This is a very interesting post from The Trichordist, which eloquently sums up my feelings on how music is treated. Yes, it’s always been a business, but, ironically, at least Sony et al actually cared.
‘”We were so into the net around the time of Kid A,” he says. “Really thought it might be an amazing way of connecting and communicating. And then very quickly we started having meetings where people started talking about what we did as ‘content’.’
We’ve been having fun with Googlism, a website that filters descriptions from Google to tell you what Google “thinks” of you. For example:
princess stomper is normally represented as a small pink bunny princess stomper is a former magazine contributor and music researcher princess stomper is making way too many assumptions in this article Continue reading →
(This post was inspired by my latest piece at Collapse Board – a bit about favourite albums – in which, yet again, I mentioned Foetus.)
I give up at 59 … too many distractions. I am trying to count how many records JG Thirlwell has made. I think I’m proving my own point about being obsessive-compulsive. “Tenacious” is the word I usually use; “like a dog with a bone” is the way other people put it, but if you ever needed someone to count the grains of sand in an eggtimer, you’d pick me. Still, I know a lost cause when I see one (does Null/Void count as one album or two EPs?), which is the wafer-thin line between me and the crazy people. So I let go of that particular strand before it becomes another brainworm. You know, like an earworm? An idée fixe, monomania of the day, Moby Dick‘s whale, et cetera. I mean, all Foetus fans are a certain level of bats*** insane – it’s the antithesis of one of those high-frequency garden cat repellers: the music scares off sane people and is catnip to us weirdos.
If you’ve been following this blog for any length of time, you might have noticed that I mention JG Thirlwell a lot. Not every post – it’s obvious I have a wide range of tastes and interests – but enough for you to notice. There’s a very good reason for this, and it’s not just because I’m the sort of person who has an in-game coin collection in Morrowind. Nope, it’s for this very, very simple little reason. Continue reading →
I’ve had a pile of cassette tapes gathering dust for maybe 15 years. I figured it was time to go through them. Sorting through some old belongings, I discovered an old walkman that still worked. Bingo! What would be on these dusty old tanglers? I was mostly hoping to find a phone interview I did with Nivek Ogre, or a face-to-face with Fear Factory, neither of which saw the light of day thanks to a mishap in a house move. They must have been in the other pile of tapes, which got damaged. Nope. On this one, I found …
It’s in a Smashing Pumpkins sleeve, but is actually a bootleg of Ministry in 1994. I went through a brief phase of picking up dodgy tapes – cassettes and videos – from the Camden Market. The bloke on the stall claimed to be mates with Killing Joke, and said they let him onto the stage to stand at the side to get the best footage. I never bought one of his Killing Joke tapes, but I did walk away with Skinny Puppy’s 1986 Ain’t It Dead Yet and NIN in Dallas, 1990. I’m guessing this is from that market stall.
Now available for pre-order is a side-by-side compilation of works by avant-garde composer Penderecki – probably best known for Threnody‘s inclusion in The Shining and The Children of Men – and Jonny Greenwood (yes, that bloke from Radiohead, who also did the soundtrack to There Will Be Blood).