and one’s fellow countrymen are concerned.
**
**
The use of the first person “I” indicates nothing more, nor less, in my writing, than any other usage. ”I” is an elastic expression.
**
**
I think that one should be able to offer the most awful assessements of one’s own country and be taken seriously by others who are willing to do the same, all in a ruthless attempt to get at the truth of the matter and improve the general welfare and alter the direction of the whole. However, I am under no illusion that such an exchange is even possible in America today—this is one of the prime indications that the decline of a once great nation is nearly complete. And so I left: I could no longer really talk with people there.
**
**
Detachment is either ruthless or fake.
**
**
I have no grudge. I am impartial about almost everything.
**
**
Humanity has never felt freer than it does in Europe today, where there is the sense that one can do anything. How appalling and insipid.
**
**
The consumerist illusion is such than many who participate in it enthusiastically lose the ability to detect the illusion itself. This occurs whenever people think they are being “self-conscious,” an impossible construction. This is really how advertising works on people, especially “self-conscious” advertising.
**
**
Commercials depict people that can only be described as pathologically happy. No wonder bipolar disorder is so common in modern societies.
**
**
Ex-patriotism cannot assuage the deeper wounds of the soul that drive one to such an extremity to begin with.
**
**
There is a kind of planned carelessness which isn’t planned.
**
**
Knowledge and knowingness seldom meet.
**
**
The Underground Lady is not fooled by the aping of her vocation—there is no type for the Bohemian except for the grounded.
**
**
The third of the Urges comes in broad daylight. He knocks on my door and runs off. Sometimes he hides in the post-box and snatches a letter from my hand just as I’m about to retrieve it. Later I find it, tucked between some old newspapers, of which I have many, or beneath a potted plant. All these shenanigans are pointless. He is the harbinger of meaninglessness and chaos in my life. He is the doom that enters in at first through small things, like a sore neck, and forgetfulness, and the small uncontrollable spasms of a finger. This is the true nature of mortality: everyday, local, squalid.
Title: นัดเดทตังเอง / Nut Date Dtua Eng (A Date With Myself)
Artist: Ice Sarunyu
Album: Party on Ice
Year: 2007
(*)อยู่คนเดียว อยู่กับหัวใจ
Yoo kon diao yoo gup hua jai Here alone, with my heart
ที่ไม่มีใครจับจอง
Tee mai mee krai jub jong That no one’s claimed
อยู่คนเดียว
Yoo kon diao Here alone
ได้แต่เหลียวมอง
Dai dtae liao mong I can only look
สักคนเพื่อมาผูกพัน
Suk kon peua mah pook pun For someone to start a relationship with
อยากเป็นคน ที่ดูสำคัญ
Yahk pben kon tee doo sumkun I want to be someone who seems important
สักครั้งของใครสักคน
Suk krung kong krai suk kon For once be someone’s
แต่ทำไม ก็ยังมืดมน
Dtae tummai gor yung meut mon But why, when it’s still dark
ไม่มีสักคนห่วงใย…
Mai mee suk kon huang yai… There’s no one to worry about…?
(**)แค่เหงาใจ แต่ไม่ตาย
Kae ngao jai dtae mai dtai I’m just lonely, but not dead
หากไม่มีใครให้นัด
Hahk mai mee krai hai nut If there’s no one to go out with
ให้โทรไปชวน
Hai toh pbai chuan To call and invite
ก็นัดตัวเองจะเป็นไรไป
Gor nut dtua eng ja pben rai pbai What would it be like to go out with myself?
