This is the Epitaph logo. It is one of my favorite logos of all time.
That is all.
Saturday, April 18, 2009
We Love Typography Is Addictive
Nubby Twiglet (yep, her again) pointed the way to this great new site, We Love Typography. Take some time an wander around, it's amazing.
Top Ten Manic Street Preachers Songs
I cannot believe that it took me this long to start posting lists, as everyone who knows me knows I think alot about rankings. In honor of my earlier post about the Manic Street Preachers, here is my Top Ten Manic Street Preachers Songs. I've included youtube links. Enjoy.1.A Design For Life (Everything Must Go)
2.Sleepflower (Gold Against The Soul)
3.Faster (The Holy Bible)
4.Motown Junk (Single)
5.Yes (The Holy Bible)
6.Motorcycle Emptiness (Generation Terrorists)
7.The Everlasting (This Is My Truth)
8.Die In The Summertime (The Holy Bible)
9.Ready For Drowning (This Is My Truth)
10.PCP (The Holy Bible)
CAUTION - MSP is an acquired taste. They are not for the faint of heart - really, I'm not joking!
The Tudors Is Back, Better Than Ever
I am a big fan of Showtime's The Tudors. The series stars Jonathan Rhys-Meyers as King Henry VIII of England. It is an amazingly tumultuous period of history, one that reverberates through today. Henry VIII's life ripples through the English/Irish Troubles that continue to the present day.
Anyway, the show is fascinating. Rhys-Meyers gives a tour-de-force performance in the series. While he was previously spectacular in Todd Hayne's absurdly underrated Velvet Goldmine (where he brilliantly portrayed David Bowie), it seems that this is the part he was born to play. Rhys-Meyers embodies Henry VIII's royal charisma and brutal ferocity effortlessly.
The new season just began, and it has been riveting. It's so good, that even though I know what is going to happen, I find myself on the edge of my seat every episode. Do yourself a favor and watch them from the beginning. Not only will you be fully entertained, but you can pick up some history while you are at it.
Anyway, the show is fascinating. Rhys-Meyers gives a tour-de-force performance in the series. While he was previously spectacular in Todd Hayne's absurdly underrated Velvet Goldmine (where he brilliantly portrayed David Bowie), it seems that this is the part he was born to play. Rhys-Meyers embodies Henry VIII's royal charisma and brutal ferocity effortlessly.
The new season just began, and it has been riveting. It's so good, that even though I know what is going to happen, I find myself on the edge of my seat every episode. Do yourself a favor and watch them from the beginning. Not only will you be fully entertained, but you can pick up some history while you are at it.
New Manic Street Preachers Is Enticing
In the late 90's, one of my favorite bands was the Manic Street Preachers. Maybe more than any band in history, I felt like the band themselves were occasionally more interesting than the music. At least Simon Price's Everything: A Book About the Manic Street Preachers certainly was more interesting than any of their albums (except for The Holy Bible).
The Manics (or MSP as I prefer) were truly unlike any other band - four friends from the dirty coal fields of Wales, exceptionally literate, self-referential, self-destructive, and occasionally brilliant. Enigmatic, charismatic "guitarist" (the quotations are in place because it is debated how much of his playing wound up on any of their albums, and live his amp would be so low as to be inaudible) and lyricist Richey Edwards (or Richey James) was a true original in rock. In 1994 he disappeared, a true mystery. No body has ever been recovered, and though legally dead, his friends and family still hold out hope that he might return or be found.
MSP soldiered on, releasing the excellent, Britpop classic, Everything Must Go in 1995. After that, it seemed like they got really soft, and the law of diminishing returns certainly came into play upon each respective release. They've had a few good songs here and there, but not an album that is even remotely memorable.
Journal For Plague Lovers is their soon to be released album. Why is this noteworthy?
We’ve been waiting with one hand on the feather boa to see what might come from the Manics’ first return to Richey Edwards’ lyrics since ‘Everything Must Go’. The first peek beneath the tarpaulin reveals a leopard-print beast that shakes off the weight of accumulated myth with a stern, gruff riff, betraying Steve Albini’s production in a heartbeat. Described by the band as “oblique, skewed punk pop” influenced by Pere Ubu, The Skids and Pixies, it picks a deft path between their past and their present. The track opens sweet and restrained, with the understatement of later work, before the refrain of “Oh mummy, what’s a Sex Pistol” breaks into the mile-a-minute, veiny-throated, word-spitting ferocity of old. Full circle and full throttle.
