New XTC - Release Date? Reviews?
Tim Farrow
3 stores and I couldn't find it. Is the 23rd the correct release date? I
have already heard it's pretty good. Anyone heard it?
Colin
wrote:
>I thought Apple Venus Volume One was coming out yesterday but I checked
>3 stores and I couldn't find it. Is the 23rd the correct release date? I
>have already heard it's pretty good. Anyone heard it?
It's out. And, yes, it's good. All killer, no filler. I sorta get
the feeling it won't be leaving my changer any time soon.
(Colin)
np: The Roots, 'Things Fall Apart'
Persi
Haven't heard all of the new XTC, but I love the new Roots album.
--
In My CD Changer/Stereo:
TLC - 'No Scrubs'
Boards Of Canada - Twoism
Tribe Called Quest - Peoples Instinctive Rhythms
Tom Ewing
>In article <36d4ce5b...@news.alt.net>, Co...@state.edu says...
>>
>>On Wed, 24 Feb 1999 08:54:09 -0800, Tim Farrow <tfa...@earthlink.con>
>>wrote:
>>
>>>I thought Apple Venus Volume One was coming out yesterday but I checked
>>>3 stores and I couldn't find it. Is the 23rd the correct release date? I
>>>have already heard it's pretty good. Anyone heard it?
>>
>>It's out. And, yes, it's good. All killer, no filler. I sorta get
>>the feeling it won't be leaving my changer any time soon.
>>
>>(Colin)
>>
>>np: The Roots, 'Things Fall Apart'
>Haven't heard all of the new XTC, but I love the new Roots album.
I wouldn't quite say there was *no* filler on the XTC, but it sounds
on first couple of plays like a solid, interesting album. Definite
first-play highlight was "River Of Orchids". A few godawful Kula
Shaker style titles, mind you.
>--
>In My CD Changer/Stereo:
>
>TLC - 'No Scrubs'
Now this is good. Not as instantly awesome as "Waterfalls" was, but
still good.
Cheers,
Tom.
Gondola Bob
awhile back. I'm a big XTC fan, and count Skylarking among my very favorite
albums of the '80s. And just so you know, I lean more toward XTC's later
Beatle-esque phase, rather than the early jittery New Wave period.
--------------
Apple Venus is an excellent album, but it doesn't quite meet my
hopes/expectations.
Ranked against my 1998 list, AV would probably be #3, landing below
Rufus Wainwright and above Billy Bragg/Wilco. Ranked against other XTC
records? Hmm. About in the middle, I'd say. I may like this album less than
any XTC album since Mummer, but that's not much of an insult, considering
what releases came in-between.
I've had a dubbed Andy Partridge demo tape for ages. All but three of the
album tracks
("Harvest Festival" and the two Colin Moulding songs) are on the demo tape,
but to be honest, I haven't listened to the tape more than about twice, so
the CD doesn't sound old-hat to me (thankfully -- this is only *one* of the
reasons why I'm not a tape collector). Now, XTC albums have a lot of layers
to them, so forgive me if I haven't grasped every last nuance on first
listen (particularly lyrics, though I'm much more of a fan of XTC's music
than their words anyway). And with that disclaimer out of the way....
1. River of Orchids
Hm. The album opens with one of three tracks which I really don't like
much. This one feels more like a "stunt" than anything else, an endless
clatter of pizzicato strings and horns squirting and jabbing while
Partridge layers a frantic swirl of vocals on top. Despite the relentlessly
erratic rhythms, the end effect is that of a "drone" piece. Essentially one
pedal note through the whole song. Pretty grating, frankly, though
certainly daring and ambitious.
2. I'd Like That
A peppy little acoustic tune, which is just a bit too tricky to be truly
memorable. The song keeps stopping dead with this overdubbed roar of
"SUNFLOWERRRRRR..." which sucks out all the momentum. This one might grab
me more, if performed in a more aggressive style. Images of playful
seduction abound, but a couple of the lines are painfully cutesy,
especially "I'd smile so much, my face would crack in two/Then you could
fix it with your kissing glue." Ugh! Also, the rattling handclaps and
fingersnaps in the final section don't really work for me. Some pretty
Beatlesy counterharmonies, but then, we expect that from XTC, don't we?
3. Easter Theatre
One of the heavily orchestral tracks, with a pulse tangibly influenced by
classical minimalism. It starts off underwhelmingly, but the chorus
explodes with an irresistible gush, as several extra instruments and vocal
tracks jump in caressingly. It meanders a bit in the middle, but pulls back
together for the climax. Trails off for awhile after that, a bit
indulgently. Good, but inconsistent.
4. Knights in Shining Karma
Another subdued acoustic song, with soothing vocal harmonies and an elegant
madrigal feel. A lovely lullaby atmosphere. A unusually
traditional-sounding melody for XTC...not that far from "Julia" and
"Scarborough Fair," really. Very pretty, but not quite what I'm looking for
from XTC, somehow.
