.:[Double Click To][Close]:.
Showing posts with label Radiohead. Show all posts
Showing posts with label Radiohead. Show all posts

Beirut released a New Single Today


                Zach Condon released a single today called “East Harlem”. This is important. Beirut has been on a slippery slope downward for quite some time. You can only rely on your rabid, almost serial killer-esque fan base to listen to the same two albums and handful of EPs for so long. At some point you need to simply ‘bring it’. 

                I think Zach finally understands the importance of building up hype. With the “East Harlem” release he satisfies countless dedicated fans. Apparently the single was first written by Zach at the tender age of 17. Zach may be leaning too hard on his earlier, more prolific years.  Personally, I don’t think that. Sometimes it takes playing a song or group of songs a lot before you realize how good it is. Often songs require a bit of tweaking. For “East Harlem” perhaps Zach needed to actually see East Harlem before he could get the sound right. 

                Bands go through practicing songs over and over again in a live setting to get them right. Radiohead took this approach with most of the material on “In Rainbows”. Zach knows “East Harlem” and “Goshen” has been bootlegged to near-death, near-irrelevance. Releasing both of these songs in an official format means he ‘gets it’ and understands a market exists. So many years have passed since he released anything new anyway. Now he wants to show he is serious about getting an album out in time for summer. A hope of his is to be taken seriously. By actually doing what he states would be a big step in this direction.

                Unfortunately neither of these songs has any noticeable Brazilian influence. You see Beirut has a huge following in Brazil. Brazil first saw him in the mini-series “Capitu” which won him the following of an entire nation in 2009. The ensuing buzz has created a whole cottage industry of bands hoping to be just like Beirut, playing similar music and instruments. I think this shows a prime example of the ‘exporting of buzz’. Like with Dubstep, Beirut’s unique brand of Balkan Folk takes a few years to really get to other audiences. Dubstep began years ago and we’re only hearing it now. Beirut’s last album came out in 2007 it took a few years for it to reach Brazil.

                Now Zach needs to figure out exactly how to make or market his next album. Will he simply continue on the same path making the same predictable Balkan Folk/World Music? Or will he take another approach, deciding to forgo the tough nature of the US buzz market and pin his hopes on South America? South America’s buzz market is nowhere as competitive as the United States. Hell, bands even have a name for tributes to his greatness called “Beiruting the Square”. Zach would be a fool to ignore that level of dedication, that level of love. Forget mopey late twenty something s in the US. Their income will increase only so much as they spend large amounts of time alone, crying, scrobbling Beirut’s few releases over and over again on Last.fm. If Beirut wants to really make an impact he ought to release his album in Brazil first and let it release in the United States later. 

                Releasing his upcoming album in Brazil first will show he appreciates and cares about the genuine affection the country shows him. I mean, I can’t even think of a single US TV show where Beirut appeared. No band does a tribute to Beirut in the US. Most Balkan Folk bands in the US are actually from the Balkans and probably influenced him. Zach needs to take this once in a lifetime opportunity and influence a growing, younger and considerably more vibrant music scene in an entire country. For buzz in the US is fleeting (Beirut knows this from his own experience) but buzz elsewhere lasts longer. 

                Hopefully the next Beirut EP reveals a bit more about potential new album. Or perhaps he’ll just pull a “Joanna Newsom” and randomly release the whole thing without any teasers. Either way he will need to rise above.

Record Store Day – This Saturday, April 16th


                Back in 2008, to capture the vinyl junkie’s small fragile heart a couple of record store owners came together. Profits were down at their shoeboxes adjacent to a Kinko’s or FedEx. They needed to create a day which would be guaranteed to have music lovers of the vinyl persuasion come on in and purchase delectable vinyl. In order for the plan to be a success, they would need a little help from the outside. 

                Now we have been granted the day dedicated to record stores, April 16th. It is no mistake that it isn’t far from 4/20, record store owners know their audiences. They know those kids are going to need their late 70s dub reggae records a few days before they hit the supermarket for stoner food. Besides, that audience usually is made up of those who receive subsidies from their parents as they are generally in undergrad. 