ก็ลองดูสักครั้ง…
Gor long doo suk krung… I’ll try it once…
(***)ก็แค่ไป กับตัวเอง
Gor kae pbai gup dtua eng I’ll just go by myself
นั่งฟังเพลง
Nung fung pleng Listen to music
ขับรถคนเดียวเรื่อยไป
Kup rot kon diao reuay pbai Keep driving alone
ท่ามกลางแสงไฟข้างทาง
Tahm glahng saeng fai kahng tahng Among the street lights
ไม่มีอะไรหยุดยั้งใจ
Mai mee arai yoot yung jai Nothing to hold me back
อยากจะไปดินเนอร์ ที่ไหนก็ไป
Yahk ja pbai dinner tee nai gor pbai If I want to go to dinner, I can go anywhere
ให้รางวัล กับใจของเรา ที่เหงามานาน
Hai rahng wun gup jai kong rao tee ngao mah nahn I should get an award for being lonely for so long
The Ruby Suns, based in Auckland, New Zealand. This guy’s music is pretty sick. Usually playing some pop and electronic beats, he makes it sound easy. But, you just gotta hear it to believe it. Check it.
Many a music nerd has written with gusto and enthusiasm of their love for pop. Perhaps it’s a statement of reaffirmation one has to make in order to remember why and to justify all the time spent listening, writing, enjoying, seeking out, talking about. I don’t plan on being an exception, unless you’re Dorothy Parker, people love to discuss the things they love and I love pop music. The exuberance of a good song, the immediacy or the delicate introspective nature, or the connection even when you’re alone, or the rawness, the purity. These are the things that make pop music relevant. It brings people together, and creates communities–a conversation. When Morrissey or Ian Curtis are singing about being alone, I am alone with them. A good pop song can be distantly close–the sort of reserved intimacy of a fragile song by Felt or the jolting, celebratory, thrashing nature of a song by The Buzzcocks. There is a transcendent quality that Modernist painters could only have ever dreamed of in pop music. It’s colours exploding or the droning in your head, on the street, in your lovelife. In failures of others we see in ourselves; we see the world, but goddamn, those failures can make amazing and honest songs. I don’t mean honesty in the sense of autobiographical or historical, but honesty in the sense of some subjective truth or truth in our collective memories. Pop music is true.
So now that I’ve confessed my love for pop, it seems only appropriate to present today’s selection for my diet towards going deaf, which is “Far Away” by Cut Copy. First off, I would like to address the issue of writing about a song that is no longer brand new, but also not old or retro–it’s a bit of a faux pas to do so. That said, I’m doing it anyway, because after listening to this song for nearly 2 years, it is still robust and fresh and not in the least exhausted or passé. The song is perfect pop, if I dare say so. It rides the border between pop and electronica deftly, allowing polished elements from the latter genre to cohere with the joy of the former. Layers of sound dynamically erupt in bleeps, pulsing basslines, swift drumming, synth stabs and clean guitar, culminating with vocals that encourage one to sing along. The album, In Ghost Colours, is a half accurate title, while colour is all I can think about when listening to this song and the rest on the album, ghosts are far and away from me, indeed this song and the album too, are very much alive. Simply put, “Far Away” combines conventions of the pop song structure, the same earnestness and soul, with the complex elements of electronica without the sometimes sterile results. For these reasons, I think the song will remain a favourite of mine for years.
…and for interested parties, one of my favourite remixes of the song.
Willie Colón – Set Fire To Me (Latin Jazzbo Version)
This is a quite rare tune in the sense that every now and then there are these songs that you can’t label as strict as others, and this song is such an example. In recent years I’ve come across only one other song that I’d put in the same category as this one. It’s a song called Waiting For U with Dee Zee.
