My Terrible Friend

Quick one. Lauren O'Connell and Nataly Dawn have teamed up to create a project called My Terrible Friend. Check their YouTube channel here: http://www.youtube.com/myterriblefriend

Their new EP is available on iTunes for $3.99, and it's more than worth it. Even if the music wasn't spectacular (which it is), you could feel good about yourself for supporting an independent artist (for once).

Guess who's back?

Marshall Mathers established himself abruptly in 1999 with The Slim Shady LP, and a year later cemented his place with The Marshall Mathers LP. Unfortunately, in the last few years the rapper hasn't been delivering. Since the curtains closed on The Eminem Show in 2002, Mathers hasn't done anything particularly worthy of critical praise. Sure, there have been a handful of decent singles. But his last two LP's, Encore and Relapse were sloppy at best.

Eminem addresses the issue on his latest, the aptly titled Recovery. "This time around, it's different. Those last two albums didn't count. Encore I was on drugs, Relapse I was flushing 'em out. I've come to make it up to you now, no more fucking around. I got something to prove to fans, 'cause I feel like I let 'em down. So please accept my apology. I finally feel like I'm back to normal. I feel like me again." This risky statement comes on the album's second track, and thankfully—and finally—the rest of the album actually delivers.

Don't get me wrong. This isn't quite the manic, depraved Marshall Mathers we remember from early on in the last decade. This is a Marshall Mathers who is more mature. What's back is his ability to deliver lines that resonate with listeners, and deliver them with style. His pop sensibility has returned, and it's been adapted for the next generation. Tracks like "Won't Back Down" and "Love the Way You Lie," featuring Pink and Rhianna on the respective choruses, will surely bring Eminem back to the top commercially. His sobriety has given him a fresh outlook, and the bits of introspection strewn across the record are bound to surprise—and appease—critics who lost faith in recent years. For the moment, Eminem's back. Let's see if it lasts.

Here's a video of Rhianna and Eminem performing "Love The Way You Lie." The quality isn't particularly amazing, but it's just a preview of the album which will be released on Monday.

Unexpected treat from E3

E3 has always been something for gamers to get excited about. It's the conference where video game companies unveil new technologies and the most anticipated games. Microsoft showed us Kinect, a camera that attaches to the XBOX 360 and tracks the movements of players to give them a new form of control over their games. Sony showed us what high definition and 3D glasses can do for gaming. Nintendo unveiled the 3DS, a handheld gaming console that delivers 3D without the need for glasses.

Activision, however, gave music lovers a surprise. For some reason, they had Billy Howerdel and Maynard James Keenan of A Perfect Circle, along with the LA Philharmonic Orchestra, perform Queen's legendary "Bohemian Rhapsody."

Ukulele Radiohead Covers

If your life has been feeling empty lately, it's probably because you haven't heard Amanda Palmer covering Radiohead songs on a ukulele.

http://blog.amandapalmer.net/post/687905407/look-the-idioteque-single-from-my-radiohead-covers

If that doesn't fill the void, well... find something else.

HOW TO DESTROY ANGELS

Nine Inch Nails fans were more depressed than usual when Trent Reznor, the group's mastermind, announced that they would no longer be releasing new music. However, as consolation, Reznor has formed a new group. HOW TO DESTROY ANGELS is a gentler Nine Inch Nails fronted by none other than Reznor's wife, Mariqueen Maandig Reznor (former lead singer of West Indian Girl).

Check out the band's debut EP here: http://www.howtodestroyangels.com/store/

It's free, but you will need to provide a valid e-mail address.

My Favorite Albums of the Decade

Okay, I'm a few months late. In January, I kept seeing bloggers and even credited music websites publishing lists of the best albums of the decade. The one thing they all had in common? Readers got angry. So I'm not going to write a list of the best albums of the decade. These are just my personal favorites. And even that is subject to change.

A Perfect Circle - Mer De Noms

This band is very close to my heart for a lot of reasons. Aside from being generally amazing songwriters and lyricists, A Perfect Circle happened to be a "right place at the right time" kind of thing. Mer De Noms, comprised in no small part of songs about sex and love, came out when I was fourteen years old. This album helped to shape my perceptions of love and rejection and guided me through some particularly trying relationships.

A Perfect Circle - Thirteenth Step

Then came Thirteenth Step in 2003. An album about the dangers of addiction, this one helped through some very different struggles.

The Cure - Bloodflowers

There's something about The Cure that seems timeless, even the first time you hear them. They have this sense about them, as if they're the authority on the type of music they play. As if they're the authority on heartbreak itself. Bloodflowers is the only record I'd even consider to contend with Disintegration as the best Cure album. The consistency of the atmosphere from track to track makes this one of the most well-constructed records of the decade.

Glassjaw - Worship and Tribute

Glassjaw... oh man, what to say about Glassjaw? I can't stand hardcore, but I love Glassjaw. That's their legacy, I guess. They got it right.

Brand New - The Devil and God Are Raging Inside Me

I didn't like Brand New before this album. I know a lot of people who feel the same way. This album came out of nowhere. Most bands progress gradually over time, so you can see how they got from album to album. But this one... after the acoustic, emo Deja Entendu, I don't think anybody was expecting Brand New to release the epic, progressive monster that is The Devil and God Are Raging Inside Me.

Amanda Palmer - Who Killed Amanda Palmer?

As much as I like to hate Amanda from time to time, I can't deny how amazingly talented she is. We've got a lot of artists who fit the "I'm a girl with a piano and some raging emotions" model, but this Boston native stands out from the crowd. Provocative, poetic and utterly ballsy... thank you for some great music and performances over the years, Miss Palmer. (Or is it Mrs. Gaiman now?)

Deftones - White Pony

See Worship and Tribute, but replace "hardcore" with "metal."

Johnny Cash - American IV: The Man Comes Around

Naturally, I jumped on this album because of the Nine Inch Nails cover. But the whole album stuck with me. This was one of my "mind-opening" music experiences: what I once would have written off as boring acoustic singer-songwriter stuff (or even worse: country) was actually pretty good.

Gnarls Barkley - St. Elsewhere

I had the pleasure of seeing this band live. It was amazing. There was a full string section. And a guitar player. And a bassist. And the drummer from Marilyn Manson. That show made me realize that I probably shouldn't assume that vaguely hip-hop sounding music is always going to be performed by an MC and a turn-table.

mewithoutYou - Brother, Sister

Goddamn, what an amazing album. It took a while to grow on me. The song structures are a bit odd. The vocals frequently sound more like the rantings of a madman than actual singing. But that's actually pretty awesome once you get into it. I was also turned off by the frequent (albeit cryptic) references to religion. Now I find them comforting. Curious.

Saul Williams - The Inevitable Rise and Liberation of Niggy Tardust

This one's intense, provocative and legitimately edgy...

Mindless Self Indulgence - You'll Rebel To Anything

...and this one's just plain fun.

Radiohead - In Rainbows

Okay, so I might be biased because of the awesome release tactics. This is a great album though, especially if you can get your hands on the two disc version. I've always had an issue with Radiohead. While they are undoubtedly excellent musicians, I found most of their albums after The Bends lacked the personal element. The vocal performances just seemed a bit insincere and impersonal. I feel like the passion's back on In Rainbows, though it's decidedly more cryptic and infinitely more mature.

Manchester Orchestra - I'm Like a Virgin Losing a Child

Another band I was initially turned off to because of religious references. The Manchester Orchestra grew on me with their brand of passionate, often angry folk rock. And now they make me wish that I was religious.

Lauren O'Connell - The Shakes

More folk rock. Lauren O'Connell's great. I found out about her through YouTube and actually paid to download her album. That might not sound like a big deal, but it is.

