No, I don’t have the talent to contribute anything, musically speaking. But 20 odd souls put up their specialty to be texturized in your own mix. Here, you have 20 small YouTube clips, with each one possessing a different artist laying down his/her own track/instrument. Since you’re behind the boards today, begin a clip, mix it with another and another, to create something. The site hosts a great range of options: Banjo, synth, piano, organ, guitar, Nintendo DS, and to complete your trunk, full of amps, an OMNICHORD, amongst other tools to create.
What did I just read? It’s all explained when you click below…
As a music fan, and one who enjoys books almost as much, one would think I’m a voracious reader of our common interest. Wrong. It’s not that I don’t enjoy them or wouldn’t; it’s there are always one too many obscure references. Most – or at least the ones I’ve tackled – are written for a small, tight audience. Without background knowledge on the topic and its sub-topics, these books are difficult to fully enjoy. Yes, these books should make me venture out and explore what I don’t understand; but realistically, who has the ambition and time for that?
It was this quote below that was going to be an endless catalyst for post after post on my favorite era and area of music: The 90s Chicago rock scene.
Instead, a potential book, by one of Chicago’s well respected local aficionados, James Van Osdol – who many years ago hosted Q101’s Local Music Showcase – will initiate the endless and biased posts about my truly favorite acts. James, the Chicago rock scientist, is hoping to publish a book entitled: Chicago Rocked : Chicago Music in the 1990s. His, and my dreams, will only became a reality though if the appropriate funds are raised. Read his guest post on Chicago’s Gapers Block on the potential goodness.
And, James, if I were contributing to this, I’d definitely include the act below…
In the early part of this decade, I associated myself with friends who enjoyed raves. When the trance movement came upon us, they embraced it with open arms, flashy glow sticks, and pills. Everything about it I despised – especially the music: Tiesto, Timo Maas, Judge Jules, ETC. Fast forward to the present day, and elements of this scene, musically speaking, of course, stumble into my listening habits. These artists, who my friends worshiped and I loathed, began composing more artist oriented albums. With the announcement of Tiesto’s new record, Kaleidoscope, I’m not shunning the Dutch DJ anymore – based on Feel It in My Bones, he might be on to something. And it was German DJ Timo Maas and his Pictures record that made me bother to even explore a Tiesto track. Maas’ Pictures, from his ’05 LP, is responsible for putting faith into artists I formerly thought were of an abysmal movement.
I don’t approve of the lyrics, nor the content from Mr. Molko – who fronted the glam English act Placebo. The dark, throbbing beat is what puts me into a trance; it helps me to spin this endlessly. It becomes hypnotic. Wavy synth stabs only accentuate the gruesome picture the ex-Placebo frontman is exhibiting for us. Scary, yet brilliant, all at the same time.
When I stumble on a cover, rarely am I familiar with the original. And I think that’s usually for the best. How frequently are your favorite tracks covered anyway? Mine? Can’t think of one. But I’ll fire off my favorite cover ever instantaneously. Across the Universe, originally a Beatles song – I found this out later than sooner – has been re-imagined a few times over; since I was never familiar with the original, I came into these tracks with an open mind. Both, are sophisticated and lovely, like I’ve discovered the first rendition is.
The operatic, classical, yet pop wizard Rufus Wainwright brings his classy style to the fab four’s original.
As 2/3 of 2009 have almost come and went, some top albums are beginning to shine. Like always, the albums I deem respectable are the ones receiving consistent play. Way back in late January, I was totin’ the infectious Belgium quartet Das Pop – who are young proteges of Soulwax. They lived up – to what sounded like blasphemy at the time – to an act who concocted strong, upbeat, driving pop numbers that are truly worth returning to. And now you know 1/10 of my Best of 2009.
Never Get Enough, with its colorful melodies, robust rhythms, and overall vibe to not bob your head, but step out to the floor and shake it until…
Come to think of it, I don’t remember composing a best of list five years ago. And by no means was it lack of quality; because coveted records emerged in that era: Arcade Fire’s Funeral, Autolux’s Future Perfect, and yes, The Faint’s Wet From Birth, amongst other goodies. My endless task of organizing my digital collection has had its ups and downs. On the plus side, the endless emergence of forgotten tracks, like this have kept me motivated to continue this enduring task. Inside a dusty, neglected folder are poorly labeled tracks that are finally finding a home. The (re) discoveries are being made on almost a daily basis. One with legs though, was Bebe – the Spanish artist who takes genres in all directions to bring an excellent, catchy mix worth returning to again and again.
Her Malo track was the catalyst to hunt down her Pafuera Telarañas record, an eclectic collection of flamenco, meets folk, blended together with upbeat, Latin rhythms. Sometimes, the delivery is tranquil and gives the sense everything is OK; but at other times, the lyrics are unleashed with a rapid cadence and fiery motive. In 2009, after finally being exposed to everything 2004 had to offer, I’ve come to the conclusion Bebe’s record is worthy of being listed with the aforementioned titles. Brush up on your Español or, just enjoy what’s left of the summer…
Slug, of Atmosphere fame, and Murs, the LA playful wonder, are Felt – a playful act enjoying what hip-hop should be all about. Murs said it best on Breakfast Club:
I’m Murs and I like to have a good time and on Saturday mornings, I used to like to get a big, fat bowl of cereal and watch cartoons, motherfucker; and if that– if you can’t relate to this song you’re taking this shit too serious. It’s hip-hop, man, it’s-it’s fuckin’ fun.
For their previous two albums, they’ve chosen a central theme – to be more specific, a girl to dedicate their record to. First up was Christina Ricci; their past album was an ode to Lisa Bonet, who is Rob Gordon’s girl. Regardless of the lovely this forthcoming record goes out to, I’ll be all over it. I need more carefree music about getting drunk and partying. They’ve yet to disappoint.
Experience a track off what they’re about to unleash…