No Love Deep Web
Death Grips are like that psycho girl you dated in college who was the first person to ever tongue your butthole. It felt better than being on ketamine in space, but it came with the price of explaining to your parents why the nice girl you’ve been spending so much time with puked in their imitation Mycenaean vase. The Grips felt like life-changers when they dropped, but by now, we’re kinda over it and are ready to date erudite women who are sweet and do yoga and shit.
JAWN F. KENNEDY
Sometimes I feel like the rules of punk changed before I was old enough to play. It must have been sick 25 or so years ago to skate around all day, boozing, using, and listening to Melvins while spray-painting the words fake abortion clinic on anything that moved. This record is equal parts perfection and mind-numbing idiocy, but at least they’re touring with new material instead of trotting out the sort of ATP nostalgia trip that’s somehow considered acceptable these days.
I really hate this. I don’t know what Bad Religion is thinking, but there’s no such thing as God. All this music and culture are distractions from the very real horror of human violence and depravity that squirms like a bed of writhing snakes under society’s civil veneer. Law and order is a collective dream we can awaken from at any time. Soon there will come a day when the poor and downtrodden will no longer be placated with food stamps; instead they will sup on your entrails and blood, boiling your premature babies in a cauldron of bullion and duck fat. You’re dialing 911, but I have different numbers: 9mm, 12 gauge, and AR-15. It’s gonna make The Turner Diaries look like The Wizard of Oz.
BRADLEY “DIRTBOMB” BANKS
Read all of this month’s reviews
BEST OF THE BEST OF 2012: NPR’S TOP 50
It’s that time of year again: anus itch season. Talkadoodles and decidamathons. Music music guess what’s what. A time when publications that talk about music release their you-scratch-my-back-I-scratch-yours list of artists whose record labels bought ad space or sent free download codes. Or, less cynically: music from the year, presented in a more digestible form than most of the time, cranked out and hastily invoiced by beleaguered critics everywhere, hopefully in time to get the poor bastards on the bottom rungs of the biz a little extra holiday cash, and editors and mid-tier scramblers can wait out the clock until the new year by dicking around on Twitter and calling it business. Yes, that’s the least cynical version I can think of for what happens every December with the lists. It’s a mad dash to be the first to limp to the finish.
The good news for regular citizens is you can finally just read one thing and get some straight answers out of people. Or at least less crooked answers. Most of the time music reviews are complete bullshit, like that timesomebody at Vice didn’t like the new Metz album because apparently in that particular 20 minute chunk of their lives they had a migraine and the drums kicked too much ass for them to handle without pukeyfacing. Music reviews are bullshit because the person writing them is getting paid somewhere between zero and some piddling useless amount of dollars, and therefore there’s no stakes, and therefore say whatever you think is best to keep the piddling useless dollars coming in, and do it quick with the first thought that pops into your head because your opinion will never matter as much as word of mouth plus time anyway, and it’s not like the free download is a huge favor because the internet exists. BUT: end of the year lists pare down all that regular bullshit and focus on the bullshit that these people apparently actually believe.
I am a fan of year-end lists because they serve as a roadmap to what kind of people believe what outlandish bullshit things. I like to take these lists, most of which consist of stuff I never heard of because I’ve managed to limit my informational intake to hyper-specific, reliable filters which generally do not waste my time telling me about stuff I have a low chance of actually liking, and attack them with my own kneejerk bullshit. Why? Because that’s even lazier and more cynical than writing a list of my own, and it results in more piddling useless dollars for me. You’re welcome.
Take for example the alphabetically arranged non-hierarchical list supplied by the poor deluded fucks at NPR. Alright gang, let’s riff. Let’s have an NPRty.
Ab-Soul, Control System
I’m sure NPR likes this because this guy is saying some moderately thoughtful stuff and the beats are less predictable than usual, but who actually wants to listen to a song called “Double Standards”? Why stop there? Why not a club banger called “Airport Security”?
Alabama Shakes, Boys And Girls
Making music your parents would like isn’t just for the Fleet Foxes anymore.
Alisa Weilerstein, Cello Concertos (Elgar & Carter)
Look out Yo-Yo Ma, there’s a new cellist in zzzzzzz
Alt-J, An Awesome Wave
Here’s the first of probably many entries on this list which seems like its primary reason for existing is to be transition music on NPR. Like there’s some report on a Peruvian ballet troupe struggling to make art with their limited resources, and then this pops on for fifteen seconds to help convince you that what you just heard was in fact very interesting and not a desperate attempt at interestingness which combines several things you don’t care about. It is relatively high energy, but stark and dramatic at the same time, and it’s constantly throwing “interesting” sounds at you, like bassoons and toy pianos, and layering everything a million times for no reason. And now here’s Terry Gross with “Fresh Air.”
Andy Stott, Luxury Problems
This is the kind of electronic music you’d hear in a modern art museum and it’s actually more boring than silence.
A nice lil’ multi-culti entry for NPR, this one apparently a Chilean version of MGMT. There is actually some very cool shit going on in Chile right now. This is the Wavves to that cool shit’s Thee Oh Sees.