5. Frivolous Tonight
The first of the Colin Moulding compositions, which seems designed as a
crowd-pleasing breather after Partridge's baroque extravagances. The warmer
lyrical tone, compared with the Partridge tracks, is immediately striking.
Partridge feels fairly remote to me, on most of this album. Plenty of that
carnivalesque Sgt. Pepper bounce permeating the track. I wish the tempo was
a little faster -- it's too sluggish to match the lyric's playfulness. Yikes, is
that Mellotron I hear? The song is basically about undoing your pants and
relaxing for a night...probably good advice for Andy. A nice one for Blur
to cover.
6. Greenman
OK, this is the one track which really hits me with That Old XTC Magic. A
tremendously visual song, strongly laced with that elemental, medieval feel
which Partridge has mined so much in recent years. I picture young girls
with garlands in their hair, dancing around the maypole. A lovely mysticism
to the whole presentation. Presumably, "Greenman" is a personification of
the Earth, as the lyrics urge us to join the celebration and embrace the
planet's wonder. The structure has that monochordal "drone" structure
again, but it really works this time. I could easily listen to a 15-minute
version of this one, while just enjoying the splendor of the strings,
flutes and horns flickering around the central polyrhythmic groove. It's
also the only track with even a prayer of commercial play, I'm sorry to
say. I find it interesting that "Greenman" is saved for the sixth slot,
instead of, say, second or third -- to me, this indicates an old-fashioned
mindset of album-pacing, held over from the vinyl age. It's positioned as
if it's the first song on side two (and I suppose it *is*, if a vinyl
version becomes available). A charmingly quaint approach, though maybe not
so wise from a marketing standpoint.
7. Your Dictionary
And all that sparkling magic is instantly flushed away, as this song rears
its ugly head. I complained about Partridge's emotional remoteness on other
tracks -- it's like he saved all his fire to pour into this one. Overkill.
Despite its gentle acoustic instrumentation, the tone is bitter, bitter,
bitter. Vicious even, as his betraying ex-wife gets blasted with both
barrels. The lyrics can be a bit gimmicky and crass, with that Alanis-esque
structure where too many lines are variations on the same grammatical
template. "S-L-A-P...is that how you spell 'kiss' in your dictionary?"
"F-U-C-K...is that how you spell 'friend' in your dictionary?" Etc. One
particularly interesting bit of self-laceration: "S-H-I-T...is that how you
spell 'me' in your dictionary?/Four-eyed fool you led 'round
everywhere...." Ouch. I might like this song more if it was positioned
somewhere else -- it's just too much of a negative jolt, following the idyllic
"Greenman." I'm probably being too hard on it, as a result.
8. Fruit Nut
The other Colin Moulding track. Again, it's a more low-key and "human"
atmosphere, with a steadily thumping rhythm similar to that of "Frivolous
Tonight." Quite a bit of McCartney in this one, circa "Penny Lane" and
"Good Day Sunshine." Rather clunky, however, plus some grating keyboard
licks and a poor vocal. If "River of Orchids" and "Your Dictionary" are
ambitious failures, this one comes off simply half-assed. Have some better
songs saved for Volume Two, Colin?
9. I Can't Own Her
This is the track which I think will really grow on me. It may become my
second favorite, after "Greenman." Another grandiose orchestral piece, and
the first of two consecutive songs with a strong Brian Wilson flavor. The
prime hook of the song is a wonderful musical contrast between a majestic,
heaven-gazing verse and a downshifting, darkly baroque chorus which
perfectly matches the emotional shift of the lyric "...but I can't own
her." Slow and dramatic, with lovely nature imagery and a pleasing phonetic
flow to the words (not to mention some exquisite countermelodies in the
backing vocals). The song's peculiar, unraveling structure also reminds me
somewhat of Victoria Williams' weirder epics. Super.
10. Harvest Festival
The most piano-based of the songs, again infused with Wilson's softly
plodding chord chains. Thematically, it has a somewhat similar tone to
"Greenman," as the title should indicate (but more melancholy, this time).
Brilliantly inspired touch about a minute and a half into the action, where
a peal of out-of-tune recorders squeaks into the mix between vocal lines.
Absolutely delightful, that lick. (The recorders return in the fadeout,
also.) A beautiful track, all around.
11. The Last Balloon
This slow, dragging track is at *least* a minute too long, as a concluding
trumpet solo wanders on and on (and on) without adding anything beyond
artificially giving the album a climactic, "wrapping up" feel. Another
magical mystery song, with an enigmatic balloon offering escape to another
life. The atmosphere doesn't quite make sense to me, as the miserable music
and generally optimistic lyric just don't match. Perhaps Partridge is
getting burdened by this new need to end every album on an elegaic down
note.