Marilyn Manson - Holy Wood

This album gets a lot of crap, even from Manson fans. I liked it a lot. People trash it for being repetitive... I find that the repetition helps to make it a coherent album--more coherent than the much-praised Mechanical Animals, even.

Carissa's Wierd - Songs About Leaving

I don't know how to describe this album. I've heard the term "chamber rock," but that doesn't really mean anything. Picture a depressed singer-songwriter guy with an acoustic guitar. Now add a female singer doing lead vocals with him. Cool! Now throw in a piano and a string orchestra. That's what this album is, sort of. It's also sort of like The Cure, but not at all like The Cure. Just do yourself a favor and get this one.

Tool - Lateralus

This is the album that made me want to play bass. This is also the album which, for better or worse, shaped a lot of my philosophical ideals. Of course, now I'm realizing most of the ideals on this album were ripped straight out of Eastern religion. So, I guess it's probably not a bad thing. But yeah. Great record.

Okay, well... that's it for now! Hope you found something worthwhile on this list.

The Art of the Remix

A lot of people think that remixing a song means throwing a dance beat over it. That's alright, it's a common ignorance--and it's strengthened by the awful dance remixes that get play on the radio and in clubs. But that's really not all that remixes have to offer. There are a handful of popular remix artists who put a great deal of effort into remixing songs, creating completely new versions that bring the songs into a completely new light.

When creating a remix, an artist typically takes the master tracks of the original song and rearranges them or adds sonic effects. Additionally, many remix artists (these days, that is) also add additional instrumentation of their own. Through these methods, remix artists can transform the original song into a completely new vision.

Here are some remixes along with their respective original songs.





A Perfect Circle - "Three Libras"

This remix was done by Nine Inch Nails alumni Danny Lohner and his mixing partner, Josh Eustis of Telefon Tel Aviv. Lohner is a master of the art of the remix, and this is but one of many examples of mastery. The production on this remix becomes an instrument in and of itself--the subtleties in panning, the painstakingly automated volume shifts... the duo clearly put a lot of effort into this track, and it shows. The ambiance of this remix beautifully captures the lamenting tone of the original song and takes it in a new (and arguably darker) direction.





Thrice - "Broken Lungs"

This remix was done by the Legion of Doom. Thrice's original version was optimistic, and apparently the Legion of Doom didn't like that. Between the atmospheric drums and bass and the detuning of the guitars, these remix artists made "Broken Lungs" into something bitter. This version of the song would fit on a number of horror movie soundtracks. It's almost creepy.





Nine Inch Nails - "Only"

When Nine Inch Nails released With Teeth in 2005, some fans weren't very happy. After waiting six years for the follow-up to The Fragile, they were horrified by singles "The Hand That Feeds" and "Only," which sounded like The Faint and disco, respectively. I was one of those fans, and rather than complaining I decided to try to turn the new Nine Inch Nails into the Nine Inch Nails that I remembered.

And that's another beautiful thing about remixes... it's a whole different animal from actually writing music. When I did this remix, I had absolutely no musical knowledge. But I did have a computer.

The remix is a wonderful art form and one that is growing in popularity. Let's hope that more musicians take a cue from bands like Nine Inch Nails, Radiohead and Mindless Self Indulgence--all three of whom have taken to releasing master tracks from their songs for fans to remix.

The Art of the Cover

For those of you who don't know, when a band or artist performs a song originally written by another, their version is called a "cover."

While there are many reasons a band may want to perform the work of another, the most obvious reason is to pay homage to the original artist. Doing a cover is not stealing. On the contrary... it's typically a sign of respect.

Sometimes an artist will do a cover just for the love of the song. Often, however, the reason has more to do with their audience. Perhaps they know a song that will get the crowd riled up. In Boston, for instance, a lot of bands have a habit of playing the Standells song "Dirty Water." Getting the audience's attention by playing a cover like this is an old trick... and it still works.

Less often, a band will cover another artist to get the audience interested in that artist. A great example of this is what we saw in the twilight of the late Johnny Cash's career. Over his last several albums, he covered many other artists. Most of them were younger artists like Depeche Mode and Nine Inch Nails. These artists were far from obscure, but they were certainly alien to Cash's core audience.

Regardless of the reason behind it, a cover can do a great many things. Whether they bring a classic song to a new generation, honor a fallen or defunct band or simply put a new spin on the music of one of their contemporaries, when a band does a cover it's guaranteed to breathe new life into a song.

Here are some covers of songs, along with their original versions. These ones have some particularly interesting stories.





In the 1970's, John Lennon's "Imagine" was an unrivaled anthem of peace. The man's highly influential world view and his less talked about bitterness made this song an honest and powerful picture of the world as it could be.

In 2004, A Perfect Circle rushed to put out their third album, eMOTIVe, in time for election day. This was an album of political songs that the band put out to play their part in swaying the presidential election. It didn't work, but we did get some great songs out of it. This cover of "Imagine" twisted the song to serve the times... this version is decidedly dark, and why shouldn't it be? Thirty years after Lennon's "Imagine," the "dreamers" aren't as far along as some might have hoped.





Neutral Milk Hotel had actually disbanded before they achieved much critical and commercial success. However, they did manage to touch one man--Brand New frontman Jesse Lacey. Lacey has covered several Neutral Milk Hotel songs over the years, and he speaks very highly of the band. His praise and covers have doubtlessly driven up the sales of Neutral Milk Hotel's albums over the years. Thanks in part to Brand New and in part to a peculiarly positive Pitchfork review (don't they hate everything?), you can no longer go into a hipster bar or coffee shop without hearing Neutral Milk Hotel's In the Aeroplane Over the Sea. Though, I'm not sure if Neutral Milk Hotel would actually thank anyone for that.





And here it is, the cover you couldn't miss if you were alive in the 1990's. This is a prime example of an artist taking someone else's song and truly making it theirs.

Where The Eurythmics wrote a shameless pop song with a slightly bitter twist, Marilyn Manson found a violent, pornographic alternative rock ballad. Interestingly enough, this is actually the song that catapulted him out of relative obscurity--with good reason. From the crushing bassline to the indisputably evil guitar riffs, Manson's version of "Sweet Dreams" is the kind of song that sticks in your head. Even if you don't want it to.

Luna Guitars

Guitar can be a frustrating instrument to play if you have particularly small hands. This causes problems for a lot of women and children, not to mention a decent number of men. Luckily, an up-and-coming guitar company is making things a little easier.

Browsing their website, http://www.lunaguitars.com, you might start to worry that these guitars are just pieces of art. Between the moon phase fret markers and the ornate finishes, you might assume that these guitars are built for design and not for function. That couldn't be further from the truth. They may be gorgeous, but they're also practical. Luna's guitar necks are particularly slim, making it much easier for small hands to reach difficult chords. The regularly sized acoustic guitars sound just as good as any Fender or Ibanez in the same price range, and the preamps may even be superior. Even if they weren't, these guitars would still be worth the price. The thin and comfortable neck alone makes a Luna worthwhile---if your guitar feels comfortable to play, you're going to keep playing it.

Some words on image

A lot of artists have been written off because of their image. People who would normally be okay with her brand of pop music write off Lady Gaga for her eccentric art school slut image. Hard rockers can't stand Marilyn Manson because of his make-up, effeminate costumes and over-the-top theatrics.

These two are just some prominent examples. But the fact is, in recent years, musicians are more often than not extremely conscious of their appearances, and stage shows have become completely engrossing experiences. Costuming, choreography, lights and video are becoming as essential to a performance as the music itself. "Without lights," any stagehand or roadie will tell you, "It's just radio." Many would argue that such an emphasis on the visual aspect of performance is somehow degrading the integrity of the music itself, but are such allegations warranted?

