photo & text by nacrowe
i felt a bit LET DOWN after reading author DAVE THOMPSON's biography PERRY FARRELL: THE SAGA OF A HYPESTER (ST. MARTIN'S GRIFFIN, 1995) about the SEMINAL ALTERNATIVE ROCK ICON PERRY FARRELL of JANE'S ADDICTION, PORNO FOR PYROS and LOLLAPALOOZA fame. i should note that the book, which was published in the mid-1990s (no doubt as a cash-grab) begins and concludes with FARRELL's performance with PORNO FOR PYROS at WOODSTOCK 94, which was in support of their self-titled PORNO FOR PYROS (WARNER BROS, 1993) album. it was also before the reunion of JANE'S ADDICTION at the conclusion of the millennium and the two albums since so if anything this narrative and conclusions therein presented are understandably PREMATURE in nature.
all the same, it is more than DISAPPOINTING that THOMPSON's thesis is one which dismisses FARRELL's success as the result of him being a MASTER MANIPULATOR OF THE PRESSER and the seller of UNSUBSTANTIATED HYPE. NOTHING'S SHOCKING (WARNER BROS, 1988) and RITUAL DE LO HABITUAL (WARNER BROS, 1990) decades later stand FIRM and largely UNPARALLELED as COLOSSAL, era-defining ARTISTIC and CULTURAL ACHIEVEMENTS of the first order and set the table for what has transpired over the next few decades (including FAITH NO MORE, NIRVANA and the like). my hope was that this book would share some insight into the origins of some of these INDELIBLE TRACKS or the relationships between band members, their management and/or their producer. to that extent, major players like DAVE NAVARRO, ERIC AVERY, STEPHEN PERKINS and DAVE JERDEN are barely mentioned, as if they are bit players in this story. unfortunately THE SAGA OF A HYPESTER is mostly concerned with the PROMOTIONAL GAMBITS of FARRELL and the published criticisms of his projects over time, which i have to say is the LEAST INTERESTING aspect of his life narrative. the fact that local rock critics nationwide did not understand his ART on vinyl or in a live setting makes total sense, the DUDE is one of one. even back in the mid-1990s when this was written those opinions and contexts are largely DULL and IRRELEVANT. in essence THE SAGA OF A HYPESTER is more than a LETDOWN, its a MISSED OPPORTUNITY. i feel like i gained little knowledge by way of his process or the meaning behind his ART, which i assume is why most people would even bother with this book. the fact that he spearheaded LOLLAPALOOZA and innovated the CONCERT-GOING EXPERIENCE is likewise in THOMPSON's MYOPIC view without CULTURAL MERIT and full of what amounts to SHAMELESS HYPE. in retrospect i can at least take solace that his thesis was proven INCORRECT, that FARRELL is a universally RESPECTED ALTERNATIVE ROCK VETERAN and SUPPORTIVE ELDER STATESMAN on par with NEIL YOUNG, BOB DYLAN, IGGY POP, DAVID BOWIE and LOU REED. his continued engagement with the youth in terms of locating and promoting EMERGING bands with LOLLAPALOOZA even among his peers puts him in SINGULAR regard as he repeatedly puts that CREATIVE ENERGY back into the CULTURE, back into the musical and artistic communities, back into the very wellspring of creativity like an eternal resource. this book degrades his PERSONA as well as his achievements, even as far as they stood back in the mid 1990s. this book is NOT DEFINITIVE, ESSENTIAL or even worthy of further mention. best proceed and read the much better WHORES: AN ORAL BIOGRAPHY OF PERRY FARRELL AND JANE'S ADDICTION (DA CAPO, 2006) for a more THOUGHTFUL, EXTENSIVE and FAIR take on this ALTERNATIVE ROCK icon.
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photo & text by nacrowe
the 1990s were an INTRIGUING adventure for the IRISH ROCK N ROLL band U2. they effectively shed their EARNEST, DO-GOODER image by taking on PERSONAS and CHARACTERS (i.e. THE FLY, THE MIRRORBALL MAN, MR. MACPHISTO) and playing overtly with concepts such as IRONY, SATIRE and PASTICHE common in both the 20th century DADA and POP ART movements. in essence the whole decade with its three albums, ACHTUNG BABY (ISLAND, 1991), ZOOROPA (ISLAND, 1991) and POP (ISLAND, 1991) were an exercise in the artistic freedom of not being yourself on record in the vein of DAVID BOWIE, THE BEATLES and LOU REED. arguably this approach started off incredibly with arguably the greatest record of their career to date, but came with diminishing returns soon after.
it appeared by the close of the decade that the band was CUTTING OFF THEIR PROVERBIAL NOSE TO SPITE THEIR FACE in the sense that singer-songwriter BONO was their major asset and differentiating factor in the marketplace, and it made little sense to diminish such on further releases. ACHTUNG BABY worked because it was such a CONCEPTUAL, VISUAL and SONIC departure in both STYLE and SUBSTANCE from their catalogue and really gave the band room to breathe and not be imprisoned by their own COLLECTIVE SINCERITY and AUTHENTIC, GOOD-WILLED nature. a one-off is nice, but a series of releases is a new trajectory and by the time of ALL THAT YOU CAN'T LEAVE BEHIND (ISLAND, 2000) was released at the turn of the new millennium, it represented a new BACK-TO-BASICS, RETURN-TO-FORM era that harkened back to their IMPASSIONED and RIGHTEOUS 1980s heyday on albums like WAR (ISLAND, 1983), THE UNFORGETTABLE FIRE (ISLAND, 1984) and especially THE JOSHUA TREE (ISLAND, 1987). the band has been on that tip ever since. CELEBRATED tracks include the ANTHEMIC, HIGH-ENERGY and unironically OPTIMISTIC singles "BEAUTIFUL DAY" and "ELEVATION." taken together they represent an almost QUASI-RELIGIOUS testimonial to the power and glory of being live and feeling connected to the world. i can only imagine the feeling of writing those songs with those LYRICS in a TINY, STERILE recording setting and then the rush of having the world reciprocate that SENTIMENT directly back at you throughout global soccer and football arenas filled to capacity. but for me the tracks that standout are the more INTIMATE "NEW YORK," "KITE," and "WHEN I LOOK AT THE WORLD" which both take advantage of STRUCTURED DYNAMICS in which MASSIVE build-up CRESCENDOS take root from SOFTLY-SUNG, LILTED MELODIES. guitarist THE EDGE really outdoes himself on the LEAD SECTIONS which are highly EMOTIVE and expertly and efficiently composed and executed. you cant tell that it took all that UNBRIDLED EXPERIMENTALISM from the past decade to achieve those MINIMALIST GUITAR MELODIES that are that emotionally RAW. my recollection of this album is completely SKEWED by what came after it, namely the passing of JOEY RAMONE in the spring of 2001 and of course, 9/11. there was a certain NATIONAL CATHARSIS that happened in the UNITED STATES when U2 played the SUPER BOWL that year and paid tribute to the VICTIMS. i remember living with a relative in SACRAMENTO, half a world away from my family in KUWAIT (where i was on 9/11), and seeing the name i knew on that projected list while the band played. U2 is the type of band that has that sort of relationship with its audience where that fourth wall of pretense and bullshit can sometimes be temporarily dismissed and real SENTIMENT and reciprocated EMPATHY can traverse back and forth in a loop. in fact, i am having a DIFFICULT time thinking of another band that has that sort of effect. COLDPLAY aspires to such and the FOO FIGHTERS or GREEN DAY may have similarities in that regard but U2 undoubtedly has such in spades. 