The short answer is "No," but as time goes by, I'm starting to think that independent artists deserve a better response than that. As a keyboardist in a New York City glam/synthpop band, I've heard people blame everything from Napster, Kurt Cobain's suicide, the economy, the subway, and the sound guy. In the end, however, who can we really "blame" when the RIAA threw their hands up long ago, Radiohead handed out their album for whatever their fans decided it was worth (and have been monumentally successful as a result, to add to the puzzle), and the big studios are all closing?
I recently read a book which discussed, in part, the main causes of most plane crashes. The bottom line is that the plane crash most often occurs due to a series of events, as opposed to one major catastrophe. More often than not, the plane ends up crashing because, in essence, people fail to communicate properly with each other. I believe that this lack of communication is the root of any and all conflict throughout history. Furthermore, I believe that in the entertainment industry, we are all guilty as charged; we have whittled down our communications to notes on Facebook and tweets on Twitter. It gets people talking, but it's mostly fluff, as if our fifteen minutes of fame has been appealed and now suddenly we want at least 600 friends instead or it's not happening.
These current issues are all at the root of the question I even ask myself: "What does it take to make it as an independent artist in the music industry today and why is it so goddamn hard?" And let me tell you, I've asked everybody. The lead singer of my band went on a wistful reminiscence of the early 00's New York City electroclash scene, when "people were really into bands like Interpol and The Faint and we fit right in there, man..it was easier." ("Um, it's time for soundcheck." "Oh, yeah.") Alan Wilder, formerly of Depeche Mode and now of Recoil, commented on the "volume wars" and the perpetual battle of how to sell your product in an mp3 market.
Studio owners have cited things as practical as rising real estate and utilities costs, as well as older analog equipment falling into ruin because not only is it difficult to find people to do the repairs, but parts are becoming more scarce. (As the owner of two vintage analog synthesizers, I can attest to this for sure!) Everyone blames the recession, some 90's revivalists in flannel shirts assured me it all changed when Kurt Cobain put that gun in his mouth, and at this point, I'm sure somebody somewhere is pointing the finger at the volcano in Iceland.
In order to really figure out why it's a different game now, what makes it harder, and more importantly, what we can do about it, please open your fifth grade history book to page 101 and start reading the first paragraph about dinosaurs. Relax, I'm not calling all you old-skool studio owners dinosaurs! I'm saying, this is just another pattern of evolution at work. All we have to do is ask ourselves: why does anything become endangered- or worse, extinct? Raise your hand if you know the answer. That's right: failure to adapt, whether intentional or not. The dinosaurs died because something happened which changed their living environment into a world they were no longer equipped to survive in, and could not adapt to. When I was four years old and I found this out, I was really crushed because I had wanted a Stegosaurus as a pet for a while. I think I might have even cried about it.
Well, it's not worth crying about now. We have our answer, and if we're an independent musician, we've never been a part of the mainstream anyway, so we might as well get creative and see what we can do to adapt. I am by no means citing Facebook or Twitter as inadequate methods of promotion; quite the contrary, in fact- and it sure beats standing around Guitar Center handing out flyers in the summer heat, or bribing a local radio station to let you make some awkward announcement: "Um, so, yeah. Come to our show. Punch and pie."
That said, it's hard for an independent artist to make it because now that the music industry is mutating into another life-form right before our eyes (hopefully a more sustainable one than our friends the dinosaurs), everyone wants to jump into the pool for one last swim before the meteorite comes. Sometimes they pee in the pool, too. I won't name names, but if you want to see the phrase "flooded market" come to life, visit New York City, take the L train to Bedford Avenue, get off the train, and just watch the people for a while. (If you like falafel, there's a great place right on the corner called Oasis; check them out!) Here is a veritable mecca of indie culture, with everyone struggling to get their word (or flyer) in edgewise. And speaking of edges, it's a double-edged sword. It's the independent artist's best bet, but it's also their worst nightmare. Now that "indie" music has become more, well, "mainstream," (There, I said it. Please don't take me outside and shoot me) it seems the plot has thickened further. We basically have a thousand bands fighting for fifty spotlights. If you're willing to evolve and develop sharp enough teeth or a thick protective shell, maybe you'll find your place, but without these things, it will be harder still; I know this because I am one of those sensitive, small, plant-eating dinosaurs and I live in constant fear of being devoured.
The best advice I can give to any independent artist today is to stop mourning the fact that the music industry is not what it used to be, and focus on what it could become as our methods of consuming our media change, as the economy picks itself up and dusts off its scabbed knees at last, as the pendulum swings back the other way. If the big studios are closing, then it's a buyers' market, now isn't it? Get in there and make your album, because those guys want your business and their rates will never be this low at this beautiful vintage studios with the best gear you could possibly ask for; it puts your friend's basement to shame! Learn from them while they are still around, because we are the future of the music industry, we the tattered twenty-and-thirty-something youth of the scene. We built the Facebook/Twitter/MySpace empire. We created the Ipod. We wrought new technology upon the world for better or worse, and as long as this is happening, it has never been a better time to be creative and to adapt. If you're looking for big money, go work in an office, and if you're looking for lifelong stability, go get married and buy a house in the suburbs (some of my divorced friends might argue this). But if you're looking for a New World, look around...you're in it, kid!
