As a logical extension of his creating music for the audiobooks of
dark-themed children's literature, Stephin Merritt is the composer and
lyricist for a stage production of Neil Gaiman's Coraline,
now playing in New York. Merritt is best known for his band the
Magnetic Fields, but he's got zillions of off-shoot projects. (He's
like a nerdy Al Jourgensen.) Under the Gothic Archies header, he
performed theme songs for each of the Lemony Snicket Series of Unfortunate
Events audiobooks, compiled
as A
Tragic Treasury when the
series was complete, as well as music for the Coraline
audiobook. Now the book has been turned into a full fledged
off-Broadway musical, so who else but Merritt could provide the music.
Coraline
plays at the MCC Theater
at The Lucille Lortel Theatre,
121 Christopher St., New York, NY 10014, (212) 279-4200, through July 5.
Wednesday, June 10, 2009
Saturday, June 06, 2009
Concert Review: Nine Inch Nails, NINJA2009 tour, Comcast Center, Mansfield, MA, June 3
This year marks the 20th anniversary of Nine Inch Nails' debut album Pretty Hate Machine,
but Trent Reznor and his current henchmen were hardly trading on
nostalgia. They all but ignored that first album yet still had the
audience enrapt. But also gone were the trappings of more recent tours,
namely the heavy use of visual images as part of the overall
presentation. The visuals were limited to occasional seizure-inducing
strobes. They even eschewed video close-ups on the Jumbotrons flanking
the stage.
Somewhat Damaged
Reznor is screaming, "Too fucked up to care anymore." I'm pondering whether Nine Inch Nails has received the academic examination it so clearly merits, and whether filling that possible void is why I should be heading back to grad school.
1,000,000
Discipline
Appropriately addictive.
March of the Pigs
It makes fantastic use of dramatic pause. The band is in a total frenzy, especially the wild-haired drummer with primitive style resembling Lori Barbero of Babes in Toyland (thank you to my husband for that comparison). They come to a dead stop, then resume the frenzy.
Piggy (Nothing Can Stop Me Now)
They manage to be both visceral and precise.
Metal
A Gary Numan cover. The staccato bass that dominates differentiated it from the band's own compositions, but they make it their own. For the first time in decades, I feel cool for having bought The Pleasure Principle in 8th grade. As the song winds down, the rest of the band backs away from their instruments to leave Reznor alone on keyboards.
The Becoming
Echoplex
The synthesized beats and heavy bass resemble New Order.
Burn
Reznor alternately attacks and retreats from the microphone.
Gave Up
Reznor turns "Feels" into a polysyllabic word.
La Mer
The typically taciturn Reznor hasn't uttered a spoken word to the audience but suddenly turns confessional. He gives an extended introduction about locking himself away 10 years, writing only one song and trying to kill himself. He acknowledges it is hard to go back there because it still feels haunted. While it sounds like he is only talking about the song as a metaphorical place, his explanation ends on a happier note; he is returning there to get married. The arrangement features an upright bass and Reznor on marimba.
The Fragile
Gone, Still
The Way Out Is Through
Reznor swaggers.
Wish
Reznor brings out friend-of-the-bad Dan for extra guitar punch.
The Hand That Feeds
Head Like a Hole
It took 1 hour and 20 minutes to finally get to something from Pretty Hate Machine for their traditional set closer.
Hurt
This follows a brief ceremonial retreat to the wings to designate this an an encore. Even after 15 years, Reznor still makes this song sound like an open wound. It ends the set on an unexpectedly somber note.
I had incorrectly assumed that Jane's Addiction were the opening band for the tour, not co-headliners. When NIN took the stage first, my gut reaction was, "Oh, good, I can go home early." NIN and Jane's Addiction may have emerged almost concurrently, just as the awkward moniker "college rock" was giving way to alternative as a music and marketing force, and both both bands are loud, but the similarities soon end. Jane's is loud and merely busy, whereas NIN is loud and intense. With two ostentatious guitar solos and a drum solo in just their first song, JA clearly weren't drawing on punk's appreciation of brevity. NIN's early '80s antecedent was Gary Numan while Jane's Addiction's was Van Halen. I'll give Perry Farrell credit for rockin' the form-fitting gold satin jumpsuit as he strutted like a peacock around the stage. But beating the traffic backup exiting the parking lot was far more appealing than a whole set of this.
Traffic delays caused me to miss all but the last song by opener Street Sweeper Social Club, aka Tom Morello's new band. Morello used his tremendous charisma to exhort the whole audience onto their feet, even alluding to Rage Against the Machine lyrics, acknowledging, "There's always someone saying, 'Fuck you, I won't do what you tell me.'" Once everyone had arisen, the guitar-heavy band used their chops to earn the response. Morello is unlikely to match the heights of Rage again, but he is still impressive in working up a crowd. It's always good to see someone use their intelligence and talent for good, not evil.
Somewhat Damaged
Reznor is screaming, "Too fucked up to care anymore." I'm pondering whether Nine Inch Nails has received the academic examination it so clearly merits, and whether filling that possible void is why I should be heading back to grad school.
1,000,000
Discipline
Appropriately addictive.
March of the Pigs
It makes fantastic use of dramatic pause. The band is in a total frenzy, especially the wild-haired drummer with primitive style resembling Lori Barbero of Babes in Toyland (thank you to my husband for that comparison). They come to a dead stop, then resume the frenzy.
Piggy (Nothing Can Stop Me Now)
They manage to be both visceral and precise.