9/11 was such a MOMENT when the band definitely comforted and supported the UNITED STATES deal with the gravity of such an UNFORESEEN and severe CALAMITY. a few months early, in fact the spring of my junior year of high school when i was in KUWAIT, RAMONE famously was listening to "IN A LITTLE WHILE" when he passed away from LYMPHOMA. since childhood, RAMONE was a hero to both my brother and i. it felt like a part of our identity left with him, especially being in such a foreign environment. that U2 brought him SOLACE at the time of his passing also seems very much indicative of their PALPABLE trademark aura of EMPATHY, COMPASSION and GOOD-WILL. do i think this is their STRONGEST record? no. people will argue between THE JOSHUA TREE and ACHTUNG BABY forever (for the record: im firmly on the ACHTUNG BABY side), but ALL THAT YOU CAN'T LEAVE BEHIND is nowhere near that level. but although i dont find it to be an ESSENTIAL U2 release, i do feel that it was an important TRANSITIONAL effort that laid the groundwork for MEMORABLE and QUALITY subsequent releases. seems ODD and eve WRONG to say this, but also it was released at an opportune time when the UNITED STATES arguably needed them the most after 9/11. to me this record speaks to that will to look ahead, create, move forward and look optimistically towards the future even in the face of wanton DESTRUCTION, DEATH and UNADULTERATED EVIL. im not a christian, but ALL THAT YOU CAN'T LEAVE BEHIND feels very CATHOLIC to me. in the best way possible. less POPE BENEDICT IX and more ST. FRANCIS OF ASSISI. definitely recommended.
parodies by nacrowe
POST PUNK to me has long been one of the more EXCITING periods of music to continually explore and re-investigate due to its EXPERIMENTAL nature. for musicians of that generation who witnessed the BRITISH INVASION as kids and then the later more TECHNICALLY ACCOMPLISHED LARGER-THAN-LIFE figures of 70s ROCK N ROLL (i.e. LED ZEPPELIN, QUEEN and PINK FLOYD among others) as well as PROGRESSIVE ROCK (KING CRIMSON, RUSH, GENESIS, YES and EMERSON, LAKE & PALMER), the bar for entry seemed impossibly high.
then PUNK ROCK enters the fray and reframes the whole conversation. the revolution that was the PUNK movement was in part a social reimagining of what it meant to be a musician, that INTENT was as SIGNIFICANT if not more IMPORTANT than RAW TECHNICAL ABILITY. musicians and fans that attended those LEGENDARY late 70s gigs witnessing those FIRST-WAVE PUNK acts like THE RAMONES, THE CLASH, THE SEX PISTOLS, THE DAMNED and THE BUZZCOCKS often left feeling like they could do that as well, maybe even better. POST PUNK is such a VITAL period because you had all of these AMATEURISH musicians playing well outside their comfort zone and creating INTERESTING sonic juxtapositions out of somewhat pure NAIVETE and INSTINCT. many of these bands grew into TECHNICALLY PROFICIENT entities, but it is that explosion of DISPARATE material that served as a big bang of sorts for later iterations and generations of musicians to peruse through for INSPIRATION. to tell you the truth, i never understood why INCREDIBLE POST PUNK bands like GANG OF FOUR, MAGAZINE, PUBLIC IMAGE LTD, THE FALL, BAUHAUS, WIRE, THE POP GROUP and KILLING JOKE didnt amass anything beyond a NOMINAL, LOYAL cult following. yes it is true that acts like THE CURE, JOY DIVISION / NEW ORDER, ECHO & THE BUNNYMEN, THE SMITHS and SIOUXSIE & THE BANSHEES all had their cultural moment, but collectively it is probably due to the ECLECTIC nature of the music and its lack of a cohesive perspective that made it less marketable and difficult to promote. it is also what makes POST PUNK perpetually INTRIGUING and aesthetically CHALLENGING to take in and digest. for me the somewhat concurrent NO WAVE movement was one step beyond POST PUNK, but taken together those two genres are something i constantly return to when i feel jaded about music in general. inevitably after some digging and investigation something will arise that challenges my tastes and expands my appreciation, which is probably the highest compliment i came present. embedded below is a recent DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC that includes a playlist celebrating the POST PUNK movement. enjoy! photo manipulation & text by nacrowe
this isnt the first time ive stated my love of LIVE PERFORMANCE series on YOUTUBE and the latest quality one i found is the HIGHWAY HOLIDAY TV series produced by the namesake EUROPEAN TOURING SUPPLY company out of BELGIUM of all places. the ongoing series features MODERN, EXPANSIVE and EXPERIMENTAL ROCK N ROLL bands of all walks and genres. the setting is SPARE and decidedly INDUSTRIAL but all that effectively does is put the focus on the featured artists, including NOTABLE acts like A PLACE TO BURY STRANGERS, DAGGERS, KING GIZZARD & THE LIZARD WIZARD, SECOND STILL, EMMA RUTH RUNDLE, BLACKWATER HOLYLIGHT and KIKAGAKU MOYO among others.
HIGHWAY HOLIDAY TV is definitely a LIVE PERFORMANCE series well worth checking out. photo & text by nacrowe
covers done well are like a PALIMPSEST in that you get a uniquely INTERACTIVE level of meaning based on two ITERATIONS of the same COMPOSITIONS. the juxtaposition of both is INEVITABLE and kind of the point and that friction is what makes them COMPELLING and MEMORABLE a la DREAD ZEPPELIN's REGGAE INTERPRETATION of the LED ZEPPELIN catalogue, NOUVELLE VAGUE's breezy BOSSA NOVA RE-IMAGININGS of first-wave PUNK ROCK classics or JOHNNY CASH's drawing out a whole new level of depth and range from a long life well-lived via NINE INCH NAIL's "HURT." of course there are also less interesting variations such as the EXPECTED, STRAIGHT-AHEAD covers of obscure NWOBHM and HARDCORE artists by the likes of METALLICA on GARAGE, INC (ELEKTRA, 1998) or GUNS N ROSES on THE SPAGHETTI INCIDENT? (GEFFEN, 1993) which both suffer from a lack of imagination and a TRANSPARENT need for hero worship (although credit due: they did help out said idols financially through these releases).