Dee Zee – Waiting For U
I can’t really say what it’s about this song that makes me connect it to Set Fire To Me. But somehow I’d like to put them in the same category of music. Maybe it’s because both songs have a kind of mystic vibe around them that puts them apart from other songs. Anyway, both songs are really great and even though there are over 25 years between them they seem to share some kind of common legacy.
then and now i am lucky to find a new artist to listen to. this time it is a girl called sara groves. a colleague of mine did a review of her latest album, fireflies and songs, over at and i thought i would check it out. glad i did.
we are talking about folk pop music not far from sarah mclachlan. piano-based songs. it also has the same kind of sounds a peter bradley adams has, very nice and mellow in other words. sounds even better at night. go check her out, you will not be sorry.
for those of you with spotify you can listen to the album at: http://open.spotify.com/album/0As9ve8tEkrO8dwBnsacS5
MSTRKRFT (ft. John Legend) – Heartbreaker (Wolfgang Gartner Remix)
MSTRKRFT (pronounced “Master-craft”) is an electronic music group from Toronto, who are signed to Dim Mak Records. The group was started in 2005 by Jesse F. Keeler formerly of Death from Above 1979 and Al-P (Alex Puodziukas) formerly of the electropop group Girlsareshort. Al-P was also the producer for Death from Above 1979s album You’re a Woman, I’m a Machine. The duo has been close friends, as well as work partners, for a long time. MSTRKRFT also produced Die Mannequin’s first EP, How to Kill, and Magneta Lane’s second LP, Dancing With Daggers.
MSTRKRFT have been commissioned to remix songs by such artists as Justice, Bloc Party, Metric, Annie and The Kills.
Listen – Herman’s Hermits – The Man With the Cigar – MP3
Greetings all.
I hope the end of this cold, cold week finds you well.
The tune I bring you today is an old, old favorite, something that I discovered quite by chance.
Many years ago, back in the garage/mod days, I happened to have picked up a couple of Herman’s Hermits 45s at a record show. Though the musical selections posted herein might not lead you to believe that I would be a fan of Mr. Noone and his friends, it pays to remember that alongside dreck like ‘Mrs Brown You’ve Got a Lovely Daughter’, the Hermits were, like so many of their British Invasion contemporaries, beneficiaries of some of the finest songwriting available. A quick look at an HH greatest hits collection reveals the handiwork of Graham Gouldman, PF Sloan and Steve Barri, Goffin/King, Carter/Lewis and others.
I picked up one of the 45s in question in order to get the Barri/Sloan song ‘A Must To Avoid’. The 1965 Top 40 hit is one of the groups best moments, with ringing, folk-rock guitars, beat group harmonies and a very interesting melody (especially in the verse). When I got the record home, I flipped it over and saw a title I didn’t recognize, so I decided to give it a spin.
Good thing I did, because if I hadn’t we wouldn’t be here today, discussing ‘The Man With the Cigar’.
‘The Man With the Cigar’ is a haunting number that quickly became a fixture of my mix tapes, and remains a fave these 25 years later. I haven’t been able to find out much about the writers Larry Kusik and Barry Richards, nor have I been able to confirm whether or not this is the same song that appears on an early 45 by soul great Lou Courtney. In addition to the aforementioned b-side, ‘The Man With The Cigar’ also appeared on the album ‘Both Side of Herman’s Hermits’, which also includes a cover of ‘Bust Stop’ and a jacket illustration by none other than Frank Frazetta(!?!).
Either way, it’s a great record that ought to be better known, instead of languishing as an obscure Herman’s Hermits album track (and b-side).
Oddly enough, despite having pulled out the 45 some time back, specifically to digimatize it and post it here, it has become lost in the mighty sea of wax in my record room, so I bring you the song recorded from the LP (in which case you get the cool Frazetta picture, so it all balances out).
I hope you dig the song as much as I do, and I’ll be back on Monday.
Peace
Larry
PS Head over to Funky16Corners for some Chitown funk.
Miami Horror is spearheaded by Benjamin Plant, a 22 year old producer /composer from Melbourne, who makes electropop with a disco-house throwback style. He started getting international recognition DJ-ing in various high profile international events in LA, NY, Mexico and Europe as well as remixing artists like Pnau, Midnight Juggernauts, The Presets and Datarock. From being a solo project, Miami Horror ended up turning into a full-fledged live band with Josh Moriaty on vocals and guitar, Dan Whitechurch on bass, keys and sampler and Aaron Shanahan on drums.
