I love Java

#5 Degung - Bulan Dagoan - Gendtra Pasundan Degung Group

About four years ago, I decided to become more familiar with world music. I was teaching preschool music at the time and was supposed to do a "music around the world" summer program. Although I checked out several books of multicultural kids songs, I wanted samples for the children to hear. This is when I discovered the Putumayo label.

Out of necessity, I began with World Playground. Over the next few years, I picked up a few Putumayo CD's for grownups as well. One of them was Music from the Tea Lands. The last track on this CD, Kang Mandor, was unlike anything I'd ever heard. The artist, Ujang Suryana, is a blind bamboo flute player from Indonesia. He is accompanied by a traditional gamelan group. This song helped me relax during pregnancy. I put it on repeat to fall asleep by almost every night.

Papa, of course, noticed my infatuation with the song. He, being a music sleuth, found this Degung Group album featuring Suryana and gifted it to me. Now, instead of one song, I have an entire album to put on repeat. It is only fitting that it was playing in the hospital room at the exact moment Efrim was born.

canvas the town and brush the backdrop

many of you know that big cougar, papa and mama, lucky, and myself compiled our top 15 favorite records of 2001. fortunately for me, papa shoegaze still had many of our lists in tact, and was kind enough to email me my top fifteen albums so that, for sentimental and comparative reasons, i could look over it.

its amazing to look back, glancing over all of the records i held so dear. every story is still attached to each number, each record, each cd, and though the stories are still so meaningful, sometimes, sadly, the records arent anymore. the way we grow and change as people as represented by two lists of our favorite records. how many remain? how many change?

making a phone call to papa shoegaze, we couldnt specifically remember any rules, spoken or unspoken, about compiling our list 6 years ago. but for some reason, i felt that there was a "this album must be able to purchased somewhere" ideal. for obvious reasons, this is why we all felt cheated with trey's inclusion of a homemade pearl jam mix tape. thats right.

HOMEMADE
PEARL JAM
MIX
TAPE.

not to say that we were angry, but keep in mind that one cannot purchase treys "eddie gonna rock ya" mix at your local record shop or from amazon. not that you would want to; the songs and track order, chosen by a third party meant something to trey, and the logic behind it would never have the same effect on anothers ears. i, too, was pseudo guilty of bending this rule; my number 15 was a record by a friends band, glamour house, called "the mechanics." true, one couldnt stroll into sam goody and snag a copy, but--my logic warranted--if one looked hard enough you could contact colen and buy a copy.

but how could one chart an album that doesnt exist?

the simple answer: in good faith, you cannot.

when i was in high-school, i remember watching VH1 a lot. too much. in a Behind The Music, a small clip featured one of my favorite artists sitting at a piano and singing a song that i couldnt wrap my hear around. the clip featured the album name at the bottom of the screen. i had to have that record. this was the time in my life where i started playing music, and i know that this record was going to be important to me. i had my dad take me to the mall right then. but the record wasnt there. i tried again a few weeks later. still, it wasnt on the shelf.

college is a time of discovery, and of the things i learned, about the world and about myself, the three things topping the list in my freshman year at JMU were as follows:
-html is easy to learn if you dont have any friends,
-your dorm-mates will hate you if you set your alarm to go off at a time when you are not IN your room to turn it off
-bootlegs are awesome.

the thing about live bootlegs is there is a defined track order; this goes before that because its how the band played it live on this date in this year. studio bootlegs are different because there isnt a set-list to follow. hell, i cant even really think of any other studio bootlegs to begin with. googling the record, which was originally to be title "dumb angel," one can find a host of theories as to which songs and pieces went in which order. but there was no REAL way to know, and the creator wasnt talking.