Anyway, those are my first impressions. Got it? :)
GB
Tim Farrow
Ned Raggett
>
> In article <7b30o9$jai$2...@taliesin.netcom.net.uk>, eb...@netcomuk.co.uk wrote:
>
> * >TLC - 'No Scrubs'
> *
> * Now this is good. Not as instantly awesome as "Waterfalls" was, but
> * still good.
>
> You're kidding, right? You actually liked "Waterfalls"?
You must be new here, Arsenic. Tom Ewing and I, among others,
happily defend the brilliance of TLC, including that quite
excellent song, to all comers. If we are violating your
standards, our apologies, but no regrets. ;-)
Ned
ned theoretically encountered at kuci.org
Tom Ewing
>In article <7b30o9$jai$2...@taliesin.netcom.net.uk>, eb...@netcomuk.co.uk wrote:
>* cow...@NOSPAN.earthlink.net (Persi) wrote:
>*
>* >--
>* >In My CD Changer/Stereo:
>* >
>* >TLC - 'No Scrubs'
>*
>* Now this is good. Not as instantly awesome as "Waterfalls" was, but
>* still good.
>You're kidding, right? You actually liked "Waterfalls"?
You mean to say you didn't?
Cheers,
Tom.
(Oh, sorry, I have to 'defend' it....um, OK - terrific, smooth,
slightly melancholy swingbeat, nice chorus, nice video.)
Tom Ewing
>1. River of Orchids
>Hm. The album opens with one of three tracks which I really don't like
>much. This one feels more like a "stunt" than anything else, an endless
>clatter of pizzicato strings and horns squirting and jabbing while
>Partridge layers a frantic swirl of vocals on top. Despite the relentlessly
>erratic rhythms, the end effect is that of a "drone" piece. Essentially one
>pedal note through the whole song. Pretty grating, frankly, though
>certainly daring and ambitious.
My favourite track (so far - v.few listens), maybe because of the
'drone' effect - I like the vocal layering, combatative mood, and
imagery - one of the big reasons I like XTC is their adherence to a
vision of English rural life which is (I think) unique in pop and
helps unify their work as much as does their musical style. Most bands
where I pick up a real sense of Britishness or Englishness are urban
in outlook.
>7. Your Dictionary
Agreed, absolutely dreadful. Handy hint for walkman listeners: put
'Greenman' at the end of Side 1 of a C60 of the album and you'll turn
over and find that you've almost entirely avoided this. The Alanis
comparison struck me immediately, too.
Cheers,
Tom.
eme...@hayseed.net
Tim Farrow <tfa...@earthlink.con> wrote:
> I thought Apple Venus Volume One was coming out yesterday but I checked
> 3 stores and I couldn't find it. Is the 23rd the correct release date? I
> have already heard it's pretty good. Anyone heard it?
Got it. Excellent. Acoustic and orchestral, following up the promise of some
of the more interesting _Nonsuch_ cuts like "Rook" and "Wrapped in Grey," but
better-developed. (After seven years, you'd HOPE it would have developed....)
And yes, 02/23 was when I got it in San Francisco; keep looking.
In any case, it's highly recommended to folks that liked Nonsuch, and
well-recommended even to those that didn't. "I'd Like That" is the cutest
song I've heard in years. "Green Man" made my jaw drop and skin crawl at
first listen; truly Partridge has become the new John Lennon, and I'm not
one given to hyperbole about such things. Moulding's cuts, as usual, are
strong and charming. It may be my imagination, but I notice that Dave
Gregory isn't there, and I'm not sure how I feel about that, but the record
stands up in spite of the loss of one leg of the tripod.
I love it; I can't wait for Volume II.... ;-)
----------------------------------------------------------------
R Pickett Look around you. This is what the world
eme...@hayseed.net looks like at the end of the millenium.
----------------------------------------------------------------
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djp...@bbn.com
eb...@netcomuk.co.uk wrote:
> golde...@thepentagon.com.HAIL.ERIS (Arsenic) wrote:
>
> >In article <7b30o9$jai$2...@taliesin.netcom.net.uk>, eb...@netcomuk.co.uk wrote:
>
> >* cow...@NOSPAN.earthlink.net (Persi) wrote:
> >*
> >* >--
> >* >In My CD Changer/Stereo:
> >* >
> >* >TLC - 'No Scrubs'
> >*
> >* Now this is good. Not as instantly awesome as "Waterfalls" was, but
> >* still good.
>
> >You're kidding, right? You actually liked "Waterfalls"?
>
> You mean to say you didn't?
>
I don't get that, either. It's easily the best song TLC has done and won me
over to them after a fair amount of waffling. (Of course, that "Silly Ho"
song makes me want to poke out my eyes, but I'm gonna give credit where
credit is due.)