Metal
A Gary Numan cover. The staccato bass that dominates differentiated it from the band's own compositions, but they make it their own. For the first time in decades, I feel cool for having bought The Pleasure Principle in 8th grade. As the song winds down, the rest of the band backs away from their instruments to leave Reznor alone on keyboards.
The Becoming
Echoplex
The synthesized beats and heavy bass resemble New Order.
Burn
Reznor alternately attacks and retreats from the microphone.
Gave Up
Reznor turns "Feels" into a polysyllabic word.
La Mer
The typically taciturn Reznor hasn't uttered a spoken word to the audience but suddenly turns confessional. He gives an extended introduction about locking himself away 10 years, writing only one song and trying to kill himself. He acknowledges it is hard to go back there because it still feels haunted. While it sounds like he is only talking about the song as a metaphorical place, his explanation ends on a happier note; he is returning there to get married. The arrangement features an upright bass and Reznor on marimba.
The Fragile
Gone, Still
The Way Out Is Through
Reznor swaggers.
Wish
Reznor brings out friend-of-the-bad Dan for extra guitar punch.
The Hand That Feeds
Head Like a Hole
It took 1 hour and 20 minutes to finally get to something from Pretty Hate Machine for their traditional set closer.
Hurt
This follows a brief ceremonial retreat to the wings to designate this an an encore. Even after 15 years, Reznor still makes this song sound like an open wound. It ends the set on an unexpectedly somber note.
I had incorrectly assumed that Jane's Addiction were the opening band for the tour, not co-headliners. When NIN took the stage first, my gut reaction was, "Oh, good, I can go home early." NIN and Jane's Addiction may have emerged almost concurrently, just as the awkward moniker "college rock" was giving way to alternative as a music and marketing force, and both both bands are loud, but the similarities soon end. Jane's is loud and merely busy, whereas NIN is loud and intense. With two ostentatious guitar solos and a drum solo in just their first song, JA clearly weren't drawing on punk's appreciation of brevity. NIN's early '80s antecedent was Gary Numan while Jane's Addiction's was Van Halen. I'll give Perry Farrell credit for rockin' the form-fitting gold satin jumpsuit as he strutted like a peacock around the stage. But beating the traffic backup exiting the parking lot was far more appealing than a whole set of this.
Traffic delays caused me to miss all but the last song by opener Street Sweeper Social Club, aka Tom Morello's new band. Morello used his tremendous charisma to exhort the whole audience onto their feet, even alluding to Rage Against the Machine lyrics, acknowledging, "There's always someone saying, 'Fuck you, I won't do what you tell me.'" Once everyone had arisen, the guitar-heavy band used their chops to earn the response. Morello is unlikely to match the heights of Rage again, but he is still impressive in working up a crowd. It's always good to see someone use their intelligence and talent for good, not evil.
Friday, June 05, 2009
So Long, Jimmy Sturr
The New
York Times just reported that
the polka category is being cut from the Grammy Awards.
http://www.nytimes.com/2009/06/05/arts/music/05polk.html
The main outcome is that I and anyone else who follows the Grammy Awards closely while be forced to find a new punchline to replace Jimmy Sturr. The category has only been awarded since 1986, but polka "star" Sturr has won 18 times. In the presentations I have given on how to buy music for libraries, he was the prime and comedic example of why buying every winner in every category isn't necessarily a good idea. I'll need to find some new material before my next talk.
http://www.nytimes.com/2009/06/05/arts/music/05polk.html
The main outcome is that I and anyone else who follows the Grammy Awards closely while be forced to find a new punchline to replace Jimmy Sturr. The category has only been awarded since 1986, but polka "star" Sturr has won 18 times. In the presentations I have given on how to buy music for libraries, he was the prime and comedic example of why buying every winner in every category isn't necessarily a good idea. I'll need to find some new material before my next talk.
Tuesday, May 05, 2009
Concert Review: Lady Sovereign, Paradise Rock Club, May 3
Lady Sovereign has been upstaged quite a bit since being dubbed
"Feminem" and making a splash with Vertically Challenged
just four years ago. M.I.A. has come to the forefront for British
female hip-hop. Other female British artists have become more
newsworthy for some combination of blue-eyed retro soul, MySpace
success or substance abuse problems. Still, she drew a sizable crowd to
the Paradise on Sunday night.
DJ Annalyze worked the crowd for an extended stretch before Lady Sov and her drummer took the stage. The petite rapper worked the stage, striding from one end to the other and occasionally mugging for the many fans armed with cameras and camera phones. However, she did chide one person near the stage, "Would you please stop texting." She didn't mind the technology as long it was focused on her.
While a few of her songs are undeniably great -- "Love Me or Hate Me" and "Random" were fun for riling up the crowd -- there was nothing to suggest that she's an artist for the ages. For all her energy, she didn't bring enough to her performance or material that was truly outstanding.
DJ Annalyze worked the crowd for an extended stretch before Lady Sov and her drummer took the stage. The petite rapper worked the stage, striding from one end to the other and occasionally mugging for the many fans armed with cameras and camera phones. However, she did chide one person near the stage, "Would you please stop texting." She didn't mind the technology as long it was focused on her.
While a few of her songs are undeniably great -- "Love Me or Hate Me" and "Random" were fun for riling up the crowd -- there was nothing to suggest that she's an artist for the ages. For all her energy, she didn't bring enough to her performance or material that was truly outstanding.
