Thursday, June 28, 2007

The Jesus And Mary Chain, Royal Festival Hall, London (***)


Long before Noel and Liam Gallagher's spats made the tabloids, another set of siblings also signed by Alan McGee to Creation records were at loggerheads. For years, Jim and William Reid of The Jesus and Mary Chain shared a bedroom at their parents' house in East Kilbride, where familiarity bred hate. "After each tour we wanted to kill each other, and after the final tour we tried," Jim told Mojo in 2006. But time heals, bank balances shrink, and the Reids are back on the Chain gang, as they appear at the Meltdown festival.

Introducing the band, festival organiser Jarvis Cocker talks of "a tidal wave of jealousy" emanating from Glastonbury festival-goers unable to witness this "legendary" band's first UK gig in nine years. The Reids are joined by former Ride drummer, Loz Colbert, and former Lush bassist, Phil King - an able rhythm section that breathes new life into the ode to gloom, "Happy When It Rains". The set also draws on the group's 1985 album Psychocandy, a near-perfect debut on which William's feral guitar feedback was the barbed wire garnish for some delicious pop melodies sung by Jim. When the band played "Just Like Honey" at California's Coachella festival in April, Scarlett Johansson - who starred in Lost In Translation, in which the song features - showed up to sing backing vocals. She's absent tonight, but it's probably just as well: it takes the band three attempts to nail the song, Jim stopping twice for reasons he only explains to his brother.

"Some Candy Talking" is a stark reminder that the Reids brought much-needed danger to pop in the 1980s. Their gritty, disaffected update on Suicide and The Velvet Underground was in stark contrast to the New Romantic movement's slick, dandified shtick. Beneath the sonic rubble, however, the Mary Chain were every bit as poppy as Duran Duran, and tonight's sole new song "All Things Must Pass" is a catchy piece of carnage, too.

For all the past riot-inducing gigs, Jim has become beatifically calm on stage, approaching performance as others might a quiet day's fishing. William, meanwhile, remains the shoegazing sonic alchemist, fixed upon coaxing thrillingly unhinged sounds from his instrument.

It's all over in an hour, a marathon compared to the 15-minute sets of their heyday, but the crowd's ageing punks seem gratified.

***

Young Marble Giant "Colossal Youth" [re-issue]


In an era of global reunion tours and loudly-trumpeted comeback albums, there was something reassuringly unassuming about the Young Marble Giants' recent reformation. Last month, they quietly played the Hay-On-Wye literary festival, their first set since splitting in 1981. In photographs, the reunited trio look defiantly unlike a band: they have the air of PTA members to whom someone has handed instruments by mistake. At youngmarblegiants.com you can read guitarist Stuart Moxham's account of events, a charming panoply of Pooter-ish concerns that succeeds in making the show seem more unassuming still. His delight at discovering that his elderly mother's disabled badge entitles them to "pole position in the best car park" is tempered by his stepping in a "shockingly cold" puddle and banging his head on a low beam in the youth hostel in which he has elected to stay. He is even forced to cut his post-gig celebrations short, although not, alas, as a result of rock and roll excess: "I'd neglected to get keys to the youth hostel for that night and didn't know how difficult it might be to find in the dark".

Then again, even at the height of their success, when their one and only album Colossal Youth briefly became the second-biggest seller for their label Rough Trade, unassuming was rather the Young Marble Giants' thing. They never looked like a rock band: singer Alison Statton's plimsolls, print dresses and ponytail give her the look of a wholesome village schoolteacher. Their rhythms came from a drum machine that they made themselves by following diagrams in Practical Wireless magazine; onstage, even this proved too flashily high-tech, and was replaced by a portable cassette recorder. While their peers earnestly debated cultural hegemony or furthered the cause of radical feminism by being as tuneless as possible, Young Marble Giants released the Testcard EP, "six instrumentals in praise and celebration of mid-morning television" (included here on the appended CD of single tracks and muffled demos).

Indeed, the one thing Young Marble Giants had in common with their early-80s contemporaries was that they were haunted by the spectre of the nuclear bomb. Yet they somehow even managed to refer to imminent apocalypse in an inconspicuous way. Final Day lasted barely 90 seconds, a tiny, perfect knot of muted guitar and burbling organ undercut by a barely audible but still unsettling one-note whine. "When the light goes out on the final day, we will all be gone, having had our say," sang Statton, sounding, in Moxham's immortal phrase, "as if she was at the bus stop or something". Apocalyptic dread may be back in musical vogue at the moment; compare Final Day to Arcade Fire's anguished end-of-days schtick, with its choral vocals and strings and thundering timpani, and there's no doubt which would sound more stirring while booming from a Glastonbury stage. But there's equally little doubt which burrows deeper under your skin.

Rock music has gorged itself at the post-punk buffet to the point of dyspepsia in recent years. Colossal Youth, however, sounds no more of-the-moment than when it was first reissued in 1990, at the height of Madchester and the birth of grunge. Nor does it sound more dated. It exists in a world of its own. Amid the tick-tocking of the drum machine and Statton's oblique lyrics about robots, failed romance and train crashes, there is a sound that manages to be both stark and serpentine: a lone twanging guitar or organ and bass, the parts wrapping around each other "like knitting", as Moxham put it. It's a suitably un-rock'n'roll simile for music that sounds like nothing else in rock'n'roll.

Even more striking is how the songs pull so much variety out of such basic ingredients. Salad Days is wistful and pastoral; instrumental The Taxi conjures up nameless urban crepuscular fear; Wurlitzer Jukebox's dazzling bass slips between limber funk and mechanical precision. It's spellbinding, as is the rest of the Young Marble Giants' oeuvre collected here: an unassuming triumph, but a triumph nonetheless.