> (Oh, sorry, I have to 'defend' it....um, OK - terrific, smooth,
> slightly melancholy swingbeat, nice chorus, nice video.)
>
What he said.
deX!
Ned Raggett
>
> Hell, the two "airplay singles" from Fanmail are among my current
> favourites on radio. I haven't heard the whole album yet, but I think it
> just may be worth the five(!!!) years we've waited for it...
Way too long a wait, definitely the case. Haven't heard the full
thing yet myself; hopefully by next month. And the new XTC while
I'm at it. Actually, there's an idea: XTLC. ;-)
Nicole
Still, neither of them have waited as long as, oh, I don't know, My
Bloody Valentine...
Brian MacDonald
Yeah, Dave Gregory left XTC rather acrimoniously near the end of
the Apple Venus sessions.... Dave wasn't happy with the way
Apple Venus was going to be released (as a double album, rather
than the single album comprising of the best of the two), and
more importantly, he felt his role in the band was becoming moot,
as Andy and Colin were doing most of the composition work on computer.
Ned Raggett
>
> Still, neither of them have waited as long as, oh, I don't know, My
> Bloody Valentine...
Please, let's not go there. And my morning was going so well.
Ned
ned wailing into the MBV-less void at kuci.org
keyse...@my-dejanews.com
eb...@netcomuk.co.uk wrote:
> gb...@deltanet.com (Gondola Bob) wrote:
>
> >1. River of Orchids
> >Hm. The album opens with one of three tracks which I really don't like
> >much. This one feels more like a "stunt" than anything else, an endless
> >clatter of pizzicato strings and horns squirting and jabbing while
> >Partridge layers a frantic swirl of vocals on top. Despite the relentlessly
> >erratic rhythms, the end effect is that of a "drone" piece. Essentially one
> >pedal note through the whole song. Pretty grating, frankly, though
> >certainly daring and ambitious.
>
> 'drone' effect - I like the vocal layering, combatative mood, and
> imagery - one of the big reasons I like XTC is their adherence to a
> vision of English rural life which is (I think) unique in pop and
> helps unify their work as much as does their musical style. Most bands
> where I pick up a real sense of Britishness or Englishness are urban
> in outlook.
>
but then of course I've never been there. Welp, I'm off to score some XTC...
key
> >7. Your Dictionary
>
> Agreed, absolutely dreadful. Handy hint for walkman listeners: put
> 'Greenman' at the end of Side 1 of a C60 of the album and you'll turn
> over and find that you've almost entirely avoided this. The Alanis
> comparison struck me immediately, too.
>
really, Alanis? well *guffaw*
Ned 'the Nanite' Raggett
>
> > Actually, there's an idea: XTLC. ;-)
>
It *is* refreshing to note that the concept of humor still is missing
after all these years. Such consistency!
Ned
ned remembering the ways of the GeirBot at kuci.org
Geir Hongro
> Still, neither of them have waited as long as, oh, I don't know, My
> Bloody Valentine...
Scritti Politti have waited even longer.
--
Geir Hongro
Playlist:
Selling England By The Pound-Genesis
Construction Time Again-Depeche Mode
Skylarking-XTC
Pet Sounds-Beach Boys
Woodface-Crowded House
Odessey & Oracle-Zombies
Geir Hongro
> It may be my imagination, but I notice that Dave
> Gregory isn't there, and I'm not sure how I feel about that
Gregory has left the band. May be easier to hear on their more "electric" autumn
release, when there isn't an orchestra instead of the synths.
Geir Hongro
> Way too long a wait, definitely the case. Haven't heard the full
> thing yet myself; hopefully by next month. And the new XTC while
> I'm at it. Actually, there's an idea: XTLC. ;-)
XTC are way too good to be messed up by crappy swingbeats. More black artists
should make music like Seal and Tasmin Archer. Now those two rare examples of
good black 90s acts.
Tom Ewing
>Nicole wrote:
>> Still, neither of them have waited as long as, oh, I don't know, My
>> Bloody Valentine...
>Scritti Politti have waited even longer.
And are back with the magnificently titled "Anomie And Bonhomie",
which is (Oh Geir! Oh dear....) a swingbeat-styled clever-pop album.
Personally, I can't wait.
Cheers,
Tom.
np: The Dixie Cups- 'Iko Iko'
Tom Ewing
>In article <7b4r76$669$1...@taliesin.netcom.net.uk>,
> eb...@netcomuk.co.uk wrote:
>> gb...@deltanet.com (Gondola Bob) wrote:
>>
>> >1. River of Orchids
>> >Hm. The album opens with one of three tracks which I really don't like
>> >much. This one feels more like a "stunt" than anything else, an endless
>> >clatter of pizzicato strings and horns squirting and jabbing while
>> >Partridge layers a frantic swirl of vocals on top. Despite the relentlessly
>> >erratic rhythms, the end effect is that of a "drone" piece. Essentially one
>> >pedal note through the whole song. Pretty grating, frankly, though
>> >certainly daring and ambitious.