Monday, April 20, 2009
Concert Recommendation: Sickidz Tribute to Lux Interior, Triton, Philadelphia, April 26
It was obvious from watching Mick Cancer when he fronted Pink Slip
Daddy that he owed a debt of gratitude to Lux Interior. I have only
fond memories of a New Year's Eve bloody nose when my face got in the
way of his boot as he went airborne during a Pink Slip Daddy
performance at the Khyber Pass. As I learned more Philly music history,
I found out that Mick and his first band, Sickidz were friends, not
just fans of the Cramps, which Mick documented so beautifully shortly
after Lux's death:
http://nextbigthing.blogspot.com/search?q=mick+cancer
Sickidz will be honoring the late Mr. Interior in Philly on Sunday. The event will feature the music of the Cramps, a showing of their infamous concert at Napa State Mental Institute, never before seen video footage and shared recollections.
A memorial service of Crampsong will be performed by The Sickidz.
A portion of the proceeds will be donated to http://www.bestfriends.org in Lux's memory.
Sickidz play Tritone, 1508 South St., Philadelphia, 215–545–0475, at 9:00 p.m. on Sunday, April 26.
http://nextbigthing.blogspot.com/search?q=mick+cancer
Sickidz will be honoring the late Mr. Interior in Philly on Sunday. The event will feature the music of the Cramps, a showing of their infamous concert at Napa State Mental Institute, never before seen video footage and shared recollections.
A memorial service of Crampsong will be performed by The Sickidz.
A portion of the proceeds will be donated to http://www.bestfriends.org in Lux's memory.
Sickidz play Tritone, 1508 South St., Philadelphia, 215–545–0475, at 9:00 p.m. on Sunday, April 26.
Friday, April 17, 2009
The A's: Back in Print
Back when radio stations reflected local tastes and interests, there
were regional hits. Philly had a string of them, acts who made waves
nationally but made a huge splash locally. Before Tommy Conwell, the
Hooters and Robert Hazard, there were the A's. Their albums just
predated the birth of the CD, and they have never been on CD until now.
Get
your fix of "A Woman's Got the Power."
Thursday, March 26, 2009
Not Just What I Needed
Greg
Hawkes, keyboardist of the Cars,
has released a solo album, The Beatles Uke.
It is exactly what the title suggests, Beatles songs played on the
ukulele. I recognize that the Beatles are the most important band in
the history of rock and roll, but I really wish he'd performed Cars
songs instead. I have nothing against the Beatles, but I've had enough
of them. There is far worse music that could be overexposed, but their
music is ubiquitous, and novelty interpretations have, quite simply,
lost their novelty. Among the collection at the library where I worked
were Beatles songs performed as jazz, reggae, lullabies and children's
music, on cello, by German heavy metal and classical choral groups and
even by Looney Tunes characters. Give it a rest.
Monday, March 02, 2009
The Demise of the CD
What happens when CDs disappear as a commercial product? That was the
question addressed at a plenary session at the recent Music Library
Association annual conference held in Chicago, "What’s Next?
The Compact Disc as a Viable Format in the Future of Music Libraries."
Greg MacAyeal, Assistant Head of the Music Library at Northwestern
University, assembled a panel that made it clear that this is
inevitable although not imminent. The shift to music distribution as
downloads has few notable shortcomings, but those are being addressed.
One is the degradation in sound quality compared to CDs. The other is
that standard metadata for popular music doesn't work for classical,
where the "artist" could be the composer, conductor, orchestra name or
soloist, and track names make little sense on their own, such as
"adagio" as a single movement in a symphony. But two panelists made
particularly strong points about the importance of a physical format
from the artists' and libraries' perspective.
Chicago-based classical violinist Rachel Barton Pine discussed one circumstance in which a CD is invaluable: after her concerts when she heads to the lobby to sell music and meet her fans. The selection of her releases offers a starting point for conversation as she helps them chose one to buy, and they get a souvenir of the event when she autographs their purchases. The physical item is a tangible memento with immediate gratification that they can listen to on the way home. If she only signed postcards with pictures of their albums, the autograph wouldn't be an intrinsic part of the thing, and the music cannot be an impulse purchase. Fans may forget to go to the web site later to purchase downloads. If nothing else, she brought up the unexpected point that even classical musicians work the merch table, not just indie rockers in grubby clubs.
D.J. Hoek, Head of the Music Library at Northwestern University, drove home the unique aspect of this changing distribution scheme as it severely affect libraries: licensing agreements. More and more releases are available only as downloads, not physical items. While CDs are sold without restriction on who can use them, standard licensing agreements limit downloading to "end users." Since libraries are not end users themselves, no library can add these to their collections. He gave the notable example of Gustavo Dudamel and the Los Angeles Philharmonic's recording of Berlioz's Symphonie Fantasique which just won a Grammy for its producer and garnered another nomination for itself. According to the terms from the label that released it, Deutsche Grammophon, one of the largest classical labels, it may only be downloaded by "end users." So while this is a culturally important work, no library can fulfill its most basic mission of collecting and providing access to this material. Because libraries are such a small portion of the market and our activities could be perceived as cutting into potential sales, they are in a poor position to ask for special dispensation. But without change, it will become impossible for libraries to preserve our culture.
Chicago-based classical violinist Rachel Barton Pine discussed one circumstance in which a CD is invaluable: after her concerts when she heads to the lobby to sell music and meet her fans. The selection of her releases offers a starting point for conversation as she helps them chose one to buy, and they get a souvenir of the event when she autographs their purchases. The physical item is a tangible memento with immediate gratification that they can listen to on the way home. If she only signed postcards with pictures of their albums, the autograph wouldn't be an intrinsic part of the thing, and the music cannot be an impulse purchase. Fans may forget to go to the web site later to purchase downloads. If nothing else, she brought up the unexpected point that even classical musicians work the merch table, not just indie rockers in grubby clubs.
