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Original pending post title: "WONDERFUL"
I haven't been paying attention to "new" music lately, and I'm sure it's my loss, but each time I check out some critically acclaimed band (from vaguely trustworthy major media sources: Wire, Mojo, Record Collector, etc) I'm either disappointed by the mediocrity and lack of sincerity, or amused that the junk could be mistaken for something great in the first place. The machine needs products though, and new product must be touted... as opposed to critical assault and refinement. Luckily (inconveniently really) the same powers are interested in keeping their legacies productive, so the reissue market is booming... and that's where my focus has been.
Right now I'm indulging in the newly released four CD reissue of The Fall's The Wonderful And Frightening World Of The Fall. Still the coagulated mess racket. Love when Gavin Friday's voice jumps out on a couple songs, like some slippery dragwitch. I really like Virgin Prunes, but it's such intensely involved music, I can only really listen to em a few times a year.
Listening to "Craigness" really loud and clear is so satisfying, especially when it kicks at the end...
I finally tracked down a copy of the M.S.B.Я. / Speculum Fight - Stultification lathe cut 7". It wasn't cheap, but it was much less than the usual over $100 asking price, that may have had to do with the auction being listed as MSRB instead of MSBR... so I ended up with copy 1 of 120, which is pretty amazing. Unlike most copies I've seen, this one doesn't have wheels attached to it, but instead a large flexibile piece of wood attached by springs. Would be interesting to find out what the distribution was of "wheeled" versus "springed". I read about this record back when I first got into noise years ago and have wanted it forever, so it's cool to finally have it. Probably should have bought all the other ones from Artware when I had the chance... $35 for a 7" seemed like a lot back then.
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Original post title: "GLASS COLLAPSE"
I'm trying to watch this documentary, Collapse, about how the world is fucked, but the music is so horrifically embarrassing, I can't commit to it.
It's completely lame to use Philip Glass in a documentary now, unless you want to abuse stereotypical and unimaginatively overused sonic shorthand... it's even tacky for Errol Morris to resort to him now.
But to use FAKE Philip Glass music.. is just... horrific.... I always entertained the idea of fake Glass music for a mockumentary, but these guys really did it...
American Movie may have been a great documentary, entirely because of the fascinating subject, but there was nothing about the structure around it that seriously impressed, Chris Smith is really exposing himself here. Riding his subjects seems to be his only trick, and when he follows another caricature, things feel really revealed.
Didier Leplae and Joe Wong should be ashamed, unless they are just making fun of the way Glass rips himself off constantly.... if that's it, then they are I guess making a funny comment... but I feel like.... maybe they just suck.
Anyone have any insight?
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This last bit was untitled and vague, but still something I'm trying to figure out.
I find a contemporary recording imitating or explicitly influenced by Autechre, Aphex Twin or Boards Of Canada infinitely more offensive than most 90-95 mindless Detroit/Berlin/Acid variants.
There is such a clear personality in those big 3, that while artists like Mr. 76ix and Chris Clark are absolutely skilled craftsman, the textural quotations and what feels like lens flare distorted plagiarisms are much more annoying than recordings that attempt no more artistry than skilled chair building. I'll always go with a classic gear ride, the voice of the machines pointed in a direction by the human catalyst, over a carefully sculpted emulation of another's, already told more beautifully, story.
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Francesca Waddell is becoming my favorite... uh, fashion publications illustrator? Don't really know what it's called, but it's a great combination of 60s and 80s illustration finesse without resorting to outright imitation, there's a definite contemporary sense to her work.
Ok, see you soon.
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