>>
>> My favourite track (so far - v.few listens), maybe because of the
>> 'drone' effect - I like the vocal layering, combatative mood, and
>> imagery - one of the big reasons I like XTC is their adherence to a
>> vision of English rural life which is (I think) unique in pop and
>> helps unify their work as much as does their musical style. Most bands
>> where I pick up a real sense of Britishness or Englishness are urban
>> in outlook.
>>
>Sort of like the Kinks perhaps? Hood gives me a rural impression of England,
>but then of course I've never been there. Welp, I'm off to score some XTC...
The Kinks....well, the Kinks are very 'English' but much more
sardonically so than XTC. My favourite song of theirs, "Village Green
Preservation Society", almost swallows its own tongue, its so cynical
about the very kind of rustic English-ness XTC go for.
Cheers,
Tom.
Michael Daddino
>
> Nicole wrote:
> >
> > Still, neither of them have waited as long as, oh, I don't know, My
> > Bloody Valentine...
>
So, Ned...did you tear off Kevin Shields' head and shit down the hole
like you PROMISED?
--Mike
Cultural Artifact of the Moment: The Big Bopper, "The Purple People
Eater Meets the Withdoctor" (Oh my god, even MORE profound than you
could possibly hope, with some truly demented guitar-work that sounds
like...like...Christian Marclay playing Eugene Chadbourne records too
fast or something.)
Persi
>More black artists
>should make music like Seal and Tasmin Archer. Now those two rare examples of
>good black 90s acts.
Gee, why's that, Geir, cause they make music that's white enough to bop around
to whilst admiring your Hitler and Kula Shaker posters?
--
In My CD Changer/Stereo:
Swervedriver 99th Dream
Persi
>>Sort of like the Kinks perhaps? Hood gives me a rural impression of England,
>>but then of course I've never been there. Welp, I'm off to score some XTC...
Speaking of Hood, has anyone heard the new remixes 12"? Surprisingly enough,
it's been released on an American label (the excellent Drop Beat). Remixers
include Third Eye Foundation, whom I'm sure turn in a uniformally excellent
remix.
When I lived in London (1986-1987) I was heavily into the Cure, Smiths, Joy
Division/New Order, as well as alot of crappy hair bands (and some not so
crappy like Judas Priest, Slayer and Iron Maiden). The music I liked fit
England so well.....dreary, gloomy and sarcastically cynical....kind of like
Los Angeles (but not nearly as fake and plastic).
Persi
>
>Nicole wrote:
>
>> Still, neither of them have waited as long as, oh, I don't know, My
>> Bloody Valentine...
>
The difference being that there are actually people anticipating a new MBV
album.
As if I thought Geir's musical tastes couldn't get any worse, he brings up
Scritti Politti.
Persi
>
>Arsenic wrote:
>>
>> In article <7b30o9$jai$2...@taliesin.netcom.net.uk>, eb...@netcomuk.co.uk
wrote:
>>
>> *
>> * Now this is good. Not as instantly awesome as "Waterfalls" was, but
>> * still good.
>>
>> You're kidding, right? You actually liked "Waterfalls"?
>
>happily defend the brilliance of TLC, including that quite
>excellent song, to all comers. If we are violating your
>standards, our apologies, but no regrets. ;-)
And I will happily defend the brilliance of 'No Scrubs'. I haven't heard the
rest of the album, but Fred really likes it, so that's a good sign.
--
In My CD Changer/Stereo:
Built To Spill - Keep It Like A Secret
Dom and Roland - Industry
Tribe Called Quest - The Low End Theory
Tom Ewing
>In article <36D74450...@online.no>, geir...@online.no says...
>>
>>Nicole wrote:
>>
>>> Still, neither of them have waited as long as, oh, I don't know, My
>>> Bloody Valentine...
>>
>>Scritti Politti have waited even longer.
>The difference being that there are actually people anticipating a new MBV
>album.
I'm more interested in hearing a new Scritti album than a new MBV one,
partly because the weight of expectation surrounding the latter means
it'll almost certainly disappoint, partly because Green tends not to
make records until he's come up with an interesting game plan.
>As if I thought Geir's musical tastes couldn't get any worse, he brings up
>Scritti Politti.
"Cupid & Psyche 85" is magnificent, one of the best pop records of the
1980s, and sometimes I think "Songs To Remember" is one of that
decade's most interesting and un-followed-up-on indie records, too.
The problem with Geir, as so often, is what he doesn't like rather
than what he does...
Cheers,
Tom.
Tom Ewing
>In article <7b7h34$o2s$2...@taliesin.netcom.net.uk>, eb...@netcomuk.co.uk says...