The independent music scene in New York is a kaleidoscope of genres and styles, a mash-up of struggle and art. Everything's changing and nothing has changed. I would venture to say that there are a few subway musicians who make more money than a lot of the bands playing out right now, but it doesn't mean things are hopeless. It seems the original "indie" style of music is shifting into something a little more experimental, a sturdier mixed bag of influences and talents. While it's true that not as many people buy CD's anymore, I see a lot more people who are into buying vinyl again, myself included. For my parents, it was the expected format, but for me, it's a rarity and a treat: look at this beautiful artwork that can even be framed if you spend $10 on the Vinyl Album Frame at Target! (I'm staring fondly at the sleeve of Kraftwerk's Autobahn hanging majestically on my wall as I type this) And just listen to it...it sounds great! It sounds whole!
I had an interesting conversation with the owner of a studio who admitted to me outright that he might have to close soon. "Some people think things will turn around, but I don't think they will...and I don't know what I'm gonna do now." I listened helplessly as this self-assured, strong-willed 50-year old man's voice cracked a tiny bit, and I remembered when I was a kid and my mom lost her job, and it blew my mind because I thought my mom was a champion and could not be defeated. In that instant, I realized that my elders did not know everything and were not immortal or invincible. I think that was the day that I picked up the slack and took part of the weight of the world on my shoulders so that they wouldn't have to (I was a very serious child).
At the least, that's what we have to do now. And at the most, we have to keep playing, and keep creating, because there is always someone to hear the tree falling in the forest, even if you can go home instead and just download the sound and drop it into Itunes. (It's not the same, though!)
Friday, June 11, 2010
Album Review: How To Destroy Angels, self-titled EP
Album Review:
How To Destroy Angels, self-titled EP
The Null Corporation 2010
How To Destroy Angels And Confuse Nine Inch Nails Fans
How To Destroy Angels is ex-Nine Inch Nails' Trent Reznor's new music project, available for free digital download through their website. (An HD option for $2 is also available) Nine Inch Nails called it quits last summer with their much-publicized "Wave Goodbye" tour. Having regretfully missed my last opportunity to see them due to financial hardships, I found myself wondering what our friend Trent was up to in the meantime. Although I am more a fan of Nine Inch Nails' work from the 90's than later, when I heard he had a new group, I decided to check it out; after all, he's a talented guy.
First of all, it is indeed named after the Coil single of the same name, for which I have to give them props. Second of all, the group brought art director Rob Sheridan on board, who was previously responsible for the stunning artwork behind Nine Inch Nails releases Things Falling Apart and Year Zero. We also have Atticus Ross onboard, who has worked with Tim Simenon of Bomb The Bass, Barry Adamson formerly of Nick Cave and the Bad Seeds, and also fronted his own project on Nothing Records, 12 Rounds. How To Destroy Angels is undoubtedly an endless roster of talent and a vast array of musical influence. It's little wonder that when I first clicked on the download, my expectations were high....and thus, they were not met.
While I am not completely disappointed, I'm also not impressed; as a die-hard NIN fan, I hate to say it, but I expected better from someone who was responsible for the 1994 masterpiece The Downward Spiral. The opening track, "Fur-Lined," kicks off without ado into a surprisingly canned-sounding drum beat and distorted female vocals courtesy of Reznor's wife, Mariqueen Maandig, formerly of West Indian Girl. The last minute of the song meanders into vaguely NIN-esque guitar work, but lacks the layers that made Reznor's previous work so spectacular.
By the second track, "Parasite," I can vaguely draw a parallel to post-Fragile Nine Inch Nails, and almost expect to hear Reznor's familiar growling vocals over lurching synths. The buildup crashes into minimal drums and female vocals but I found myself already getting it confused with the first track. "BBB" has a little more promise and texture to it; it turns into a lilting, down-tempo groove with synths that almost sound like they came from the original session files for The Downward Spiral. Unfortunately, the only thing that kills it for me is the title of the song and the vocal hook, "Listen to the sound of my big black boots." "Head Like A Hole" it is not. I could see it as a club remix in the right hands, but would Trent really want that for himself? Would he have wanted it back in NIN's heyday? I'm not so sure.
"The Believers" is one of two tracks off this album which really makes me believe that How To Destroy Angels might allow Trent Reznor and his collaborators the creative freedom to take risks as a musician instead of just picking up where Nine Inch Nails left off. It moves forward in a way that the other tracks do not, in a manner reminiscent of NIN classics like "The Becoming" and "The Perfect Drug." The vocals are less processed, although I still found myself, upon first listen, wishing Trent Reznor would sing, and feel that it ended before we could really be led in further. I was amused to note that the next track, "The Space In Between," starts out with a drum beat reminiscent of a faster "Eraser," but the similarities end there. By the time I formed an opinion about the song, it had ended on an uncertain cadence, leaving me wondering if I missed anything.
The album finishes off with "A Drowning." This is the only track where if you didn't tell me who had done it, I would speculate that perhaps you-know-who had been involved, and thus, the second track that I feel is a worthwhile "Where Are They Now?" chapter for him. Sure enough, it was touched by familiar hands, those of Alan Moulder, who worked with Reznor extensively on Broken and The Downward Spiral among others, and has also worked with Atticus Ross in producing Jane's Addiction, another 1990's heavy-hitter. Even the lyrics sound somewhat familiar to me, an often-visited theme of self-destruction and attempts at salvation from it. Clocking in at just over seven minutes long, it's an interesting end to an album which seems to leave its listeners constantly hanging. Instrumentally and lyrically, I would consider it to be the most developed, especially the last minute, which fades into goosebump-inducing piano and synths, finally recognizable as being borne of Trent Reznor's talents.