D.J. Hoek, Head of the Music Library at Northwestern University, drove home the unique aspect of this changing distribution scheme as it severely affect libraries: licensing agreements. More and more releases are available only as downloads, not physical items. While CDs are sold without restriction on who can use them, standard licensing agreements limit downloading to "end users." Since libraries are not end users themselves, no library can add these to their collections. He gave the notable example of Gustavo Dudamel and the Los Angeles Philharmonic's recording of Berlioz's Symphonie Fantasique which just won a Grammy for its producer and garnered another nomination for itself. According to the terms from the label that released it, Deutsche Grammophon, one of the largest classical labels, it may only be downloaded by "end users." So while this is a culturally important work, no library can fulfill its most basic mission of collecting and providing access to this material. Because libraries are such a small portion of the market and our activities could be perceived as cutting into potential sales, they are in a poor position to ask for special dispensation. But without change, it will become impossible for libraries to preserve our culture.
Wednesday, February 04, 2009
Elvis F**king Christ Has Left the Building
I'm utterly baffled by the news that Lux Interior, lead singer of the
Cramps, has died. This is inconceivable to me. I understand that people
are mortal. I can accept the passing of Joey Ramone, Joe Strummer, and
millions of others who have gone before their time or well past their
sell by date. But Lux struck me as, well, inhuman. He regularly
produced gallons of sweat while performing, without any evidence of
dehydration. (John Doe still earns my nomination for sweatiest man in
rock, though, because he does it in natural fibers while Lux favored
sweat-causing synthetics.) More impressively, he threw up on the stage
in the middle of performance at the Reading Festival in 1991,
understatedly announced, "I feel much better" and just kept on singing.
If nothing else, I thought that level of commitment would keep him
going forever, but he had a preexisting heart condition.
I'm currently consoling myself listening to Tim Napalm's tribute on Woody Radio, but I'll need to fire up Fiends from Dope Island tomorrow if Tim doesn't get to it before I fall asleep, just to hear "Elvis Fucking Christ."
I'm currently consoling myself listening to Tim Napalm's tribute on Woody Radio, but I'll need to fire up Fiends from Dope Island tomorrow if Tim doesn't get to it before I fall asleep, just to hear "Elvis Fucking Christ."
Saturday, January 17, 2009
Console Organ for the '00s
This looks like an SNL parody, but this really is straight-faced video
from Microsoft Research for Songsmith. As a former usability
specialist, I shook my head in disbelief at the line, "Microsoft, huh?
So it's pretty easy to use?" As a former intellectual property
paralegal, I was surprised that their legal department let this out
with a © where a ™ should be, even if it's for a
fictional product.
The gist of it: you sing into your computer's microphone, and the software creates backing music with customized effects, all of which sound like the console organs that used to be demonstrated and sold in malls. To get a sense of the results, someone ran David Lee Roth's vocal track for "Runnin' With the Devil" through the program.
http://music.metafilter.com/2943/Runnin-With-The-Songsmith
The gist of it: you sing into your computer's microphone, and the software creates backing music with customized effects, all of which sound like the console organs that used to be demonstrated and sold in malls. To get a sense of the results, someone ran David Lee Roth's vocal track for "Runnin' With the Devil" through the program.
http://music.metafilter.com/2943/Runnin-With-The-Songsmith
Friday, January 16, 2009
Godfathers Tour Cancelled
The Godfathers U.S. tour has been cancelled except for just a single
date for the St. Valentine's Day Massacre show in Chicago on February
14. They announced bluntly that it was for economic reasons, even
though the Middle East,
intended host of the February 11 show, claims
it is due to illness.
Damn, if I had the money, I'd sponsor the tour. But as the band said themselves, "I want everything. I want it now."
Here's the official word.
Damn, if I had the money, I'd sponsor the tour. But as the band said themselves, "I want everything. I want it now."
Here's the official word.
Monday, January 05, 2009
Godfathers Reunion
The Godfathers have reunited with the original line-up for a US tour
supporting the reissue of their debut album Hit by Hit.
Despite or because of lyrics that reflected the harsh realty of
Thatcher-era Britain, they found greater (relative) fame in the States
than in their native England. They put on an electrifying show: Peter
Coyne
snarls on vocals, Kris Dollimore plays a searing guitar, and I am in
heaven.
Here are the dates:
Wednesday 11 Boston, MA-The Middle East
Thursday 12 Washington DC-9.30 Club
Friday 13 Cleveland, OH-The Grog Shop
Saturday 14 Chicago, IL-The Metro
Sunday 15 Minneapolis, MN-Seventh Street Entry
Monday 16 Milwaukee, WI-The Shank House
Wednesday 18 Hoboken, NJ-Maxwells
Thursday 19 Brooklyn, NY-The Bell House
Here are the dates:
Wednesday 11 Boston, MA-The Middle East
Thursday 12 Washington DC-9.30 Club
Friday 13 Cleveland, OH-The Grog Shop
Saturday 14 Chicago, IL-The Metro
Sunday 15 Minneapolis, MN-Seventh Street Entry
Monday 16 Milwaukee, WI-The Shank House
Wednesday 18 Hoboken, NJ-Maxwells
Thursday 19 Brooklyn, NY-The Bell House
Sunday, January 04, 2009
Worst Album Covers
On a less serious note, Red Eye
has a gallery of 50
of the worst album covers.
At least the Electric
Amish and the Frivilous
Five were clearly aiming for
humor, and Cody
Matherson may have been inspired
by Kirk Van Houten, Milhouse's dad on The Simpsons,
with "Can I Borrow a Feelin.'". The rest of have no excuse.