In other words, they are writing new songs with some of Richey's left over lyrics. I am totally OK with this because the writings were intended to be lyrics, not poetry or prose. I hope having to live up to Richey's lyrics cause them to rise to the occasion. I could go on about them all day, but instead watch this.
The cover is again painted by British artist Jenny Saville - one of the best contemporary painters in the world.
The Manics (or MSP as I prefer) were truly unlike any other band - four friends from the dirty coal fields of Wales, exceptionally literate, self-referential, self-destructive, and occasionally brilliant. Enigmatic, charismatic "guitarist" (the quotations are in place because it is debated how much of his playing wound up on any of their albums, and live his amp would be so low as to be inaudible) and lyricist Richey Edwards (or Richey James) was a true original in rock. In 1994 he disappeared, a true mystery. No body has ever been recovered, and though legally dead, his friends and family still hold out hope that he might return or be found.
MSP soldiered on, releasing the excellent, Britpop classic, Everything Must Go in 1995. After that, it seemed like they got really soft, and the law of diminishing returns certainly came into play upon each respective release. They've had a few good songs here and there, but not an album that is even remotely memorable.
Journal For Plague Lovers is their soon to be released album. Why is this noteworthy?
We’ve been waiting with one hand on the feather boa to see what might come from the Manics’ first return to Richey Edwards’ lyrics since ‘Everything Must Go’. The first peek beneath the tarpaulin reveals a leopard-print beast that shakes off the weight of accumulated myth with a stern, gruff riff, betraying Steve Albini’s production in a heartbeat. Described by the band as “oblique, skewed punk pop” influenced by Pere Ubu, The Skids and Pixies, it picks a deft path between their past and their present. The track opens sweet and restrained, with the understatement of later work, before the refrain of “Oh mummy, what’s a Sex Pistol” breaks into the mile-a-minute, veiny-throated, word-spitting ferocity of old. Full circle and full throttle.
In other words, they are writing new songs with some of Richey's left over lyrics. I am totally OK with this because the writings were intended to be lyrics, not poetry or prose. I hope having to live up to Richey's lyrics cause them to rise to the occasion. I could go on about them all day, but instead watch this.
The cover is again painted by British artist Jenny Saville - one of the best contemporary painters in the world.
Sunday, April 12, 2009
What's On The Digital Turntable Right Now
Sorry for the distinct lack of posts lately. I've been absolutely buried with work, insomnia, work, work, work, insomnia, repeat.
Anyway, had to drop a post about a few things I'm digging right now. More to come, I promise.
The new Gliss album, Devotion Implosion, is great. Mix one part Jesus & Mary Chain + early 90's shoegaze + BRMC + something American = Gliss. Really, really digging this record - it bumps and bounces along, then gets really druggy sounding, then electro, then dance-y. It's awesome - there really isn't a bad song on the album. Opener "Morning Light" sets the tone, all fuzzy and blissed out. Superb. Song of the moment: "Sleep"
New Doves record is out, Kingdom of Rust. Doves are survivors of the Great Britpop wars. Haven't listened to this enough yet, but it's been quite awhile since they came out with something new - always an event. I look forward to doing some critical listening with it - more to come about this.
Tentatively digging the new Bat For Lashes record. The whole album has an atmosphere of operatic darkness. One of those records that I will either fall head over heels for or lose interest quickly. Track of the moment: "Glass".
More to come in the future - I just have to get through the next couple of weeks and then it's on to summer!
Anyway, had to drop a post about a few things I'm digging right now. More to come, I promise.
The new Gliss album, Devotion Implosion, is great. Mix one part Jesus & Mary Chain + early 90's shoegaze + BRMC + something American = Gliss. Really, really digging this record - it bumps and bounces along, then gets really druggy sounding, then electro, then dance-y. It's awesome - there really isn't a bad song on the album. Opener "Morning Light" sets the tone, all fuzzy and blissed out. Superb. Song of the moment: "Sleep"
New Doves record is out, Kingdom of Rust. Doves are survivors of the Great Britpop wars. Haven't listened to this enough yet, but it's been quite awhile since they came out with something new - always an event. I look forward to doing some critical listening with it - more to come about this.
Tentatively digging the new Bat For Lashes record. The whole album has an atmosphere of operatic darkness. One of those records that I will either fall head over heels for or lose interest quickly. Track of the moment: "Glass".
More to come in the future - I just have to get through the next couple of weeks and then it's on to summer!