***

Debbie Harry will release her sixth solo album this autumn


I had my fun. I guess I knew I was a sex symbol. Debbie Harry talks about peroxide, pants, punk and plastic surgery

Debbie Harry is the lead singer of the new wave band Blondie. She was born in Miami in 1945 and raised by adoptive parents in New Jersey. Blondie was formed in 1974, and dissolved in 1982, when Harry temporarily retired to look after her boyfriend at that time, the band’s guitarist Chris Stein, who was seriously ill with a genetic disorder. Blondie reformed in 1998, and will tour the UK from July 8. Debbie Harry will release her sixth solo album, Necessary Evil, this autumn.

The band name came from people calling out “Blondie” to me while I walked down the street. I first bleached my hair when I was about 13. I was inspired by platinum-blonde film stars such as Jean Harlow, but initially went down the accelerated sun-bleaching route to pass it off as natural. It started to break off from overbleaching when I was in my forties. Was it traumatic? I just had to deal with it – that’s what happens when you peroxide your hair for years. I just cut it shorter; wigs aren’t practical when you are a performer and want to move about on stage because they don’t always come with you.

I don’t think that the outfits I wore when the band started were particularly outrageous. They might just have seemed that way because the mainstream style was the complete opposite of my look. Punk and disco hadn’t taken off at that time. There were two trends going on; the spandex crowd – who were wearing the vestiges of glitter rock – and the hippy style – long skirts and towelling shirts and awful stuff like that. I didn’t feel comfortable wearing those kind of clothes or long skirts, although Stevie Nicks made them work for her. I mean, was there any real style in the early 1970s?

All teenagers are inclined to be a bit rebellious. I considered myself an art student, with a certain responsibility to experiment, and I did. People have speculated about whether I was wearing knickers when I appeared on stage in a really short dress, and there were occasions when I went out without underwear, but I’m not flashing myself like Britney. I don’t think I ever went out on stage without some kind of underwear, because of the front row. God knows, though, I may have.

I had my fun. I guess I knew I was a sex symbol. I think it has to do with projecting what you want people to think about you, and how you feel about yourself. It’s not just looks – sex appeal is very chemical: one man’s feast is another man’s poison.

It’s important to express yourself through your clothes. It’s vital for your mood, your relationship, your career – for every aspect of your life. Put it this way, if you wear a really stupid-looking hat, people won’t want to talk to you. My signature look was influenced by the 1960s, pop culture and rock’n’roll. I also had a very limited budget to work with when I started out in the band, so I made some of my clothes, and we would go to crazy places to shop. I lived on the Bowery, in New York, and there were lots of what we called “the bum stores”, where the vagrants would sell all manner of junk that they had just picked up, at really cheap prices. I bought some interesting T-shirts there, and some really cool heavy framed square sunglasses that were like something out of a cartoon. That kind of shopping doesn’t exist any more.

I love clothes. I consider them art, but I don’t shop that much. I know a lot of designers personally; Marc Jacobs is a wonderful guy. Occasionally I’ll get something by Jean Paul Gaultier or John Galliano – incredible people who could design anything. I’m a bit savvier about what looks good on me now that I’m older, so I don’t just see something in a magazine and buy it without thinking about whether it suits me.

Everybody knows that I’ve had plastic surgery. I did it for business reasons. You photograph better, and looks are a key part of being an entertainer, so I felt that it was something I had to do. All sorts of horrific things happen in life – why make it worse by worrying about getting older? Do some charity work, or learn a new skill instead.

***

Wednesday, June 27, 2007

Justice "+" (2007)


Retreating to their underground post-nuclear shelter/studio, exiting only on weekends to shatter clubbers' eardrums, Gaspard and Xavier have been working on their first album as if their lives depended on it. The result has exceeded all expectations, a wonderful twelve track album which opens with 'Genesis,' a dark baroque beginning that introduces a mind-fuck of an album that proves that Justice's unique talent is to be found where least expected. Take for example 'Let There Be Light' and its strident angry electro driven by a jabbing bassline, 'D.A.N.C.E,' a pure piece of vicious house sang innocently by a choir of children, 'Newjack' a funky parody of the opulent times of the French Touch. 'Phantom I' that takes over where 'Waters of Nazareth' left off to drift towards 'Phantom II' and its head-swirling disco violins. 'Valentine,' an erotic melancholic nursery rhyme, like a tribute to Vladimir Cosma and 'Tthhee Ppaarrttyy' a pure electro funk track where the sexy Uffie plays more than ever the cheeky Lolita. 'DVNO,' a lesson to anyone trying to fuse electro with rock. 'Stress,' a hectic race that would drive the Chemical Brothers insane with jealousy. Or the finale, 'One Minute to Midnight,' a parallel to the 'Genesis' opening, which closes the album beautifully. As children of the French Touch, Justice are throwing the established rules out the window (the notion of good and bad taste, the thin line between underground and pop music, the pigeon hole labelling between rock and electro, etc?) and have a fantastic talent for synthesising and mixing their influences with total candour, be it the cosmic disco of Larry Levan or Vladimir Cosma's panty wetting romantics, Camel's prog rock or the anxious theme of The Goblins for Dario Argento, the flashy funk of the Brothers Johnson or ABC by the Jackson 5, in a very personal and inimitable manner. Its evocative strength and striking power commands respect. It comes as no surprise that Cross, the first album by Justice, is a fantastic treat for the ears and for the feet. A kind of musical opera marked with religious and baroque symbols, where the melodies are ripped to shreds by the beats, where electro teaches rock a lesson and where pop gets a botox injection. Rarely in the history of French house music has a first album lived up so well to expectancies. But the best thing about this great Justice swindle is that not only did they manage to create an immediately recognisable sound, they also dodged the pitfalls of the first album. Cross isn't a collection of random dancefloor singles. Cross doesn't accumulate 12 noisy offsprings of 'Waters of Nazareth.' Cross is never what is expected. Cross is like an album of compartments where the tracks spill over into others, like when the bass from 'D.A.N.C.E' comes to die out on 'Phantom II.' Cross is for listening at home or in clubs. Cross is a link between pop at it's purest and experimental music. Cross brings together hardcore elements and cheese. Cross makes the Goths link arms with the fluo kids... Thus be it. A generational manifest, ideally positioned on the side of the dancefloor, Cross, insolent with youth, is a testimony that the French electro scene is healthier than ever. Justice first.