>>>Sort of like the Kinks perhaps? Hood gives me a rural impression of England,
>>>but then of course I've never been there. Welp, I'm off to score some XTC...
>Speaking of Hood, has anyone heard the new remixes 12"? Surprisingly enough,
>it's been released on an American label (the excellent Drop Beat). Remixers
>include Third Eye Foundation, whom I'm sure turn in a uniformally excellent
>remix.
>When I lived in London (1986-1987) I was heavily into the Cure, Smiths, Joy
>Division/New Order, as well as alot of crappy hair bands (and some not so
>crappy like Judas Priest, Slayer and Iron Maiden). The music I liked fit
>England so well.....dreary, gloomy and sarcastically cynical....kind of like
>Los Angeles (but not nearly as fake and plastic).
I think the Smiths and New Order, in particular, are two of the most
romantic and uncynical bands ever to come out of Britain.
I thought Hood had given up - I'm sure I heard the story at some point
that they'd heard some record or other (maybe it was TEF), and
realised they could never be as good and gone back to their day jobs.
But perhaps I dreamt it.
Cheers,
Tom.
Fred Solinger
Michael Daddino wrote:
> Ned Raggett wrote:
> >
> > Nicole wrote:
> > >
> > > Still, neither of them have waited as long as, oh, I don't know, My
> > > Bloody Valentine...
> >
> > Please, let's not go there. And my morning was going so well.
>
> So, Ned...did you tear off Kevin Shields' head and shit down the hole
> like you PROMISED?
but before you do, let him finish his remix of "holes" (due for release in
april!)
also headed our way is the chemical bros. remix of "delta sun..." and the
instrumental of "endlessly" on the flipside, due march 9.
peace...fred
(npthe young rascals, "i ain't gonna eat out my heart anymore")
Ned 'the Nanite' Raggett
>
> So, Ned...did you tear off Kevin Shields' head and shit down the hole
> like you PROMISED?
Metaphorically, I've done that several times over by now. *SIGH*
Ned
ned grousing about the vissictitudes of fate at kuci.org
Geir Hongro
Persi wrote:
> In article <36D74419...@online.no>, geir...@online.no says...
>
> >More black artists
> >should make music like Seal and Tasmin Archer. Now those two rare examples of
> >good black 90s acts.
>
> Gee, why's that, Geir, cause they make music that's white enough to bop around
> to whilst admiring your Hitler and Kula Shaker posters?
>
Musical styles don't have any kind of skin colour. Musical styles have melodis and
harmonies (which is good) or not (which is bad). There is no such thing as "black"
or "white" music, as proved by the likes of Archer, Seal and Stevie Wonder, but
also by the likes of Vanilla Ice, Joe Cocker and even Backstreet Boys.
keyse...@my-dejanews.com
eb...@netcomuk.co.uk wrote:
> keyse...@my-dejanews.com wrote:
>
> >In article <7b4r76$669$1...@taliesin.netcom.net.uk>,
> > eb...@netcomuk.co.uk wrote:
> >> gb...@deltanet.com (Gondola Bob) wrote:
> >>
> >> >1. River of Orchids
> >> >Hm. The album opens with one of three tracks which I really don't like
> >> >much. This one feels more like a "stunt" than anything else, an endless
> >> >clatter of pizzicato strings and horns squirting and jabbing while
> >> >Partridge layers a frantic swirl of vocals on top. Despite the
relentlessly
> >> >erratic rhythms, the end effect is that of a "drone" piece. Essentially
one
> >> >pedal note through the whole song. Pretty grating, frankly, though
> >> >certainly daring and ambitious.
> >>
> >> My favourite track (so far - v.few listens), maybe because of the
> >> 'drone' effect - I like the vocal layering, combatative mood, and
> >> imagery - one of the big reasons I like XTC is their adherence to a
> >> vision of English rural life which is (I think) unique in pop and
> >> helps unify their work as much as does their musical style. Most bands
> >> where I pick up a real sense of Britishness or Englishness are urban
> >> in outlook.
> >>
> >but then of course I've never been there. Welp, I'm off to score some XTC...
>
> sardonically so than XTC. My favourite song of theirs, "Village Green
> Preservation Society", almost swallows its own tongue, its so cynical
> about the very kind of rustic English-ness XTC go for.
>
I suppose you're right there. XTC are more sincere in their
observations...not sure that's the right word though. Even though the Kinks
were so cynical in their references to the English countryside or whatever, I
get the sense that Ray was really quite disheartened and just plane depressed
by modernization or change. By exagerrating certain points such as "American
tourist now visit the village green," he'd communicate a sort of nostalgic
sadness for the past. He was just good at masking his depression in upbeat,
ironic, pop songs.
key
keyse...@my-dejanews.com
cow...@NOSPAN.earthlink.net (Persi) wrote:
> In article <7b7h34$o2s$2...@taliesin.netcom.net.uk>, eb...@netcomuk.co.uk says...