MATT JOHNSON and his INSPIRED collection of HANK WILLIAMS' covers on THE THE's HANKY PANKY (EPIC, 1995) release falls into the former camp and nowhere near the second. on REVERED tracks like "HONKY TONKIN'" and "I'M A LONG GONE DADDY" he turns paeans to hard-living into downright EXISTENTIAL dirges that flesh out the PATHOS in those FAMOUS lyrics about existing outside of society and one's own control. its THRILLING stuff. i first heard this record through my father as an upperclassman in high school and it served as an introduction to WILLIAMS' OEUVRE and that particular postwar era of COUNTRY MUSIC in general (i.e. ERNEST TUBB, THE LOUVIN BROTHERS and so on). whereas WILLIAMS' music has a BOUNCE and SWING that came from his mastery of the BLUES lexicon, JOHNSON's DECONSTRUCTED POST-PUNK INTERPRETATIONS seemed designed to put the focus on the EMOTIVE impact of the lyrics. case in point are his ITERATIONS of "I SAW THE LIGHT" and "YOUR CHEATIN' HEART," both constructed as standard ROCK N ROLL songs with DRAMATIC sonic dynamics and TEMPO SHIFTS that swell up and crescendo in support of the original MELODY. again, putting the focus on showcasing the lyrical POWER of WILLIAMS' CELEBRATED COMPOSITIONS. in my household growing up i was well-aware of THE THE and specifically their preceding MIND BOMB (EPIC, 1989) and DUSK (SONY, 1993) albums, namely because of the COLLABORATIVE efforts on those releases involving JOHNNY MARR. the idea that JOHNSON dedicated a whole album to covering a COUNTRY artist in a sense validated not only WILLIAMS, but the genre in general to an extent. when i was growing up in SOUTHERN CALIFORNIA in the early to mid 1990s the COUNTRY MUSIC i was exposed to was the CORNY radio POP fluff that has little to nothing to do with the more SEVERE BLUES-based FOLK and MURDER BALLAD traditions that fused the MUSICAL HERITAGES of both the DELTA and APPALACHIAN regions of the early 20th century. such is the distinct musical and cultural lineage that WILLIAMS is a NOTABLE acolyte of and embodies still to this day, more than seventy years after his untimely passing at twenty-nine. MUSIC is funny like that, where an artist you respect opens your mind and your heart to another that youd never notice sans the introduction. HANKY PANKY is a reminder to me of the potential benefits of remaining OPEN-MINDED when it comes to music and art, as you never know how perceiving something NOVEL from a DIFFERENT angle, viewpoint or lens will adjust your mental perception and spark an interest that will last a lifetime. that MERCURIAL aspect of appreciating MUSIC is something i have come to love and enjoy again and agin. i cant recommend HANKY PANKY any more forcefully. TRANSCENDENT record by a SINGULAR artist. and WILLIAMS aint half bad either. photo manipulation & text by nacrowe
i recently came across the GALICIAN POST-PUNK / SHOEGAZE band TRIANGULO DE AMOR BIZARRO when i discovered the OBSCURE MEXICAN live performance series LA BESTIA TV (linked HERE) that focused on modern EXPERIMENTAL bands of the ENGLISH and SPANISH-language variety. right from the jump, anyone with a NEW ORDER-derived name is in my immediate good graces but the band itself has an INSPIRED SOUND that is both EXPANSIVE, ATMOSPHERIC and MEDITATIVE in the tradition of INDIE ROCK bands like SLOWDIVE, BAUHAUS, JOY DIVISION and ECHO & THE BUNNYMEN. for me this band really hits a sweet spot as their RECORDED OUTPUT is EMOTIVE and INSULAR without being pretentious, just controlled WAVES and REVERB-DRENCHED ECHOES of gorgeous DISSONANT NOISE that both evokes vast physical SPACE and an INTERIORITY of conscious simultaneously. definitely worth checking out.
parody by nacrowe
by the time i saw AFI play for the first time in late june of 2001 at a WARPED TOUR stop in VENTURA they were already well in the midst of MASSIVE transition. it was an INSANE period, as i was staying with a childhood friend of mine in nearby ORANGE COUNTY who was basically giving me an education on all things 80s HARDCORE and SOUTHERN CALIFORNIA PUNK ROCK (think everything from THE VANDALS, ADOLESCENTS, D.I., FEAR, AGENT ORANGE, PENNYWISE, DESCENDENTS and RICH KIDS ON LSD to DR KNOW, BLACK FLAG, NOFX, WASTED YOUTH, T.S.O.L. and BATTALION OF SAINTS). i had left CALIFORNIA in sixth grade to live in AFRICA due to a parent's job and by this point was staying over for an extended period before returning to KUWAIT, of all places, for my senior year of high school. a CRAZY time. anyway, my friend was a PUNK purist, maybe somewhat of the PURITANICAL variety, and loved AFI's string of albums on the INDEPENDENT NITRO RECORDS as well as LIKE-MINDED bands they were associated with like THE NERVE AGENTS and TIGER ARMY.
in 1999 the band released BLACK SAILS IN THE SUNSET (NITRO, 1999) which was a particularly PIVOTAL moment as it represented the first full-release with guitarist JADE PUGET as a full-member and major CONTRIBUTING SONGWRITER. this record sounded more COHESIVE and POLISHED than previous efforts with a decidedly SOPHISTICATED sense of COMPOSITION and SONG DYNAMICS. it was a SIGNIFICANT artistic step forward that was followed up by the similarly CONSISTENT follow-up THE ART OF DROWNING (NITRO, 2000). this album saw them gain widespread attention with "THE DAYS OF THE PHOENIX" single and video. this was the album cycle that i first came across AFI at VENTURA and it proved to be their final album for NITRO RECORDS. in retrospect its intriguing to me the timing of my discovery of AFI. it was essentially through the eyes a longtime fan who was falling out of love with them, seeing the direction they were, as well as the scene itself, going in. namely lots of once UNDERGROUND PUNK ROCK and emerging POP PUNK bands (everyone from TAKING BACK SUNDAY, FALL OUT BOY and MY CHEMICAL ROMANCE to GLASSJAW, MOTION CITY SOUNDTRACK and NEW FOUND GLORY) were making the jump to major labels, due in no small part to their popularity on the annual WARPED TOUR. AFI had their cultural moment with the two subsequent releases of SING THE SORROW (DREAMWORKS, 2003) and DECEMBERUNDERGROUND (INTERSCOPE, 2006), both incredible efforts that benefited greatly from the increased PRODUCTION VALUE and ENGINEERING prowess of SINGULAR and much sought-after producers like JERRY FINN and BUTCH VIG, respectively. but in my opinion we are currently in the midst of AFI's most FORTUITOUS period. everything after and including CRASH LOVE (INTERSCOPE, 2009) has seen the band explore their underlying POWER POP and POST PUNK roots to great avail as their SOUND and AESTHETIC has really blossomed from their previous 2000s GOTH PUNK pigeonholing. i really feel strongly that they are riding their own CREATIVE WAVE right now and the band has never been more VITAL or COMPELLING as a listener and a fan. everything before seemed to be very much about leveling up to feel CONFIDENT enough as SONGWRITERS and ARTISTS to take up the challenge of DRASTIC STYLISTIC SHIFTS, shedding and reemerging at will in the form that best fits their current taste as they see fit. when the bottom fell out of the recording industry back in the early 2000s it feels like such was freeing for them and their music as catering to their own UNIQUE AESTHETIC and bringing along their core audience at their INTENSE live shows is what kept them going. so that is my take. im always interested to see what AFI has cooked up next and what musical interests they have been basking in as of late. embedded below is a recent DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC that includes a playlist celebrating the EVER-EVOLVING music of AFI. enjoy! photo & text by nacrowe
i mean the title says it all. THE HAÇIENDA: HOW NOT TO RUN A CLUB (SIMON & SCHUSTER, 2009) book by LEGENDARY JOY DIVISION / NEW ORDER bassist PETER HOOK goes into excruciating detail about the MISMANAGEMENT and horrendously BAD DEAL-MAKING at the heart of one of the most CELEBRATED NIGHTCLUBS of all-time.