***

Mute: Audio Documents 1978-1984 (10xCD)


128 tracks over 10 CDs, Mute Audio Documents [iTunes] is a unique insight into the musical development of the label and its artists, highlighting the influence, the success and, most importantly, the great music produced since its inception in 1978. Mute Audio Documents is a collection of Mute's single releases from 1978 to 1984 and includes the first 4 double CD volumes of an ongoing series plus a 2CD rarities album exclusive to the box set. The series will feature all the A-side and B-side single tracks released by Mute in addition to album tracks by the artists for whom there were only album releases.

Mute emerged in the post-punk era. It was a new era of pop democracy, and anyone could make a record. You didn't even need to know three chords, according to Mute founder Daniel Miller. All you needed, he said, was an idea.

His 'idea' was to create a classic of DIY pop - a double A sided 7" single featuring the songs T.V.O.D. and Warm Leatherette. He called himself The Normal, designed a sleeve with Letraset, stuck the name Mute on it, and accidentally started a record label.

You only have to listen to the music gathered on these 10 CDs to see how Mute became the blueprint for maverick independence and sonic adventurousness - a blueprint that countless labels follow to this day.

The documentary evidence is here. All you have to do is listen.

Volume 1 1978 - 1981
Featuring: The Normal, Fad Gadget, Silicon Teens, D.A.F., Non, Robert Rental, Depeche Mode, Boyd Rice and Smegma.

Volume 2 1982
Featuring: Non, Depeche Mode, Fad Gadget, Die Doraus Und Die Marinas, Yazoo and Liaisons Dangereuses.

Volume 3 1983
Featuring: Depeche Mode, Duet Emmo, Robert Görl, Yazoo, Fad Gadget, The Assembly and The Birthday Party.

Volume 4 1984
Featuring: Einstürzende Neubauten, Fad Gadget, Robert Görl, Depeche Mode, Nick Cave & The Bad Seeds, I Start Counting, Bruce Gilbert, Boyd Rice and Frank Tovey.

Daniel Miller has, for nigh on 30 years, been at the helm of a unique and groundbreaking label, which has gained a reputation as one of the most consistently successful, adventurous and challenging labels in the world. With offices in London, Berlin and New York and a roster that includes renowned international artists such as Depeche Mode, Moby, Erasure, Goldfrapp, Nick Cave & The Bad Seeds and Richard Hawley, Mute Audio Documents unashamedly celebrates the label with a remarkable box set detailing both the known as well as the not-so-well-known tracks (some of which are available here for the first time on CD) and the promise of more volumes in the near future.

Mute Audio Documents includes exclusive sleeve notes by Chris Bohn, Stephen Dalton, Ian Johnston and Dave Henderson, original artwork and exclusive original poster for The Normal.

***

Recoil "Subhuman" (2007)


Recoil's 5th studio album, subhuman, will be available on CD and limited edition gatefold vinyl as well as in a special collector's DVD package featuring an enhanced stereo CD, a 5.1 Surround Sound version, an exclusive ambient reworking of the entire album and all the Recoil videos to date.

Collaborating with Recoil on subHuman is Bluesman Joe Richardson, whose evocative vocal style is complimented by accomplished guitar and harmonica performances. Born in Southern Louisiana, Richardson spent years immersed in the murkier side of New Orleans life and offers a unique commentary on conflict, religion, incarceration and personal struggle.

English singer Carla Trevaskis, a songwriter in her own right, brings an expressive range and control to subHuman and has worked with artists as diverse as Fred de Faye (Eurythmics), Cliff Hewitt (Apollo 440) and Dave McDonald (Portishead).

Wilder's skill at blending diverse and eclectic musical styles with often controversial subjects has produced an album of complex sonic imagery and expansive dynamic range. subHuman asks us to reach within ourselves and extract the very essence of what makes us human - and more importantly what allows us to subordinate others, sometimes with the most brutal consequences. We are all subHuman in somebody’s eyes.

***

Tuesday, June 26, 2007

Bad Brains "Build A Nation" (2007)


Considering that the Beastie Boys were a fledgling punk group before they were rappers and MCA (Adam Yauch) was often seen slam-dancing front and center at Bad Brains' legendary early performances, he would seem the perfect candidate to produce and resurrect the newly reunited group. In truth, he does a fantastic job capturing Bad Brains [MySpace] on Build a Nation, and they rock nearly as hard as they did in their glory days before they switched to funk metal — Yauch explained that his goal was to replicate the raw sound that he remembers from their live shows and the first self-titled Reach Out International Records tape. Although the group recalls some of its best hardcore roots with an added concrete-shattering low end not found in a lot of its early recordings, the problem is that frontman H.R. simply doesn't have the energy or larynx that he once did, and has to resort to a lower octave and sing in an Anthony Kiedis "Give It Away" vocal style. But who can blame him? It was over 25 years ago when he unleashed his furious shriek and wide array of spastic crooning voices, and it takes a young man's fire to spew microphone venom with that ferocity. Often, he moans his vocal lines in an imitation Lee Perry reggae voice (even on the punkier songs) and has to resort to a lot more studio trickery and delays to make up for his lack of dynamics.