                Undergrads trying to show themselves as being sophisticated is only part I of the formula. Part II revolves around the older, vinyl-obsessed junkies. The ones who loved vinyl so much they moved out to the suburbs and had it as siding for their house. Older vinyl fans generally have the money necessary to indulge in a one-a-year splurge, whereas I’m cool with getting my music in digital form and carrying it around on a thing known as a “MP3 Player”. MP3 players give listeners the ease to carry around vast, perhaps unhealthy amounts of music without building upper body strength like vinyl record crates do. 

                Finally there are the collectors. Collectors are overwhelmed by the sheer amount of ‘limited editions’ that are on offer for this day. While you’d think collectors would be vinyl junkies, there are certain differences. Generally speaking, collectors are the ones who put this stuff up on Ebay for some unreasonable sum they know true lovers will pay. While this dark path has tempted me as it has countless music fans, I’ve resisted its siren call. Sure, it creates a steady source of income and John Fahey survived for a while selling obscure records, but it takes away the joy from the product itself. Instead, it treats music more as a commodity and less as a thing of enjoyment. 

                Perhaps the entire record store day takes the concept of commodity fetishizing to a whole new level. They reach people who normally would be immune to such blatant attempts to get more of things they may or may not need. Simply the joy of owning becomes more important than the sound. Getting that 7 of Radiohead or LCD Soundsytem or Regina Spektor (someone I’ve been told I’d like but have yet to get into) becomes a bigger goal than wondering if the music contained isn’t just a cheap ploy to get some quick money while appearing to have an alternative view on musical culture. Vinyl tends to sell best with the most popular bands anyway, as the initial production of the vinyl can get costly. So while you’d think your local great band would have vinyl, most of the time it is some dreadful band (Guns N’ Roses being one example) who sells most of the stuff. In the rare chance a great unknown band does have the funds, more power to them. But such an instance is somewhat rare. 

                I’d say this would create a conundrum for countless individuals. I’m not one of those individuals, vinyl records remain the last vestiges of musical snobbery I have not yet indulged in yet. Having so little space is a factor. Since I like to share what I listen to, I guess vinyl doesn’t really offer me the opportunity to convert others to this or that band. For that, I use an IPOD.

                Whatever your opinion, have a happy record store day! Perhaps I’ll see you at Other Music. .For I'm ambivalent about the day itself, record stores are great way to meet new people and discover new bands.

The Universal Sigh

            I couldn’t think of a better name for the new Radiohead newspaper. Well, maybe “the European Shrug” might be equally as apt. Because they have officially become a disappointment, it’s the nail in the coffin of “The King of Limbs”. At least now the King has a proper burial.

 Radiohead usually has some form of gimmick associated with its music, whether it is giving away the music for free, some overriding concept that Computers are OK, or honey is made by some guy named Pablo. Newspapers appear to be the latest fad of theirs. Like most of what they’ve done this year, they’ve arrived to the party late. That dubstep influence on their last album, James Blake did a better job. Maybe for Radiohead’s next album will have a chillwave influence and the giveaway will be old maps of the Ottoman Empire.  

                Why did Radiohead choose to use this medium? Personally, I’ve been a bit befuddled by their recent behavior. Thom Yorke jerking around, spastically I’m fine with, that’s par for the course. But when they began this descent lately towards the abyss, towards the dregs of viral marketing, I feel embarrassed. Constantly I have to explain to people far younger than myself that they used to be good. Now with this newspaper they’ve made my argument just a little harder. And I’m sick of trying, I give up. Here comes that sigh. 

                The Universal Sigh embodies the attitude I have towards them now. I say to myself:


 “Really, we are doing this now? When will the gimmicks end? Can you stop chasing everyone else’s coattails now? How about you write some interesting material? ” 


Of course they’d release it in New Zealand first, New Zealand’s lucky to have any attention to it since “Flight of the Concords” ended. New Zealand will drool over it, they’d put up a mediafire link just so kids in more important and geographically less isolated countries can get some of that material. And sure Radiohead, how about you have in translated into English. Forget those other non-English speaking countries. 

                People claim this is a ‘genius’ marketing strategy. Those might be the same people who purchase newspapers instead of reading them online. Or the people who think best-selling equals quality.  Ask countless newspapers how they’re doing financially; it isn’t going so hot right now. If the purpose of this artifact was requiem for the newspaper industry, then mission accomplished. 