Friday, January 02, 2009
Best of 2008
For the most part, my favorite CDs of the last year were ones I've
reviewed for CDHotlist.
Here are highlights, with links to the pages with my original reviews.
Alejandro Escovedo: Real Animal
Maybe because he has never been gotten huge, the Texan still has something to prove. His latest reflects on his life and proves that heartfelt doesn't have to be sappy and squishy.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=8
The Hives: The Black and White Album
Swaggering Swedish garage rockers who show they aren't one-hit wonders.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=2
Ting Tings: We Started Nothing
Fun, cheeky guitar-based pop.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=8
The Pretenders: Break Up the Concrete
The title of the opening track, "Boots of Chinese Plastic," may be a nod to Bob Dylan's "Boots of Spanish Leather," but the song is all Chrissie Hynde at her finest.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=12
Nick Cave & the Bad Seeds: Dig, Lazarus, Dig!!!
Only Nick Cave could get away with this many exclamation points in his title and lyrics without sounding like a fool.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=6
Nine Inch Nails: The Slip
The free one for the fans. At the turn of the millenium, fellow '90s future Rock and Roll Hall of Famer Billy Corgan was whining about not being able to compete in a world dominated by Britney Spears. Trent Reznor ignored the commercial winds and just got on with the business of creating music, along the way building a loyal fanbase by relating to them and how they use technology without pandering to them artistically.
And, as much as I love the Wedding Present, I have to say the jury is still out on El Rey. I'm not sure if it doesn't measure up to their older work or even Take Fountain or if it's just that, having not reviewed yet, I haven't listened to it closely enough to appreciate its nuances.
Alejandro Escovedo: Real Animal
Maybe because he has never been gotten huge, the Texan still has something to prove. His latest reflects on his life and proves that heartfelt doesn't have to be sappy and squishy.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=8
The Hives: The Black and White Album
Swaggering Swedish garage rockers who show they aren't one-hit wonders.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=2
Ting Tings: We Started Nothing
Fun, cheeky guitar-based pop.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=8
The Pretenders: Break Up the Concrete
The title of the opening track, "Boots of Chinese Plastic," may be a nod to Bob Dylan's "Boots of Spanish Leather," but the song is all Chrissie Hynde at her finest.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=12
Nick Cave & the Bad Seeds: Dig, Lazarus, Dig!!!
Only Nick Cave could get away with this many exclamation points in his title and lyrics without sounding like a fool.
http://cdhotlist.btol.com/cddetail.cfm?yy=2008&mm=6
Nine Inch Nails: The Slip
The free one for the fans. At the turn of the millenium, fellow '90s future Rock and Roll Hall of Famer Billy Corgan was whining about not being able to compete in a world dominated by Britney Spears. Trent Reznor ignored the commercial winds and just got on with the business of creating music, along the way building a loyal fanbase by relating to them and how they use technology without pandering to them artistically.
And, as much as I love the Wedding Present, I have to say the jury is still out on El Rey. I'm not sure if it doesn't measure up to their older work or even Take Fountain or if it's just that, having not reviewed yet, I haven't listened to it closely enough to appreciate its nuances.
Tuesday, December 09, 2008
ROCKRGRL at IMA: I Will Survive
ROCKRGRL
Inc. presented this one-day symposium at the Institute of Musical Arts
in Goshen, MA this past Saturday. The theme was "I Will Survive: Making
a Living in the Music Business." It opened with an interview with Robin
Lane, conducted by ROCKRGRL
founder Carla DeSantis, followed by three panel discussions on the
past, present and future of the music industry. I participated as a
panelist on "Tomorrow: What Will a Career in Music Look Like in the
Future?"
Robin Lane was, to this Philadelphian's ears, Boston's answer to Robert Hazard. She found her voice as a singer/songwriter but found her success as the leader of a band in the New Wave era. Like Robert Hazard and the Heroes, Robin Lane and the Chartbusters were a huge regional success. For both, the peak of fame was short-lived, but Robert Hazard was never dropped from his label because he was pregnant, unlike Robin Lane.
Her current work is even more noteworthy. Under the name A Woman's Voice, she conducts songwriting workshops with trauma survivors as a form of therapy. Carla's goal in building the event around Robin was to help spread the concept so that others can replicate it elsewhere.
In contemplating the rest of the day's discussion, I realized how much has changed since I regularly attended music industry conferences in the '90s. Back then, the standard goal for musicians was to get signed to a major label and get their songs on the radio to be successful. But with overall sales down, major labels losing their monopolies on distribution and commercial terrestrial radio losing its influence in exposing new music, the path to initial success, let alone career longevity, is no longer obvious.
The recurring theme among those who had found success was the need for reinvention, of creating and seizing new opportunities. Nini Camps built her DIY career into gigging 200 nights a year; she transitioned to the less grueling work of working on soundtracks. She commented that it has forced her to focus on the craft of songwriting, especially when she has strict deadlines. Lizzie Borden has moved on from recording for a major label to DJing on a rock radio station, among other endeavors. Kudisan Kai got a long string of work as a back-up singer for the likes of Anita Baker, Chaka Kahn and Elton John. Despite Elton's backing, she couldn't get a major label deal because the A&R rep couldn't imagine how to market a black female rock singer, but her varied background made her an ideal faculty member in voice at Berklee College.
Some existing institutions in the music industry remain effective, albeit in new ways. Musician Sonya Kitchell described how her A&R rep fills the role of a tough coach, offering outside perspective on her work and egging her on to aim higher. Brooke Primont of Cherry Lane Music Publishing described how publishers create exposure and revenue streams for songwriters through placement in movies, television and commercials.