For example, alt-rock bands Tool and Radiohead have practically been deified by their fans and critics alike. These are bands filled with perfectionists; musicians who will not release an album until it is a refined and coherent work of art. Yet, these two bands have some of the most elaborate stage shows in the industry: dozens of moving lights, lasers, mirrors, video screens and--in Tool's case--projectors scrolling imagery across the floor of the stage itself. If even these talented musicians are using visuals to enhance their shows, then this phenomenon is apparently not meant as a distraction from subpar music.

So what's really going on here? Is this a generational thing? Has flashy imagery become so important to our generation that we need videos and strobe lights to hold our attention at a concert?

The answer is probably no. The truth is, image has been part of rock and roll since the beginning. We've all heard stories about Elvis Presley's shockingly sexual performances and the Beatles' radically long hair. It seems that, as time went on, image evolved along with the music itself. David Bowie's Ziggy Stardust era was, for its time, arguably more bizarre than Marilyn Manson and Lady Gaga combined. Pink Floyd's The Wall took the idea of an audio-visual experience to a place far beyond any music video that came before it, and perhaps any that followed.

This is nothing new. Sure, you can hate the ridiculous costumes. You can hate the swoopy haircuts, the flannel, the girls' pants on heroin chic boys and the rainbow of unnatural hair colors you'll find onstage at Warped Tour. You can hate all of that, and you can still like the music if you want to. Don't be scared of the flash. It's always been part of rock 'n' roll.

The Producer Actually Matters

Here's a list of some producers who do a great job of getting the best out of mediocre bands or making good bands sound amazing.

Ross Robinson - He did wonders for Slipknot, Glassjaw and From First To Last, among many others.

Rick Rubin - This guy is just plain amazing. He produced most of Cash's final albums, and even suggested many of the covers he did... which is why we have Johnny Cash covers of Depeche Mode, Nine Inch Nails, etc. He's also the reason Red Hot Chili Peppers albums tend to sound so great, he did wonders for The Mars Volta and even got a decent album out of Linkin Park.

Danny Lohner - This guy's pretty much my personal hero. He learned everything he knows from Trent Reznor, and any time I see his name on the credits of a song or album I know it's going to be good. He's worked with everyone from Marilyn Manson to Johnette Napolitano and remixed everyone from Deftones to David Bowie.

Rock producers are often the silent members of a band... when their coherent vision and technical expertise make a great album, nobody really cares. The band gets the fans, the credit and the glamor. The only time anybody really thinks about the producer is if the album sounds terrible. When they do something right, people won't be sure they've done anything at all.

A Side Note

In an uncharacteristically bold move (which could easily be interpreted instead as shameless self-promotion), here is a song I wrote, produced and performed.

And here is another blog I have been keeping. I registered the domain name in November, but keeping this blog is what drove me to start writing in it.

http://wordsatnight.blogspot.com

Folk Rock Rocks.

Going back through this blog, I've noticed that the focus has been mainly on extensions of punk and alt-rock. Loud, hard, noisy, depressing stuff. Here is a video montage of some amazing weird modernish folky rock. It's a genre that's recently consumed most of my interest, and I'm not sure why I haven't acknowledged it in this blog.

Now, a few things are appealing about this stuff. First of all, I've always been a sucker for anything acoustic. Second, and more importantly, it seems like the lyricists in these bands are better at telling stories than their darker rock counterparts. Those of you who are writers, take note of these lyrics as poetry, as short stories, or as whatever you wish them to be. Use them to your advantage.

Neutral Milk Hotel - "Holland 1945"



mewithoutyou - "The King Beetle on the Coconut Estate"



Mountain Goats - "This Year"



Manchester Orchestra - "Sleeper 1972"



Lauren O'Connell - "White Noise"



Kevin Devine - "Jesus Christ" (Brand New cover)

Envy on the Coast - Lowcountry (2010)

More love for Long Island.

Envy on the Coast is a band that came out of the whole Long Island pop-punk/post-hardcore scene, and they've always had their own distinct sound. Their debut album, Lucy Gray, had a nice mix of the standard crooning vocals with some pop-sensible screaming, heavy and effected guitars and bass and the occasional electronic beat or synth hook. Their new album, however, takes their sound somewhere new, and it's hard to even call it punk rock (despite how massive a genre that has become).

Lowcountry is an album with astounding production value. The mix is incredibly intricate, and if you listen through good speakers you'll probably catch something new each time. Envy's sound has changed drastically. This album is much more pop sensible, the bits of synth and electronica are closer to the forefront, and the vocals are extremely radio-friendly. Now, rather than waste time trying to describe their new direction, I'll just sum it up: Envy on the Coast has turned into Incubus.

Here's a track from their first album:



And here's one from the new one.

Remember when Jared Leto was an actor?

Make your kids play music.

Seriously, I'm one of those people who struggles to have any creative outlet. I wish someone had forced me to take piano lessons as a child. Or at least had a guitar laying around in case I got curious. Now I'm 23, which is basically DEAD in unsigned musician years, and all I have are youtube videos and dreams I let go long before I even bothered putting effort into them.

#3 A Perfect Circle - Thirteenth Step (2003)

Since 1992, singer/lyricist Maynard James Keenan has achieved a godlike status for his work fronting progressive alt-metal band Tool. Since 1999, he's also been the frontman of A Perfect Circle, the creative outlet of guitar-tech and songwriter Billy Howerdel. Keenan's lyrics have always been rich with philosophical and mythological imagery. His vocal style has been highly praised and often imitated. While Tool's fanatic and devoted fanbase would crucify me for this statement, I'm just going to hope they don't read it: A Perfect Circle's sophomore album, Thirteenth Step, is Keenan's crowning achievement.

Opening with a chilling guitar riff and a monstrous, droning bassline, "The Package" kicks this album off with the first of many stunning tales of addiction. "Clever got me this far, then tricky got me in. Eye on what I'm after, I don't need another friend. Smile and drop the cliche 'til you think I'm listening. Take just what I came for, then I'm out the door again. Peripheral on the package: don't care to settle in. Time to feed the monster. I don't need another friend. Comfort is a mystery, crawling out of my own skin. Just give me what I came for, then I'm out the door again. Lie to get what I came for. Lie to get just what I need."

Immediately, it becomes evident that A Perfect Circle's tone has completely changed from their debut album. Where Mer De Noms had its share of optimism, Thirteenth Step lingers on the darker side of the human condition, focusing on many different aspects of dependency.

"Weak and Powerless," the first single, may sound upbeat, but the lyrical content is nothing short of horrifying. "Tilling my own grave to keep me level. Jam another dragon down the hole. Tilling to the rhythm and the echo of a solitary siren, one that pushes me along and leaves me so desperate and ravenous. So weak and powerless over you." What are dragons doing in this song? Oh, that's right, "chasing the dragon" is a euphemism for heroin addiction. And, just to cement the image, the next verse begins "Someone feed the monkey while I dig in search of China, white as Dracula as I approach the bottom." This song may hold the record for opiate references. If not, they're certainly the most clever.

Then comes "The Noose," perhaps the most powerful song on the record. Co-produced by Nine Inch Nails alum Danny Lohner, the music has an atmospheric ambiance that perfectly compliments the spacey guitar tones and Maynard's lamenting, crooning vocals. "So glad to see you have overcome them; completely silent now. With Heaven's help, you cast your demons out. And not to pull your halo down around your neck and tug you off your cloud, but I'm more than just a little curious how you're planning to go about making your amends to the dead." The candor of these lyrics is utterly paralyzing. The 12 Step program tells us that recovery requires making amends to those you've hurt in the grips of your addiction... but how often is that actually possible? How can we ever make up for the monsters that we've been...?