It's a shame that this album is mostly full of false starts and, in comparison to Reznor's previous work, undeveloped musical ideas. Maybe it's too soon, or maybe The Downward Spiral was just that good. I applaud the decision to release the album as a free download, which I feel is always a risk (albeit a generous one) given the music industry these days and the hordes of listeners who refuse to pay a dime for any musician's blood, sweat, and tears. I'm glad to see that Trent Reznor is still working on music instead of just sitting around watching football and letting all his musical gifts go to waste. However, I was expecting something more innovative, more epic, more proof that he needed to move beyond Nine Inch Nails in order to do something better. Fifteen years ago (how time flies...), he first raised the bar for himself with an album that I still consider to be one of the greatest examples of electronic music since Kraftwerk's Autobahn. The production of this album was truly a magnum opus for both Flood and Reznor and I knew at age thirteen, upon first listening, that nothing would ever be better. I played that album so incessantly that I went through two copies because the first one got so scratched.
However, that's no excuse to sell yourself short in your later years; there is always new ground to be broken. I think the most surreal and anticlimactic thing about this album is the strange feeling that if I didn't know who was behind it, I might think, "This sounds kinda like Nine Inch Nails." By all means, it should at least be as good as Nine Inch Nails, given the guy behind the curtain. But it's just not. Is it worth $2 for an HD lossless download and a cool JPEG of the album artwork for your iPod? Sure, and if you like down-tempo electronic music, you'll appreciate it. Is it a true indication of Trent Reznor's brilliance? No. As long as you don't expect it to be, by all means, give it a listen.
How To Destroy Angels, self-titled EP
The Null Corporation 2010
How To Destroy Angels And Confuse Nine Inch Nails Fans
How To Destroy Angels is ex-Nine Inch Nails' Trent Reznor's new music project, available for free digital download through their website. (An HD option for $2 is also available) Nine Inch Nails called it quits last summer with their much-publicized "Wave Goodbye" tour. Having regretfully missed my last opportunity to see them due to financial hardships, I found myself wondering what our friend Trent was up to in the meantime. Although I am more a fan of Nine Inch Nails' work from the 90's than later, when I heard he had a new group, I decided to check it out; after all, he's a talented guy.
First of all, it is indeed named after the Coil single of the same name, for which I have to give them props. Second of all, the group brought art director Rob Sheridan on board, who was previously responsible for the stunning artwork behind Nine Inch Nails releases Things Falling Apart and Year Zero. We also have Atticus Ross onboard, who has worked with Tim Simenon of Bomb The Bass, Barry Adamson formerly of Nick Cave and the Bad Seeds, and also fronted his own project on Nothing Records, 12 Rounds. How To Destroy Angels is undoubtedly an endless roster of talent and a vast array of musical influence. It's little wonder that when I first clicked on the download, my expectations were high....and thus, they were not met.
While I am not completely disappointed, I'm also not impressed; as a die-hard NIN fan, I hate to say it, but I expected better from someone who was responsible for the 1994 masterpiece The Downward Spiral. The opening track, "Fur-Lined," kicks off without ado into a surprisingly canned-sounding drum beat and distorted female vocals courtesy of Reznor's wife, Mariqueen Maandig, formerly of West Indian Girl. The last minute of the song meanders into vaguely NIN-esque guitar work, but lacks the layers that made Reznor's previous work so spectacular.
By the second track, "Parasite," I can vaguely draw a parallel to post-Fragile Nine Inch Nails, and almost expect to hear Reznor's familiar growling vocals over lurching synths. The buildup crashes into minimal drums and female vocals but I found myself already getting it confused with the first track. "BBB" has a little more promise and texture to it; it turns into a lilting, down-tempo groove with synths that almost sound like they came from the original session files for The Downward Spiral. Unfortunately, the only thing that kills it for me is the title of the song and the vocal hook, "Listen to the sound of my big black boots." "Head Like A Hole" it is not. I could see it as a club remix in the right hands, but would Trent really want that for himself? Would he have wanted it back in NIN's heyday? I'm not so sure.
"The Believers" is one of two tracks off this album which really makes me believe that How To Destroy Angels might allow Trent Reznor and his collaborators the creative freedom to take risks as a musician instead of just picking up where Nine Inch Nails left off. It moves forward in a way that the other tracks do not, in a manner reminiscent of NIN classics like "The Becoming" and "The Perfect Drug." The vocals are less processed, although I still found myself, upon first listen, wishing Trent Reznor would sing, and feel that it ended before we could really be led in further. I was amused to note that the next track, "The Space In Between," starts out with a drum beat reminiscent of a faster "Eraser," but the similarities end there. By the time I formed an opinion about the song, it had ended on an uncertain cadence, leaving me wondering if I missed anything.