In looking to the future, June Millington, IMA co-founder and member of the band Fanny, lamented Guitar Hero from the perspective that would-be musicians will become discouraged when they discover that learning to really play the guitar is much harder than playing the toy that is used in the videogame. Beth Tallman, General Manager of Rykodisc, suggested looking to other industries for models for success since so many of the music industry's established practices are now failing.
It is both a scary and exciting time for music. On one hand, technology such as GarageBand, MySpace and iTunes make it much easier for any musician to record and distribute their music. On the other hand, with the means of production now in the hands of so many, it is even harder to stand out in the crowd and find a sufficient audience to make a living. This was an interesting event that raised questions that could have entirely different answers in just a few years' time.
Robin Lane was, to this Philadelphian's ears, Boston's answer to Robert Hazard. She found her voice as a singer/songwriter but found her success as the leader of a band in the New Wave era. Like Robert Hazard and the Heroes, Robin Lane and the Chartbusters were a huge regional success. For both, the peak of fame was short-lived, but Robert Hazard was never dropped from his label because he was pregnant, unlike Robin Lane.
Her current work is even more noteworthy. Under the name A Woman's Voice, she conducts songwriting workshops with trauma survivors as a form of therapy. Carla's goal in building the event around Robin was to help spread the concept so that others can replicate it elsewhere.
In contemplating the rest of the day's discussion, I realized how much has changed since I regularly attended music industry conferences in the '90s. Back then, the standard goal for musicians was to get signed to a major label and get their songs on the radio to be successful. But with overall sales down, major labels losing their monopolies on distribution and commercial terrestrial radio losing its influence in exposing new music, the path to initial success, let alone career longevity, is no longer obvious.
The recurring theme among those who had found success was the need for reinvention, of creating and seizing new opportunities. Nini Camps built her DIY career into gigging 200 nights a year; she transitioned to the less grueling work of working on soundtracks. She commented that it has forced her to focus on the craft of songwriting, especially when she has strict deadlines. Lizzie Borden has moved on from recording for a major label to DJing on a rock radio station, among other endeavors. Kudisan Kai got a long string of work as a back-up singer for the likes of Anita Baker, Chaka Kahn and Elton John. Despite Elton's backing, she couldn't get a major label deal because the A&R rep couldn't imagine how to market a black female rock singer, but her varied background made her an ideal faculty member in voice at Berklee College.
Some existing institutions in the music industry remain effective, albeit in new ways. Musician Sonya Kitchell described how her A&R rep fills the role of a tough coach, offering outside perspective on her work and egging her on to aim higher. Brooke Primont of Cherry Lane Music Publishing described how publishers create exposure and revenue streams for songwriters through placement in movies, television and commercials.
In looking to the future, June Millington, IMA co-founder and member of the band Fanny, lamented Guitar Hero from the perspective that would-be musicians will become discouraged when they discover that learning to really play the guitar is much harder than playing the toy that is used in the videogame. Beth Tallman, General Manager of Rykodisc, suggested looking to other industries for models for success since so many of the music industry's established practices are now failing.
It is both a scary and exciting time for music. On one hand, technology such as GarageBand, MySpace and iTunes make it much easier for any musician to record and distribute their music. On the other hand, with the means of production now in the hands of so many, it is even harder to stand out in the crowd and find a sufficient audience to make a living. This was an interesting event that raised questions that could have entirely different answers in just a few years' time.
Wednesday, November 26, 2008
My next speaking engagement
I wrote for ROCKRGRL until it ceased publication. Since then,
editor/publisher Carla DeSantis has produced events, including the
upcoming ROCKRGRL Day at the Institute for Musical Arts in Goshen, MA,
at which I will be a panelist.
Here's the full description:
Here's the full description:
It's coming up soon, December 6th is ROCKRGRL DAY at IMA (The Institute for the Musical Arts in Goshen, MA).
The day long symposium is a great opportunity for sharing ideas, strategizing and networking - creating ways to help you build a successful career in music despite the economic downturn.
Carla DeSantis, founding editor of Rockrgrl Magazine, has pulled together a fabulous group of women whose careers and expertise range cover all the bases - from music performance, songwriting, radio, recording and production; to running a label, artist promotion management and booking; to music law and publishing.
The event starts at 10:30am with DeSantis interviewing Robin Lane, founder of Robin Lane and the Chartbusters and now A Woman's Voice. Robin has a fascinating history in the music business and is taking her songwriting talents to women who need them most, trauma survivors.
Lunch will be served on the premises from noon to one followed by these panels and panelists:
1-2:30 - Are the Glory Days of the Music Industry Behind Us?
Moderator: Ann Hackler, (IMA Executive Director) - Panelists: Nini Camp (musician), Liz Borden(musician, DJ) and Norma Coates (professor, Media Studies)
2:45-4:15 - How To Make a Living In Tough Economic Times.
Moderator: Emily Lichter, (Public Emily management/promotion) - Panelists: Brooke Primont (Cherry Hill Publishing), Kudisan Kai (vocalist/ teacher Berklee) and Kristin Bredimus (promoter/ NEMO/BMA)
4:30-6:00 - Tomorrow: What Will A Career In Music Look Like?