                Radiohead, I stayed with you as long as I could. I’m not angst-ridden anymore. Those aren’t problems I have. People understand me now.  Most of my bands grew with me, or, when they realized they were repeating themselves, called it quits. Each time I insult you I don’t want to feel so negative. You used to have great albums. What happened to those? I miss those. Maybe everyone has a Radiohead moment, which fades away. I guess mine’s gone. 

                According to their release, it contains short stories, poetry, pictures and so on. Lately I’ve been covering a lot of people who do fantastic jobs with all this kind of media. To save you from the potential awkwardness of reading mopey poetry from people who really should have grown out of this phase long ago, I am going to suggest some things to read and process. 

                Go read Richard Chiem’s short stories. See what Steve Roggenbuck and Poncho Peligroso (better known as the 2011 Poet Laureate) are up to. Follow NewWaveVomit on Tumblr brought to you by the caring Ana C. Look at Joe Karwacki’s art work. Find Metazen, spend some time there with the lovely (or manly) Frank Hinton. These people deserve the attention. Once you begin understanding what they do, you’ll realize they are on an upward trajectory while Radiohead’s a ship a-going down. Spare yourself the cruel fate of a Radiohead apologist. Thank you.

The King of Limbs

                Since I’m a music blog, I’m contractually obligated to tell you Radiohead released an album on Friday called “The King of the Limbs”. Honestly, I find it a bit unchill how their album celebrates a guy who sells severed limbs to hospitals, but that’s a whole other argument altogether. I got the album, listened to it, and realized I’m on the wrong side of 20 for this kind of music.

                Radiohead exploits the gray zone between pop and experimental, without being satisfying in either respect. I used to like Radiohead as a teenager, lapping up “Ok Computer” and “Kid A”. While I still enjoy both those albums, I don’t have the same level of fondness I used to have. Rather, as I listen to Thom Yorke’s incessant whining, I wonder was I this insufferable as a teenager? Was I really this angst-ridden, over a situation which didn’t merit such a dark response? Oh boo-hoo, I grew up in a suburb where I didn’t belong.  My life was so hard.

                If you’re under the age of 20, this kind of stuff should resonate. You ought to be able to connect with Thom Yorke’s opaque lyrics talking about his poor suffering life:


                “Oh poor me, I’m worth several hundred million dollars. I sell albums to kids who think they have actual problems. People generally find me weird and allow me to do crazy spastic dances under the pretense of ‘art’. Everybody has to like my albums or suffer the consequences of being ostracized as a ‘snob’ or ‘idiot’.”


                Kids I’m certain sit in the back of the bus, connecting with this on some level. I know I did. They’re sad they live in a smaller split level than their friends. Wearing that Radiohead sharp-toothed teddy bear patch, they feel the false discomfort Thom expresses. Life is hard when you live at home in an upper-middle class suburb and are fully financially supported by your parents. 

                What bothers me most is how Radiohead seems to have coasted most of this decade. Considering the ever-decreasing quality of their product, you’d think someone might be willing to tell them to be a bit more ambitious in their undertakings. Simply using a different marketing ploy isn’t the same as producing a product on par with their late 90s stuff. Now they have some sort of critical tenure. 

                Critical reception is guaranteed to be warm. Pitchfork has a grading system specifically for the band, grading on a scale from 9.0 to 10.0, rather than something more in line with the actual item itself. Those who do offer constructive criticism (like the Needle Drop, kudos to you good sir) are attacked by a rabid, internet-dwelling fan base. Indeed, their fan base is so dedicated I wonder whether or not it ought to count as a cult. Probably the fact its fan base tends to be so articulate adds to their aurora. 

                “Oh, we can’t be bad, look at all the colorful adjectives and references people use when writing about how great we are.” –Thom Yorke 

                Personally, I don’t like what’s happening. Radiohead is becoming a ‘dinosaur act’ where they only need to occasionally come out with a product every couple years. No matter how far they’ve fallen, they are graded on a curve since they are Radiohead. I’m upset because I don’t want such a thing to happen, because I think they were good, can still be good and simply fell into a rut where they could produce a product with a near-guarantee people will purchase it. Rather than saying ‘Radiohead is stupid. I never listened to them.’ I did actually listen to them, hence why I have so much concern for where they are going (or not going in their case). 