An odd choice for a single, "Blue," hits the running theme from the angle of someone in denial. "I close my eyes, ignore the smoke. Ignore the smoke and smile." The song's lyrics are much darker than the instrumentation, at points this song's sliding guitars and rhythmic tendencies feel like some sort of occult dance music.

A similar track follows. "Vanishing" is a song about, well... vanishing. "Slowly disappear. No longer here. Like a thought brushing up against a sigh." This is one of the few songs on the record carried more by its atmosphere than its lyrical content, and that atmosphere encapsulates the idea of becoming so immersed in something that it overcomes you.

"A Stranger" is a slow, pensive track driven by dreamy acoustic guitars and orchestral strings, devoid of drums. "Shy away. Shy away, phantom. Run away, terrified child. Won't you move away, you fuckin' tornado? I'm better off without you tearing my will down." To put this in the context of the record's concept, suffice it to say that this track is about acceptance.

Perhaps the most straight-forward rock song on the album, "The Outsider" is a song that a lot of fans were confused about. So many fans, in fact, that the band actually explained it in an interview: This song's lyrics were written from the perspective of someone watching a loved one fall into addiction, someone who could not comprehend it. (Hence the song's title.) "Help me if you can. It's just that this is not the way I'm wired, so could you please help me understand why you're giving in to all of these reckless dark desires? You're lying to yourself again, suicidal imbecile. Think about it, you're pounding on a faultline. What'll it take to get it through to you, precious? I know it is why you wanna throw it away like this. Such a mess, why would I wanna watch you disconnect and self-destruct one bullet at a time? What's your rush now? Everyone will have his day to die." This track is dark. It's offensive. And it's completely necessary to Thirteenth Step. This song offers a glimpse at the judgments addicts have to deal with on top of their other problems (which probably aren't very fun to begin with).

"Crimes" is a short, droning, confusing song. It's used as something of an interlude.

"The Nurse Who Loved Me" is a quiet, orchestral cover of Failure's alt-rock song from their 1996 album, Fantastic Planet. It's very odd to see a band like A Perfect Circle put a cover onto an otherwise entirely original album, but the song makes a lot of sense in context. (And, a quick history lesson: A Perfect Circle's original rhythm guitarist, Troy Van Leeuwan, got his start with Failure.) This song touches on a lot of the record's concepts... desperation and delusion, particularly. "Say hello to everything you've left behind. It's even more a part of your life now that you can't touch it. I'm taking her home with me, all dressed in white. She's got everything I need: some pills in a little cup. She's falling hard for me. I can see it in her eyes. She acts just like a nurse with all the other guys."

Then, on to "Pet." This is one of the most interesting songs on the album, at least lyrically: Keenan chose to write this one from the point of view of the drug itself. (Or the habit, addiction, whatever you want to call it.) "Pay no mind what other voices say. They don't care about you like I do. Safe from pain, and truth, and choice, and other poison devils saying they don't give a fuck about you like I do. Just stay with me, safe and ignorant. Go back to sleep. Go back to sleep."

"Go back to sleep. Go back to sleep." The next track, "Lullaby," reiterates these lines before moving into a relaxing interlude.

Hope finally appears in "Gravity," the album's closing track. Regret is there, sure; so is uncertainty. But there's still hope, and as listeners, we sure as hell need it after this album. "Calm these hands before they snare another pill and drive another nail down another needy hole. Please, release me... I am surrendering to the gravity and the unknown. Catch me. Heal me. Lift me back up to the sun. I choose to live."

It's difficult to describe what A Perfect Circle has done here. As bipolar and unsettling as the album is, Thirteenth Step is a beautiful record. It's a record that makes listeners actually take a look at their crutches and vices—and, with any luck—help them to overcome them.

#2 Nine Inch Nails - The Downward Spiral (1994)

Addiction and dependency can come in many forms. There are a lot of ways to get to these places. No matter the cause, the symptoms and results are always similar. So it can be hard to say whether a song’s about being addicted to a drug or a person, a hope or an obsession...

The Downward Spiral is arguably Nine Inch Nails’ masterpiece. The multi-platinum selling album was received with critical acclaim, the band toured relentlessly in support of it, and—most importantly—this album remains as relevant as ever now, over fifteen years after its release.

The Downward Spiral is a concept album about losing yourself completely. With songs about losing faith, denial, falling into addiction, looking for help (and finding none), violence, animosity and–finally–suicide, this record chronicles the most desperate of human emotions. The album is so abrupt and sincere that it’s difficult not to be shaken by its candor. Lyrically and sonically, this record clearly illustrates the depths to which we’re all capable of sinking.

#1 Failure - Fantastic Planet (1996)

Failure's Fantastic Planet is probably one of the most underrated albums of the 1990's. This is an album that lingers on the edge of pop sensibility, and Failure's signature spacey guitar tones have gone on to influence much more popular bands like A Perfect Circle and Queens of the Stone Age. The 17 tracks on this album cover just about every topic you'd want to see a band go over in 1996—often, the lyrics on the album are coherent narratives—and talk about anything from getting high on scrapings from your nails to falling in love with a nurse (who, after all, has everything you need... like pharmacy keys and some pills in a little cup).

That's not to say that Failure is condoning drug use (though they very well may be), but a big part of this album's appeal is in the utterly original imagery the lyrics present. Verses like "Right now we're sick of everything. Tonight we'll bind up our brains again. With eyes pinned, I'll fly around your bed; we'll grow close while our hearts disconnect" offer scenes of addiction so poetic that it's easy to forget how truly monstrous the subject matter is.

"Woke in my warm bed just in time for all the brilliant red lights. They were streaming through my half-shuttered window: Christmas Lights in time with my stuttered brain waves. The doorknob was glowing, all my photographs were rippled and melting. Through the walls I could hear panicked voices, they seemed to say 'Go back to bed. There's no choices.'" These fantastical descriptions in a certain sense give more authority to the lyrics... if the drug's effects are portrayed accurately, it's much easier to take the warnings about addiction seriously.

The album's most successful single, "Stuck On You," feels a bit out of place on the album. It's a delightfully ironic song: The lyrics are about getting hooked on a pop song that gets too much radio play. And, well... it's a pop song that probably got too much radio play.

Drug Week!

I'd like to take this opportunity to talk about music that talks about drugs.

Shia LaBeouf on Music

"My generation will actually be the first generation that is tamer than the one that came before it, and it will probably be poorer; less fun and less money. It's ridiculous. In my parents' generation, rebellion was pop culture. It's not anymore. You can see it in something as simple as where their music was at and where ours is now. If you look at our Billboard Top 100, a lot of those songs on there are from Christian country artists. A lot of rappers, too, are very Christian. The fact that [religion] is even still talked about is kind of wild to me. I think my generation understands it, but they are too selfish to let it matter."

Disenchanted world view or surprisingly poignant assessment? Indiana Jones Jr., you never cease to amaze me...

The Shape of Punk That's Come [Conclusion]

The four albums I've brought up in this series are only examples. There are many bands out there who are finally (and thankfully) bringing social and political relevance back to the punk scene. I hope that this series has enlightened you: Behind those walls of sound are some of the greatest philosophers and poets of our generation. It would be a shame to disregard this entire genre due to a few money-hungry emo kids hiding their insincerity behind distortion pedals and bad haircuts.

#4 Thursday - Common Existence (2009)

In a similar vein as Thrice's Beggars, Thursday's Common Existence is a display of punk music with a clear social conscience. This is an album which manages to take an honest look at the hypocrisy in our society and in ourselves...