This washy style of singing doesn't always feel completely appropriate, but it fits perfectly when the Brains flip the switch to their reggae grooves, which now sound more authentic than ever. This should be no surprise since their last album consisted of only dub music, and their yellow, red, and green album art looks remarkably like a Marley bootleg with a track listing that includes "Natty Dreadlocks 'Pon the Mountaintop" and "Jah People Make the World Go Round." Since the album was recorded at the B-Boys' Oscilloscope Laboratories, many of the reggae numbers have elements of the Beasties' instrumentals on The Mix Up; it sounds like keyboardist-for-hire Jamie Saft may have borrowed Money Mark's organ while Yauch added some of the percussive instruments laying around the room for a few numbers. Even when the washed-out dubby vocals coincide with thrashing guitars, the heavy songs work remarkably well, too. The combination of the two styles makes for an interesting result, especially in "Let There Be Angels (Just Like You)" and "Universal Peace." While Bad Brains never quite match the intensity of their early days, this is easily the best record they've released since Quickness, and maybe even since I Against I. Fans of H.R., Gary, Darryl, and Earl should be happy to hear that they're finally back on track and sounding relevant again.

***

Dave Gahan "Hourglass" [press release]


DAVE GAHAN SET TO RELEASE 'HOURGLASS,'
HIS SECOND SOLO ALBUM,
IN LATE OCTOBER


Depeche Mode front man DAVE GAHAN will release his second solo album - HOURGLASS - in late October (exact date to be announced). The Mute release is the follow-up to his 2003 solo album Paper Monsters, which marked his debut as a full-fledged songwriter. The disc earned critical acclaim worldwide (with Q magazine citing it as one of the Top 50 Albums of the Year) and spawned sold-out solo tours of the U.S. and Europe (as captured on the 2004 live DVD release Live Monsters).

Gahan's growth as a songwriter was represented on Depeche Mode's 2005 album Playing The Angel, the group's first album to feature Gahan originals; his three contributions included the single "Suffer Well." A two million worldwide seller that vaulted to Number #1 in eighteen countries, the album was accompanied by a 2005-2006 international tour reaching 2.5 million people across 30 countries.

While Depeche Mode is catching their breath, GAHAN recently returned to the studio to record an array of songs that would become HOURGLASS. Created without the pressure of a deadline, GAHAN wrote and produced all the songs in collaboration with Christian Eigner (drums) and Andrew Phillpott (guitars) of the Depeche Mode touring band. They worked at Gahan's 11th Floor Studios in his adopted hometown of NYC where he's lived for the past 10 years. Tony Hoffer, known for his work with Beck, Air, the Kooks and the Fratellis, has been tapped to mix the album in July.

Gahan says HOURGLASS is more electronic-sounding than Paper Monsters, "but we were very aware of the importance of keeping urgency in the sound and a feeling of spontaneity. We didn't want to get bogged down in trying to make everything sound perfect. You want to keep the rough edges."

Gahan adds: "Christian plays drums and Andrew can easily find his way around bass and guitar - and then we're basically cutting all this stuff up and fucking with it by using ProTools, effects and all kinds of stuff. Accidents do happen, and they're good."

With its themes of racing against - and running out of - time, the songs on HOURGLASS dig deeper into Gahan's psyche. "I'm still that teenager who's desperately trying to grow up, but in total fear of it really happening," he says. The album's tracks include "Saw Something," "Use You," "Endless," "21 Days," "A Little Lie," "Deeper and Deeper," "Love Will Leave," "Down," "Miracles," "Tomorrow" and "Kingdom."

Stay tuned for news on the album's first single.

***

Lou Reed "Hudson River Wind Meditations" (2007)


Every now and then, usually reliable iconic figures put out a project that completely perplexes even their most stalwart adherents. Lou Reed did it in 1975 with Metal Machine Music. Released as a double LP and mostly conjured from pure feedback and some guitar effects, it sounded to many like a symphony for garbage disposals and jackhammers. At the time, Reed claimed most people wouldn't like it, and he was right, although if you drilled beneath the surface, it was strangely triumphal and exultant with almost psychedelic melodies. Three decades later, he returns with the follow-up. Hudson River Wind Meditations is the yang to Metal Machine Music's turbo-distortion head-crush ying. Which isn't to say it's smooth and soothing. Hudson River's two primary tracks consist of Doppler-effect sine waves, Tibetan-singing-bowl-like sounds, and deep subharmonics that threatened to crack my speakers. They all do slow-motion, abstract barber-pole dances around each other over the course of their half-hour or so duration. Listening deeply, one can get lost in the harmonic relationships in a way that recalls LaMonte Young's Theater of Eternal Music or Alvin Lucier's Music on a Long Thin Wire. Lou Reed is a practitioner of Tai Chi, and he says this music is meant for body work and meditation, but while the Hudson River itself can be a comforting, reflective place, this sounds more like the underground groans and electronic nervous system of Manhattan. The album was originally called Inner Spaces, but I suspect for most people, it might just be boring spaces. It's music for deep listening, but the rewards are highly rarefied.