i looked over all of the 'evidence' and decided for myself which goes where. i even made a cover--front and back--as well as a disc label. i listened to that bootleg for months. every time my parents came to pick me up from JMU, i knew i could listen to that record exactly three times through. so i did. the music was sweeping. the album itself had more ups and downs than roller coaster. it was simultaneously beautiful, fun, scary, haunting, prophetic, silly, complex and simple. it was everything one could ask for in a record. except, i had to remind myself, it wasnt a record.

in the fall of 2003, my then-girlfriend and i were going to see a movie. her friend henri called her, and among other things told her to notify me that a certain musical genius was about to not only COMPLETE this work but also to play it live. irritated as she was, i turned the car around and drove back to her house. i had to read it for myself. right then and there.

i know it's not the SAME record, i know it's a re-recording. but i dont feel slighted. for whatever reason, 1966 wasnt the time for this work to released. fate decided to let it come to me at the same age that it's writer was when he started. to sum up, the album that was never to be finished was finished, and the record that was never meant to make my list has.

brian wilson's 'teenage symphony to god' is now on it's way into the heavens.


#4

BRIAN WILSON-smile
RELEASE DATE: september 28, 2004
LABEL: nonesuch

I think back to the time/ when i wouldn't drink wine...

and they taught me right and wrong, black and white....

Was digging through some stuff in the basement and came upon these gems that I thought some on here would appreciate. I'll never forget the night I first saw "The King's X" or those who taught me "the fine art of friendship (meaning of love)...."

Some Pleasure Before Business

So before I dive into my serious Top 5 Albums, here are my current Top 5 "guilty pleasure" songs that, you know, help me get through the dirty dishes every morning. I think my secret pleasures are emo and rap and, well, a mixture of the two. Terribl...y delicious?!?!

MC Lars - Ahab

Stanford grad samples Supergrass to illustrate Moby Dick. Kids these days.

Brand New - Sowing Season

Emo to screamo and back again. God I miss Mineral.

Mastodon - The Wolf Is Loose

Metal for people who forgot they liked metal. Strike that, LOVE metal.

TI - What You Know

ATL represent. This one gets stuck in your head.

Fall Out Boy - This Ain't A Scene, It's An Arm Race

This sounds like the Backstreet Boys. And then it becomes the Backstreet Boys, only with fast guitars and drums.

Now, with this out of my system I can move on to more important things . . . like the laundry.

(PS - For the uninitiated, to listen to the files or download them follow the link and then scroll to the middle of the page and click "Download for free with FileFactory Basic" then scroll again to enter in the code it gives you. After that, it will give you a link to the file to either listen or download. Yeah, it's annoying. But it's also free.)

Pocket Full of Shells

:: 07 ::

Rage Against the Machine
Evil Empire

The perfect band to listen to when you're either (A) Mad at The Man, (B) Working late because someone else dropped the ball, and/or (C) Just plain mad.

Tracks of Note:
Bulls on Parade, People of the Sun, Year of the Boomerang

Soon Your Sugar Daddies Will All Be Gone

:: 08 ::

Johnny Cash
Johnny Cash With His Hot and Blue Guitar

My Dad used to sing and play all the classic Johnny Cash songs, especially Folsom Prison Blues, when I was a kid. I guess that's why I'm such a big fan now. Everytime I'm coming back home from a business trip or vacation, Hey Porter always pops into my head. It's just an upbeat, simple song about a simple southern boy coming home.

Hey porter! Hey porter!
Would you tell me the time?
How much longer will it be till we cross
that Mason Dixon Line?
At daylight would ya tell that engineer
to slow it down?
Or better still, just stop the train,
Cause I wanna look around.

Hey porter! Hey porter!
What time did ya say?
How much longer will it be till I can
see the light of day?
When we hit Dixie will you tell that engineer
to ring his bell?
And ask everybody that ain't asleep
to stand right up and yell.

Hey porter! Hey porter!
It's getting light outside.
This old train is puffin' smoke,
and I have to strain my eyes.
But ask that engineer if he will
blow his whistle please.
Cause I smell frost on cotton leaves
and I feel that Southern breeze.