Moderator: Leah Kunkel (artist/attorney) - Panelists: Beth Tallman (VP Rykodisc), June Millington (musician/producer/IMA cofounder) and Marci Cohen (music journalist)
The event costs $75 for adults and $50 for youth/students. Anyone who has participated in IMA's summer music program for teen aged girls can attend for $25. Scholarships are also available. To register on-line go to:
http://www.ima.org/pages/rockrgrlimaday.html
or you can send a check made payable to IMA to: P.O Box 867, Goshen, MA 01032
Monday, November 10, 2008
Concert Review: Nine Inch Nails, DCU Center, Worcester, November 9
Let’s start with the demographics. Trent Reznor is my age. When I went to my first Nine Inch Nails show in 1990, the audience was predominantly around our age. Eighteen years later, neither Reznor nor I were exactly surrounded by our peers. This is both good news and bad news for the band. Clearly this isn’t a nostalgia act coasting on its past glories, only attracting other people in their 40s reliving their own past glories. Nine Inch Nails has continued to make intriguing music but has also cultivated fresh legions of fans, especially through interactive media that is second nature to younger listeners, and has rewarded their loyalty with things like the free download of The Slip.
But while I laud Reznor for remaining relevant with the youths, I’m concerned about his diminishing relevance with his own age group. I’m no longer angry the way I was in my 20s; despondent is now my negative emotion of choice. Reznor displayed great maturity with Year Zero, showing that he was no less angry than in his 20s but that he’d taken a much broader worldview. Rather than a myopic vision of his personal life, he channeled his energy into into a metaphorical indictment of the Bush administration. But if he’s only managing to attract younger fans without holding onto the older ones, I fear that his ongoing accomplishments will be dismissed critically, written off as the equivalent of horror movies whose shock value appeals to mainly to teens. In other words, as little better than Marilyn Manson but with a longer shelf life.
Two factors will likely save the band from that fate. The first is what a potent live show they put on. Reznor has always been a magnetic performer, seething with pent-up aggression but never cartoonish in his presentation. He radiates energy, and it never comes across as over-rehearsed shtick. The rest of the band is perfectly serviceable; they’ll never upstage the frontman, but they don’t limit him the way some of Iggy Pop’s backing bands have. Secondly, he has his undiminished skill as a songwriter and composer. “Discipline” from The Slip conveys the frayed nerves of addiction. Songs from The Fragile have astonishing layers of detail in the arrangements.
After getting the audience riled up, most notably with “March of the Pigs,” the band switched to a calmer interlude featuring several instrumental songs and a lot of mechanical, rather than electronic, percussion. Even without Reznor storming the stage, they put on quite a spectacle, mainly through the use sheer curtains of lights with an imaginative design scheme. The creations worked with the songs and amplified the band’s movements. Taken on their own, they could be a display in a contemporary art museum.
Reznor never spoke to the audience until the encore. He apologized for the show’s postponement and thanked everyone for showing up; it had been scheduled for August but Reznor had a throat ailment. And perhaps meant as a special treat to compensate for the delay, he brought out surprise guest and “old friend” Peter Murphy, for whom NIN had opened in 1990. Murphy was appropriately reptilian for his duet on “Reptile.” I would have been more excited if I actually liked Murphy. I’m fond of plenty of dramatic frontmen, but I’ve never bought his brand of drama.
Opening act Deerhunter had the misfortune of a lead singer who sounds too much like Thom Yorke and looks too much like his dorkier brother, an impressive accomplishment considering how high Mr. Yorke sets the bar.
Thursday, October 09, 2008
Wedding Present set list up for grabs
I clearly wasn't the only one trying to grab a copy of the set list at the Wedding Present show at the Middle East. I only wanted it to transcribe to my log rather than for its souvenir value. Whomever emails me first can have it. I'm willing to mail it within the U.S.
Tuesday, October 07, 2008
Concert Review: The Wedding Present at the Middle East, Cambridge, MA, October 6
The crowd was thin last night at the Middle East for the Wedding Present. The competition was stiff. Stereolab was playing elsewhere and the Red Sox had a playoff game. The Weddoes are now indie rock stalwarts, unlikely to suddenly be trendy with the emo kids. But the band do what they do so well that they've earned more than their limited cult following.
They opened with "Kennedy." Considering how literal David Gedge's lyrics are, often dialog-based, it is a puzzle not only trying to figure out what the song is about but also how wrote something so out of character. But the song was so exuberant that it just didn't matter. They blazed through their catalog and highlighted their latest release, El Rey. The most enthralling was "Dalliance," watching Gedge once again try to saw a guitar in half with his bare hands and seething, "I was yours for seven years/Is that what you call a dalliance?"
Although Christopher McConville's guitar playing was in fine form, the guy looked like he hadn't slept in a week. Bed head, stubble and bags under the eyes go beyond an indie rock aesthetic to merely disheveled. Gedge was his usual timeless self, indistinguishable from what he looked like in 1990 when I discovered the band except for slightly shorter hair. In my years in Chicago, I never happened upon him when he was frequently in town recording, so I don't know if he owns anything other than plain black t-shirts or if he just saves them for concerts. Terry de Castro's rumbling bass anchored the proceedings, and she looked quite stylish in a red sheath dress and brown boots.
Someone called out, "Do you know any Coldplay songs?" Gedge acknowledged that he barely knows his own songs and had to repeatedly apologize for not taking requests for songs they hadn't rehearsed until someone who was pressed up against the stage read "My Favourite Dress" off the set list. In this case "set" list also meant "fixed" rather than maleable.
The set list:
Kennedy
It's For You
Gone
Don't Take Me Home Until I'm Drunk
You Should Always Keep In Touch With Your Friends
Lovenest
Blue Eyes
Palisades
Snake Eyes
Sports Car
Spider Man on Hollywood
Crawl
You Turn Me On
Interstate 5
My Favourite Dress
Model, Actress, Whatever
Real Thing
Dalliance
Dare
Boo Boo
They opened with "Kennedy." Considering how literal David Gedge's lyrics are, often dialog-based, it is a puzzle not only trying to figure out what the song is about but also how wrote something so out of character. But the song was so exuberant that it just didn't matter. They blazed through their catalog and highlighted their latest release, El Rey. The most enthralling was "Dalliance," watching Gedge once again try to saw a guitar in half with his bare hands and seething, "I was yours for seven years/Is that what you call a dalliance?"