***

KAISER CHIEFS ANNOUNCE NEW UK TOUR


Saturday, June 23, 2007

Exclusive Q&A: Queens of the Stone Age's Josh Homme


ROLLINGSTONE.COM: Queens of the Stone Age frontman Joshua Homme is a workaholic. But when his wife - Brody Dalle, formerly of the Distillers, now with a new project called Spinnerette - gave birth to their daughter, Homme put down his guitar and his pen. "I've never had anything so small in my house before," says Homme, 34. "I had two midgets come for a birthday party once, but they were way bigger than she is now." When QOTSA regrouped, they decided to hold a meeting, where they'd inspire one another with books and music. "It was supposed to surprise and engage each other," he reflects, over a dirty martini in a posh Manhattan restaurant. Shockingly, he adds, "everyone brought in books on Crowley, and everyone brought in marching music." The new record is titled Era Vulgaris - "It's what Crowley called this modern age" - and songs like "Run, Pig, Run" were a response to what Homme heard in marching music, particularly the gypsy variety. "Gypsy music is scary, it frightens the townspeople, but it also makes them want to make love under the stars," says Homme, who was pleasantly surprised by Vulgaris' recent four-star rave in RS. "At the same time, it's difficult to interpret, wrapped up in a mysterious vibe. That's the piece of candy I think of as the music we were trying to make."

On Era Vulgaris, you take shots at your generation. "I'm Designer" includes the lines, "My generation's for sale... The thing that's real for us is fortune and fame."
That's one extreme - some people are willing to shed light on things that would have gotten them shamed out of town. Also, I think my generation has a lot of opportunities for people to take their passions a little farther than they've ever had a chance to.

In an artistic sense?
In a world sense, too. If we all gave enough of a shit, we can do whatever we want. Nothing is more inspiring than feeling like you're a part of the flock, but being led by a moron. So if you go, "God, I could do this better," then eventually someone will step up and say, "Fuck it, I'm going to do this better."

The albums opening lines - "You have a question?/Please don't ask it/It puts the lotion in the basket" - are brilliant and hilarious.
I think "Silence of the Lambs is a dark comedy, for some reason. "It rubs the lotion on its skin, it does this whenever it's told." That and American Psycho - there's an undercurrent of black comedy that's just ridiculous. And that sort of defines this record. Obviously, I'm a smart ass.

Your sense of humor gets lost on a lot of listeners.
I think so. A lot of times what I say can be misconstrued as a cruel joke, but it's not. Most of the time, I'm the bonehead that I make fun of. I like to have a good time. I don't take myself that seriously.

Trent Reznor and Julian Casablancas sing on the record. Why them?

Musicians are like little children - they want to play together. I got to know Julian when last year when the Eagles of Death Metal were opening for the Strokes, and I've always been a huge Strokes fan. Their first record and the first Queens record have a lot in common: they're driving music, they're angular, and both were recorded dry. Also, both his fans and our friends might be dismayed, confused or even angered by us teaming up that that's enough reason to do it in the first place. The same goes for Trent. [pause] I remember getting car sick on the winding trip up to his house in the Hollywood Hills.

The same thing happened to me going to Billy Idol's house once!

No way! We just did a cover of "White Wedding," for a b-side, and it's badass. Billy Idol's one of the only people that's played in the desert, and I love him for that. It was when I was thirteen, and I was totally grounded and I couldn't go. I had alcohol at school - I was totally framed. My friends told me about it - they rubbed it in until they pushed it in. And he slept with one of my friends' sisters, no bullshit.

You are six-foot-five, yet you don't dwarf anybody in the band.

We used to have a height requirement. Seriously. It isn't like Dio's band, where there was Keebler Elf magic going on. We have more of a Harlem Globetrotters feel to us.

Your wife is working on her new project, Spinnerette. So, do you guys wake up, then head off to work in different studios?
Yeah. While the Queens were making this record, I heard some of the stuff she's been working on. I was like - lovingly - "You bitch!", because she had all these huge hooks and melodies. It made me write better riffs. Maybe I can talk her into playing together.

You could have a family band someday, with your young daughter Camille.

Yeah, like a little Clampett family thing. My daughter will be like Wolfgang [Van Halen]. So, first we'll hire Michael Anthony, then we'll throw him out of the band, and replace him with my Wolfgang.

With your daughter, are you behaving healthier? Like, you told me a while back that you were quitting the cigs.
I quit for three or four hours. I love balance. And I love being in the center, because then you can go to extremes and always come back to the middle. And I don't respond to rhetoric. Alcohol is legal, but pot isn't? Have you ever seen anyone get into a dangerous, low speed collision? Or a pot fight - other than fighting over Fritos in a 7-11? It's about striking the balance. I love to go off, it feels good. I jump on and off the wagon, but sometimes you have to get off the wagon just to fix the wheel, y'know?

You included "I Wanna Make It Wit Chu", from one of your "Desert Sessions" compilations, on "Vulgaris." Why?
Because it's the best song I've ever been associated with that's about screwing.

It's going to be the summer sex jam, for sure.
Wear a condom.