                Each one of Radiohead’s post OK Computer or Kid A offered me enough to latch onto, whether it was “Knives Out” from Amnesiac, “A Punchup at a Wedding” from Hail to the Thief, or “Jigsaw Falling Into Place” from In Rainbows. Here, I can’t find anything which encourages me to continue following them. Maybe this is where I finally leave them for good, unable to find any bright spots alluding to a bright future as a band.  My friends feel differently of course. 

                Reading my friends’ Facebook walls for this, I worry. All of them appear to be too old for this kind of moping. Maybe I’m wrong. Maybe it is good. Having listened to it, I don’t see any evidence of quality. Instead, they just took some songs from random sessions, said “Hey, that doesn’t sound totally half-assed, let’s release that” and they did it. Thom Yorke did a spastic dance for a music video and they’re done. 

 How someone after the age of 20 finding meaning in this worries me. Sure, this works wonders as you brood by yourself in your youth, but I thought people were supposed to grow out of this feeling. As I grow older, Radiohead doesn’t. It stays in the same mood, same age, covering the same territory, constantly disappointed by some unspeakable, unknowable force. I wanted them to grow old with me, to mature into constantly new sounds. 

Radiohead needs to grow up. I did.

Origin Story Number Three:


I'm too sexy for my shirt, so sexy it hurts.
Growing up in Fidel Castro’s Cuba was hard. Because of the strict rules against being cool, I understood that my love of culture was forbidden. Upon the release of Radiohead’s seminal album “Ok Computer” I stated to my friend how cool I thought they were. He stated that Fuck’s “Pardon My French” was the better album, and that I was an ‘entry-level’ kid. The SDE (Cuban Secret Police) later took him away and asked him to identify all the cool kids. Many young children were thrown into prison, but I was spared. Perhaps he decided not to reveal my coolness, or that I hadn’t reached a level considered ‘troublesome’ enough.

Upon seeing the movie “Rushmore” in an illegal underground cinema, I knew the authorities would be after me. Max’s mannerisms fit mine so perfectly, I could relate to the character so well. Yet I had to keep this cool knowledge to myself, for fear of exposing myself and others to danger. A plan began to appear in my head, of escaping this retro country to the Promised Land, America, which had bountiful amounts of independent music and cinema, a place where I might become an “authentic” consumer of haute culture.
Each night I played a flute for various stingrays. Training them to carry large objects, I earned their trust by taking good care of them. Stingrays are well-known in Cuba for being faithful servants, but few had tried what I wanted to do. My goal was to float away from the island not on a raft, but in a 57 Chevy so I could be protected from the elements and sharks.

I talked to my family about leaving. They agreed it would be for the best. Late at night, after the electricity got turned off to save gas, I scurried out at night with my Chevy. Starting to play my flute, I heard a car fast approaching. Apparently I had become indie enough for the authorities to capture me. Finally, I thought happily to myself, all that talk about music and movies wasn’t for naught. People really understood that I was cool enough to present a threat to the government. 

As they approached, I drove my car into the water and sailed on top of the mighty stingrays. What I didn’t realize was how slowly stingrays move. Though I escaped from Cuba, I suffered another fate. Floating on these creatures might be safe, but you need enough supplies of water and food to survive. 

The day I ran out of water ended up being a turning point in my life. Realizing that I was nowhere near the Florida coast, I felt defeated. Maybe I should’ve stayed in Cuba, with the malevolent dictatorship. Perhaps listening to the Macarena wasn’t that bad, and I should just become a mainstreamer. Delusion started to set in. No, I screamed to myself, I was too attractive and likable to become that.

Heading towards the edge of the car, I looked at the vast sea surrounding me. All this water, and not a drop to drink, I thought bitterly to myself. Suddenly I felt an urge to urinate as I munched on my Shredded Wheat, ready to become fully dehydrated. But an idea, a brilliant idea, popped into my head and helped me to survive.

Quickly I pulled down my pants and urinated into the bowl of cereal. Thinking that this was the lowest I’d ever go, I began to eat the urinate-soaked cereal. Drinking my own urinate saved my life. Plus, it tasted pretty good. Mixing it with shredded wheat gave it a nice edge it otherwise wouldn’t have had. 

Finally, I saw land. Thankful to my stingray companions, I promised to send those alternative CDs once I had gotten myself settled into the new country. Driving my car across a beach, blasting my Rushmore soundtrack, I got yelled at. That behavior, a well-tanned person explained to me, earned me the insult ‘entry-level’. I screamed back “Sorry, I just left a brutal communist regime. I’ll read a couple of blogs and get back to you asshole.”