"Another folded flag to a mourning lover
He was an army of one but they'll find another
And in the fold of the body bag
Somebody check for a heart
You got friends in the armed forces
Now we know what a soldier costs
It's the cost of the rest of us"

...that's not to say that the entire album is political. Much of the lyrical content explores the all-too-common theme of love and the pain it can cause. But Thursday's approach is mature, and combined with their ever-evolving sound, this album is quite original.

#3 My Chemical Romance - The Black Parade (2006)

My Chemical Romance gets a lot of guff. They're one of those bands that became so popular so quickly than anyone with the least bit of elitism in their blood wrote them off on principle. The goth make-up, swoopy emo boy haircuts and fifteen year-old girl fanbase didn't help their case, either.

If you write off bands for their public image, you're probably going to miss the good they have to offer. And this is a band that has some good to offer. First of all, this particular album is a huge leap from the band's sophomore effort, Three Cheers for Sweet Revenge. On The Black Parade, My Chemical Romance demonstrates an expertise in musicianship they never managed to highlight before. Additionally, they utilize music technology—the mix of this album is fantastic, using panning and effects in a way that accentuates the songs rather than distracting from them.

So what is it about The Black Parade that's so progressive? First of all, this is a coherent concept album, something rarely seen in the genre—particularly from a band as popular as this one. Second, this is accomplished with a dynamic range of influences, as the album quickly establishes.

The first song, "The End," starts off with an intro heavily laden with acoustic guitar and piano. From there, it bursts into a theatrical layering of guitars, drums and vocals so reminiscent of Pink Floyd's "In The Flesh" that it's a wonder the band didn't sue. These theatrics have a consistent presence in the album; the first single, "Welcome To The Black Parade," sounds more like a Queen song than a punk one.

The theme of this concept album is something that's hard for people to look at, especially young people—who are the target audience. This is an album about mortality. While the album does take a lighthearted approach in a few songs, those that are more serious are definitely worthy of praise. While there are a lot of bands that have written songs about death over the years, many of them did so to explore the romance of it... to glorify it. This album doesn't do that. This is an album that intends to make young people look at the horrors of death and laments of the dying so they can learn to value the opportunities they have in their lives.

The Cure - Disintegration 20th Anniversary Edition

Quick break from the whole punk thing---I just found out The Cure is releasing their 20th anniversary edition of Disintegration on April 6. Everyone should pre-order it here: http://www.amazon.com/dp/B0030U1TLQ/ref=pe_55290_14398890_pe_vfe_t1

And yes, I mean everyone. There are a lot of things I could say to sell you on this album, but I don't want to. This one should really speak for itself.

This deluxe edition includes a newly remastered version of the original album, a disc of b-sides, demos and instrumentals, and a version of the album played live in its entirety.

#2 Thrice - Beggars (2009)

Thrice have always seemed like the philosophers of the punk scene. Even their breakout album, The Artist In The Ambulance, was filled with introspective soul searching. Lately, they’ve been taking this to a whole new level. The Alchemy Index was a four disc album devoted to the elements (Earth, Air, Fire and Water). This was perhaps their most artistic and literary endeavor; many lyrics on the album explored mythology and legend, from Davey Jones to Daedalus.

Beggars is the culmination of Thrice’s career. Their sound has become defined and polished, their lyrics are poetic and relevant. This album is a huge contrast to the fantasy of The Alchemy Index. While many of the themes are similar, the context is much more modern. They explore human error in many facets; emotional and social issues that are unfortunately turning into accepted practices.

The album kicks off with a coherent thesis. “We are saints made of plaster, our laughter is canned; we are demons that hide in the mirror… but the blood on our hands paints a picture exceedingly clear. We are brimming with cumbersome, murderous greed and malevolence deep and profound. We do unspeakable deeds… does our wickedness know any bounds? Something’s gone terribly wrong with everyone; all the world is mad.” This commentary is anything but subtle, and the lyrical tone continues this way throughout the album.

“The Weight” dives into the issue of selfishness in relationships. “Love is a loyalty sworn, not a burning for a moment.”

“True progress means matching the world to the vision in our heads, but we always change the vision instead,” laments “Circles.”

While this tone can feel judgmental, it is exceptionally honest and poignant. The narrator finally admits to his own weaknesses and mortality in “At the Last.” “Am I a good man? I thought I was, but the rewards of this life now count for naught. My body soon buried and left to rot. The time’s gone, how quickly it all passed. My God, now I see how I’ve squandered each and every breath.”

By the time Thrice concludes their album, it’s difficult for an active listener to walk away from the experience unchanged. The themes explored through the album are extremely human, and---while they do retain a timeless quality---they are also extremely relevant to these particularly trying social and political times.

“All you great men of power, you who boast of your feats---
Politicians and entrepreneurs.
Can you safeguard your breath in the night while you sleep?
Keep your heart beating steady and sure?
As you lie in your bed, does the thought haunt your head
That you’re really rather small?
If there’s one thing I know in this life…
We are beggars all.
All you champions of science and rulers of men,
Can you summon the sun from its sleep?
Does the earth seek your counsel on how fast to spin?
Can you shut up the gates of the deep?
Don’t you know that all things hang, as if by string
Over darkness, poised to fall?
If there’s one thing I know in this life…
We are beggars all.
All you big shots that swagger and stride with conceit,
Did you devise how your frame would be formed?
If you’d been raised in a palace or live out on the street,
Did you choose the place or the hour you’d be born?
Tell me, what can you claim? Not a thing. Not your name.
Tell me if you can recall just one thing that’s not a gift in this life.
Can you hear what’s been said? Can you see now that everything’s graced after all?
If there’s one thing I know in this life…
We are beggars all.”

#1: Glassjaw - Worship and Tribute (2002)

This is an album ahead of its time in many ways. It has received a lot of praise from critics, and many bands have cited it as a source of inspiration. However, there is one very relevant social issue that Glassjaw explores on the album which tends to be overlooked.

Natives of Long Island, New York, the members of Glassjaw were doubtlessly affected by the attacks on September 11, 2001. Additionally, they’re a band renowned for their ability to translate anger into a sonic fury just as intense as the emotion itself. You would think their response to the attacks would be executed in this fashion. But it wasn’t.

One of the album’s most underrated tracks, “Radio Cambodia,” responds to the attacks in a way that is so mature and relevant that most listeners don’t even make the connection to the song’s inspiration. This track stands out on the album, as singer Daryl Palumbo’s vocals are soothing and pop sensible; a contrast to his signature screaming and his frantic deliveries which frequent the rest of the album.

In 2002, no one would have blamed Glassjaw if they had put out a track that was culturally insensitive; if their signature fury had been harnessed and aimed at the culture of those who had attacked the band’s home. But they didn’t and it wasn't. They wrote a song that commented on the dangers of ignorance and violence; a song aimed not at any specific peoples, but all people. They wrote a song about the human disposition.

“I’m not impressed---I guess I’m not impressed with this dialect, which dialect marches best and who reaches heaven in what order---when our kids are baptized in mortar. It’s a shame that our messiahs moved their pawns from different mountains, and we’re left to dance these bodies ‘round the fountain. If a leader preaches worship to the sheep within the valley, who’ll be riding in a tank that says ‘just married’? We’ve found that ultimately you can make it snow in the summer. Contrary to what you believe, we oscillate and vary speed. The food in jail is sulfury. How do Inuits spell ‘relief’? Summer’s trudging closer and a flurry of white as well. It’s the heart of nuclear winter and I’m scared as hell."

The Shape of Punk That's Come

As a preface, I’d like to make something clear: I’m not a genre snob, and don’t plan to become one any time soon. Arguments over the differences between punk and emo, screamo and hardcore, alt-rock and prog-rock, post-hardcore and… well, you get the idea. These arguments are trite, elitist and generally useless. That said…

I’ve noticed a trend in punk music, particularly in recent years. A genre that was once based on defiance (generally with the intention of social progress), punk went through a significant change in the late 1990’s. Suddenly, a scene that was once respected for its progressive goals became a haven for depression artists writing whiny ballads about heartbreak; cliché pop songs hidden under a mask of crashing cymbals and distorted electric guitars.