for its part, the MANCHESTER venue THE HAÇIENDA out of dumb genius or FINANCIAL NECESSITY (one person was less costly then putting up a whole band), is credited with elevating the figure of the DJ in the 1980s to a pedestal they still hold in MODERN DANCE CULTURE to date. inspired by the inclusive underground dance venues like the DANCETERIA in NEW YORK, THE HAÇIENDA sought to establish a similar void in BRITISH culture. what is interesting is that it took nearly a decade and the melding of sorts with another DANCE CULTURE, that of the party isle of IBIZA, with its use of a new DRUG called ECSTASY, that saw the emergence of ACID HOUSE under its own watch and became the epicenter of a WORLD-WIDE DANCE PHENOMENON from roughly 1988-1990. the narrative HOOK presents is one where NEW ORDER and its label FACTORY RECORDS basically stumbled into one CULTURAL SUCCESS after another despite their combined efforts to the contrary. from the start, THE HAÇIENDA made NO FINANCIAL SENSE and its INSATIABLE need for CASH INFUSION throughout its history OVER-LEVERAGED all INVESTORS involved, including the band members themselves who were liable for any OUTSTANDING DEBT. not NEW ORDER was overly concerned or involved enough in the day-to-day to see what a drain the operation was on their bottom line. they lived in a COCOONED ALTERNATIVE REALITY with little interest or regard for the combined extracurriculars of manager ROB GRETTON and label head TONY WILSON, for them the venue was a clubhouse of sorts where they could hang out when back home in MANCHESTER from tour or recording. like everything FACTORY-related, the whole enterprise was more of an ASPIRATIONAL ART PROJECT than a CALCULATED BUSINESS OPERATION. as HOOK's other books about JOY DIVISION and NEW ORDER will attest, this naive modus operandi basically carried over to all BUSINESS ASPECTS of their career as guided by GRETTON and WILSON. so much with THE HAÇIENDA was wrong from the get go. the BUILDING itself with its high ceilings and rooftop was not conducive to a NIGHTCLUB in terms of SOUND or ATMOSPHERE. FACTORY brought in a designer who OVERSPENT on the interior design. they OVERPAID for a CRAPPY sound system. OVERPAID for bands. took out LOP-SIDED BAD LOANS. made BAD BUSINESS DEALS with vendors and contractors. the list is NEVER-ENDING. but somehow eventually nearly a decade in, it all worked despite itself. until it didnt. after the peak years of THE HAÇIENDA and the MADCHESTER scene, LOCAL GANG interest reared its head due to the money made on PARTY DRUGS and basically infiltrated the scene, which led to VIOLENCE and AGGRESSION that winnowed away regulars and provided OPPORTUNITIES for EMERGING rival VENUES to exploit. the book is written in sequential year-to-year chapters with figures about REVENUES and EXPENDITURES as well as notes regarding event calendars and FUTURE OPPORTUNITIES for the coming year included in the mix. you can see how it all financially spiraled out of control as well as the dominance of regular DJs over time. it really is a REMARKABLE top-down look at a BUSINESS VENTURE that stayed afloat in spite of itself. the question i keep coming back to in my mind is what would have happened if THE HAÇIENDA was actually run well throughout its run. would it have been more PROFITABLE? its GLOBAL CULTURAL IMPACT more sustained? could it possibly have been more successful? somehow i doubt it. the rolling SHAMBOLIC nature of the FINANCIAL ARCHITECTURE that propelled the VENUE had an energy all its own and the conspiring players in the midst all played a part in its success and eventual downfall. despite everything, the long-defunct VENUE today is a BRITISH LANDMARK that still has an IMMENSE CULTURAL CACHE attached to it. for a FAMOUS BUSINESS FAILURE, and it was surely that, it oxymoronically sure was a CULTURAL SUCCESS for the ages. it is part of the ENDURING MYTHOLOGY of JOY DIVISION, NEW ORDER, FACTORY RECORDS and by extension MANCHESTER itself, just as much as OLD TRAFFORD or FREE TRADE HALL. photo & text by nacrowe
one of the earliest music memories i have is riding with my father as a child in his HONDA ACCORD listening to music to and from his work in a neighboring town in SOUTHERN CALIFORNIA. it was on those small excursions that was introduced to everything from BRITISH INVASION bands like THE BEATLES, THE ANIMALS, THE WHO and so forth to PUNK / NEW WAVE / INDIE ROCK bands like THE RAMONES, JOHN HIATT, THE STRANGLERS, NICK LOWE, TALKING HEADS, ELVIS COSTELLO and especially THE SMITHS / early MORRISSEY. in and amongst that cohort of artists was THE POLICE and the DISTINCT, INDELIBLE memory i have is of those ICONIC flange and reverb-drenched open chords to "WALKING ON THE MOON" by THE POLICE on their second release REGGATTA DE BLANC (A&M, 1979).