***

The Beastie Boys "The Mix Up" (2007)


ROLLINGSTONE.COM: Ten years ago, when the Beastie Boys [MySpace] ruled the world, they let U2 appear on their Tibetan Freedom Concert album. It was poignant to hear U2 sound lost and confused, at their commercial and creative nadir, floundering through the vaguely anthemic "One." Poor old U2 had no clue how to connect with a Beastie-worshipping young mod world. But now, with U2 bigger than ever and vague anthems all the rage, the Beasties can be forgiven for sounding confused themselves, as they try to bring their Grand Royal chutzpah up to date. The Mix-Up is all-instrumental, digging into the familiar organ-heavy lounge funk of Check Your Head and Ill Communication. Yet it's poignant, because the Beasties play their old grooves like they realize how bad people miss them and how high their stock remains despite so many years away. The Beasties could have knocked out all twelve jams in a lazy weekend in 1992, 2007 or anywhere in between, and the album isn't meant too seriously; Mike D still drums like Meg White's dad. But it's definitely fun to play loud on a sunny afternoon, especially the conga groove of "The Melee," the "See Emily Play"-style psychedelia of "14th St. Break," the stoner fuzak drones of "The Kangaroo Rat" and "Off the Grid." I was surprised to find the rest of the songs were not simply titled "Weedbreak, I-VIII." And despite the Beasties' New York roots, there's no punk or post-punk; if they've heard LCD Soundsystem, Hot Chip, CSS or any of the young funkateers they keep inspiring all over the world, you can't tell from The Mix-Up. Hopefully, this is only a warm-up for their next big move.
***

Thursday, June 14, 2007

Joy Division "Martin Hannett's Personal Mixes" (2007)


Discovered by friends of Martin Hannett recently and with input from one of his relatives, these recordings give a rare insight into his production ideas for Joy Division and his relationship with the band, the strange things/sound effects they recorded in the studio together, etc. The studio chit-chat and interplay between Hannett, Gretton and Joy Division members is all here as Martin left his own tape machine running throughout studio sessions. On this album we have rare alternative mixes of Joy Division that were Martin's personal favourites and he had the forethought to get the band members to give him control of these recordings. A must for all Joy Division fans. Includes alternative mixes of Autosuggestion, Heart and Soul, 24 hours, Passover, The Eternal (2 mixes), From Safety To Where and Decades (3 mixes).

Track Listing

1. Synth Tone
2. Hannett's Lift Recording 1
3. Joy Division Keyboard Doodles
4. Hannett's Lift Recording 2
5. Joy Division False Start 1
6. Curtis Hannett Gretton Interplay Chit Chat And Cup Smashing
7. Hannett Speaks
8. Joy Division False Start 2
9. From Safety To Where
10. Autosuggestion
11. Heart And Soul
12. N4 Europop
13. 24 Hours
14. Passover
15. N4
16. N4
17. Eternal
18. Eternal

***

Tuesday, June 12, 2007

Ozzy: "I Didn't Know About the Restraining Order!"


After 25 years of marriage, Ozzy and Sharon Osbourne seem as happy as ever. But they’ve had their share of ups and (drug–fueled, near–murderous) downs, as Blender discovers over a luxe lunch. Pass the speckled dog dick!

By Rob Tannebaum

Blender, June 2007

Rock–Star Double Date

The Couple Ozzy Osbourne and his wife, Sharon Osbourne
The Setting The London Bar, New York
The Goal To witness firsthand the secret love language of our favorite musical couples

The waiter gestures to a grandly designed entrée that’s been placed at the center of our table. It is the creation of Gordon Ramsay, the hotheaded British chef so obsessed with perfection that he routinely dices, skewers and roasts his kitchen staff. The dish, one of 20 we’ll be served at his New York restaurant even before dessert, is roasted­ sablefish bathed in ginger sauce and set beside onions fried in an Indian–spice batter and a white clump of creamed parsnip. “It’s cum,” Ozzy Osbourne blurts, looking skeptically at the milky dollop.

Welcome to Blender’s double date with Mr. Osbourne and his wife and manager, Sharon. During a nearly four–hour lunch at the London Bar, we will hear about his many maladies and the time she head–­butted New York’s most powerful concert promoter. Ozzy will look at a small cinnamon doughnut and ask, “Is that a testicle?” Occasionally, someone will mention this summer’s reinvented Ozzfest tour, but we have more important topics to examine. During a girl–gab session with Blender senior editor Victoria De Silverio, Sharon will gossip about which reality–TV star is addicted to painkillers and will also volunteer her makeover secrets (“I’ve had a lot of surgery!”). And before the bill arrives, Ozzy will utter one of history’s most unnecessary confessions: “I’m not like a normal person at all.”

Imagine what they’d be like at dinner.

This summer — July 4th, in case you’re getting them a gift — marks the 25th wedding anniversary of Mr. and Mrs. John Michael Osbourne, of Malibu, California; London, England; and Hades. “When we got married, it was like the joke of the industry,” Sharon recalls, mimicking a skeptic: “How long are they gonna last?”

Both Blender representatives, unable­ to imagine any relationship that lasts longer than three weeks, press for the secret to their longevity. Compromise? Consideration? “We have a fuckin’ row every day,” Ozzy howls. “It’s love and war.”

As Ozzy, 58, peers at the menu over bi­focals, Sharon, 54, puts her feet on the banquette, stretching out regally. She recalls the first glimpse of her future husband: “I was embarrassed and afraid.” She was 17, a secretary at her father’s management company, when Black Sabbath visited him. Ozzy, who’d grown up very poor in Birmingham, England, wore a pajama top and a faucet tied around his neck on a piece of string. “He said it was the only jewelry he could afford.”

Nine years later, Sabbath had marched to the peak of metal majesty, then tumbled down into the underworld. Sharon’s father was now managing the band, and Ozzy was fired because he could no longer fulfill the simple job requirements of being the singer in a hard rock band (1. Show up. 2. Sing). He quarantined himself in a scuzzy L.A. hotel and decorated it with pizza boxes, half–empty beer bottles and cigarette stubs.

The waiter interrupts this romantic tale to deliver plates of lamb cutlet, twice–cooked poussin, baked pork belly, pan–fried fluke and short ribs. “There’s a Henry VIII kind of vibe here!” Ozzy crows.