That’s changing.

The next several blog posts will be written with the intention of giving you a list of albums that represent the progress punk music is making. These albums will be reviewed only in this context.

Depression Artists

Here's a ten minute play I wrote. It's about music, sort of. So it seemed like it would fit. Also, I'm lazy.

Disenchanted

Setting:

An apartment with hard wood floors. Sparsely furnished. Stage center is Sean’s chair; a lush leather recliner which seems out of place in this ratty apartment. Upstage right is an old acoustic guitar on a stand; its strings broken. Beside it lies a small elephant skull. There are doorways downstage left and downstage right. The lighting is drab and off-white, but bright enough to highlight the emptiness of the set.

Characters:

SEAN: Mid-twenties. Good looking. Sean is lethargic. He speaks slowly and clearly.

EVA: Early twenties. Stereotypically beautiful----she is blond and blue-eyed with the body of a dancer. She tries to be upbeat, but there is a clear hint of lament in her voice.

DEATH: Tall. Full black hooded robes. Full black face mask. He carries a 6 foot wooden scythe in his left hand and a 12 ounce beer in his right.

(Lights are faded nearly black. A follow spot fades in on DEATH, who stands DSL, hunched over, using his scythe as a crutch)

DEATH:

Economic crisis. War. Social and political unrest. A nation once considered the most powerful and progressive collapses under its own weight. Democracy fades to dictatorship under the flag of FREEDOM. A dream is dying as dreams do.

(Spot fades and DEATH exits DSL. Stage lights fade in. SEAN lies in the recliner. His wrists are cut, pools of blood surround both sides of the chair)

SEAN:

I always knew it would be like this. She’s leaving. They all leave, why would she be different? (pause) I wanted her to be, though. She’s beautiful. And she appreciates my music. Or she used to. I didn’t think she’d try to change me, but, well. Here we are. She’s leaving. (pause) All my heroes lied to me. “Is there anybody going to listen to my story, all about the girl who came to stay?” They never stay, John. Maybe The Smiths were right all along. (pause) Or maybe my mom was right, and I’m really gay.

(Stage lights dim. DEATH enters DSL, follow spot fades in)

DEATH:

The mantra of a generation of depression artists. They idolize and imitate their predecessors. Janis Joplin. John Lennon. Bob Dylan. Warrior-poets; activists. Yet this new generation is defined not by their force of will but rather by their utter failure to act. They’ll lift their fingers to point at corporate greed and government oppression but won’t raise their arms to fight them.

(Spot fades and DEATH exits DSL. Stage lights fade in. EVA enters through the DSR door)

EVA:

You’re sad, Sean.

SEAN:

Are you all packed up?

EVA:

Yeah. My dad’s waiting outside with the truck. (pauses, looks at Sean’s wrists) I guess I’ll have him come in to help with the mattress.

SEAN:

It’s not too late, you know. You could stay. Maybe just for tonight, you could stay. We can pretend it’s alright...

EVA:

No, Sean. No more one-more-nights. No more pretending. We can’t keep this up anymore. You have big dreams, and that’s what I fell in love with. But you never act on it. You never will. I can’t spend the rest of my life waiting for you to start trying. I’m finished. My heart can’t do it anymore.

SEAN:

“Grey would be the color, if I had a heart...”

EVA:

Don’t pull that shit, Sean. It won’t be long before you meet another girl to fall in love with your voice, your promises, your melodies. Naive girls are suckers for anything acoustic. Trust me on that one; I used to be one of them. (she stares at him for a moment)
I’m gonna let my dad in.

(EVA exits through DSL door)

SEAN:

She’s right, you know. Acoustic guitars make naive girls swoon. But I’m done with that. I’m so tired of hiding behind A Cryptic Lovesong In D Minor. It’s not really me; though it is the most honest kind of lie...

(Stage lights fade out. DEATH enters DSL. Spot light fades in on him.)

DEATH:

Perhaps this is a consequence of a world that’s gone wrong. Talents which, with the right heart behind them, could open eyes and change the world. But in the hands of a heart left cold, a guitar becomes yet another tool of manipulation and self-preservation. Is this the eventual goal of capitalism? A dreamer left so hollow... is just another player in this unfortunate game.

(Spot light fades out. DEATH exits DSL. Stage lights fade in. EVA and her father enter DSL. They exit through the DSR door, quickly return carrying a mattress.)

EVA:

Bye, Sean. I love you, and I’m sorry.

SEAN:

I love you too.

(EVA and her father exit through DSL door)

SEAN:

I think that was a lie. The truth is, I don’t love. I try, but nothing thrills me. My heart doesn’t beat the way it used to. When I met Eva, my heart would jump if she held my hand. Now the only way to replicate that feeling is to sniff a little blow, shoot a little dope... and even then... the thrill’s gone all too quickly... “I can’t fly, I never really could. I just hold my arms out as I fall...”

(SEAN pauses, stares longingly at the DSL door. Stage lights fade out, DEATH enters DSL. Spot light fades in on DEATH)

DEATH:

Of course you can’t hold onto the thrill. Your society is collapsing and you’ve run out of heroes to turn to. Your limited choices suffocate your limitless potential. You watch your brightest minds either cave in to the demands of the system or be crushed by the apparent futility of trying to change it.

(DEATH takes a sip of his beer. A red spot light fades in on SEAN)

SEAN:

I always knew it would be like this. “As soon as you’re born, they make you feel small, by giving you no time instead of it all, ‘til the pain is so big you feel nothing at all...”

(SEAN closes his eyes, his red spot light fades out)

DEATH:

And, in the twilight of the United States, another would-be-warrior-poet falls. (sips his beer) He leaves nothing better or worse than when he found it. There is no legacy save broken hearts and broken guitar strings, all of which will be mended or cast aside with little consequence. Sean’s story is one so common that it is rarely told. Dreams die and burn out. The strong grip the ashes ‘til they slip away through their clutching hands. The rest simply give in and let it go...

SEAN:

Oh, cut that shit out.

(Spot light fades out as stage lights fade back in. SEAN rises and walks downstage, closer to DEATH. He is animated and speaks with a new-found energy)

SEAN:

Why does it have to be some big epic metaphor? I was depressed and I killed myself. It’s not rocket surgery--- “sad guy with drug problem says fuck it when his girlfriend leaves.” That’s all there is to it, straight up. I’m not a statement for global unrest, greedy musicians or a falling empire. Just some lovesick dude that got tired of living.

DEATH:

Errr... well, yeah. But I’m sure you can see where your situation is reflected by the world you live in on a much deeper level, and---

SEAN:

Yeah. But shut up. I don’t want to be remembered as a representation of all that’s wrong with the world. And don’t try to warp me into some reverse psychology inspiration for America’s apathetic youth. Don’t give the poor kids any big ideas, they’re never gonna happen.

DEATH:

This is exactly what I was talking about. The sick desperation. The seeming futility of everything. This is the attitude of an entire generation rendered useless by a barrage of uninspiring media and particularly difficult times. A generation with the greatest technology, the greatest potential, all crushed by a lack of motivation and---

SEAN:

When you speak, do you not hear yourself? Do you fail to realize that you are spouting complete and utter bullshit? “Would-be-warrior-poet?” I mean I appreciate the compliment, buddy, but let’s face it, I was never going to be John Fucking Lennon. Anyone can play guitar. If I hadn’t offed myself I wasn’t going to become some awe-inspiring political activist. I might’ve touched a few hearts but I would’ve done it by regurgitating a bunch of nonsense about feelings I haven’t felt since I was 14 years old. And do you know why I would’ve done it? For the fucking money. Because, yeah, you’re right, the world blows right now. And no, there aren’t any heroes left. But here’s a news flash: There never will be. The 60’s aren’t going to repeat themselves, there’s never gonna be peace in the middle east, and music is never gonna be pure and beautiful ever again. It’s all about the almighty fucking dollar and nothing’s gonna change that.