and on a purely EMOTIONAL level, that song is THE POLICE to me. that EXPERT use of SPACE by guitarist ANDY SUMMERS and the POLYRHYTHMIC but TASTEFUL, LAIDBACK GROOVE of drummer STEWART COPELAND with PUNCTUATED PULSES promoting a PROPULSIVE forward MOMENTUM by singer/bassist STING. i dont know if its REGGAE per se (the album in english translates to white reggae), but it is a DISTINCT SONIC AESTHETIC in the history of ROCK AND ROLL, with no real precedent outside of the JAMAICAN DUB TRADITION. COPELAND for one, having grown up overseas as a THIRD CULTURE KID in places like EGYPT and LEBANON (his father being involved with the CIA), has a renowned ability to incorporate COMPLEX POLYRHYTHMS that are distinctly rooted in AFRICAN and ARABIC TRADITIONS he experienced as a child and young adult. SUMMERS likewise had a NILES RODGERS-esque affinity for INTERESTING JAZZ INVERSIONS and VOICINGS for TRADITIONAL GUITAR CHORDS that made his sequences feel UNIQUE and EXOTIC. STING has always been a mystery to me as his BRASH VOCALS are what keep the band tethered to street level in a sense. it makes all of these sonic muso TEXTURES feel grounded in POST PUNK EXPERIMENTALISM and not the possible opening prelude to an extended PROG ROCK song. it is entirely ironic to me that his later discography followed the unfortunate trajectory of PAUL SIMON in exploiting WORLD CULTURES rather than TASTEFULLY curating them into a COHESIVE ARTISTIC STATEMENT a la PETER GABRIEL. in THE POLICE all of these DISPARATE DYNAMICS played to their STRENGTH and on singles like "MESSAGE IN A BOTTLE" and "WALKING ON THE MOON" off of REGGATTA DE BLANC, this was parlayed with striking results. i am aware that as personalities, COPELAND and STING in recent years come off as SELF-CONGRATULATORY, NARCISSISTIC pricks. i for one am a huge fan and student of SUMMERS' GUITAR PLAYING and specifically his penchant for utilizing UNIQUE CHORD VOICINGS throughout their catalogue. if anything, stay for that and try to forget about the other two. if anything, that in particular is definitely worth checking out. photo & text by nacrowe
the impetus for his SURRENDER: 40 SONGS, ONE STORY (KNOPF, 2022) memoir may have been a SERIOUS HEALTH SCARE, but the story presented therein is far removed from TRADITIONAL ROCK N ROLL star fare. if anything, BONO's memoir is a deep exploration of the RELIGIOUS, MORAL and METAPHYSICAL themes that guided and informed his LIFE'S WORK, both within and without the confines of his FAMOUS band, U2. what is INTRIGUING is the level of which his ADVOCACY WORK is rooted in his CHRISTIAN FAITH and the MORAL OBLIGATION to BEAR WITNESS and BE OF SERVICE, to AFFECT CHANGE, and the INSEPARABLE interplay that dynamic bears fruit in the lyrical content of his band throughout their PARALLEL MUSICAL JOURNEY. that connection is further structurally expressed and reinforced by the very fact that the NARRATIVE is told one song at at time.
but before i get too ahead of myself, i should just state my bias upfront. talk of RELIGION in cultural matters always makes me UNCOMFORTABLE. just the appearance of potential PROSELYTIZING makes me CONCERNED and sometimes ANGRY for the sheer gall of that TRANSGRESSION. its why i was particularly nasty to CHRISTIAN missionaries during my times as a PEACE CORPS volunteer in ALBANIA, since they further conflated the already BLURRED line between CHRISTIANDOM and the UNITED STATES. made it seem like joining them made you somehow more AMERICAN. but the PIETY and GOOD WORKS of BONO seem more in keeping with the legacy of ST. FRANCIS OF ASSISI in which one attempts to walk the walk of JESUS CHRIST and not so much talk about it. its about being of GENUINE SERVICE to the UNDERSERVED and UNDERREPRESENTED without want or need of recognition or influence. the act of GOOD WORKS done with HUMILITY is being a TRUE representative of the FAITH. BONO fully and unequivocally admits to MISJUDGMENTS and MISSTEPS in his long ADVOCACY CAREER. things like early MISGUIDED EFFORTS where he worked on behalf of AFRICAN interests (debt relief, HIV/AIDS vaccine, etc) instead of in partnership with AFRICAN stakeholders, thus continuing a COLONIAL DYNAMIC of NAKED PATERNALISM into the new millennium. some of these MISTAKES cut deeper than others, but to his credit, BONO seemingly always LISTENED, LEARNED and ADJUSTED based on the EXPERIENCE and WISDOM of those in his ever broadening ring of allies. his life journey can be boiled down to his struggle to become a BETTER, more ACTIVE and EMPATHETIC LISTENER. SURRENDER: 40 SONGS, ONE STORY throughout its 500+ pages goes deep into many topics worthy of mention related how one seeks to live a GOOD LIFE, even while in the midst of a particularly CHARMED one. the through-line seemingly is that of FAMILY and the TRUE NATURE of FRIENDSHIP and LOVE. his CREATIVE and ADVOCACY WORK seemingly is rooted in such at its core, and his CHRISTIAN FAITH an even more ELEMENTAL layer beneath the buttresses those FUNDAMENTAL structures. it is one thing though to use said FAITH as a BLUNT cudgel to separate one from those around them and another entirely to use such CONVICTIONS to attempt to widen that FAMILIAL RING through PERSONAL SACRIFICE (time away from family, money, etc.) and extend LOVE and FRIENDSHIP to an ever widening audience, even (and arguably especially) political enemies and those that categorically disagree with you. to me, that FORCE MULTIPLIER effect is what makes the ETHICAL CORE of U2's appeal UNIQUE, as well as that of its frontman. even though from time to time i wish BONO would just focus on the next album and let someone else attempt to save the WORLD, im glad he's still at it, always pushing forward and trying and i know secretly he is very much an ongoing point of PRIDE and ADMIRATION for much of the greater IRISH DIASPORA, of which i am a part of. photo manipulation & text by nacrowe
it is increasingly DIFFICULT to look at the state of things and not come to anything but the UNFORTUNATE conclusion that the world has completely DEGENERATED at that hands of MANKIND over the past fifty years. in the UNITED STATES there has been a clear demarcating line over decades that has seen PUBLIC EDUCATION ATTACKED AND DEFUNDED, THE CLIMATE MORE POLLUTED (MORE PLASTIC THAN FISH IN OCEANS, GLOBAL WARMING), INCOME INEQUALITY MORE PRONOUNCED and the RISE OF AUTHORITARIANISM. it is almost as if HUMANITY has DE-EVOLVED. and that is the treatise of the recent DEVOLUTION: A DEVO THEORY (DEAD HEART FILMS, 2021) documentary centered around the philosophical underpinnings of the creative work of iconic POST PUNK / NEW WAVE band DEVO, with interviews with surviving members GERALD CASALE, MARK MOTHERSBAUGH and BOB MOTHERSBAUGH as well as FREEDOM OF CHOICE (WARNER BROS, 1980) producer ROBERT MARGOULEFF and the generationally talented late-career drummer (and noted DEVO superfan) JOSH FREESE. the group began as an art project by CASALE and MARK that was a reaction to the COMPLIANT BEHAVIOR, MINDLESS CONSUMERISM and rampant IRRATIONALITY they saw in AMERICAN culture around them in OHIO at the time. both were students at KENT STATE UNIVERSITY and CASALE himself