The album finishes off with "A Drowning." This is the only track where if you didn't tell me who had done it, I would speculate that perhaps you-know-who had been involved, and thus, the second track that I feel is a worthwhile "Where Are They Now?" chapter for him. Sure enough, it was touched by familiar hands, those of Alan Moulder, who worked with Reznor extensively on Broken and The Downward Spiral among others, and has also worked with Atticus Ross in producing Jane's Addiction, another 1990's heavy-hitter. Even the lyrics sound somewhat familiar to me, an often-visited theme of self-destruction and attempts at salvation from it. Clocking in at just over seven minutes long, it's an interesting end to an album which seems to leave its listeners constantly hanging. Instrumentally and lyrically, I would consider it to be the most developed, especially the last minute, which fades into goosebump-inducing piano and synths, finally recognizable as being borne of Trent Reznor's talents.
It's a shame that this album is mostly full of false starts and, in comparison to Reznor's previous work, undeveloped musical ideas. Maybe it's too soon, or maybe The Downward Spiral was just that good. I applaud the decision to release the album as a free download, which I feel is always a risk (albeit a generous one) given the music industry these days and the hordes of listeners who refuse to pay a dime for any musician's blood, sweat, and tears. I'm glad to see that Trent Reznor is still working on music instead of just sitting around watching football and letting all his musical gifts go to waste. However, I was expecting something more innovative, more epic, more proof that he needed to move beyond Nine Inch Nails in order to do something better. Fifteen years ago (how time flies...), he first raised the bar for himself with an album that I still consider to be one of the greatest examples of electronic music since Kraftwerk's Autobahn. The production of this album was truly a magnum opus for both Flood and Reznor and I knew at age thirteen, upon first listening, that nothing would ever be better. I played that album so incessantly that I went through two copies because the first one got so scratched.
However, that's no excuse to sell yourself short in your later years; there is always new ground to be broken. I think the most surreal and anticlimactic thing about this album is the strange feeling that if I didn't know who was behind it, I might think, "This sounds kinda like Nine Inch Nails." By all means, it should at least be as good as Nine Inch Nails, given the guy behind the curtain. But it's just not. Is it worth $2 for an HD lossless download and a cool JPEG of the album artwork for your iPod? Sure, and if you like down-tempo electronic music, you'll appreciate it. Is it a true indication of Trent Reznor's brilliance? No. As long as you don't expect it to be, by all means, give it a listen.
Album Review: Recoil, "Selected"
Recoil's Selected: Remixed, Remastered...Required
Mute Records 2010
For those who are unfamiliar, Recoil is the brainchild of former Depeche Mode member Alan Wilder, the man who turned the unpolished demo of "Enjoy The Silence" into the club stomper that we know it as today and contributed significantly to one of the most influential bands of the electronic music world, from the haunting throb of the bass line of "In Your Room" to the notorious samples in "Fly On The Windscreen". If Depeche Mode in the 80's and 90's were a piece of homemade chocolate cake in a world of Twinkies, then Wilder's involvement in the band was the icing on top.
He first founded Recoil in 1986 as a self-described alternative to the constraints of Depeche Mode's pop format. Ten years later, Wilder started his own studio, The Thin Line, and began developing Recoil into something which many have called a cinematic experience, far more involved- and evolved- than just a simple "side project." Stylistically, the music touches on the symphonic, with swelling strings and stark keys, keeping you guessing. Yet, it also delves frequently into trip-hop and blues as a result of Wilder's collaborations with artists like blues singer Joe Richardson and spoken word genius Nicole Blackman. When you add the same dramatic flair that he brought to Depeche Mode (and mix it with the chops of a classically trained pianist to boot), while it might not be music for the masses, it still creates an unforgettable impact on the listener.
As an avid Depeche Mode fan and a curious consumer of previous Recoil albums such as SubHuman, Liquid, and Unsound Methods, I was thrilled when I heard that Wilder and Co. would be releasing a double CD this spring; the first one entitled "Selected" and the second one "Remixed," featuring the magic touch of frequent collaborator Paul Kendall, Alan Wilder himself, a few newcomers to the Recoil group, and even a remix by Bon Harris of Nitzer Ebb. Mute Records also released the album on vinyl, as well as a limited-edition box set and a downloadable release. The album also coincided with a tour known as "A Strange Hour With Alan Wilder And Paul Kendall," a multimedia experience showcasing live arrangements of Recoil tracks and performances by special guest artists throughout Europe and the United States.
The first CD contains an assortment of previous Recoil material chosen by the man himself, a sort of "greatest hits" compilation. It starts out with "Strange Hours," a blues-y number featuring Diamanda Galas, followed by an unforgettable cover of the Alex Harvey Band's "Faith Healer," on which Douglas McCarthy of Nitzer Ebb makes an impressive vocal appearance. Other gems include the swirling, pulsing psychedelia of "Shunt," an excerpt from one of the tracks co-written with Joe Richardson, "The Killing Ground," and the hauntingly beautiful "Red River Cargo." All in all, Wilder's "Selected" tracks are a perfect introduction to new Recoil fans and a familiar assortment to everyone else.
The second CD is where it gets really interesting; it is a kaleidoscope of musical stylings and arrangements which I have been listening to incessantly on my iPod for nearly a month now because it's just that good. Paul Kendall creates a lurching, synth-drenched atmosphere with the "True Romance" mix of "Supreme," which fools us into thinking we can sit back for a while and just chill out, until the relentless strains of the "Shotgun" mix of "Prey" put us back on the edges of our seats. Both the "Poison Dub" mix of "Drifting" and the "Filthy Dog" mix of "Jezebel" take on a curiously urban, gritty edge, the latter leaning slightly into a drum n' bass feel. From that point on, we are plunged into pure and glorious deconstruction with the "Noisy Church" mix of "Allelujah" (the original track is on the first CD as well) and the "Solid State" mix of "Killing Ground."