Although Christopher McConville's guitar playing was in fine form, the guy looked like he hadn't slept in a week. Bed head, stubble and bags under the eyes go beyond an indie rock aesthetic to merely disheveled. Gedge was his usual timeless self, indistinguishable from what he looked like in 1990 when I discovered the band except for slightly shorter hair. In my years in Chicago, I never happened upon him when he was frequently in town recording, so I don't know if he owns anything other than plain black t-shirts or if he just saves them for concerts. Terry de Castro's rumbling bass anchored the proceedings, and she looked quite stylish in a red sheath dress and brown boots.
Someone called out, "Do you know any Coldplay songs?" Gedge acknowledged that he barely knows his own songs and had to repeatedly apologize for not taking requests for songs they hadn't rehearsed until someone who was pressed up against the stage read "My Favourite Dress" off the set list. In this case "set" list also meant "fixed" rather than maleable.
The set list:
Kennedy
It's For You
Gone
Don't Take Me Home Until I'm Drunk
You Should Always Keep In Touch With Your Friends
Lovenest
Blue Eyes
Palisades
Snake Eyes
Sports Car
Spider Man on Hollywood
Crawl
You Turn Me On
Interstate 5
My Favourite Dress
Model, Actress, Whatever
Real Thing
Dalliance
Dare
Boo Boo
Tuesday, September 23, 2008
I'm not the cat I used to be, I got a kid, I'm 33, baby
I have two kids and am a bit older than 33, but Chrissie Hynde had a point in "Middle of the Road."
I have recently had reason to reflect on the diminished importance music is playing in my life. I just got back in touch with a friend I made right after college when I was often going to two concerts a week and could have almost had my mail forwarded to the Khyber. We were reminiscing about '80s British post-punk (the Fall, Gang of Four, the Wedding Present, the Mekons), and he commented that the music of his youth resonates with him more than anything current because it is the music of his youth. Then I was completing a survey from nin.com, which was only sent to me because I bought tickets at the last minute for a subsequently postponed Nine Inch Nails show, and many of the questions involved online resources for obtaining and finding out about music. I use them very little, not because I'm opposed to technology or don't like music, but because I just don't have the time to invest in them. Most of the effort I put into discovering new music lately has been for work, keeping up with what's current to purchase it for a library or review it for other librarians.
The music of your youth has two things going for it. When the world is still new to you, emotions are heightened by the lack of experience. To use a parenting example, my kids sobbed when their helium balloon popped, but I've had enough burst balloons in my life, both literal and metaphorical, to not be fazed. And when you are young and have fewer responsibilities, you're left with plenty of time to wallow in your misery or bask in your joy. Music escalate those already-volatile feelings.
Birth, School, Work, Death by the Godfathers made a huge impact on me because it was released when I was going through a tumultuous transition from school to work, about to graduate from college and daunted by the difficult prospect of finding meaningful work, not just earning a paycheck. No one writes songs about the current woes in my life, mainly that my otherwise adorable kids make me nuts at times, and I am daunted by the difficult prospect of finding meaningful work that fits with the demands of parenthood. Even if someone did record a song along those lines, I'd probably be too overwhelmed by the current demands of my day-to-day existence to discover it, let alone have it become a central part of my life the way Birth, School, Work, Death did. I'm still keeping up on music more than the average 42-year-old suburban mom, but I've accepted that I'll never return to the devotion I had as a 22-year-old.
I have recently had reason to reflect on the diminished importance music is playing in my life. I just got back in touch with a friend I made right after college when I was often going to two concerts a week and could have almost had my mail forwarded to the Khyber. We were reminiscing about '80s British post-punk (the Fall, Gang of Four, the Wedding Present, the Mekons), and he commented that the music of his youth resonates with him more than anything current because it is the music of his youth. Then I was completing a survey from nin.com, which was only sent to me because I bought tickets at the last minute for a subsequently postponed Nine Inch Nails show, and many of the questions involved online resources for obtaining and finding out about music. I use them very little, not because I'm opposed to technology or don't like music, but because I just don't have the time to invest in them. Most of the effort I put into discovering new music lately has been for work, keeping up with what's current to purchase it for a library or review it for other librarians.
The music of your youth has two things going for it. When the world is still new to you, emotions are heightened by the lack of experience. To use a parenting example, my kids sobbed when their helium balloon popped, but I've had enough burst balloons in my life, both literal and metaphorical, to not be fazed. And when you are young and have fewer responsibilities, you're left with plenty of time to wallow in your misery or bask in your joy. Music escalate those already-volatile feelings.
Birth, School, Work, Death by the Godfathers made a huge impact on me because it was released when I was going through a tumultuous transition from school to work, about to graduate from college and daunted by the difficult prospect of finding meaningful work, not just earning a paycheck. No one writes songs about the current woes in my life, mainly that my otherwise adorable kids make me nuts at times, and I am daunted by the difficult prospect of finding meaningful work that fits with the demands of parenthood. Even if someone did record a song along those lines, I'd probably be too overwhelmed by the current demands of my day-to-day existence to discover it, let alone have it become a central part of my life the way Birth, School, Work, Death did. I'm still keeping up on music more than the average 42-year-old suburban mom, but I've accepted that I'll never return to the devotion I had as a 22-year-old.
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