found himself in the middle of the MASSACRE that happened on MAY 4, 1970 when NATIONAL GUARD soldiers fired live rounds upon a group of VIETNAM WAR protestors, KILLING four students and MAIMING nine others. understandably for CASALE, this was a profoundly TRAUMATIC and LIFE-ALTERING event that made him question his upbringing and the core of his AMERICAN identity. watching and reading the media responses that contextualized and/or justified the MURDER of his fellow students as INEVITABLE left a lasting impression on him. political interests and the propagation of PROPAGANDA was real thing. DEVOLUTION was REAL. only a DEVOLVED SYSTEM would allow such a TRAVESTY to happen. unquestionably this event served as the impetus for initiating DEVO in earnest. the SAD fact is that over the next forty years, their postulation that humans were DE-EVOLVING has come to fruition. right now the AMERICAN population is DISTRACTING ITSELF with technology, HATRED for their fellow countryman and GREED and SELF-INTEREST is RAMPANT. CASALE sees a widespread BUSINESS CULTURE that is founded not on EMPATHY or MUTUAL BENEFIT but on the most BASE, DISHONEST and DISHONORABLE of human values. there is a basic disconnect given the rampant INCOME INEQUALITY at the current moment that feels like an IMMINENT powder keg ready to explode and effectively dismantle the whole AMERICAN experiment. we are out of touch with our HUMANITY, our connection to each other, our written and fought-for constitution and our fundamental values of EMPATHY and BROTHERHOOD as a nation. everything is WARPED. its obvious to point out DONALD TRUMP since he is the physical embodiment of this bloated LATE-STAGE CAPITALISM and its INSATIABLE GREED and CONSTANT NARCISSISM. not only that CASALE notes that the dude fully embraces and takes JOY in being an ASSHOLE. so where do we go from here? i dont know. it all feels pretty FUCKED. DEVO was, in fact, right. i'm a hardcore DEVO fan so of course i recommend DEVOLUTION: A DEVO THEORY, but what takes center stage here is not necessarily their MUSIC or cultural legacy. this film is not about that. it is about the POLITICAL IDEAS and PHILOSOPHICAL CONCEPTS that underpin such, which are CONFRONTATIONAL as they THOUGHT-PROVOKING. at the very least, this documentary is asking its audience to not take them at face value and think for themselves. im certain the promotion of RATIONAL THINKING and THOUGHTFUL, INFORMED DEBATE is what they are seeking with this late-career film. likewise, im sure the promotion of such is what they objectively sought with their INNOVATIVE MUSIC and longstanding career. photo manipulation & text by nacrowe
POST PUNK and INDUSTRIAL informed act THE SOFT MOON is the brainchild of one LOS ANGELES native LUIS VASQUEZ. raised by a single mother his upbringing was very much a PERIPATETIC affair throughout CALIFORNIA and 90s PUNK ROCK and 80s HARDCORE very much informed his musical interests. its intriguing that the LUSH, INTIMATE and ETHEREAL yet BLEAK, IMPOSING and VAST emotional DARK WAVE soundscapes, which bring to mind everyone from DEPECHE MODE, THE FALL, DRAB MAJESTY and KILLING JOKE to BAUHAUS and TWIN TRIBES, are all rooted in one dude. then again, you get the sense that his upbringing maybe made him more than a little INTROSPECTIVE and SELF-RELIANT.
having led a pretty NOMADIC existence myself for years on end living abroad, i identify with how his albums transition based on his new adopted surroundings in locales such as VENICE, OAKLAND, BERLIN and BROOKLYN among others. i look forward to seeing what VASQUEZ has cooked up next. THE SOFT MOON is definitely worth checking out. photo manipulation & text by nacrowe
at the dawn of the new millennium MTV devised a new BRANDED LIVE PERFORMANCE series ostensibly to augment their played out LIVE MUSIC properties like UNPLUGGED and LIVE AND LOUD from the previous decade. the new concept was to honor a CULTURAL ICON with a series of prominent artists / bands covering their songs live right there in front of them, before they themselves closed the show promoting their latest release. MTV ICON only lasted four years and included episodes centered around JANET JACKSON, AEROSMITH, METALLICA and THE CURE(?!).
out of the four, THE CURE is the obvious OUTLIER but had INSPIRED PERFORMANCES by the likes of the DEFTONES, AFI and BLINK-182 that made the conceptually AWKWARD event quite MEMORABLE. i cant imagine what it must be like playing someone else's song right in front of them. feels like a high-stakes, lose-lose situation for both the band and THE CURE. in retrospect, it makes perfect sense that this was the swan song of the property itself, as the concept is pretty SELF-AGGRANDIZING and, lets face it, really LAME. but i cant complain about having these LIVE COVERS of CURE songs out in the ether two decades later. guess i have MTV to thank for that.
parodies by nacrowe
there are just too many TRANSFORMATIVE bands that have been on the iconic BRITISH label 4AD RECORDS. acts like BAUHAUS, SCOTT WALKER, PIXIES, THE BIRTHDAY PARTY, LUSH and COCTEAU TWINS, not to mention STEREOLAB, CAMERA OBSCURA, THE BREEDERS, THIEVERY CORPORATION or more recent acts like GRIMES, DEERHUNTER, ST. VINCENT, TUNE-YARDS, ZOMBY, MARK LANEGAN (RIP), PURITY RING and TWIN SHADOW. for the past 4+ decades, it just feels like every successive generation of EXCEPTIONAL musicians with an EXPERIMENTAL and INNOVATIVE edge somehow find themselves on this amazing label.
as someone who is interested in music and constantly jaded by the seeming triviality and copycat nature of new material (even personally experienced the internal pressures and incentive structures of such as a former co-owner of a recording studio), it is A GIFT to have a resource like 4AD available to seek out new acts that are pushing the boundary. whether i am ready for such or not is a different matter, but i love and appreciate the opportunity to be confronted with THE FUTURE by a curation i inherently trust. and that best describes my relationship with 4AD as a listener and music consumer: TRUST. and there are other labels i similarly TRUST as well, namely FAT POSSUM, DOMINO, MUTE, WARP and MATADOR, but first among equals has always been 4AD. im always looking forward to what NEW SOUNDS theyve found and unleashed on the world. embedded below is a DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC that originally aired about two and half years just before the pandemic. the 4AD RECORDS playlist showcases a whole host of ECLECTIC music from throughout their CELEBRATED catalogue. enjoy! photo manipulation & text by nacrowe
MTV's LIVE 'N' LOUD series was one of many LONG-FORM LIVE PERFORMANCE series that the channel intermittently produced in the mid-to-late 1990s. much like with the more famous UNPLUGGED, it was a series that they could resurrect anytime they found talent that fit its structure, i.e. POWERFUL live bands and artists with multiple singles and/or a deep back catalogue. the series was shot all over the world, usually at outdoor venues or MASSIVE theaters that showcased throngs of people enveloped and deeply immersed in the music and the spectacle on stage.