Not all of the remixes were created by Alan Wilder or Paul Kendall, however; Goldfrapp's Davide Rossi "reinterprets" the Wilder/Richardson gem "5000 Years" as a mostly instrumental arrangement with the "Romanian Elegy For Strings" mix. This is truly one of those tracks that makes you stop whatever else you're doing and sit in one place, just to listen and let it wash over you.
If you are impressed by Rossi's work, you'll be pleased to hear it again on "Strange Hours '10," which features Rossi in collaboration with The Verve's Nick McCabe and Simon Jones, a project known as The Black Ships. Hot on its heels is a dreamy reworking of "Missing Piece" and, to close the album, experimental electronic duo Pan Sonic's mix of "Shunt." Listen very closely (and watch your ears if you keep the volume loud!) and you'll hear something new every time.
One of the things that I've always appreciated about Recoil is how much of a collaborative process it is, like a collage of sound and talent; Alan Wilder is constantly finding new directions to go in and new people to do it with. If you pay attention and examine your Recoil album liner notes closely, you're guaranteed to find all sorts of interesting musicians to read up on and hear more of. As a fellow electronic musician, I find this approach to be not only inspiring but refreshing as well. This album stands strong both as a solid introduction to Recoil, and as a stunning example of the many different ways you can approach a remix.
Recoil finished up their US leg of the "Strange Hours" tour in mid-May but have hinted at a more extensive tour in the fall. For more information, visit Shunt, the official Recoil site, at http://www.recoil.co.uk.
Mute Records 2010
For those who are unfamiliar, Recoil is the brainchild of former Depeche Mode member Alan Wilder, the man who turned the unpolished demo of "Enjoy The Silence" into the club stomper that we know it as today and contributed significantly to one of the most influential bands of the electronic music world, from the haunting throb of the bass line of "In Your Room" to the notorious samples in "Fly On The Windscreen". If Depeche Mode in the 80's and 90's were a piece of homemade chocolate cake in a world of Twinkies, then Wilder's involvement in the band was the icing on top.
He first founded Recoil in 1986 as a self-described alternative to the constraints of Depeche Mode's pop format. Ten years later, Wilder started his own studio, The Thin Line, and began developing Recoil into something which many have called a cinematic experience, far more involved- and evolved- than just a simple "side project." Stylistically, the music touches on the symphonic, with swelling strings and stark keys, keeping you guessing. Yet, it also delves frequently into trip-hop and blues as a result of Wilder's collaborations with artists like blues singer Joe Richardson and spoken word genius Nicole Blackman. When you add the same dramatic flair that he brought to Depeche Mode (and mix it with the chops of a classically trained pianist to boot), while it might not be music for the masses, it still creates an unforgettable impact on the listener.
As an avid Depeche Mode fan and a curious consumer of previous Recoil albums such as SubHuman, Liquid, and Unsound Methods, I was thrilled when I heard that Wilder and Co. would be releasing a double CD this spring; the first one entitled "Selected" and the second one "Remixed," featuring the magic touch of frequent collaborator Paul Kendall, Alan Wilder himself, a few newcomers to the Recoil group, and even a remix by Bon Harris of Nitzer Ebb. Mute Records also released the album on vinyl, as well as a limited-edition box set and a downloadable release. The album also coincided with a tour known as "A Strange Hour With Alan Wilder And Paul Kendall," a multimedia experience showcasing live arrangements of Recoil tracks and performances by special guest artists throughout Europe and the United States.
The first CD contains an assortment of previous Recoil material chosen by the man himself, a sort of "greatest hits" compilation. It starts out with "Strange Hours," a blues-y number featuring Diamanda Galas, followed by an unforgettable cover of the Alex Harvey Band's "Faith Healer," on which Douglas McCarthy of Nitzer Ebb makes an impressive vocal appearance. Other gems include the swirling, pulsing psychedelia of "Shunt," an excerpt from one of the tracks co-written with Joe Richardson, "The Killing Ground," and the hauntingly beautiful "Red River Cargo." All in all, Wilder's "Selected" tracks are a perfect introduction to new Recoil fans and a familiar assortment to everyone else.
The second CD is where it gets really interesting; it is a kaleidoscope of musical stylings and arrangements which I have been listening to incessantly on my iPod for nearly a month now because it's just that good. Paul Kendall creates a lurching, synth-drenched atmosphere with the "True Romance" mix of "Supreme," which fools us into thinking we can sit back for a while and just chill out, until the relentless strains of the "Shotgun" mix of "Prey" put us back on the edges of our seats. Both the "Poison Dub" mix of "Drifting" and the "Filthy Dog" mix of "Jezebel" take on a curiously urban, gritty edge, the latter leaning slightly into a drum n' bass feel. From that point on, we are plunged into pure and glorious deconstruction with the "Noisy Church" mix of "Allelujah" (the original track is on the first CD as well) and the "Solid State" mix of "Killing Ground."
Not all of the remixes were created by Alan Wilder or Paul Kendall, however; Goldfrapp's Davide Rossi "reinterprets" the Wilder/Richardson gem "5000 Years" as a mostly instrumental arrangement with the "Romanian Elegy For Strings" mix. This is truly one of those tracks that makes you stop whatever else you're doing and sit in one place, just to listen and let it wash over you.