>
> >>Sort of like the Kinks perhaps? Hood gives me a rural impression of
England,
> >>but then of course I've never been there. Welp, I'm off to score some
XTC...
>
> it's been released on an American label (the excellent Drop Beat). Remixers
> include Third Eye Foundation, whom I'm sure turn in a uniformally excellent
> remix.
>
no i have not, sounds quite cool...who else shows up on it? I did just
recieve their upcoming LP in the mail, and it looks to be another low-key
masterwork along the lines of "Rustic Houses..." key
keyse...@my-dejanews.com
eb...@netcomuk.co.uk wrote:
> cow...@NOSPAN.earthlink.net (Persi) wrote:
>
> >In article <7b7h34$o2s$2...@taliesin.netcom.net.uk>, eb...@netcomuk.co.uk
says...
>
> >>>Sort of like the Kinks perhaps? Hood gives me a rural impression of
England,
> >>>but then of course I've never been there. Welp, I'm off to score some
XTC...
>
> >Speaking of Hood, has anyone heard the new remixes 12"? Surprisingly enough,
> >it's been released on an American label (the excellent Drop Beat). Remixers
> >include Third Eye Foundation, whom I'm sure turn in a uniformally excellent
> >remix.
>
> >Division/New Order, as well as alot of crappy hair bands (and some not so
> >crappy like Judas Priest, Slayer and Iron Maiden). The music I liked fit
> >England so well.....dreary, gloomy and sarcastically cynical....kind of like
> >Los Angeles (but not nearly as fake and plastic).
>
> I think the Smiths and New Order, in particular, are two of the most
> romantic and uncynical bands ever to come out of Britain.
>
> I thought Hood had given up - I'm sure I heard the story at some point
> that they'd heard some record or other (maybe it was TEF), and
> realised they could never be as good and gone back to their day jobs.
> But perhaps I dreamt it.
>
their day jobs actually. I for one am glad they're not "as good" as
TEF...wouldn't like them as much.
Geir Hongro
Tom Ewing wrote:
> The Kinks....well, the Kinks are very 'English' but much more
> sardonically so than XTC. My favourite song of theirs, "Village Green
> Preservation Society", almost swallows its own tongue, its so cynical
> about the very kind of rustic English-ness XTC go for.
And here I am still wondering since when were Donald Duck and Variety English :-)
keyse...@my-dejanews.com
> I thought Hood had given up - I'm sure I heard the story at some point
> that they'd heard some record or other (maybe it was TEF), and
> realised they could never be as good and gone back to their day jobs.
> But perhaps I dreamt it.
>
Sorry to reply to the same post twice, but I'm now thinking I heard or read
something like this too, but I think it involved a bit of exaggeration. Or
perhaps this is just some sort of subtle hint that Hood should throw in the
towel?
Persi
>I thought Hood had given up - I'm sure I heard the story at some point
>that they'd heard some record or other (maybe it was TEF), and
>realised they could never be as good and gone back to their day jobs.
>But perhaps I dreamt it.
Nope, they're still around. They put out a new 7" every few weeks, so it seems.
The new 12" has a host of 'hip' remixers including TEF, so it should be pretty
good.
Persi
>Musical styles don't have any kind of skin colour. Musical styles have melodis
and
>harmonies (which is good) or not (which is bad). There is no such thing as
"black"
>or "white" music,
Then why did you refer to Seal and Arhcer as 'black' artists? Face it, Geir,
most of the music you *don't* like is made (or originated) by black artists.
Techno, House, Drum n Bass, Hip-hop, Blues, etc.
Peronally, I don't think you're racist, you just don't have a clue of what
*good* music is.
Persi
says...
>no i have not, sounds quite cool...who else shows up on it? I did just
>recieve their upcoming LP in the mail, and it looks to be another low-key
>masterwork along the lines of "Rustic Houses..." key
That's good to hear. 'Rustic...' was one of my favorite albums last year. I
loved the whole low-key mood of the record. Let me know how the new one sounds.
I'll get back to you on the other remixers, as soon as I find the mailout I was
sent.
Gondola Bob
GB
Michael Daddino
>
> Michael Daddino wrote:
>
> > So, Ned...did you tear off Kevin Shields' head and shit down the hole
> > like you PROMISED?
>
> april!)
> also headed our way is the chemical bros. remix of "delta sun..." and the
> instrumental of "endlessly" on the flipside, due march 9.
That soon? Is it gonna be released in the UK, the USA, both, or what?
Rev are slated for another concert in NYC early April. Oh yeah! I'm also
seriously thinking about going to the Catskills for vacation this
year...well, as seriously as these things go for me. I haven't been on a
vacation where I've left the tri-state area since college.