as with all things NIRVANA, there was a MEMORABLE 1993 SEATTLE CONCERT for the series at PIER 48 that was filmed as part of their then-ongoing IN UTERO tour. other prominent participants over the years include CYPRESS HILL, NO DOUBT, SOUNDGARDEN, BJORK, NICK CAVE AND THE BAD SEEDS, ALANIS MORISSETTE (with future FOO FIGHTERS drummer TAYLOR HAWKINS in tow) and PAUL WELLER. these PERFORMANCES are genuinely WELL PRODUCED with PROFESSIONALLY MIXED sound and as the series moved through the decade it employed somewhat EXPERIMENTAL visuals (including filters, set design, high angle shots and curious lighting) as well to keep it INTERESTING. definitely worth checking out as this series is most definitely a part of the historical record of the ALTERNATIVE ROCK movement so prevalent in the 1990s. photo & text by nacrowe
as with all things MORRISSEY-related nowadays, there is a bit of revisionism when looking back at his work given his current head-scratching, ARCH-CONSERVATIVE posturing in the press that puts him out of step with his presumed working-class audience and more in league with NIGEL FARAGE, VAN MORRISON and ERIC CLAPTON. while before i thought he was playing with SKINHEAD imagery in concert and largely meddling song titles like "THE NATIONAL FRONT DISCO" with more than a hint of IRONY and RIDICULE towards the political FAR RIGHT, but now who really knows what his intentions ACTUAL were? it is a NEEDLESS, PATHETIC situation that finds an unassisted MORRISSEY completely at FAULT. and in retrospect longtime fans are left questioning everything about their deeply held fandom. such is my experience at least.
all that being said, MORRISSEY's third album YOUR ARSENAL (HMV, 1992) is arguably his STRONGEST and most COHESIVE release to date. for me the only competitor is his debut BONA DRAG (HMV, 1990), but that release is a compilation of early non-album singles and not a proper album. the record was co-produced with MICK RONSON (of DAVID BOWIE fame) and is the first to feature longtime band members and songwriting collaborators BOZ BOORER (of THE POLECATS fame) and ALAIN WHYTE. i grew up listening to this album so basically i adore most of the tracks, from the more MUSCULAR "YOU'RE GONNA NEED SOMEONE ON YOUR SIDE," "WE HATE IT WHEN OUR FRIENDS BECOME SUCCESSFUL," "YOU'RE THE ONE FOR ME, FATTY" and "GLAMOROUS GLUE," the ROCKABILLY-inflected "CERTAIN PEOPLE I KNOW" and the more SOMBER and INTROSPECTIVE "TOMORROW," "WE'LL LET YOU KNOW" and "SEASICK, YET STILL DOCKED." it should be noted that eight of the ten tracks are co-written with WHYTE, who would go on to be a key contributor on future albums throughout MORRISSEY's solo career. thematically the album rests on MORRISSEY's charisma in relating a certain relatable sense of ISOLATION that comes with being an INTELLIGENT and GIFTED person unable to find the motivation to self-start. when i listen to YOUR ARSENAL i am confronted with questions and concerns related to what the greater point is of imposing your will on the world and initiating relationships. you may see examples of people that have done well in business ("WE HATE IT WHEN OUR FRIENDS BECOME SUCCESSFUL"), romantic relationships ("TOMORROW"), life ("CERTAIN PEOPLE I KNOW") or even politics ("THE NATIONAL FRONT DISCO"), but they are all DELUDING themselves. just running faster on that hamster-wheel of CONSUMERISM leading nowhere but our inevitable death. at least that was the COHERENT message i took from the album over years of listening to it. but now with MORRISSEY being exposed as a REVANCHIST, NATIVIST thug, im not really sure what to make of his penchant for seemingly advocating SELF-ISOLATION. maybe he has felt such a sense of social distance and exclusion from his immediate community for decades and such has calcified and manifested itself into a PETTY ANTI-IMMIGRANT stance, as if the imaginary "lost community" of his youth being displaced is the fault of new arrivals. its an ABSURD and rather STUPID idea, but it seems to be something that has INFECTED the guy in recent years. and it calls into question his best work SADLY. i know people will disagree with me, but yeah. whatever. photo manipulation & text by nacrowe
half a decade ago NOISEY had an INCREDIBLE series of interview videos moderated by THE QUIETUS founding editor JOHN DORAN (who also writes for THE GUARDIAN, THEWIRE , VICE and METAL HAMMER and creates programming for the BBC) called THE BRITISH MASTERS that got at the heart of what made a certain cadre of LEGENDARY ENGLISH musicians and songwriters of varying genres so IMPACTFUL and EFFECTIVE. included in the mix were participants like TRICKY (MASSIVE ATTACK), JOHNNY MARR (THE SMITHS), COSEY FANNI TUTTI (THROBBING GRISTLE), JOHN LYDON (SEX PISTOLS, PUBLIC IMAGE LIMITED), MARK E SMITH (THE FALL), ROOTS MANUVA, PAUL SIMONON (THE CLASH), BRYAN FERRY (ROXY MUSIC), DAMON ALBARN (BLUR, GORILLAZ), NEIL TENNANT (PET SHOP BOYS), VIV ALBERTINE (THE SLITS), GARY NUMAN (TUBEWAY ARMY), LIAM GALLAGHER (OASIS), GOLDIE and BRETT ANDERSON (SUEDE) among others.
my sense is that there is a certain mix of PAROCHIALISM at play in BRITAIN whereby it is SMALL and DISCONNECTED enough from nearby EUROPE to cultivate an INDEPENDENT arts scene without much outside influence. conversely and completely counterintuitively ENGLAND's recent past as a colonial power allows it to have a DIVERSE cultural population that manifests in organically UNIQUE cultural products that reflect such. just a look at the guests chosen for this series one is confronted with a myriad of sub-genres including PUNK ROCK, HIP HOP, INDUSTRIAL MUSIC, SYNTH POP, POST PUNK, BRITPOP, DRUM & BASS and TRIP HOP. each represents a specific community, lifestyle with an attendant set of values that renders all of them uniquely BRITISH. the cultural references utilized are now a bit dated, but THE BRITISH MASTERS still very much holds up and is well worth investigation. definitely worth checking out.
parodies by nacrowe
author F SCOT FITZGERALD is famous for having once quipped that there are no SECOND ACTS in AMERICAN lives. once you SELF-IDENTIFY and SELF-DEFINE yourself it is DIFFICULT to transition to an alternative in the PUBLIC PERCEPTION. i was a secondary school teacher and now im pursuing a business degree which could not be more different in terms of mission, sentiment or perspective. i can see it in my classmates. i still question whether i have shifted in the process or if i still see myself years after the fact as an educator. in some ways this blog and the bi-weekly radio show is a continuation of that previous WAY OF LIFE.