If you are impressed by Rossi's work, you'll be pleased to hear it again on "Strange Hours '10," which features Rossi in collaboration with The Verve's Nick McCabe and Simon Jones, a project known as The Black Ships. Hot on its heels is a dreamy reworking of "Missing Piece" and, to close the album, experimental electronic duo Pan Sonic's mix of "Shunt." Listen very closely (and watch your ears if you keep the volume loud!) and you'll hear something new every time.
One of the things that I've always appreciated about Recoil is how much of a collaborative process it is, like a collage of sound and talent; Alan Wilder is constantly finding new directions to go in and new people to do it with. If you pay attention and examine your Recoil album liner notes closely, you're guaranteed to find all sorts of interesting musicians to read up on and hear more of. As a fellow electronic musician, I find this approach to be not only inspiring but refreshing as well. This album stands strong both as a solid introduction to Recoil, and as a stunning example of the many different ways you can approach a remix.
Recoil finished up their US leg of the "Strange Hours" tour in mid-May but have hinted at a more extensive tour in the fall. For more information, visit Shunt, the official Recoil site, at http://www.recoil.co.uk.
Sunday, May 23, 2010
Recoil show review: New York City (May 18, 2010)
So as my first post to this blog, here are some thoughts I had after the Recoil performance last Tuesday at Le Poisson Rouge in New York City (which is an excellent venue, by the way; check them out!). It was truly one of the best weeks I've had in a while, as wiped out as I am! It starts as a review of the show and mutates a bit into a commentary on art and music...oh well, enjoy anyway!
"I'm Gonna Walk Up To Heaven..." Recoil Live At LPR, NYC
To make what is possibly the understatement of the century, I think all the Shunt-heads and Modies in New York were waiting for this night with bated breath...and it was worth it!
Unfortunately, Douglas McCarthy couldn't make it because of the unpronounceable volcano which has sidelined so many people in Europe (anyone want to make t-shirts that say "Blame Bjork"? Aw, I'm just kidding, Bjork), but it was still a very special show.
The set kicked off with a performance by the now-infamous blues guy Joe Richardson. It's always funny to see a musician live after hearing them and not knowing what they look like. Joe looked exactly as I pictured he would; a self-described ponytailed hippie with a beat-up old Strat, just hanging out playing us some tunes. After telling the story of how he met Alan and began working with him, he conducted us all in a rousing audience-participation rendition of "5000 Years" as well as "The Killing Ground" and "Prey" and, as a bonus, a track from his own album. He reminded me a little bit of R.L. Burnside and I really enjoyed it.
Then it got dark, save for some flashing lights and rumbling bass with an appropriately ambient quality to it... and then the footage started. It was the Shotgun mix of "Prey," complete with a pretty cool propaganda/Pop Art-esque projection that reminded me a little of Brute's artwork. One of the things I was particularly curious about with the Recoil performance was not just the live manipulation of the songs (courtesy of Ableton Live, which I'm a big fan of!), but the visual side of it too. As a film geek, I always like being able to see something cool to go along with what I'm hearing.
I also think that when it comes to electronic music, which tends to be minimal as far as stage presence (the bad stereotype is of "some dude with a synthesizer and a laptop." Personally, I find nothing wrong with that!), you can't underestimate the power of compelling eye candy, whether it's Nicole Blackman flinging articles of jewelry into the crowd or HR Giger. Incidentally, within the Recoil/Mode crowd, there seems to be appreciation for both! I've always been curious about Nicole Blackman's work and admittedly, am not hugely familiar- but after seeing her perform, I definitely plan to change that. Her contribution to "Liquid" was actually one of the things that I first found so compelling about Recoil. It rounds out the whole experience as having a human, organic, almost cinematic quality to it.
The other high points included "Stalker" (to which someone in the crowd yelled, "That's right, play his songs even though he's not here!" We all laughed), the "Aggro" mix of "Never Let Me Down Again," and an absolutely unforgettable version of "The Killing Ground" with Joe Richardson- harmonica and Strat in tow- back onstage to join in, which had the whole place stomping. Then of course, we were treated to "Warm Leatherette" at the end (this time it was ME yelling, "YES!" Sorry, it slipped out) and "Shunt" being blasted at epic, lurching, rumbling, arm-hair-raising volume...perfect!
Visually, I loved what they did. I assumed they might have used some sort of video DJ software, similar to Max/Jitter, but it turns out that it was just well-edited and fit the songs really well. I liked how the new Recoil artwork and some of the original Recoil videos were incorporated into the mix.
After the show, there was a meet and greet. The place was packed! Alan and PK were both absolute princes, truly wonderful to talk to, and Nicole Blackman was a trip; she's a really cool woman! (She does talk fast though! I was expecting her to start auctioning off items in the room or something... :-P ) My band mate Kneel and I hung out for a while and got to talk to many different people from the tour. It was truly an honor and a privilege. I can't even begin to explain what this meant for me; what generous, humble people they all are, and how cool it was to be a part of that...to see firsthand how much Alan and his collaborators value the people who come to see, hear, and support them. Beyond that, to see how much they include them; the fact that they borrowed a synth from a fan proves it! (and gives me a case of MS-20 envy to boot...sigh...!)