Back to 1979: While broke and insane on drugs, Ozzy was given $500 by a musician who owed the money to Sharon. She dropped by the hotel to collect the cash. “He didn’t even try and lie,” Sharon says. “He said, ‘I spent it on cocaine.’ I went bloody mad! But he was so vulnerable, so open and so truly sorry. He was very lost.”

She began managing Ozzy, which incited her father to disown Sharon for many years. Ozzy and Sharon’s romance began not with a date or roses or poetry, but with booze. Buckets of it. They were at a hotel, celebrating his comeback, and they had a drink. “And another drink, and another drink,” she explains. “We ended up spending the night together. After we’d had sex, we had a bubble bath, then went back to bed for another fuck, got up, and did it again in the tub.”

Debauchery may not be an auspicious basis for a relationship, and Sharon often had to contend with her mate’s addictions. “Every morning I would say, ‘Today I’m not gonna do pills and dope,’” Ozzy says. “And within an hour, I’d broken every fucking promise.” Then one more unnecessary confession: “I’ve taken a shitload of drugs.”

As Sharon points out, qualities that first seem cute in a partner soon become annoying. Like when your husband OD’s in the bathroom? Blender asks. “He never did that,” Sharon scoffs. “It was in bed.”

Evidently, one key to an enduring marriage is the ability to laugh together. Though they sometimes seem as violently combustible as George and Martha from Who’s Afraid of Virginia Woolf?, Ozzy and Sharon more often resemble George Burns and Gracie Allen, a husband–and–wife comedy team. She, for instance, begins to tell us about the first of their two separations, which began one night in 1989 when, while drunk, he tried to kill her. After his arrest, she secured a restraining order against him.

“I had a restraining order?” Ozzy asks. He has paused in the middle of chewing.

“You were fucking arrested!”

“I know. But I didn’t know about the restraining order!”

Throughout the meal, Ozzy openly (enthusiastically might be a better word) discusses his various problems: He is dyslexic. He has attention deficit disorder. He is a manic–depressive. He has a neurological disorder that causes tremors and a stammer. He takes antidepressants, which diminish his libido, and Viagra, which restores his libido. He’s also a hypochondriac, which is probably why he’s so enthusiastic about disclosing these ailments.

Sharon gave birth to three children — Aimee, 23, Kelly, 22, and Jack, 21 — while Ozzy continued to record and take drugs, not always in that order. Finally, he agreed to check in to the Betty Ford Center. “I phoned them and said, ‘I’m coming in.’ The woman asked me, ‘What drugs are you doing right now?’ I told her, ‘Booze and coke.’ She said, ‘I want you to keep doing them until you get here.’ So I go, Fucking hell, this is gonna be a great place!” He arrived at Betty Ford, he says, expecting they would have a bar.

For decades, he dipped in and out of sobriety, even during filming of The Osbournes, the MTV show that launched the celeb–reality craze, even while his son Jack struggled with an OxyContin addiction. Three years ago, the couple had a second separation, after he violated her zero–tolerance policy. “Because we agreed that he would have no slip–ups,” Sharon says tartly. “And he had a slip–up.”

Desserts have arrived, and it takes four waiters to deliver them. “This is the way all interviews should be!” roars Ozzy, who has cream sauce smeared across his face. Sharon tenderly dabs it away with her napkin.

They will be together all summer, due to the 12th annual Ozzfest. He’ll be promoting a new album, Black Rain: The music stomps like an army slogging through a muddy, diseased war, and the songs continue his career–long denunciation of politicians and priests. Admission to Ozzfest will be free, a change that has players in the touring business “going insane,” Sharon says.

Ozzy is straightforward, a man who appreciates his good fortune in having avoided the cemetery and likes to deflect anxiety with a schoolboy’s quip. Sharon is a tactician, a tigress who disguises herself as a nuzzling kitten. She is known for packing feces in a Tiffany box (“Because everyone likes to get a Tiffany box”) and mailing it to her enemies, and she mentions that Gene Simmons of Kiss besmirched her family while promoting his A&E reality show.

“He said that our kids are on drugs and that his aren’t messed up like that. He’ll always be C–list, and his wife’s snatch has been rubbed on every pole in L.A. I’ll fucking tear his head off and stick it up his wife’s cunt!” Yet she says this with such breezy joy, it’s easy to believe she’d be content with just tearing his head off.

The day has grown late. Sharon is worried she won’t fit into a gown she’s wearing to their pal Elton John’s 60th–birthday gala tonight. Blender shamelessly begs to come along. Instead, we will spend the evening watching Gene Simmons on A&E.

Our table is lavished with one last des­sert, which is topped with an oval of cherry sorbet. “It looks like a dog’s dick,” Ozzy says. Sharon nods. And Blender eventually realizes they’re right: This speckled frozen dessert looks very much like a dog’s dick. It just takes a while to see the world through the Osbournes’ eyes.

***

Interview with Karlheinz Stockhausen


Words like 'important' and 'controversial' inevitably surface when you examine the lengthy career of German composer Karlheinz Stockhausen. A few facts to kick off. He pioneered electronic music in "variable form". He has written graphical scores that can be read from any direction. Inspired by dreams of flying, he has written works for a string quartet where each participant performs from their own helicopter hovering above the concert hall. In short, he does things none of us really understand but sound really quite impressive.


Although he is said to have influenced notable artists from The Beatles to Bjork, approaching his work is not an easy sell for the uninitiated. "The loops," Stockhausen enthuses about his latest work, Cosmic Pulses, "were enlivened by manual regulation of the accelerandi and ritardandi around the respective tempo, and by quite narrow glissandi." It's certainly not anything you'll be jumping up and down to with a pint of lager on your head.

