Blog — Page 264 of 277

It's a tray in a hotel room, fairly unremarkable when put back to basics. The tray is littered with cigarettes, beer bottles, a can of coke, a crumpled McDonald's burger wrapper and a lonely bottle of Evian. It's a curious scene: the items on the tray are in a neat kind of disarray. Underneath this black and white photograph is the legend "Graham's hotel room, Tokyo, 1995". Meanwhile the sound of "For Tomorrow" from Blur's 1993 album Modern Life is Rubbish fills the room.

The Graham in question is Blur guitarist Graham Coxon, and Blur 21: The Exhibition is another facet of the celebrations of 21 years since the band released their 1991 debut Leisure, following on from their mammoth box set also entitled Blur 21. The photos on display at the exhibition span from the band's beginning in 1990 up to 2012, featuring photos taken by acclaimed music photographers Pennie Smith and Kevin Cummins, among others.

The exhibition is housed in the Irish Museum of Modern Art in the run up to Blur's performance there on 1 August. Blur as a band have always been mindful of their artwork, perhaps more so than other bands. Guitarist Graham Coxon studied art at Goldsmiths College in London, while bassist Alex James described how much he enjoyed spending time in the Tate Modern as a student in his autobiography Bit of a Blur. All of this just goes to show that IMMA is a more fitting venue for Blur than might originally have been assumed.

The exhibition is like a Blur treasure trove. A large print of their iconic "British Image 1" photograph, which caused ructions when it was first taken for fear that it was xenophobic, sits in the grand fireplace. In the centre of the exhibition is a glass case displaying the different prototypes for the Blur logo (they unquestionably chose the best one) and just across from this is a series of photographs taken at Click Studios in London in 1993. The four photos, portraits of each band member taken against a striking blue background, stand out almost immediatly from the centre of the room. While Dave Rowntree, Damon Albarn and Alex James' portraits all look similar, Graham Coxon is looking downwards and as a result of this casts a sombre looking shadow around his face.

It's interesting, you can see the beginning of Blur: studenty, sitting on the tube, all of them wearing a uniform of Doc Martens; the middle and unravelling of the band: Coxon appearing separately from the band, looking either disinterested or unhappy in photos with the band; to the new decade of Blur: walking around backstage at Glasontonbury, posing for group photos in Manchester, and looking so into the music they're playing that you'd almost forget that they ever even broke up.

The more recent photos, taken when the band were onstage shortly after they reunited, take on a different resonance when you can see where it all began and the points where the band didn't seem to be as connected as they used to be. Fundamentally you can see that they are still the same band that got the tube home after rehearsing all night, in the recording studio that Damon worked in as a tea boy, because that was the only time they could get studio time cheaply, and that they are still comprised of the same bassist and guitarist who lived in a squat in New Cross because they couldn't afford to pay rent. The band look happiest in the photos where they're playing live, and it's the capturing of these changes in the life of Blur as band that make these images so significant.

Die Kruezen, Hepa/Titus, Mudhoney, Gay Witch Abortion, Negative Approach, Honky, Melvins

Grumpys Downtown

Minneapolis, MN

July 20, 2013

It’s a shame that Amphetamine Reptile Records quit putting out new records. The label is responsible for a lot of the noisier independent rock of the late ‘80s-‘90s. On the plus side for Minneapolis, though, the inactivity of the label has been led to an annual bash featuring some amazing alumni. 2013, aka Bash 13 was no different. With the Melvins celebrating 30 years by opening the show, here’s how it went down on a perfect sunny afternoon in the Grumpys Downtown parking lot.

Melvins

The best introduction here would be the personal. I like the Melvins. They can cut a fine noisy jam among the best of them. That said, I don’t own any of their records and had never seen them, so don’t expect talk of discography and diatribes about stylistic changes here. Playing with substitute bass player Jeff Pinkus (Honky, ex-Butthole Surfers), the four-piece line-up took the stage in the some of the brightest sun of the day. Whatever that thing Buzzo was wearing didn’t look too comfortable in the mid-day sun, but it didn’t affect the dedication and he and the rest of the band sweated out fierce and LOUD rock. They don’t move around much onstage, and the interaction between them was likely reduced a bit by the member substitution—still the highlight was definitely in watching the dual drumming spectacle of Dale Crover and Coady Willis. As they wrapped up a full set, Honky took stage with a smooth handoff of instruments and Pinkus jumped right into his other band’s catalog sans downtime. It got an awkwardly ahead-of-schedule afternoon moving. Verdict: I’ll see the Melvins again (hopefully later in the day).

Honky

These guys have a fitting name. It’s warped, punky rock, but it definitely comes from the Southern rock side of the fence. Enjoyable enough, but with a line-up this stacked, the second band of the day was the time to move around, check out the merch, and grab my first beer (Surly Overrated, if you’re curious).