They are currently putting the finishing touches on their debut, which should be out shortly. The album will be both a collection of songs written and produced over the past few years by Benjamin, some as far back as age 18, along with new work which the band has created together, developing a much more mature and original sound.
Miami Horror – Sometimes
Miami Horror’s first EP Bravado and their single “Sometimes” (complete with remixes) can be downloaded on iTunes or Beatport. Visit the band’s official site or MySpace for tour dates and updates…
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According to Billboard, Ke$ha is overtake the throne from Susan Boyle on the Billboard 200 album chart. We will know for sure tomorrow (13/1), but it seems as if Ke$ha’s debut set Animal will overthrone Susan Boyle’s I Dreamed a Dream. The album was the biggest selling one in the UK last year, and the No.2 album in the States. “TiK ToK” has been a massive worldwide hit and is set to be followed by “Blah Blah Blah,” which features alternative rock act 3OH!3. That track is included on the WelcheMusic vol.2 compilation which is out now. What might come as a suprise is that Ke$ha is credited as backing vocalist on Paris Hilton’s “Nothing in this World,” a track that only made the top ten in…Finland.
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Pop artist Sonia was discovered by production team Stock, Aitken & Waterman at then end of th ‘80s. She was 18 years old when she recorded her debut single “You’ll Never Stop Me Loving You.” The track was a No.1 hit on the UK singles chart and was followed by her debut album Everybody Knows in 1990. It’s interesting to note that many of her tracks misses some of the words in the song titles. She sings “counting every single minute” in “Counting Every Minute” and “you’ll never stop me from loving you” in her debut hit. At the beginning of the ‘90s she placed several hits on the chart and also made a charity duet with Big Fun. Does anyone remember them today? She fell out with Stock, Aitken & Waterman and changed to producer Nigel Wright in 1991. Needless to say, her career dipped. She actually won the British leg of the Eurovision Song Contest 1993, but she was unable to lose as she sang all the entries. Another interesting note is her replacing teenage singer Debbie Gibson in the musical Grease. Last year she actually returned with the single “Fool for Love.” It was her first single since 1995.
This time I put up two completely different sounding versions of the same song. The song has absolutely nothing to do with robot’s, but I love them and hadn’t put any up any pictures of them in awhile.
I’m Just Fine (synth version)
I’m Just Fine (fuzz version)
I wrote this song a long time ago. I played it in a band I was in at the time called Wink. We were a fuzzy, noisy pop band. We were really into the PIxies, The Beatles, Teenage Fanclub, pretty much anything with guitars and catchy melodies. And fuzz pedals.
Our guitar player Michael was really into Paul McCartney and I was into George. He probably doesn’t remember, but once we were having one of our usual Paul versus George arguments, and I showed up at a gig we were playing and he had a bumper sticker plastered on his guitar that said “I’d rather be listening to Paul.” Guess you had to be there. If you want to hear what Michael is doing these days, goggle the Light Bachwood Movement.
This song was my first experiment with tuning my guitar different than EADGBE. The guitar is tuned to an open G, which is usually used on something bluesy (Keith Richards uses it all the time). I usually played the guitar on a Salmon PInk Plastic guitar that Michael had found. I think it was an Eko. The song was written for my girlfriend at the time.
Years had gone by, and then for some reason the song popped in my head. Since we had never recorded it, I couldn’t give it a listen to see if it held up. Frustrating.
I decided to record the song over again, and ended up doing 2 different versions of it. One of them is all guitars, fuzz and early 90’s indie stylings. This is the closest to how the song was performed originally.
At one point I was doing a lot of acoustic solo shows and had played the song. I was going to record an acoustic version, but somehow I got sidetracked and ended up with something that would have been at home on an OMD record, or a John Hughes soundtrack.