Hey porter! Hey porter!
Please get my bags for me.
I need nobody to tell me now
that we're in Tennessee.
Go tell that engineer to make that
lonesome whistle scream,
We're not so far from home
so take it easy on the steam.

Hey porter! Hey porter!
Please open up the door.
When they stop the train I'm gonna get off first
Cause I can't wait no more.
Tell that engineer I said thanks alot,
and I didn't mind the fare.
I'm gonna set my feet on Southern soil
and breathe that Southern air.

Tracks of Note:
Folsom Prison Blues, Hey Porter, Get Rhythm, Cry Cry Cry, I Walk the Line, Hey Porter, Get Rhythm

On His Italian Leather Sofa

:: 09 ::

Cake
Fashion Nugget

I'm not very good at describing music, (See numbers posts 10-25) so I'll keep this one short and get out of the way. Here goes. Yeah, it's old news to say that you love "The Distance," but it'd probably make my top 5 favorite songs of all time. I love the "quirkiness" and soul of Cake. 1 part white funk, 2 parts Vegas crooner, mixed with a liberal dollop of spoken word poetry night. Bake at 350 degrees. Serve warm.

Tracks of Note:
The Distance, Frank Sinatra, Italian Leather Sofa, Race Car Ya Yas

Your Rehearsed Insanity

:: 10 ::

Foo Fighters
Self Titled

Would we even know Dave Grohl's name had Kurt not taken his own life? Or Sean "Puffy" Combs' name had Biggie Smalls not died? ... to be honest, I guess I don't know what his name is now... is it still P. Diddy? All I can be sure of is I'm glad these guys are out on the street 24 hours a day fighting foo so that we can enjoy our liberty.

Tracks of Note:
I'll Stick Around, Floaty, This Is a Call, Big Me

It's Magic.....

#11 Every Breath You Take..... The Police

This album can make a 300 mile trip up I-77 feel like a half hour. I would argue that it is one of the greatest road trip albums of all-time. I do realize that I may be breaking Urbane etiquette for publishing an album of collected singles, but that is the chance I am willing to take for this one. It would be too difficult to pick my favorites, so I guess I'll just list my bottom two- De Do Do Do, De Da Da Da Da and King of Pain.

Another version of this miniature Rome to set fire to

#7 Destroyer, Destroyer’s Rubies (Merge, 2006)

So an upstart 2006 release elbows its way into my top 10. Hey, 2006 was a good year for music, and the fevered, obsessive listening that this record caused made me feel like a headphoned teenager in my parents' basement. The presence of Destroyer's Rubies, in my top 10 is justified by its quality, but it also stands in for optimism about excitement over music in the future. Having just turned 30, I am in desperate fear of waking up one day to find out that I only listen to music I discovered between the ages of 18-28. Destroyer’s Rubies, in other words, gives me hope that I will continue to be thrilled by music, both by new releases and by yet-undiscovered back catalog records.

Let me explain myself in typically long-winded fashion. One of the most distinctive aspects of this album is its wordiness. Dan Bejar has a skipping, dollar-word filled cadence that, though it certainly does not neglect meter, rushes through these songs as if to attempt to say everything at once. His lyrics seem to be designed for the ultra-in group – multiple references to his own songs, to obscure parts of his hometown of Vancouver, to the rock canon (Floyd, Zep, the Beatles, “Losing My Religion”). Yet, the (almost)-to-the-point-of-parody hipster intellectual rambling also shows a real awareness of the limits of words’ signifying power. (And I suspect that many, if not most, of the obscure lyrics are not meant to be deciphered). Note, on the one hand, the countless references to the visual arts – just to share the song titles, there’s “European Oils,” “Painter In Your Pocket,” and “Watercolors Into the Ocean.” In fact, you might even say that Rubies is about art and painting, making it almost literally an exercise in ‘dancing about architecture.’ And then, on the other hand, the most distinctive vocal/lyrical link among the songs is the ‘la da da da das’ that feature prominently in six of Rubies’ ten songs. These nonsense syllables, if you want to get all pseudo-academic about it (and you probably don’t) seem to highlight the ultimate failure of “high-art/poetic lyrics’” rock music (which is of course a self-criticism as well as a criticism of the Bob Dylan-esque “authentic American bohemian intellectual” idea of rock music) because they expose the idea that the only things that really authentically signify in rock are barroom sing-alongs.