But if, like me, you have pretensions about enjoying music all the more when you don't have a clue what you're talking about, you may get a kick out of dipping a peregrinating toe into the choppy waters of the Stockhausen oeuvre. You'll find an incredibly deep seam of works (over 300) ranging from his early experiments with electronic music in Electronic Studies from the early 1950s, through to the celebrated seven-opera cycle of Licht, which he dedicated himself to during the majority of the 80s and 90s.

When we first contacted him in his hometown of Kuerten, Stockhausen's assistant told us that he "has literally disappeared in the production of Cosmic Pulses. Please accept his absence." We did accept it, but then we tried him again anyway a few days later. Eventually, he took a few moments away from his world of composition to answer our e-mailed questions... you can read his unexpurgated transmission in full below.

For someone coming completely new to your work, where should they start?

CD3 of the Stockhausen Complete Edition (see www.stockhausen.org).

When you disappear to compose, where do you go and what do you do?

To my light house – and compose.

Where does the narrative behind the Klang cycle come from?

From me – Veni Creator Spiritus – mostly no narrative – from Stockhausen again (and we will see).

Do you live (and compose) in a state of chaos, or strictly controlled?

Controlled, but not strictly (it depends on the weather because I love to walk when there is sunshine).

What music or sounds moves you in 2007?

My new works of Klang (Sound).

Do you still dream of flying?

Yes, but in outer space.

What are your unfulfilled ambitions as an artist?

Perfect performances of Licht (Light) and Momente.

What will your legacy be as an artist?

Up to now 361 compositions.

How has the sound of the world changed in the last 50 years?

My Electronic Music has changed the world of music.

What are your proudest achievements of your musical career?

My 361 individually performable works, about 250 printed scores, 94 CDs in my own edition.

What frightens you the most in 2007? Climate change or the political climate?

I don't feel fear.

What did you enjoy most about the 20th century?

The incomparable amount of new discoveries and inventions in my works.

What gives you hope?

That in many, many places of the globe already now all my scores and CDs are collected, and since 10 years every year many talented young musicians come to Kuerten, where I live, and study my works, participate in our courses.

Stockhausen performs compositions from Licht and Cosmic Pulses at the Dissonanze festival in Rome, June 1st and 2nd: http://www.dissonanze.it/

Written by: Gary Weasel


First Published on: 31st May 2007.

Monday, June 11, 2007

Queens Of The Stone Age "Era Vulgaris" (2007)


Josh Homme is a man of many talents but he's not quite a man of his time. He floats outside of it, sniping and sneering at it, but he's not part of it - he's too in love with rock & roll to belong to a decade that's seeing the music's slow decline. You could say that Queens of the Stone Age keep rock's flame burning, but unlike other new millennium true believers - like Jack White, for instance - Homme lacks pop skills or even the interest in crossing over (which isn't the same thing as lacking hooks, mind you) and unlike the stoner-metal underground that provided was his training ground, he's not insular, he thrives on grand visions and grander sound. He's an anomaly, a keeper of the flame that will never be played on Little Steven's Rock & Roll Underground because they're too heavy, too muso, too tasteless in all the wrong ways to be commonly accepted as embraced as the next generation of rock heroes — which only makes them more rock & roll, of course. And if rock & roll is indeed in decline in the 2000s, Homme and his Queens of the Stone Age prove that rock & roll can nevertheless be just as potent as it ever was with each of their remarkable albums. All are instantly identifiable as QOTSA but all quite different from each other, from sleazoid freakout of Rated R to the dark, gothic undertow of Lullabies to Paralyze, a record so willfully murky that it alienated a good portion of an audience ready to bolt in the wake of the departure of Homme's longtime partner Nick Oliveri. Its 2007 successor, Era Vulgaris, is as different from Lullabies as that was to their dramatic widescreen breakthrough, Songs for the Deaf: it's mercilessly tight and precise, relentless in its momentum and cheerful in its maliciousness. Like other QOTSA albums, guest musicians are paraded in and out, but here it's impossible to tell if Mark Lanegan contributed anything or if that indeed is the Strokes' Julian Casablancas singing lead on the lethal “Sick Sick Sick,” because Homme has honed Era Vulgaris so scrupulously that it's impossible to hear anybody else's imprint on the overall sound. QOTSA retain some of the spookiness of Lullabies - there's a ghostly hue on “Into the Hollow” - but this is as balls-out rock as Songs for the Deaf, only minus the mythic, momentum Dave Grohl lent that record. But Era Vulgaris isn't designed as a monolith like Songs, its appeal is in its lean precision, how the riffs grind as if they were stripping screws of their threads, how the rhythms relentlessly pulse and, of course, how it's all dressed up in all kinds of scalding guitars, all different sounds and tones, giving this menace and muscle. If the songs aren't pop crossovers - not even the soulful seductive groove of “Make It Wit Chu” (revived from one of Homme's Desert Sessions) qualifies as potential pop hit - they still have hard hooks that make these manifestos even if they aren't anthems: “Misfit Love” digs in like a nasty Urge Overkill, “Battery Acid” is metallic and mean, blindsided only by the gargantuan, gnarly “3's & 7's.” It's hard to call ^Era Vulgaris stripped-down - there's too much color in the guitar, too much willful weirdness to be that - but this is Queens of the Stone Age at their most elemental and efficient, never spending longer than necessary at each song, yet managing to make each of these three-minute blasts of fury sound like epics. It's exhilarating, the best rock & roll record yet released in 2007 - and the year sure needed the dose of thunder that this album provides.

***