i enjoy it. when i think of the ENGLISH band NEW ORDER, they appear to be the prime cultural example of turning a page and pursuing your PASSION anew, irrespective of who you were before or how PUBLIC PERCEPTION has compartmentalized your identity in a tidy box. the ICONIC MANCHESTER POST PUNK band JOY DIVISION begat the DEFINITIVE NEW WAVE band NEW ORDER through a DEATH in the lineup. the death of IAN CURTIS ended one set of opportunities and HARSHLY and ABSURDLY opened others. you listen to the former's final album CLOSER (FACTORY, 1980), the tone and sonic aesthetic of the later's POWER, CORRUPTION & LIES (FACTORY, 1983) seems UNCONNECTED and completely ARBITRARY, but in fact its the same rhythm section. the band through COLLECTIVE PERMISSION or sheer PIGHEADEDNESS allowed themselves the ability to EVOLVE and TRANSFORM. forget DAVID BOWIE, the transition from JOY DIVISION to NEW ORDER is one of the most UNLIKELY and FRUITFUL musical transitions in recorded memory. for me it is an example to KEEP READING, KEEP LISTENING, KEEP COMMUNICATING and allow myself to not feel defined by my past. i hope that is the case for others as well. embedded below is the second DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC, which originally aired a little over three years ago. the playlist includes music from throughout the CELEBRATED NEW ORDER catalogue. enjoy!
parodies by nacrowe
my gateway drug to LOVE AND ROCKETS and by extension BAUHAUS and POST PUNK in general was the LEGENDARY ALTERNATIVE ROCK band JANE'S ADDICTION. i worshipped then and still do at the alter of DAVE NAVARRO and his HYBRID style that finds the balance between AMBIENT sonic textures a la ROBERT SMITH and DANIEL ASH and the more standard technical heroism of JIMI HENDRIX and JIMMY PAGE. when i was turning at 18 and found myself living with a relative in SACRAMENTO shortly after 9/11, leaving my family behind in KUWAIT, i basically dove headfirst into all things POST PUNK and GOTH ROCK as well as EXPERIMENTAL AMBIENT MUSIC and even TRIP HOP. in terms of discovering music, this was one of the most FERTILE and FORMATIVE eras of my life.
and discovering ASH specifically was a revelation both in terms of the EMOTIVE and highly AFFECTING soundscapes he produced, but also in terms of his NONTRADITIONAL approach to guitar. utilizing delay, reverb and a handheld device known as an E-BOW (which magnetically vibrated the strings creating a DRONE-like effect) he was able to conjure COMPLEX aural landscapes that reminded me of INDIAN MUSIC of all things. the use of droning notes is something that has been widely adopted and become more conventional in recent years, especially with POST ROCK andPOST METAL outfits ranging from MERZBOW to SUNN O))). within a POST PUNK context with the likes of BAUHAUS and LOVE AND ROCKETS this DRONING backdrop is cut up with SPASTIC drum patterns and ANGULAR bass and guitar lines that make for INTERESTING textural and compositional juxtapositions that challenge the listener. once you are aware of such, it is noticeably easy to see the through line with later ALTERNATIVE ROCK guitarists like KIM THAYIL (SOUNDGARDEN), JOHN FRUSCIANTE (RED HOT CHILI PEPPERS), and the aforementioned DAVE NAVARRO (JANE'S ADDICTION). all three share a love of DISSONANCE, odd time signatures, DRONING notes and ANGULAR guitar riffs. discovering ASH was an education in learning about where these POWERFUL guitar elements i grew up on were sourced and divined to perfection. beyond all that, whats COOL about ASH's solo career is how he took that SIGNATURE sound and further developed it by incorporated LATIN rhythms in the mix. those DRONING notes and start-stop guitar lines work like a charm in the midst of the push and pull swing that makes SALSA, CUMBIA and SAMBA so infectious. ASH essentially made DANCEABLE POST PUNK music, which seems like a contradiction in terms, but there you go. ASH is someone i am constantly going back and listening to both as a guitar player and as an ACTIVE listener attempting to glean something useful from a NONTRADITIONAL master musician with his own voice and approach to instrument. embedded below is a DEER GOD RADIO episode from around FEBRUARY 2020 on nonprofit internet radio station MAKERPARKRADIO.NYC dedicated to the music of DANIEL ASH from every phase of his career. this is also one of two shows that my father was a guest on which makes it extra SPECIAL for me. enjoy! photo & text by nacrowe
it is hard to overstate the importance of the former HACIENDA nightclub in MANCHESTER cofounded by NEW ORDER and their manager ROB GRETTON, as well as FACTORY RECORDS label head TONY WILSON, in the early 1980s. the documentary THE HACIENDA: THE CLUB THAT SHOOK BRITAIN (WISE OWL, 2022) recently featured on BBC2 delves into that unique legacy of this unique nightclub decades on. initially THE HACIENDA was meant to recapture the energetic, all-inclusive vibe of the MANHATTAN nightclubs that NEW ORDER members had witnessed while on tour immediately in the wake of the abrupt fall of JOY DIVISION. unlike the stuffy nightclub scene in ENGLAND at the time, where people drank lager and paraded themselves around in the hopes means of finding company, the point of the NYC scene was a fun night out with enjoyment of the music at the center of the agenda. it was also created with the hope of providing a center to a new generation of MANCHESTER artists and musicians.
THE HACIENDA came out around the time of early SYNTH-POP but a few years later dovetailed with the rise of HOUSE MUSIC out of DETROIT that when paired with the new drug ECSTASY essentially created ACID HOUSE. with THE HACIENDA at the epicenter there was a brief moment where the culture shifted towards an inclusive, comes-as-you-are mentality with participants felt a sense of unity and collective humanity through rhythm, motion and dance music. even INDIE ROCK got pulled into the orbit of ACID HOUSE with MADCHESTER bands like the HAPPY MONDAYS and THE STONE ROSES borrowing both aesthetic and sonic elements from the local scene. OASIS are considered a traditional BRITPOP rock band that borrowed heavily from classic BRITISH INVASION bands, but no less an authority as NOEL GALLAGHER spoke about in this film about the way the scene opened him up to all music. and that seems to be the point of the film. it was not about the bad business decisions that led to its creation or the fact that its demise ruined relationships with NEW ORDER. the real legacy of THE HACIENDA was how it liberated those who came in its confines and provided safe harbor for discriminated minority groups. in so many ways it was a UTOPIA that was destined to fail, but its run is still felt and missed to this day by those fortunate enough to participate. |
NICHOLAS ARCHIVES
May 2024
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