--Mike
Cultural Artifact of the Moment: *Three's A Crowd*, on The Game Show
Network (From the 70's, I think. Like *The Dating Game*, only with the
addition of the husband's secretary! Perverts!)
fred solinger
wrote:
>
>
>Persi wrote:
>
>> In article <36D74419...@online.no>, geir...@online.no says...
>>
>> >More black artists
>> >should make music like Seal and Tasmin Archer. Now those two rare examples of
>> >good black 90s acts.
>>
>> Gee, why's that, Geir, cause they make music that's white enough to bop around
>> to whilst admiring your Hitler and Kula Shaker posters?
>>
>
>Musical styles don't have any kind of skin colour. Musical styles have melodis and
>harmonies (which is good) or not (which is bad). There is no such thing as "black"
>or "white" music, as proved by the likes of Archer, Seal and Stevie Wonder, but
>also by the likes of Vanilla Ice, Joe Cocker and even Backstreet Boys.
>
it doesn't surprise me that you'd uphold archer and seal as exemplars
of today's r&b, seal in particular: overblown production and falsely
profound and often abstruse lyrical conceits. tlc has more in common
with stevie wonder than seal ever will.
peace...fred
(np: frank sinatra, "once i loved")
Tom Ewing
>Michael Daddino wrote:
>> Ned Raggett wrote:
>> >
>> > Nicole wrote:
>> > >
>> > > Still, neither of them have waited as long as, oh, I don't know, My
>> > > Bloody Valentine...
>> >
>> > Please, let's not go there. And my morning was going so well.
>>
>> So, Ned...did you tear off Kevin Shields' head and shit down the hole
>> like you PROMISED?
>but before you do, let him finish his remix of "holes" (due for release in
>april!)
>also headed our way is the chemical bros. remix of "delta sun..." and the
>instrumental of "endlessly" on the flipside, due march 9.
So my question is now....can that long-awaited tape I did for you with
these two on reach you before the official release date?!
Cheers,
Tardy Tom.
Tom Ewing
>In article <7b8jul$h2$2...@taliesin.netcom.net.uk>,
> eb...@netcomuk.co.uk wrote:
>> I thought Hood had given up - I'm sure I heard the story at some point
>> that they'd heard some record or other (maybe it was TEF), and
>> realised they could never be as good and gone back to their day jobs.
>> But perhaps I dreamt it.
>>
>Sorry to reply to the same post twice, but I'm now thinking I heard or read
>something like this too, but I think it involved a bit of exaggeration. Or
>perhaps this is just some sort of subtle hint that Hood should throw in the
>towel?
Goodness, no! I don't like them much, but they don't irritate me or
impinge upon my consciousness particularly....I'm just *sure* I
remember hearing that story, quite possibly on this very newsgroup.
Cheers,
Tom.
Fred Solinger
Geir Hongro wrote:
> fred solinger wrote:
>
> > it doesn't surprise me that you'd uphold archer and seal as exemplars
> > of today's r&b
>
> Archer and Seal have never beeen R&B artists. That's why they are so much better.
>
so not being an r&b artist makes one inherently better? i see.
then again, why did you bring up their names when tlc was mentioned?
>
> Being black does not automatically make an act a R&B act.
try telling seal that, a guy who sees himself as a modern-day marvin gaye.
unless he wasn't an r&b artist too!
peace...fred
(np: elvis presley, "if i can dream")
Fred Solinger
Tom Ewing wrote:
only *you* know the answer to that one!
btw, i'll be starting your bacharach tapes today. if there's room, i'll throw
on highlights
from the new tlc album. how's that?
peace...forgiving fred
(np: elvis presley, "kentucky rain")
Geir Hongro
Fred Solinger wrote:
> try telling seal that, a guy who sees himself as a modern-day marvin gaye.
> unless he wasn't an r&b artist too!
Seal may see himself as a modern-day Marvin Gaye. Musically he has more in common with
Prefab Sprout and 10cc though.
Neil Kothari
>
> Arsenic wrote:
> > * Now this is good. Not as instantly awesome as "Waterfalls" was, but
> > * still good.
> >
> > You're kidding, right? You actually liked "Waterfalls"?
>
> You must be new here, Arsenic. Tom Ewing and I, among others,
> happily defend the brilliance of TLC, including that quite
> excellent song, to all comers. If we are violating your
> standards, our apologies, but no regrets. ;-)
Aw, and just as many will bash them to no end, Arsenic, so don't
feel pressured to conform either way. :)
Welcome back Ned... (and guess who has a new album coming out next
month?)
-neil
--
nk...@worldnet.att.net koth...@umdnj.edu ne...@inxsweb.com
UMDNJ-NJMS 2000 -- http://www.umdnj.edu/~kotharne/
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