Saturday, April 4, 2009
Glasvegas Take Fallon
Glasvegas (or the band whom have secured my undying loyalty) played Jimmy Fallon this week. And they ruled, as usual (it's literally what they do for a living), zipping through yet another great rendition of Geraldine. Awesome.
Enjoy.
Monday, March 30, 2009
Cory Schmitz: Boy Genius Designer
Cory Schmitz is a young designer, and he is totally awesome. Check out his site here. I love this piece so much, I can't even tell you.
This Too Is Funny
This is hilarious - it's not mine unfortunately, but it makes me laugh really hard.
Sunday, March 29, 2009
A Woman A Man Walk By Is Haunting
Many of my favorite albums encompass a sense of atmosphere – a unique presence of place that can remove you from wherever you are and quite literally take you somewhere else. At their best, PJ Harvey owns a strange darkness on her albums, a darkness that is palpable in her live performances. Live she becomes a dominant, unnerving, and terrible force, one that is both intimidating and surreal. In short, Ms. Harvey is a force of nature, and a force to be reckoned with.
Longtime producer John Parish, who previously collaborated with Harvey on 1996's Dance Hall at Louse Point and produced 1995’s To Bring You My Love through 2007’s White Chalk works with Harvey here as a full partnership. The new album A Man A Woman Walked By is a full collaboration between Parish and Harvey, with Parish providing the music and Harvey the lyrics and vocals.
The results of this collaboration are a bit uneven, yet often produce stunning results. Opener (and best song on the album) “Black Hearted Love” rips open big, sickly, quivering distorted guitars, and sounds very much like “Woke Up In A Strange Place” by Jeff Buckley (when I say it sounds very much like, I mean almost identically - at least the riff anyway). This is the high point of the album, a spectral beauty that sweeps through with all the mystery, clout, and just plain darkness as other Harvey classics like “Angelene”, “Horses In My Dreams” or “I Can Hardly Wait”. This is the “worth the price of admission” track that makes the album worth purchasing. I include the lyrics here because I think they can say it better than I can:
I think I saw you in the shadows
I move in closer beneath your windows
Who would suspect me of this rapture?
And who but my black hearted love
And who but my black hearted love
When you call out my name in rapture
I volunteer my soul for murder
I wish this moment here forever
And you are my black hearted love
And you are my black hearted love
In the rain, in the evening
I will come again I'd like to take you
I'd like to take you to a place
I know My black hearted
Other noteworthy moments are the haunting stomp of the title track; the broken blues of "Sixteen, Fifteen, Fourteen", and the magnificent closer "Cracks in the Canvas" are all excellent as well.
This isn’t the best PJ Harvey record, but it sure is an interesting side jaunt.
The Verdict: (a very solid) 2.5 out of 5 stars.
PS - OK, I tried to only include a link to this video, but I can't. So here it is:
Longtime producer John Parish, who previously collaborated with Harvey on 1996's Dance Hall at Louse Point and produced 1995’s To Bring You My Love through 2007’s White Chalk works with Harvey here as a full partnership. The new album A Man A Woman Walked By is a full collaboration between Parish and Harvey, with Parish providing the music and Harvey the lyrics and vocals.
The results of this collaboration are a bit uneven, yet often produce stunning results. Opener (and best song on the album) “Black Hearted Love” rips open big, sickly, quivering distorted guitars, and sounds very much like “Woke Up In A Strange Place” by Jeff Buckley (when I say it sounds very much like, I mean almost identically - at least the riff anyway). This is the high point of the album, a spectral beauty that sweeps through with all the mystery, clout, and just plain darkness as other Harvey classics like “Angelene”, “Horses In My Dreams” or “I Can Hardly Wait”. This is the “worth the price of admission” track that makes the album worth purchasing. I include the lyrics here because I think they can say it better than I can:
I think I saw you in the shadows
I move in closer beneath your windows
Who would suspect me of this rapture?
And who but my black hearted love
And who but my black hearted love
When you call out my name in rapture
I volunteer my soul for murder
I wish this moment here forever
And you are my black hearted love
And you are my black hearted love
In the rain, in the evening
I will come again I'd like to take you
I'd like to take you to a place
I know My black hearted
Other noteworthy moments are the haunting stomp of the title track; the broken blues of "Sixteen, Fifteen, Fourteen", and the magnificent closer "Cracks in the Canvas" are all excellent as well.
This isn’t the best PJ Harvey record, but it sure is an interesting side jaunt.
The Verdict: (a very solid) 2.5 out of 5 stars.
PS - OK, I tried to only include a link to this video, but I can't. So here it is:
Subscribe to:
Posts (Atom)