I had an interesting discussion with Kneel and a promoter who we'd just met, about the attendance at the show. We were talking about how, in short, sometimes the best market is a niche market, because you essentially have a guaranteed audience for life...that for an event like this, they did pretty goddamn good! You don't have to be Bruce Springsteen or Madonna to make an impact on people, you know. (Nothing against them, of course) And maybe sometimes, it's better to just roll with that and do what you can with what you have. I was somewhat amused by the Village Voice listing for the show, which proclaimed, "Alan Wilder (Depeche Mode)". How many more people did that magical phrase, nested inside parentheses, draw? The world will never know, and personally, I don't think that's really our thesis statement here. The bottom line is, people were there to see and hear Recoil...and what a show!
I mean, what do I know? I've been happily wedged into the electronic music "scene" for almost 15 years and thus, maybe I'm the wrong person to talk to about how to sell out shows at The Meadowlands. Sorry, guys. But I do know that quite a lot of the people who like Depeche Mode, REALLY like Depeche Mode...with Violator rose tattoos and massive vinyl collections to prove it. And I know that the people who REALLY like Depeche Mode, REALLY like Alan and might even REALLY like Recoil. So what does that REALLY tell you? It tells you that the root of the electronic music formula is exactly what Recoil has been so hugely successful at: collaboration...a sort of "six degrees" game, where you can literally connect all your favorite musicians and artists just like a family tree. It tells you that we don't need reunion tours or crowds of 50,000 to be successful.
I could also compare it to the film world. You have your indie films with your smaller budgets which are still greatly appreciated, sometimes to a "cult classic" degree and an enthusiasm rarely seen for the big, epic, 3-hour blockbusters. Then you have your, well, 3-hour blockbusters. Can we say that James Cameron is more successful or more popular than Kevin Smith? Wait, what? Exactly. You have your apples, and your oranges. Mmm, apples. So there you have it. Recoil has a loyal following for good reason, not all of which has to do with that band that he used to be in. ;-) And you don't need sweaty guys with guitars onstage to make a show memorable. Sometimes all it takes after all, is a couple of dudes with laptops and a synth; something cool to look at, and something cool to hear...it's as simple as that.
The music of Recoil continues to blow my mind with all the different directions it has gone in, each to worthwhile and memorable effect. Who would have ever guessed that you could combine the blues with spoken word, or with synthesizers, for that matter? Is life itself so straightforward that we can only describe it with one word? I doubt it! Recoil as a multimedia project, to me, reflects the intricacies of the human experience in a way that goes beyond one-word genre descriptions and reaches way beyond what most people would ever try to come up with.
I have to admit that the first time I heard "Grain" off of Hydrology, it brought me to tears, as did "Red River Cargo" off Subhuman for that matter. It made me want to run, not walk, home, and work on music...or, in the case of "Grain," to sit down at the piano and play...but it also made me want to slow down and enjoy life, to watch the sunset and listen to the wind through the trees and pet my cat, instead of worrying about work and money and perpetuating the struggle to survive in this city. These songs are decades apart from each other and quite different in style, but they each have a soulful, raw quality to them that got right in there and tugged at my heartstrings. I dare any Top 40 hit to do the same; these days, it's unlikely. Similarly, sometimes it's easier to lose yourself in the moment when you're in a small space with one of your favorite musicians, surrounded by a few hundred instead of a few thousand. It gives the experience an intimate quality which I think is hard to come by in a stadium, especially when you've got nosebleed seats and some tall guy is standing in front of you!
Well done, Alan, Paul, and all else involved in the tour. I will never forget this Strange Hour; it looked and sounded amazing, and left me very inspired. As for the chance to finally meet a few of the people who have made this incredible music which has changed my life, it was a beautiful moment. Thank you!
The set kicked off with a performance by the now-infamous blues guy Joe Richardson. It's always funny to see a musician live after hearing them and not knowing what they look like. Joe looked exactly as I pictured he would; a self-described ponytailed hippie with a beat-up old Strat, just hanging out playing us some tunes. After telling the story of how he met Alan and began working with him, he conducted us all in a rousing audience-participation rendition of "5000 Years" as well as "The Killing Ground" and "Prey" and, as a bonus, a track from his own album. He reminded me a little bit of R.L. Burnside and I really enjoyed it.
Then it got dark, save for some flashing lights and rumbling bass with an appropriately ambient quality to it... and then the footage started. It was the Shotgun mix of "Prey," complete with a pretty cool propaganda/Pop Art-esque projection that reminded me a little of Brute's artwork. One of the things I was particularly curious about with the Recoil performance was not just the live manipulation of the songs (courtesy of Ableton Live, which I'm a big fan of!), but the visual side of it too. As a film geek, I always like being able to see something cool to go along with what I'm hearing.
I also think that when it comes to electronic music, which tends to be minimal as far as stage presence (the bad stereotype is of "some dude with a synthesizer and a laptop." Personally, I find nothing wrong with that!), you can't underestimate the power of compelling eye candy, whether it's Nicole Blackman flinging articles of jewelry into the crowd or HR Giger. Incidentally, within the Recoil/Mode crowd, there seems to be appreciation for both! I've always been curious about Nicole Blackman's work and admittedly, am not hugely familiar- but after seeing her perform, I definitely plan to change that. Her contribution to "Liquid" was actually one of the things that I first found so compelling about Recoil. It rounds out the whole experience as having a human, organic, almost cinematic quality to it.