So I mentioned the band Wink. Well, Brian Keats was our drummer, and Brian was a funny guy. We were all a pretty incestuous bunch: we all hung out together, our girlfriends all worked together and were friends, we barbecued a lot. I had a great time with those guys. Brian used to tell a funny story about how he played in the Misfits for awhile and Joe Walsh showed up at one of their gigs with a bunch of Hells Angels; apparently they were way harder than any of the tough skinhead guys. Brian gave me a stereo once when I didn’t have one. I remember it was housed in this really ugly glass case, and for some reason, it was so noisy that you couldn’t really listen to quiet music on it. The hissing sounds were louder than the records.
We all went to see Fugazi one time, and I think Brian lost one of his shoes. My shirt was all ripped up for some reason.
Anyways, Brian is really bad off right now. He’s suffering from cancer and it doesn’t look good. Maybe you can send a good thought his way, and while you’re at it: be grateful for the people in your life.
Okay, time for me to turn down the hip-hop and blast some indie love out there.
The Apples In Stereo is an adventurous indie pop band that settles for nothing less than all out smile-inducing perfection through flutes, trumpets, tubas and other instruments i can’t decipher in this track about a self-conscious, possibly borderline bi-polar bella.
It’s simple, cute and its got a freaking brass and wind ensemble. What more indie can you ask for?
Best lyrics: There’s a party going down / all your friends are goin’ round / Know you wanna go /the moment that you get there /As the people that you know / act like monkeys in a row
What’s there to say? Somehow Roisin has managed to restyle early 90s commercial house music into into a sound for the early 10s with her upcoming single “Momma’s Place” has now surfaced and I can tell you it’s a banger tune.
That bouncy little synth bass and slamming piano interlude is killer.
The Aachen Duo Alphawezen has started the work on the fourth album. In the meanwhile, the wait is sweetened with a carefully compiled double CD with numbers of rare versions, remix works of renowned producers such as “Nightmares On Wax” and “Dadamnphreaknoizphunk”, as well as new previously unreleased mixes.
For people who not know Alphawezen yet, they´ve the chance to get the knowledge with “Snow Glow”, the latest release of the Aachen-Düsseldorf duo. The double-CD “Snow Glow” offers a retrospective and also shows what a complex in soundcreation producer Ernst Wawra and his congenial singer Asu Yalcindag reside. Chains range from the brutally minimalist wood on the revolutionary “Mediengruppe Telekommander” through to established house producer “The Timewriter” and downtempo legend “Nightmares on Wax”. Ernst Wawra itself, a German-artistic Melville Hall (among others involved in projects such as Mittekill or Electronic Willi und Sohn), is a chameleon in the best sense, changeable staged his tracks. Experimental (Frost) is contrary to pop music (White Noise). Some sounds belong in the Synthesizer Museum (the first tracks were created for performances by a modern dance company to Expo98 in Lisbon), other ones can imagine well as soundtracks for films or advertising. Indeed, sometimes you can hear Alphawezen songs in film and television productions. Alphawezen have not only the “lounge hype” survived, they are also clever and always changing the styles and moody by always beeing a little bit melancholic.
Since my last blog post I have been having a blast making art on 18in” x 24in” 50lbs. sketch paper as more affordable additions to my current series “With Great Power Comes Great Responsibility”. The paintings have become a little looser, more minimal, and a little more humorous than their canvas/collage counterparts. Unlike the canvas work, these new paintings on paper are completely spontaneous. Not much, if any, planning went into these pieces. I just sketched until an image began to take form and then applied a little paint here and there.
My favorite of the new work on paper is definitely “You Mufuckah You”. This piece in my opinion, is hilarious. It features some ill tempered thug in a Mickey Mouse outfit pointing his finger & wielding a knife at some unseen victim. I left the figure unfinished in areas in order to expose the sketch work that usually goes unnoticed in my paintings. I think it adds an interesting element to the work. I’d also love to create a 3-D version of this figure. I think it would make an excellent sculpture…..maybe I should put that on my to-do list.