Negative Approach

I saw Negative Approach in Gainesville last year at Fest 11, but this time it packed more punch. Being up close and personal, John Brannon has the best angry face going in rock, and the rest of the band slays as if it’s still the early ‘80s. While I haven’t confirmed the rumor, I hear this was their first Minneapolis appearance, and the crowd of all ages was active and feeling it. They were something of a stylistic outlier on the bill, but it was clear there was a universal appeal in the crowd and they helped to steal the show…well, for the time being. It’s not the kind of line-up that warrants headliners, per say. Simply put: this is no cash grab reunion here.

Gay Witch Abortion

Nothing against GWA, but they play in town often and it was time to get out of the sun for a bit. I can catch them anytime, and the noise-duo sounded alright from afar for the first couple of songs before I ran down the street for some eats.

Mudhoney

If I was here for one band it was Mudhoney. That’s why, when I left the restaurant with 20 minutes to spare (according to set times), it was disappointing to hear them playing from a block away. Anyway, I only missed 1-2 songs and when I got there and moved up front in the adjacent parking lot (which curiously offered better sightlines than much of the area for people who paid), I was rewarded with a set straight out of the early-to-mid ‘90s. Well, for the first half.

The band played with an intensity that wasn’t expected for such old songs. Sure, the whole show is something of a tribute to old friends at AmRep, which basically means everybody is on their A-game anyway, but it was impressive to see so many older rockers delivering with force that it puts a lot of their younger kin to shame. The first half of the set harkened to the Sub Pop and Reprise days, and the latter half was mostly off 2013’s Vanishing Point. The old songs definitely had a stronger pull with the crowd, but the new set material didn’t turn anybody away either, showing that the night wasn’t just a nostalgia act.

Hepa/Titus

Two former Cows are at the heart of this band (and ex-Heroine Sheiks too). Here, I was losing energy and fell to the back. The set wasn’t bad by any means, but they never really pulled me in. Two-thirds into it, Shannon Selberg (also ex-Cows) joined for a few songs and the old Minneapolitans had a veritable reunion on their hands. Personally, he was more showman than vocalist, as my vantage point near the back didn’t allow much to reach me—but I’m not sure if the band is to blame or I am, as outdoor shows are notoriously better in sound up front.

Die Kruezen

Actually, my original plan was to head home after Mudhoney, but the night was young and I had some energy left. Unfortunately, the post I took up in the rear left a ton to be desired in terms of sound. The energy was good and the crowd obviously came out satisfied, but what I heard from my perch left me unimpressed. A bit too much ‘80s wailing sing to the vocals and flashier guitar than the rest of the day’s sets. I’m glad to say I’ve seen them, but it’s nothing I’ll seek out.

The moral of the story: always stand up front. Not just to show support, but because it’s a world class difference in sound in most venues. In retrospect, all of the highlights of my day are bands I saw up-close and I doubt that’s coincidence. Mudhoney impressed with their overall performance, Negative Approach with their energy and power, and the Melvins in sheer talents and volume. Still, everyone deserves some accolades for such a line-up, showing that age has nothing to do with it, both on stage and in the crowd.

Photography: Jessie Matz

Photos (top to bottom of page): Melvins, Negative Approach, Mudhoney

The Postal Service are making their rounds again in support in the Deluxe Edition re-release of their 2003 album, Give Up. Scene Point Blank had a chance to check'em out at night 2 of their 2-night stint in L.A. at the Greek Theater with Divine Fits. Check out the gallery below!

Dave Hause @ Cabooze Plaza

Social Distortion, Cheap Time, Dave Hause
Cabooze Plaza
Minneapolis, MN
July 2, 2013

Dave Hause is a busy guy. I swear I get an email a week here at SPB about either a new tour or a new record. Heck, we just reviewed one of his 7” series last week, C’mon Kid on Sabot. Despite all that, I just knew him as the ex-Loved Ones singer.

Well, he lived up to that quickly, jumping into a Loved Ones song second in his set (and another later on). However, he proved he isn’t just a singer without a band, coasting by on his good looks and his old songs. The rest of the set was all solo material, just Hause and guitar, adding occasional percussion by banging his guitarback or through coaxing the audience into clapping along.

It was a hot night in Minneapolis, and the stage faced a bright sunset in the parking lot outside of a mid-size venue. In other words, while the audience had an excuse to be drinking beer under the tents, Hause had to work the crowd. In addition, he was act one of three, and as the aging Social Distortion fans trickled in, most were either just off work and at the bar, or just not interested. While there’s always that extra intimacy with a solo performer, Hause played it well, interacting with the crowd, namedropping a bazillion local music-related institutions from the Triple Rock to the Replacements, showing an air for showmanship. Even those who didn’t like this music should have at least left the night feeling respect for his performance.