Berlin Philharmonic, St. Matthew Passion
You know who I love? Classical radio DJs. They’re the best. Just in general, when people are only into classical music: the best. I mean, terrible, yeah, but taking the stance that nothing good has happened for over a hundred years is incredible. I can just picture them wincing at the overbearing city noise and fully bear hugging not just their ears but the entire sides of their heads in agony as a wailing ambulance drives by them on the street. Classical-only people are so prim and snooty and delicate they’re like some vestigial form of cultural renegade. I imagine if you pushed one over they would just lie there totally fucked like an upside-down turtle. You’ve got to love it when human society subverts nature and allows people like that to exist.
Meek Mill, Dreamchasers 2
I feel like hip hop at this point is as horrible and predictable and soul-crushing and ceaseless and artless and stagnant as the poverty and violence on the streets it comes from. This guy tells the narrative of how he grew up in a terrible place, sold drugs, and then became successful while so many others didn’t, and his embrace of every trapping of his prosperous lifestyle is fueled by guilt and regret. You may be familiar. Also: you can dance and fuck to it and play it real loud in a car with a lot of bass. Not that NPR listeners are doing those things. Instead they’re nodding their heads to the narrative and saying “oh, isn’t it awful” and “good for him.”
Bobby Womack, The Bravest Man In The Universe
Damon Albarn picked Womack up off the scrap heap and produced this album. It’s kind of like an extremely crappy version of the Rolling Stones reviving Muddy Waters’ career, or a more commercial and electric version of Jon Spencer and R.L. Burnside. I wonder if Bobby knows or cares what the hell is going on here.
Bomba Estereo, Elegancia Tropical
You can guess what this sounds like: an impulse buy CD at a fair trade coffeehouse.
Brooklyn Rider, Seven Steps
If you type “Brooklyn Rider, Seven Steps” into Google, the first results are Amazon, Brooklyn Rider’s website, Brooklyn Rider’s website, Brooklyn Rider’s website, and NPR First Listen. They’re a string quartet, FYI. An extremely well organized one. With a name that sounds like they should be a 2000’s synthpop version of Bachman Turner Overdrive.
Cafe Tacvba, El Objeto Antes Llmado Disco
If a band from Mexico sounds like 70’s Italian prog (think Gentle Giant plus opera) meets Animal Collective (i.e. post-digital American prog), are you allowed to not like it? Not if you’re NPR.
Carla Morrison, Dejenme Llorar
The score so far. Hip hop: 2, soul revival: 2, classical: 3, Spanish language pop: 4, bland Indie pop: 1, minimalist techno: 1, boring: yesalways.
Cat Power, Sun
Cat Power is the musical equivalent of Say Yes To The Dress (the least intolerable reality show my girlfriend watches).
RECORD REVIEWS - The Syria Issue
You may be asking yourself, “Hey, where are VICE’s usual pissy yet strangely on-point reviews? I was looking forward to reading about the latest release from my favorite _____-wave band!” Well, this month we decided to do things a little differently, apropos of our Syria Issue. Below, you’ll find reviews of (mostly) Syrian music, written by Syrian Americans, or in the case of Shalib Danyals, a person who has spent a shitload of time in the country. So far, Middle Eastern music hasn’t really had a ton of crossover appeal—unlike J-pop, K-pop, or Yanni, for instance. That said, you’ve probably been exposed to small doses of Middle Eastern music at some point, maybe without even knowing it.
The thing about a country at war is that what you hear on the news revolves almost exclusively around violence, suffering, and destruction. Hence we felt it relevant to offer insight into the listening habits of Syrians. Of course, the volatile political situation does change things and offers worrisome inspiration. Some Syrian artists have reflected on the turmoil of recent months via their songs, while others avoid the situation entirely—probably because weighing in on the conversation can easily get a musician thrown in prison or even killed.
As far as the “scene” goes over there, trends in music aren’t all that much different from their Western counterparts. Saccharine, hook-heavy pop reigns supreme. A couple of singers made popular by the Arabic version of the Idol franchise (Arab Idol, naturally) have risen up the pop charts. Hip-hop in Syria and other Arab states is slowly but surely developing into a legit genre. Since the beginning of the uprising that began about a year and a half ago, protest songs have steadily increased in popularity. And, of course, music that incorporates traditional sounds and instruments always has a strong following. Most Arabic music tends to rely on this sort of sonic commingling, and that’s what makes it unique. Even the catchiest pop song might include a customary dabke rhythm, or the twang of an oud (a traditional stringed instrument) among a plethora of synths and Auto-Tuned vocals.
Of course, because of the ongoing political tumult, there’s just not a ton of stuff being released at the moment. And as far as the standard music industry goes… Well, let’s just say it wasn’t super-easy to confine this reviews section to recent releases. Still, what we did find runs the gamut from slick pop to raucous techno-dance to heart-wrenching folk.
So read on, and give some of these albums a listen. Keep an open mind. Who knows? Maybe you’ll love it. And even if it’s not your thing, maybe when the next hot Jay-Z song drops, you’ll be able to say you know where a certain sample originated. And, if you’re into bragging, that you knew all about it before it was popular. Enjoy.
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