The other high points included "Stalker" (to which someone in the crowd yelled, "That's right, play his songs even though he's not here!" We all laughed), the "Aggro" mix of "Never Let Me Down Again," and an absolutely unforgettable version of "The Killing Ground" with Joe Richardson- harmonica and Strat in tow- back onstage to join in, which had the whole place stomping. Then of course, we were treated to "Warm Leatherette" at the end (this time it was ME yelling, "YES!" Sorry, it slipped out) and "Shunt" being blasted at epic, lurching, rumbling, arm-hair-raising volume...perfect!
Visually, I loved what they did. I assumed they might have used some sort of video DJ software, similar to Max/Jitter, but it turns out that it was just well-edited and fit the songs really well. I liked how the new Recoil artwork and some of the original Recoil videos were incorporated into the mix.
After the show, there was a meet and greet. The place was packed! Alan and PK were both absolute princes, truly wonderful to talk to, and Nicole Blackman was a trip; she's a really cool woman! (She does talk fast though! I was expecting her to start auctioning off items in the room or something... :-P ) My band mate Kneel and I hung out for a while and got to talk to many different people from the tour. It was truly an honor and a privilege. I can't even begin to explain what this meant for me; what generous, humble people they all are, and how cool it was to be a part of that...to see firsthand how much Alan and his collaborators value the people who come to see, hear, and support them. Beyond that, to see how much they include them; the fact that they borrowed a synth from a fan proves it! (and gives me a case of MS-20 envy to boot...sigh...!)
I had an interesting discussion with Kneel and a promoter who we'd just met, about the attendance at the show. We were talking about how, in short, sometimes the best market is a niche market, because you essentially have a guaranteed audience for life...that for an event like this, they did pretty goddamn good! You don't have to be Bruce Springsteen or Madonna to make an impact on people, you know. (Nothing against them, of course) And maybe sometimes, it's better to just roll with that and do what you can with what you have. I was somewhat amused by the Village Voice listing for the show, which proclaimed, "Alan Wilder (Depeche Mode)". How many more people did that magical phrase, nested inside parentheses, draw? The world will never know, and personally, I don't think that's really our thesis statement here. The bottom line is, people were there to see and hear Recoil...and what a show!
I mean, what do I know? I've been happily wedged into the electronic music "scene" for almost 15 years and thus, maybe I'm the wrong person to talk to about how to sell out shows at The Meadowlands. Sorry, guys. But I do know that quite a lot of the people who like Depeche Mode, REALLY like Depeche Mode...with Violator rose tattoos and massive vinyl collections to prove it. And I know that the people who REALLY like Depeche Mode, REALLY like Alan and might even REALLY like Recoil. So what does that REALLY tell you? It tells you that the root of the electronic music formula is exactly what Recoil has been so hugely successful at: collaboration...a sort of "six degrees" game, where you can literally connect all your favorite musicians and artists just like a family tree. It tells you that we don't need reunion tours or crowds of 50,000 to be successful.
I could also compare it to the film world. You have your indie films with your smaller budgets which are still greatly appreciated, sometimes to a "cult classic" degree and an enthusiasm rarely seen for the big, epic, 3-hour blockbusters. Then you have your, well, 3-hour blockbusters. Can we say that James Cameron is more successful or more popular than Kevin Smith? Wait, what? Exactly. You have your apples, and your oranges. Mmm, apples. So there you have it. Recoil has a loyal following for good reason, not all of which has to do with that band that he used to be in. ;-) And you don't need sweaty guys with guitars onstage to make a show memorable. Sometimes all it takes after all, is a couple of dudes with laptops and a synth; something cool to look at, and something cool to hear...it's as simple as that.
The music of Recoil continues to blow my mind with all the different directions it has gone in, each to worthwhile and memorable effect. Who would have ever guessed that you could combine the blues with spoken word, or with synthesizers, for that matter? Is life itself so straightforward that we can only describe it with one word? I doubt it! Recoil as a multimedia project, to me, reflects the intricacies of the human experience in a way that goes beyond one-word genre descriptions and reaches way beyond what most people would ever try to come up with.
I have to admit that the first time I heard "Grain" off of Hydrology, it brought me to tears, as did "Red River Cargo" off Subhuman for that matter. It made me want to run, not walk, home, and work on music...or, in the case of "Grain," to sit down at the piano and play...but it also made me want to slow down and enjoy life, to watch the sunset and listen to the wind through the trees and pet my cat, instead of worrying about work and money and perpetuating the struggle to survive in this city. These songs are decades apart from each other and quite different in style, but they each have a soulful, raw quality to them that got right in there and tugged at my heartstrings. I dare any Top 40 hit to do the same; these days, it's unlikely. Similarly, sometimes it's easier to lose yourself in the moment when you're in a small space with one of your favorite musicians, surrounded by a few hundred instead of a few thousand. It gives the experience an intimate quality which I think is hard to come by in a stadium, especially when you've got nosebleed seats and some tall guy is standing in front of you!
Well done, Alan, Paul, and all else involved in the tour. I will never forget this Strange Hour; it looked and sounded amazing, and left me very inspired. As for the chance to finally meet a few of the people who have made this incredible music which has changed my life, it was a beautiful moment. Thank you!
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