DEATH:

Can’t you see that you’re just perpetuating the point? You were an intelligent, talented kid, actually aware of the world around you. That in itself is a refreshing rarity. Yet the unfortunate thing is that awareness left you crippled at a spiritual level and...

(EVA enters DSL)

EVA:

Er. Sorry to interrupt. I forgot my purse. (exits DSR and shortly returns with purse)

SEAN:

Eva, before you leave, how ‘bout you settle this? Mr. Apocalypse Horseman guy here is presenting some elaborate existential argument about how I represent an entire generation. He seems to think I could have changed the world with my art. But that’s such bullshit. Nothing ever really changes, not that easily. I couldn’t have done shit.

EVA:

Of course you could have, Sean. Why do you think I decided to leave? You’re a genius. You’re a virtuoso at any instrument you pick up, you have a knack for stringing words together with scripted precision. And you know what’s going on in the world. And you USED to care about it. You could’ve been Bob Dylan---minus the froggy voice thing---but instead you chose to throw away your talents writing songs to get girls excited. In the pants.

SEAN:

Ugh. I can’t believe you’re taking Skeletor’s side. I thought you really got me. I can’t believe I killed myself over you.

EVA:

Yeah, right. That’s another reason I left. The finger pointing. And the whining. ALWAYS with the whining, Sean. Look at you---dead and STILL whining. Maybe if you’d quit whining to me and started screaming at the world, you would’ve... well, fuck it. Too late now. As much as I’d love to stay and listen to more of your bullshit, I’m sure our gothic friend here has a busy schedule, what with cancer and World War III and all.

(EVA exits DSL)

DEATH:

(sips his beer) She was pretty cute. And feisty. If I’d let that one get away maybe I would’ve killed myself too. If not for the whole undead thing, that is. Well, I’m glad I’m not the only one that thinks you could’ve been a savior if you weren’t so damn bitter.

SEAN:

You know, I really did want to be John Lennon. Dylan. Someone. Anyone. But it was just so hard.

DEATH:

All the most important choices are.

SEAN:

(sighs) Well. Too late now. Fuck it. You wanna get stoned and play Halo 2?

DEATH:

(defeated) Why not.

(SEAN exits DSR. DEATH follows, pauses before exiting and turns to the audience. Stage lights fade out, spot light fades in on DEATH)

DEATH:

How can we go forward when we don’t know which way we’re facing? How can we go forward when we don’t know which way to turn? How can we go forward if it’s something we’re not sure of...?

(All lights fade to black)

Dancing In Quicksand (2 of 2)

Part II: An Open Letter to Amanda Palmer


Dear Amanda Palmer,

I love and respect your work. As a Boston native and a musician, your career has been an inspiration. As a fan of theater, the Who Killed Amanda Palmer tour was nothing short of breathtaking---you brought rock and roll and performance art together in a way that was both spectacular and intimate. I think I understand what you are trying to do with the Evelyn Evelyn project. I think that, if anyone can make this work, you can.

That said… I doubt that anyone can make it work. You see, while your loyal fans may be able to accept your attempt to intertwine theater and rock music, most people won’t. The issues that you’re tackling would be acceptable in a Nicky Silver play, but---like it or not---that is not your medium. You are a musical artist and will be judged as such.

When I read your blog on Evelyn Evelyn, it made me sick to my stomach taking it at face value. You see, I hadn’t been keeping tabs on you, (I fucking hate Twitter, sorry,) so I read the story as fact. This made me lose a great deal of respect for you, as well as your list of guest stars. “What? You found a pair of disabled twins who have been exploited for their entire lives, twins who don’t want to be in the public spotlight, and you decided to exploit them? What the fuck, Amanda Fucking Palmer?” Stepping back, I did the thirty seconds of research to figure out that the story was fiction. And that made it worse.

You see, there is precedent for this. There have been artists who took on alter-egos to tackle important social issues. David Bowie fought intolerance and explored bisexual and gay counterculture as Ziggy Stardust. Brian Warner tackled the hypocrisy of mainstream values as Marilyn Manson. Now, aside from the fact that you’ve all toured with Nine Inch Nails, I find it hard to put you in the same paragraph as these artists. It’s hard to explain where the line is drawn, but I’m afraid you may be crossing it.

I respect the idea of bringing awfulness to the spotlight and making people think about it. I also respect artistic freedom, I respect provocative fiction, and a number of other things that this project could be. But this could be a fucking disaster. You know your fans; you know that they “get” what you’re doing. But most people don’t. In your apology letter, you talked about context, and that’s a valid point.

Imagine walking into a Mindless Self Indulgence concert never having heard the band before and hearing “FAGGOT FAGGOT FAGGOT!” It’s offensive. It’s terrible. But it’s nothing compared to the idea of hearing an inspirational story about the disabled, going to their show and finding a full grown woman and a full grown man sewn together in a single dress, playing the ukulele and singing a lighthearted song about elephants. Now, there's context for you.

It’s like going to see Lady Gaga and finding her smeared in blackface, chained to the stage singing about how much she loves boat rides.

Now, that said; good luck to you, Amanda. I hope you know what you’re doing. Maybe you’ll manage to pull this one off; maybe I’ll add you to that list with Brian and Bowie. For the sake of those you could deeply offend, I certainly hope you manage to do this. I also hope you knew what you were getting yourself into. You’re dancing in quicksand.

Sincerely,
J.W.M.

P.S. That bit about Roadrunner---it read as an excuse to do this. And that’s bullshit. There are plenty of artists who have avoided label obligations by simply going uncredited, or wearing Nixon masks in press photos. If this all blows up in your face, please respect the intelligence of your fans and don’t you dare tell us this was “the only way” to get your record out. Thanks.

Dancing In Quicksand (1 of 2)

Part I: A Short History of Nearly Nothing

I've been a huge fan of Amanda Palmer for many years. Her solo projects and work as part of The Dresden Dolls have served as inspiration for quite some time. The fact that she's from Boston gives her bonus points. That said...

Last night, I stumbled on a blog post which initially made me feel a little sick. Just why it was so unsettling is hard to explain, and before I do so, I'd like to provide you with some resources to understand what's going on.

Exhibit A: Here is the blog post in question. http://blog.amandapalmer.net/post/392050312/the-whole-story-behind-evelyn-evelyn

This article is an interesting read, and when I first read it I was a bit confused. Further research confirmed the assumption that this story is partially fictional. These conjoined twins are not real; they are a pair of alter-egos Amanda and Jason are adopting as part of an elaborate conceptual music project.

Exhibit B: Just to confirm that the story is fictional, I'm sharing some comments from the Facebook page of Amanda Palmer's fiance, Neil Gaiman.



Now that you're 100% clear on the fact that these twins are fictional, you can probably understand what the issue is here. It should also be noted that this elaborate tale isn't just for the sake of art---it's also allowing Amanda Palmer to release this album without going through her record label, Roadrunner.

Exhibit C: This is the reaction of one of Amanda Palmer's fans. It's a point of view I urge you all to consider.

http://disabledfeminists.com/2010/02/09/evelyn-evelyn-ableism-ableism/

With this background information, I hope that what I eventually write on the subject makes more sense. Ever since I read about this last night, I've been resisting the temptation to write about the issue, since there are so many angles to consider. I still need time to reflect on this before I can form a coherent argument for or against the implications of this project, but hopefully this background is enough to get you thinking about it yourselves.