And the barroom la-da-das, if you skipped the end of that last paragraph, are incredibly fun and catchy. Another secret about this album is that, far from being an impossibly esoteric art project, it is actually a straight-up classic rock record. Bejar tries to hide it (or makes the listener work for it) by kicking off the album with “Rubies,” a 9-minute song that doesn’t really have a chorus. (I love that song now, but I’ll admit I foolishly skipped it 8 out of the first 10 times I listened to Rubies). On the face of it, this is a ‘difficult’ artsy record, but as the shuffly countrified strum of the second song “Your Blood,” indicates to all who are brave enough to soldier on past “Rubies,” we are in familiar waters here. Unlike some other Destroyer records (the Air Supply-meets-Nintendo Your Blues comes to mind), this one is, sonically at least, very accessible. I think it is definitely an advance on the classic rock idiom – Bejar is a highly inventive songwriter and by no means a slavish copier – but it’s not musically revolutionary (my mom heard this in the background one time this summer and asked me, “Is this David Bowie?” The clever and correct answer to this question would have been “Essentially”). As Bejar sings in “Looters Follies,” “A life in art, and a life in mimicry … it’s the same thing!”

In fact, its fundamentally traditional, even out of step, feel might ultimately be what already makes it one of my all-time favorites (and perhaps what, despite glowing initial reviews, made it absent from many critics’ year-end lists. Prof. Cougar didn’t even put it in his top 30 of the year – an omission that actually had me second-guessing my ranking.) In a time when individual song downloads and ringtones rule, Rubies presents a compelling argument for the viability and relevance for the supposedly lifeless form of the album. When classic rock has either been ossified into 50-song radio playlists or bastardized as turgid (or is that turd-gid?) acts like Audioslave, Nickelback, and Daughtry, Rubies shows that this tradition still has much to offer. Can the dead classics live on into the 21st century to be aped and bastardized and otherwise destroyed by new generations of artists? If so, it might be because of this record.

promises me I'm safe as houses as long as I remember who's wearing the trousers

i am picky. very picky. and i am very rarely neutral. i usually love something or i hate it, and sentiments of 'okay' are few and far between.

looking over my list, and knowing what i know about myself, my tastes, and my general dissapproval of everything melodic, i find myself amazed at how many albums were contenders to take seat on my top twenty five.

i thought long and hard. there certainly had to be guidelines. so what, i asked myself, makes a favorite record? and as best as i can relay, here are the neccessary steps to a record being a cornerstone of my listening personality.

PHASE 1: shock and awe. this is amazing. i cannot stop listening to it. at any point of the day i catch myself whistling the melodies and harmonies of some or all of the tracks on the record, when i'm not catching myself singing along.

PHASE 2: anger. why didnt i think of that hook? why couldnt i capture that drum sound? why is that vocal so fucking perfectly nestled in the mix between those sweeping synths and that rockin kick? i feel the need to study. to dissect. to decide if this is the real deal or if my ears are messing with me.