As for the performance itself, it was the last night of a tour but he didn’t show any wear, instead being grateful for the crowd that came early and taking the direct sun without effect. It’s mostly folk singer-songwriter-styled stuff, well explained by his role on the 2013 Revival Tour a few months back. There’s a clear punk rock undertone, included not only in audience wardrobe but also through the song structures that focus on a direct simplicity and a penchant for a good anthem. Besides, he’s a well-traveled, 30-something-plus punk, and he threw some nice jibes for punk insiders too. “It’s nice to be in this parking lot, not the other one…the one with the bangs,” he noted early on, clearly a shot at the Warped Tour (often hosted at the Metrodome parking lot up the street). He alternates between electric and acoustic, but the set was probably 80% acoustic—and those songs were the better. The Loved Ones songs, while a nice touch and a throwback down memory lane, are better suited for a full band as the guitar parts were a bit repetitive. Capping it at two songs was a smart move: ties to the past, but looking forward.

Without a full knowledge of his catalog, the highlight probably being the Joe Strummer tribute, starting with a “Coma Girl” cover and morphing into an original/medley hybrid halfway in. The Strummer influence shows throughout his material, and it pulled the tone of celebration, working class, and direct and honest communication to the forefront for a big closer in which he utilized his setting, throwing out local references and working the Social Distortion crowd to his favor.

Up next came Cheap Time from Nashville. A band I’ve heard, but regrettably can’t keep straight from Cheap Girls—whom I first heard at the same time. I won’t be making that mistake again, with the three-piece imagery burned into my memory as the band played a fierce, no frills set while squinting into the crowd. It’s direct, dirty rock. The kind that’s sleazy without the entrendre, instead letting the musical tone and swagger make its impression while they just rock the fuck out. If I’d picked up a record from any of the bands, they’d have been the one.

Social Distortion headlined to close the night and the tour. It’s always a different experience seeing such a big band when I’m used to venues of 100-300 people, but they’re pros for a reason. The setlist was heavy on the classics and the group didn’t miss a note, including in Mike Ness’ delivery which, frankly, I’d expected to be raspier and more off-key, perhaps akin to catching Rancid live. Instead it was mostly straight-up performance with little talk. They acknowledged the crowd and city a few times, but kept the focus on banging out the hits. No surprises, but no letdowns either; it delivered exactly as expected.

Well here we are into the first part of May, and I'm wondering where the fuck March and April went.  I apologize for dropping the F bomb on you in the very first sentence—though I suspect if you've decided to read a column about hip-hop that you’re at least somewhat into rap, and thus are quite familiar with offensive language, of which, the F word is perhaps the least insulting—so let’s just plow forward here and pretend that everything I just wrote wasn’t a poorly disguised attempt to get my word count up.  Truth is I’ve been busy with a couple things not (directly) related to rap that have resulted in my two-month absence from this column.  I recently went deep down a neo-grunge/nu-grunge/grunge revival/grunge punk/grunge anything Spotify rabbit hole that strong-armed its way into the corner of my listening space that’s normally dedicated to rap mixtapes.  But the biggest deterrent to me getting this done comes as the result of my very real and very serious basketball addiction – a deep-rooted fanaticism that every year during these same months takes precedence over even the most important things in my life.  When it comes to watching Tyus Jones play in the Minnesota State Boy’s Basketball tournament, or seeing Chris Webber reunite with his Fab 5 teammates at the Michigan vs. Louisville NCAA Championship game, I will do stupid things like miss family member’s birthdays or forget to feed the cat for days on end.  And now that were already into the second round of the NBA playoffs, where there’s a game on every night for the foreseeable future, I very well could damage my health by forgetting to sleep or eat properly, let alone remember trivial things like how there’s too many rappers.

In the (Sort Of) New Mixtapes department…

Quelle Chris – 2 Dirt 4 TV episode 2: Niggas is Men

This one is tricky as far as classification goes.  It was originally unleashed as a free download back in March, but has since been released in physical form with a price tag attached to it.  For the purpose of this column, I’m calling it a mixtape since I got it back when it was a free and that it’s advertised as a prelude to Quelle’s “proper debut” on Mello Music Group.  Niggas Is Men is the second episode of the Quelle Chris’ 2 Dirt 4 TV series.  The production is handled by Stifu, Messiah Musik, and of course, Quelle himself.   The majority of the songs feature verses from Cavalier, so even at 14 songs long, Quelle’s oddball delivery doesn’t wear-on as much as it did on his debut full-length, Shotgun & Sleek Rifle.  “Natural Flavors” has the captivating buzzed-out bass beat that invokes the same feeling of intrigue I got when I first heard The S.O.N. EP.  Tracks like “Greene Eyes”, “Good Days” and “Long Tokes” are the type of head-nodders that rely heavily on raw sample loops.  As long as Quelle Chris keeps making music, you can count on me to cover it.