This Is Dungeon Music

Sometimes when we're playing video games, going to the movies or watching television, we get so caught up in the experience as a whole that we don't really think about the individual parts. This isn't necessarily a bad thing. In fact, it may be a testament to just how talented the creators of these media forms truly are. If a score or soundtrack is so appropriate that the audience never even thinks about it, doesn't that mean it's doing its job? Enhancing the overall experience without becoming a distraction... such a strange goal for those in charge of integrating music into these formats: When they do something right, people won't notice they've done anything at all.

More on this later. Maybe.

The Venetia Fair Juggles Themes

On June 12, 2009, Boston punk… pop… rock… cabaret… well, Boston band The Venetia Fair released their debut full-length album, The Circus. Generally accepted as part of the “punk scene” (whatever that is these days,) The Venetia Fair runs the risk of being overlooked as just another model from the familiar mold. This is most certainly not the case.

While The Circus does have the pop-sensibility and crisp production of familiar, inoffensive radio rock, a close listen reveals what sets this band apart---the ability to mesh a broad range of influences and themes---resulting in an album both entertaining and original. The first track, "A Man Like Me," is an adequate demonstration of The Venetia Fair’s range, subtly adding piano and synth to the up-tempo rhythm and unique (yet extremely catchy) guitar solos.

The first four songs on The Circus almost feel like an introduction, allowing the listener to get an idea of where the band is coming from. Flexing jazz, alt-rock and electronic muscles, the Fair gets the listener acquainted with their seamless transitions between tempos and their impressively coherent blending of genres. These four tracks also let listeners get acquainted with the vocal and lyrical style of vocalist Benny Santoro.

With a somewhat manic delivery, Santoro compliments the dynamic musicianship of his band mates. The singer’s style is a combination of singing, speaking and a curiously listenable screaming, all of which are delivered with an urgency surprisingly warranted by the music. During the first four tracks, the lyrics explore the all too familiar theme of heartbreak. But this isn’t your typical “I miss my girlfriend, I want her back” kind of heartbreak. Santoro’s lyrics are as spastic as his vocals; the voice he takes on in these songs is that of someone who is confused, bitter and probably a misogynist. "And then she fucked me and she told me that she loved me," begins one chorus, "and so I told her to shut her stupid mouth."

…All this, with the pop-sensibility of Panic At The Disco.

Once the listener is familiar with their style, The Venetia Fair dive into the concept portion of the album, a thirty-some minute trip to The Circus. Kicking off this portion with "The Ringleader," Benny Santoro takes on the roll of the master of ceremonies---“Two tickets’ll get you a tour of the fair. We’ve got a lot of ground to cover, keep up or get lost. It’s safe to say that you’ve got no idea what you’re in for. In time you’ll see what we’ve done here.” From this point on, The Venetia Fair utilize their range to keep listeners engaged with spontaneous, drastic changes in songs and a wealth of overdramatics.

The result is somewhat overwhelming. This is a record that can be as confusing as it is engaging. Even after several listens, it can still be difficult to figure out what The Venetia Fair is trying to do, or even whether or not you like it. One thing’s for certain, though: Nobody’s ever done it quite like this before.



Check out The Venetia Fair http://www.myspace.com/thevenetiafair
Download the album for $7.99 http://www.amazon.com/The-Circus/dp/B002E0D7P4/ref=sr_1_2?ie=UTF8&s=dmusic&qid=1265841139&sr=8-2

Down The Rabbit Hole

As a Boston resident without a car, it’s not often that I make a trip to central Massachusetts. However, a show announcement from Rochester, NY singer/songwriter Lauren O’Connell was more than a good excuse to make the trip. Advertising O’Connell as a “YouTube sensation,” this event seemed like the perfect opportunity to support an independent artist taking a fresh approach to the idea of promotion in the music industry.

A friend and I left Boston around six o’clock on Saturday night, and after an hour drive, we got off Route 2 in Fitchburg. Thanks to poor internet directions, we took a wrong turn shortly after the exit and drove past a cemetery on a hill and, eerily, a children’s playground shortly after, on the other side of the road. We pulled into a driveway to turn around and try to find Main Street---the driveway of a home which happened to have a black cat on its porch, a cat which seemed none too thrilled to see us.

After driving past a Gothic influenced church and the surprisingly uninhabited campus of Fitchburg State College, we finally found Main Street and parked the car, knowing we must be close to the venue. It was more than a bit unsettling to take in this unfamiliar downtown area. At seven o’clock on a Saturday night, less than a mile from a college campus, the streets were empty of pedestrians. Four out of five businesses were closed, including a pub and a pizza shop. Oddly, out of the few that were open, not one but two were barber shops, and one was a nail salon.

By now, you may think I’m setting up the premise for an episode of the Twilight Zone. Or, alternately, you may be thinking I’m out of touch with the economy’s devastating effect on businesses outside of major cities like Boston. Either way, what happened next is bound to surprise you.

After a string of more closed businesses, an inviting wooden sign let us know that we had found what we were looking for. Aptly named, “The Rabbit Hole” seemed so out of place on this desolate street that finding it here felt very much like slipping into Wonderland.

This independently owned bookstore is immediately refreshing, though unexpected. Just steps after walking in, a rack of books lures customers in with hand-written notes in front of each title, each containing a recommendation and brief synopsis of the given book. All kinds of posters adorn the walls, celebrating past and present pop-culture in all media formats.

The kind of place where you could spend hours rummaging through books, vinyl, CD’s and cassettes, The Rabbit Hole’s atmosphere is a reminder of how much we, as consumers, can lose in the age of Amazon.com and iTunes. How a place like this can stay in business is a complete mystery, especially less than half a mile down the street from a pub which is closed on a Saturday night.

Going upstairs, the surreal atmosphere of the bookstore became a bit overwhelming. The upstairs, on a typical day, would have seemed strange enough. Lit like an elementary school classroom, this room is filled with racks of cassettes and vinyl, compact discs and more books. Between the patterns on the window curtains and the Reefer Madness and Wizard of Oz posters on the wall, the only reminder that you haven’t slipped into the 1970’s is a movie poster for The Lost Boys.

That is, on a typical day. This was not a typical day, this was the night of a live music event. As such, what presented itself was a sight rarely seen in my generation. Around two dozen teens and twenty-somethings sat cross-legged on the floor, a few of them on disembodied couch cushions. All sat at attention, gazing intently at and listening to a young girl singing and playing an acoustic guitar with no amplification. As if this wasn’t enough of a culture shock (this, from my apathetic, ADD-ridden generation,) the audience began passing around a large jar for donations to the bookstore, a jar nearly everyone opened their wallets to contribute to.

After the first act, Lauren O’Connell played a short, intimate acoustic set. She seemed as taken aback by the store’s atmosphere as I was, but nonetheless put on quite the performance. Taking time between each song to engage the audience with her own brand of mildly awkward yet extremely charming banter, Lauren played a set comprised mostly of songs from her 2009 album The Shakes, and closed with stand-out track "1988." Listen to the live performance below, or check http://www.myspace.com/irishloc for the studio version.



While I walked into The Rabbit Hole with the sole intention of seeing an artist I admire, I left with a new appreciation for this kind of independent store. A place like this is a veritable oasis in the digital age---a place where you can hold an album in your hands and remember that music can be a tangible work of art and not just a stream of kilobytes. A place where you can sit in front of a musician and look them in the eye, rather than staring up at them on the pedestal that a stage can become.

http://www.therabbitholeusa.com