PHASE 3: bliss. i know every word. i know every note in the solo. i know the way the feedback sounds. my foot knows when the kick drum does that "up-one-two" that one time in the bridge. i anticipate the harmony on the last chorus. i know on which channel the shaker resides, and to which side the claps are panned. and i can perfectly emulate exactly where the drums kick in on my steering wheel. for every song.

i never question the track order, because i know without track two coming before track four, the album wouldnt have that bump in the arc. there is no such thing as shuffle, no skipping tracks, and no repeat track one on a favorite record, because there are no stand out tracks. each is as important and perfectly placed as the letters in the alphabet. sure, there are exceptions to some of this, but if i only like a record for the first four tracks, doesnt that mean it's a cd which contains some of my favorite songs rather than a favorite album? a cohesive album is a conceptual artform that is quickly diminishing with iTunes and iPod shuffles. consumers no longer think about the care taken to put a record together, so artists stop putting in the work. maybe this is why only a handful of albums on my list were completed in the last 5 years.

fuck you apple. fuck you steve jobs.


====


it was called the Concert For The Masses. an additional date added to this bands 1988 international tour coming to climax in pasadena, ca. and seeing it, hearing it, for the first time--albeit on dvd--was an amazing experience.

there are few bands with the staying power as the artists behind my number 5 pick. and of those artists, even fewer consistently put out critically and commercially successful records in a genre that swims against the currents of mainstream tastes.

the year was 1987. according to my birth certificate i was 6 years old. according to billboard, the highest selling album of the year was george harrsions's "cloud nine." i am not completely certain as to what i was listening to in late 1986/early 1987, but i have an inkling that it was either my "cabbage patch kids christmas" audio cassette or something by the King.

whatever the case may be, i am so glad my six year old ears hadn't heard this band yet, for surely i wouldnt have understood. or maybe it would have made me the coolest, saddest, six year old on the block. there's no way to know.

we live in a world of brand recognition. consumers are so quick to spend a buck, but need the comfort of that familiar logo on the box. fortune 500 companies spend more money on making sure you recognize THEIR logo than the competitions than they do on the actual merchandise they are cramming down your throat. in this regard, major record labels make it very hard for up and coming bands to surface in a mainstream market. everyone loves music. music gets us through tough times in life. it gets us sanely into work. it gets us from fredericksburg to chicago, on no sleep, safely. but people are so hesitant to discover new music because they dont know it exists. the wont go check out their potential favorite new band playing down the street, because they have never heard their name. because of this, agents and publicists, smaller record labels and even young bands themselves are so quick to associate their name with a larger one; 'we sound like ________ and ____________' or 'recommended if you like ____________' are common phrases and comparisons you will find on websites, cd cases, and newspaper articles. hell, for myspace music profiles, they even have a special section devoted to this. you fill it out when you sign up for your account.

i was in a small band that had local press, a publicist, a website and a myspace page. needless to say, whether we wanted them or not, comparisons were inevitable. maybe it was my deep voice, or maybe it was the electronic over- and under-tones, but of all of the comparisons we received, one would not stop popping up. and the reality of it was...i had never heard of them.

finally, one day, i decided i was going to listen to the band we were constantly being told we were 'paying modern day homage' to. looking over their immense back catalog, i wasnt quite sure where to start. so i started at the beginning.

i wont lie, i recognized songs. but i was hesitant to like them. why should i? i didnt recognize the name. but, one week apart, for 5 weeks i digested their work. one by one, snatching up work after work until i got to week six/album six. i rested there. it was a new plateau. one could easily see how tailored the members roles had become, and how well they wore those hats. the arranger and engineer, obviously influenced by the like of phillip glass, made the works build and destruct, rise and fall; he made the songs breathe. the one using that breath was the handsome singer, somehow putting voice to the words of these songs. and he hadnt written note one. the songwriters shoes were occupied by yet another member. i was amazed that a group could work in this way for so long. i was amazed at what i was hearing. after proceeding through all of the necessary phases of acceptance, i realized i had clearly found their peak; i had found their "mercury."


and i think back to how worried my parents would have been had i, as a six year old, realized the profound meaning i have come to know in the words and music of this record. the places it takes me ("i'm taking a ride with my best friend / i hope he never lets me down again").

"Sitting target
Sitting waiting
Anticipating
Nothing
Nothing"

i'd have been the coolest, saddest, six year old on the block.