Skip Rage – Rowdy Babe$ & Cold Beer

I swear, sometimes I don’t know why I even bother with some of this rap shit.  I mean I am clearly not the target market for any of this, yet I feel some weird obligation to give all of it a try.  Skip Rage is from the new school of New Yorkers that do rap music in a way that is anything but stereotypical New York rap – you know, “the new New York” or whatever.  Rowdy Babe$ & Cold Beers, as you may have guessed by looking at the name and cover art, is on some straight spring break shit.  It’s void of any lyrical substance, it has dubstep beats, it has chopped & screwed hooks, and its’ ripe with virtually every current rap cliché possible – poppin’ Molly, smokin’ weed, sippin’ syrup, replacing vowels in words with Vs or Xs, gettin’ dat pussy, getting’ dat money, etc.  Take for example the hook from “Blvck Bandana”, a track which features a verse from Ninjasonik’s Telli and production by SpaceGhostPurrp: “Ratchet-ass bitches – they can eat a dick/A trill-ass bitch is who I’m fuckin’ with.”  Skip Rage is exactly the reason parents and politicians hate rap music.  He’s also kind of why I love it.  But please don’t tell that to my mother, girlfriend, employer, or anyone who might have an ounce of respect for me.

Termanology – Hood Politics 7

In what is already the seventh edition of Termanology’s Hood Politics series of tapes, the Boston emcee continues to prove his worth – maintaining a mutual respect amongst his contemporaries, as well as positioning himself, should he be given the chance, to take a run at the mainstream.   The tape's early bid for best track finds Term teaming up with longtime 1982 partner beastsmith Statik Selektah for “I Fuck Fans.”  Statik lends the track some extra mileage with his flawless record scratching.  Raekwon, Method Man, Cappadonna and others join Term on the posse cut “Men of Respect.” The song is held together nicely with some hard-hitting boom-bap courtesy of Mathematics. Midway through tape, once again with Statik behind the boards and on the cuts, “Something Special” shows Term flexing hard-edged street rhymes redolent of past releases like Fizzyology.  I’m not much for the softer R&B or dance-y infections that show up throughout the tape, but that’s likely the route that will take Termanology to the next level, should it happen.  At 20 tracks long there is definitely some filler here, but it’s worth the download just for the 10 or so bangers.

Western Tink & Beautiful Lou – Mobbin’ No Sobbin’

My initial reaction is to call this blogger-approved rap, which, yes, I do realize is ironic considering I’m talking about it on a blog.  I’m just saying that much in the same way that Fucked Up or Iceage are punk bands applauded largely by not-very-punk indie rock websites and their readership, Mobbin’ No Sobbin’ strikes me as the type of rap that would get favorable attention from outlets where the people writing about it don’t normally like rap music that isn’t, for lack of a better term, weird.  To further my point, Beautiful Lou’s most popular beats to date are the ones he has done for Lil B and Kitty Pride & Riff Raff.  After a lackluster start the tape begins warming up with “Gity Up.”  Western Tink goes hard over Lou’s fuzzy, screwed trap beat: “Fuck the laws, fuck the rules, fuck your family, and you’re dead homies too.”  One of the best songs comes mid-tape with “Bounce Back,” an infectious stripper pole-ready jump track that commands neck snapping from the listener.  The song accurately encompasses the tape as a whole – it’s bass-heavy Texas rap where everything is at a favorable level of loudness that borders on distortion.  Mobbin’ No Sobbin’ is a solid tape front to back and totally worth the download.

Various Artists – New York Renaissance

Whether or not you believe that New York was in need of a rap “renaissance” probably depends on your history of seeking out and actually listening to rap music, what region of the country you prefer your rap music to come from, and/or if you only hear what’s on the radio or MTV Jams and BET.  Personally, as someone who never quit listening to rap—especially boom-bap—I don’t think New York (or East Coast for that matter) rap ever went away.  That being said, I’m thoroughly excited about New York’s current crop of underground up ‘n’ comers, even If I’m hesitant to treat them as some sort of hip-hop messiahs.  New York Renaissance is compilation of said newbies, curated by NYC radio station Hot 97’s Peter Rosenberg.  If you’re already hip to Action Bronson, Joey Bada$$, Smoke DZA, Troy Ave, Flatbush Zombies, Harry Fraud, A$AP Rocky, Oddisee or Homeboy Sandman then you’ll probably dig it.  If you’ve never heard of these names or listened to any of their material, then you should at least see what all the hype is about.  I’m kind of wondering where Mr. MFN eXquire is on this thing, but other than that I don’t have many complaints.  I like Smoke DZA & The Kid Daytona’s song simply because it’s called “Arn & Tully,” which is a reference to one of the greatest tag-teams in the history of professional wrestling.  And the live radio freestyles will appeal to fans of hip-hop radio shows.