These new paintings are all a little funny not to mention slightly deranged. With names like, “Gimme My Money”, “I Hate Mondays”, “Sometimes I Think I Try Too Hard“, “Someone To Replace Mom”, “My Mamma Told Me” & “Red Kryptonite Gets Her Everytime“…..I’m sure you can see what I mean.
This fun new selection of work is priced perfectly for the first time art buyer as well as the more seasoned collector looking to grab an affordable addition to their collection. These new works on paper will be made available for purchase in the “Works On Paper” Section my website by January 4rth.
more about “Kerli On Lady Gaga“, posted with vodpod
The Queen Kerli went in on the jester Lady Gaga in Neon limelight magazine saying
It’s kinda f*cking funny that Lady Gaga ALSO has yellow hair now,” a yellow-haired Kerli said on her Twitter page. “I wish she would f*cking stop ripping off everything I do. F*cking b*tch.”
In the video above the queen recanted on her comments but stilled hold on to her guns.
So this morning I was reading the news and I saw that Lady GaGa also had yellow hair, and I’ve been doing so much to not look anything like her, and I feel like everything I do she’ll do two weeks later. I feel like I’m starting my next album cycle and I’m trying to look different so I wouldn’t get these comparisons, but it’s like every time I do something different and post the picture up on MySpace she’s also looking that way in two weeks time.
No disrespect because the thing she does visually and her styling… and she’s best friends with Alexander McQueen obviously I’m not competing with that, obviously I’m not competing with four number one hits. I’ve never really said anything in a pissed off kind of way because I didn’t wanna be that person who was like a nobody and was like screaming when somebody else was standing on top of the mountain and ruling the world, I’m nobody to talk, but this morning I was like…
I know she knows who I am and I’m good friends with some of the members of her team and it’s just a little much that I’m trying so hard to not look anything like her and she’ll just end up looking like me anyways so I just lost it for a second and called her a bitch and it was really immature of me and I know the world will take it in a completely wrong way because she’s on top and I’m not.
Some of these things I’ve been like “it’s a coincidence it’s a coincidence it’s a coincidence” , and then I’m like “you know what, this is not a coincidence anymore”, and obviously she’s taking her visuals to a next level because she’s got all this money behind her… Her fans come at me like I’m the copycat, I’m just tired and that’s the reason why I said it. Nobody knows who I am and she’s so big and I’ll just come across as some idiot who imagines these things, but me and everybody who’s been watching my career since I started know that I’m right.
Kerli is an artist singned to Def jam and is 100 times better than Lady Gaga. She is far superior than Gaga in every area I can’t wait til Kerli’s new album drops and shows the jester how it’s done.
I watched the last couple of episodes of The Tonight Show with Conan O’Brien this past week. I hadn’t watched one episode of the late night talk show since O’Brien took over, but I always knew that I preferred O’Brien over his predecessor Jay Leno from watching Late Night for years. (That and his years with The Simpsons were easily the best in that show’s history.) He is a vastly superior comic who doesn’t have to depend on clichés and newspaper clippings sent in by his viewers to write a joke.
Miami Horror is spearheaded by Benjamin Plant, a 22 year old producer /composer from Melbourne, who makes electropop with a disco-house throwback style. He started getting international recognition DJ-ing in various high profile international events in LA, NY, Mexico and Europe as well as remixing artists like Pnau, Midnight Juggernauts, The Presets and Datarock. From being a solo project, Miami Horror ended up turning into a full-fledged live band with Josh Moriaty on vocals and guitar, Dan Whitechurch on bass, keys and sampler and Aaron Shanahan on drums.
The Aachen Duo Alphawezen has started the work on the fourth album. In the meanwhile, the wait is sweetened with a carefully compiled double CD with numbers of rare versions, remix works of renowned producers such as “Nightmares On Wax” and “Dadamnphreaknoizphunk”, as well as new previously unreleased mixes.
order