#5

DEPECHE MODE-music for the masses
RELEASE DATE: January 1, 1987
LABEL: mute /reprise / wea

music for the masses, remastered and in 5.1 surround

One And One And One Is Three

:: 11 ::

The Beatles
Abbey Road

I wasn't a fan of The Beatles until I bought the Beatles One album, then realized I knew almost every Beatles song. What power! for a band to have most every song engraved into the dna of several generations. There's not much else one can say, other than it's a burning dream of mine to recreate the Abbey Road photo... how original.

Tracks of Note:
Come Together, I Want You, Polythene Pam, She Came in Through the Bathroom Window

Could've Been A Genius If You Had An Axe To Grind

:: 12 ::

OK Go
Self Titled

Chin up, Chicago... you still have OK Go. Thanks to the band's guerrilla marketing genius on YouTube with the treadmill video, I started liking the radio hits from their second album. So I took a listen to their first album and loved every song. They have a way of writing the catchiest tunes that just stick into your brain. This is a band that I didn't want to like, it's poppy and happy - but when I searched my feelings, I knew it to be true... they're just good. I defy you to listen and not be immediately put into a better mood. In fact, any Bears fan with murderous feelings toward Grossman should first take a deep breath, count to ten, and put on some OK Go.

Tracks of Note:
What To Do, Get Over It, Hello My Treacherous Friends, CCCinnamon Lips

.....

:: 13 ::

Nirvana
Nevermind

There's nothing I can say.

Tracks of Note:
C'mon

Two Turntables and a Microphone

:: 14 ::

Beck
Odelay

To me, Beck embodies the "Alternative" label more than any other artist. I love the different sounds from low tech sampling to old school folk-hip hop... fusion, thing. Plus any artist that is non-compromising and constantly pushing music to new, original heights should be applauded. (The Information has the coolest album art concept of all time.) This album just works, and Where It's At is on the soundtrack of my life.

Tracks of Note:
Where It's At, New Pollution, Devils Haircut, High 5

i'm dressed in white noise, you know just what i want so please...

i would like to start our by apologizing for my absence.

this almost killed me. there was barely time to sleep, much less focus my attention and write something meaningful. prior to our winter break, i had written a post about my next record. i wanted to just pull it up and post it during my frantic editing, but i think i accidentally lost that flash drive somewhere. it breaks my heart, because i felt like it was worded just so. but regardless, maybe some time has offered greater insight to my next pick...or maybe it wont do the record justice and just suck horribly.


===


i am a baritone. i'll admit that. but in the summer of 1996, i was a crooner. my soaring falsetto rose above the buzz and hum and grumble and feedback, and note for note i sung along. it feels like that time of my life was filled with the excitement of new music. every album in my cd collection was a gem, this perfect piece of wonderment. maybe its because that time of your life is where youre most impressionable, and where you form your music taste...or maybe its because they just dont make them like they used to.

as already mentioned by papa shoegaze and lucky strikes, the prayer chain's "mercury" is quite an achievement of modern christian rock. i'll admit that too. but something odd happens when you dont grow with a band, when you are introduced to them in the peak of their existence; anything following will never live up, and none of their prior work ever quite has that same magic. when you arent there to connect the dots with them, you can never fully appreciate the leaps they took to get there. you only hear it for what it is. if you dont grow with a band, they dont grow with you. and it's in this way that it's so easy to take an album for granted.

i took "mercury" for granted.

soon after, the prayer chain disbanded and, sadly, i didnt feel much. where papa and lucky might have felt sorrow for their break-up, their absence never did strike the same droning, reverbed, indian-influenced chord with me. curiously, out of huntington beach, came a blazing record by a california-cool duo with some familiar faces. this band is everything i loved. it's like the two members put "shutdown, vol. 2" in a blender with "nowhere" and "pychocandy" and pureed to perfection. reverb and falsetto. shakers and feedback. layers of guitars and noise and dirt and rattle. the grooviest beats and the most laid back lyrics about serfs and queens. i was not going to make the same mistake with this as i had with "mercury." i would not take this record for granted. this album WAS and IS a gem.

or maybe they just dont make 'em like they used to.


