Remember how in February (2 posts ago, yeah, consistency...) I said that 2009 would be the year of Power Pop, well I was only kidding! Turns out Lo-fi, fuzzy, dream-pop is the way things are going (at least for now?!) Led by groups like Wavves (and championed by Pitchfork and Vice), noise-y basement types seem to cropping up all over the place...Power pop, where art thou?
Internet findings that I'll probably listen to a few times:
I'm not going to lie, I just read the wavves interview on pitchfork and that's where the list's from. But still! I anticipate an unending wavve (I did not resist) of obscurity and cassette hiss for the time being.
We saw all kinds of genre-revivals in 2008 ranging from C86 revisionism (Vivian Girls) to 80s pomp (Rumble Strips). Okay, so once again the 80s were a common reference point for contemporary bands.
As genres like post-punk, synth-driven new wave, noise-pop, etc. have already been milked dry by most bands the past few years, (indie) rock in 2009 might just increasingly set its sights on the tighter, more guitar-driven, verse-bridge-chorus genre of Powerpop (or Pre-punk / Pub Rock, just think Dr. Feelgood).
Other than the standard argument that musical styles go in cycles, I’m mostly going to base this claim on one band : Gentleman Jesse and His Men. The band was featured in Mojo Magazine’s anticipated acts of 2009 and I feel that the band is representative of a potential (re)interest in the genre.
Basically, in the Mojo article, the band’s frontman claims to be sick of the bloated state of indie rock at the moment and is influenced instead by groups like Rockpile, the Raspberries, and Nick Lowe. Just like how these bands proved to be catchier, more energetic and straightforward alternatives to prog/arena/gassy rock back in the day, I'm sure there are bands today that have similar intentions (and song structures).
Well, let’s just see how it turns out. Yeah, with the economy, political climate, etc., etc. the way they are, 2009 is going to be quite the year. And it'll be interesting to see whether bands and artists follow the mostly dreamy, effects-laden, feedback-drenched sound of 2008 or whether they trim the fat (present times do demand frugality after all), a la Dr. Feelgood et al.
Weezer's best album. They should have stopped after this, etc., etc. Personal history behind Pinkerton? At one point I thought this was the edgiest thing I'd ever heard (along withKill 'Em All by Metallica). I was after all raised on America rather than The United States of America.
Remember the Green Day reference in "El Scorcho"? (I asked you to go to the Green Day concert / You said you never heard of them). Back then, my friends and I assumed Weezer and Green Day were bitter rivals. Those were days before the internet.
Pinkerton is solid. I like the album's detuned, dark, echo-ey sound (and is perhaps the reason why it stands out more than the "slicker" Blue Album).
All I have to say is if you did watch Slumdog Millionaire and you don't understand the hype surrounding the film, read the article. It basically says all I wanted to say about the film.
Biswas mentions a bunch of other (more fulfilling but overlooked) films in this "gritty realist" genre and I'll add to this: Salaam Bombay!.
If you do happen to watch(or have watched) Slumdog Millionaire, be sure to watch Salaam Bombay!as well and you'll probably come round with a different opinion.
Still, not to sound patronizing, I guess on the plus side there's this.
Addendum:Okay, Slumdog took home the Oscar for best picture...Everyone seems to have an opinion about the film. While people hate it for all kinds of reasons (portrayal of Indian culture and/or slum life; Western filmmaker interpreting a culture he has no idea about; the actors' British accents; the implausibilty of a bathtub in a Bombay highrise, etc., etc., etc., etc.), I've realized that this film has become overanalyzed (while in reality, it doesn't really warrant or merit too much attention).
I've come to the conclusion that I really don't care too much about the social/cultural/economic/political/ethical (gasp) assumptions/tags that come with the film.
Basically, I still think the film was okay (not a great film or a masterpiece) and I'm going to end it here.
Primal, blues-garage-Americana from...France. First read about him in MOJO (He's listed in their top 20 albums of 2008). It's raw, straightforward rock & roll and Cavalli is definitely notches above those numerous retro-leaning rock acts out there.
(The video looks like it was put together by emogirl, but the music is good, note: this song wins the award for Best Use of Cowbell)
I heard about Joel Alme through some article in pitchfork last year. If you like Jens Lekman and other Swedish/Danish artists, I think Joel Alme might just do it for you.
His debut album A Master of Ceremonies is full of tight (and sometimes grand) pop songs, complete with orchestra and a straightforward, retroish-sounding production. Joel himself is a solid singer (and lyricist) and his voice has that classic Dylan-Van Morrison-Cohen quality to it.
Anyway, give his other songs on youtube a go and see what you think.
Santana's Shango was released in 1982 and unlike earlier, “classic” Santana albums (i.e. from 1969 to 1972), this one features typical 80s production (synths, electronic drums, etc.). Conspicuous, nevertheless, are Santana’s trademark guitar and Latin-tinged rhythms.
My favorite song on the album is “The Nile” – Sample Lyric: “Her skin was dark / Her voice was liquid fire / She said I am your mate / And soul's desire.”
I fist listened to Shango sometime in 2002 or 2003 (11th grade) on cassette (forcing me to listen to the whole album from start to end nonstop).
This brings in another (perhaps obvious) point: Repetition will determine your musical preferences. I grew up listening to music based on the blues scale. I know some people can instantly appreciate certain genres or bands (e.g. - Sonic Youth / Post-Rock???) but it takes a lot of listens for me to get into such music.
I’m sure someone’s already done a full on study on musical listening processes and methods.
Going back to Shango, the music itself is cheesy. Sometimes a good and bad kind of cheesy at the same time, but straightforward good cheesy for the most part. Consequently, this is an endearing and uplifting album (note: this is purely subjective).
Still, I can tell you what’s not subjective : Shango is the musical equivalent of Romancing The Stone. I'm going to go ahead and say I like this album.