Lacking any marketable skills, I feared I would fail in this new and strange land. Slowly I learned that I could sell myself to people in exchange for money. I could earn a living this way, a scantily clad woman informed me. Thanking her tremendously and almost hugging her (but then thinking twice about it) I set forth on my new business adventure.

Whoring myself out to retired Jewish Grandmothers, I learned that Florida was not the cultural center of the United States. Asking them politely after they were done smoking, they informed me that all cool people lived in New York and then moved down to Florida when they were ready to die. I earned enough money to move up to the big city, but could only afford a small place in Brooklyn, a neighborhood called Williamsburg. I wondered whether or not Williamsburg would attract the cool kids, or perhaps I should move to Queens. Asking around Manhattan (which appeared to be filled with rich people) they told me Queens was where people settled down, and Brooklyn was for pretentious indie dicks.

I enjoyed living in Brooklyn. Never before had I seen so many relevant record stores. Hoping my family was still alive in Cuba, I sent them a Doobie Brothers album, since they were apparently all the rage around that time. People listened to the Doobie Brothers in Brooklyn, I learned, but only ‘ironically’. 

For a while, I tried selling myself, like I did in Florida, but the grandparents in New York already had male prostitutes. Worrying about my future, I began writing blurbs in papers for various bands I enjoyed; along with pictures of people I thought looked cool or lame. The column ended up being a smash hit at Northsix, and someone told me to write for Vice Magazine.

Hoping to impress my future boss, I wore a suit and tie. Eating my morning breakfast of urine and shredded wheat, I looked forward to meeting the kind-hearted soul named Gavin McInnes. Those I asked about Gavin stated he was a soft-spoken and caring man who yearned to give back to the community which had done so much for him.

Entering his office, I saw him having intercourse with a woman painted like a Cat while she made a smoothie using a half-dead squirrel and Wintergreen Altoids. Seeing my face, he welcomed me into his office. First he asked me if I liked Pat Buchanan, and I said yes, since that guy hated communism, a force I had only recently escaped. Liking this answer, he smiled and nodded. He said my breath reeked of urine. I said that made sense, since I drank my urine on a regular basis, now believing it to help boost my immune system. Curious, he asked what I ate with my urine. Unsure of where this was going, I said shredded wheat. Angrily he told me to get the fuck out of his face. 

Dejected, I walked out of the office. Standing on the street, Gavin came toward me. Almost out of breath, he said I got the job. Explaining he needed to weed out the fake urine drinkers, I became a member of the Vice Magazine staff. 

Over the next several years, I learned how to mock others with wit and grace. My accent became more distinctly “New York” in feel. Even when my mentor Gavin left Vice Magazine in 2007, I continued to partake in writing many album reviews. I remained in close contact with Gavin, and he ate a bowl of cereal soaked in his own urine as a tribute to my greatness.

2010 ruined everything. I met a girl. Her name was Bethany Cosentino. After falling madly in love with her, I wrote a glowing review in Vice Magazine about her band Best Coast. But the love ended up being only a ruse. Nathan Williams, some pothead, ended up being her actual boyfriend. To add further embarrassment, she wrote about it on her blog. My career in snarky commentary was over. Vice Magazine tolerated many things, but genuine emotion wasn’t one of them.

At my favorite bar, a kid named Jordan Castro came up to me to try and interview me about it. Since I was on heavy psychedelics, I thought he was a spy from Cuba here to take away my freedom. Viciously I attacked him, and three people twitted about it. In his Tumblr, he called me a “worthless asshole”. That didn’t hurt so much, since nobody knew who he was.

Depression bit me hard. Worried about losing the last shreds of credibility, I tried to get in touch with the Jewish Grandmothers in Florida, to restart my life down there again. I learned most of them had died, but one was still sort of alive. The sort of alive grandmother told me I was the coolest person she could remember and when she passed away, she left me a pair of used underwear and $650,000.

The money gave me a second chance. Speaking to my mentor Gavin, he suggested rebuilding my street cred with a blog. A blog from the heart dedicated to those stingrays whose sloth-like movement inched me towards my current freedom. That is why so many of these posts reveal my inner most thoughts. I’m trying to mend my heart. Thanks for the hugs.