"thank you! the lassie foundation"


#7

THE LASSIE FOUNDATION-california
RELEASE DATE: ??/??/96
LABEL: velvet blue music

*NOTE: usually i link to the amazon page where one might purchase the record in discussion. but this record is out of print. thusly, i have included a link to a lassie foundation retrospective collection which contains, among other things, the "california" record in it's entirety.

===========

i had just moved out of the dorms. this was an exciting time in my life. the year i moved into my first apartment, the year i first had a thanksgiving party and attended my first wine and cheese snob-fest, i purchased more records than any other point in my existence. i am, to this day, still finding records--good or bad--acquired during this time, shoved anywhere one can cram cd's; lunchboxes, giant rubbermaid bins, old book bags. hell, if i hadnt wrecked my first explorer, i'd still be pulling jewel cases out of the seats.

when someone you care about introduces you to a new artist or record, you cannot listen to a lyric or hear that bassline without being warmed by the memory of them. the melody summons some ghost from the past, and you thank it, and kindly ask it to not disturb your listen with the rattle of it's chains.

but what do you do when an artist you love was introduced to you by someone you hate?

ponder that for a moment.



for the same reasons that ran through your head, i did not want to like this artist. 'she sounds too portishead' i would say. or thoughts like 'why cant they decide which they want to rip off; 60s pop, haunting folk, sultry cabaret, or electronic-tinged orchestral dance?' then i realized i loved this band for all of these reasons.

to understand a band, one must look no further than the people who make up its pulse. its soul. the voice of this duo is a classically trained siren, who lent her vocal talents to tricky, orbital and add n to x before meeting with her partner in crime to develop this group (which borrows her last name). her cohort is a classic synth-nerd, with too much time on his hands and too many synths to fill them.

if there is one thing that fascinates me more than duo's, it's a group that hasnt played their first live show before their record has elevated them to international celebrities. their live debut was at the Somerset House; a swanky, high-brow opera house in which audiences were treated to the eclectic stylings of this twosome and their backing band; a 20-piece orchestra made up of 3 percussionists, 4 synth players, a bassist, and a string section. the visual makes the aural make sense, and only adds to my whims that this is classical music for kraftwerk or depeche mode.

try as i might, i wanted to hate them. but i couldnt. the drums were blippy. pads and orchestral strings shared sonic space with a bass that sounds as if it were being thumped by carol kaye. at any given point, you cant tell if you're listening to a symphony in a great church or two people locked in a closet whispering to not wake the neighbors.

but, oddly enough. this post isnt about this bands first record. it's about their follow-up.

if their freshman effort was the groups red-carpet, smile-at-the-camera-and-wave, media-friendly interview, then their sophomore release was their grainy, nightvision-colored sex tape.

a dirty, sweaty, heavy-breathing-in-the-corner-of-some-dive sex tape.

and they made no appearance on oprah to apologize. turns out, thats who they are; thumping basses. fuzzy, squealing synth-leads. whispered vocals that turn into operatic orgasms in crecsendo. the soundtrack to your wake-up-in-the-middle-of-the-night-sweating dreams. it's amazing when you find yourself blushing, time and again, after you finally realize what you've been singing along to driving down the highway in the middle of the night.

"before you go and leave this town / i want to see you one more time / put your dirty angel face / between my legs and knicker lace"

still present are the harpsichords and pads. the soft-spoken honesty and the over-the-top, other-worldly trance it draws you into. but gone is "utopia." unless, of course, your idea of utopia is a dominatrix in a top hat. if nina persson is an angel, allison goldfrapp isnt afraid to use her pitchfork.

#6

GOLDFRAPP-black cherry
RELEASE DATE: May 6, 2003
LABEL: mute