a weekly digest from the staff of brainwashed
V04I48 - 12092001
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brain in the wire
Less expensive than 69 Love Songs, better packaged than any Raster-Noton thing and much more fun than Clicks + Cuts 2, Brain in The Wire offers nearly four hours of increidble brainwashed-related artists. Orders are still being taken until all 1500 copies are sold or February 14th, whichever comes first. Tracklist for Disc A and Disc B can be found at the Brainwashed Recordings website, while the tracklist for Disc X is still being kept under wraps. Ordering information can be found at the Commerce section of Brainwashed. Thanks to everybody who has ordered so far.
the voting continues
Voting for the Brainwashed Best of 2001 Poll is still being taken. Once again, do us all a favor and print up the list, think about it, make notes, take your time. Results will be posted in the new year.
wear it in style
Put the Brainwashed Tee back on your back! Pre-paid orders are being taken until February 14th, where you can choose from an array of colors, special sizes and styles. Once all the pre-orders are done, the shirt will be reduced to one style and one color. For more info, investigate the Commerce section.
|MUSIC IN REVIEW|
The Album Leaf, "One Day I'll be On Time"
It's rather difficult to believe Jimmy LaValle of the popular hardcore outfits Swing Kids, The Locust and GoGoGo Airheart is the same Jimmy of Tristeza or the elegant and introspective project, The Album Leaf. In any case, this follow-up to the successful 'An Orchestrated Rise to Fall' further focuses the stylistic intentions of its predecessor. 'One Day I'll Be On Time' captures the haunting yet simple instrumental beauty found in much of the work of Brian Eno on 'Another Green World' or 'Before and After Science' (the songs "Wet the Day" and "The Sailor" being distinctively Eno-esque, particularly as regards LaValle's keyboard work). From sparse, hypnotic electric piano melodies to delicate (but never flowery), ambient guitar pieces like "Storyboard" (not to mention those songs which combine the best of both these worlds, such as "The MP"), the album is replete with a sincerity that is so lacking in many otherwise talented artists' work. However, although it is sparse, this is not to say it lacks depth. LaValle's songwriting seems crafted with the utmost care. He plays nearly all the vast array of instruments, as well as doing the bulk of the recording himself. It is likely that these elements lend 'One Day' its intimacy. In a match that is hardly surprising, The Album Leaf (which featured LaValle with assistance from fellow members of Tristeza) has just completed a recent tour opening for like-minded moody songsters Sigur RÑs. - Jessica Tibbits
2 by Bukowski, "What a Long, Strange Journey This Has Been"
If at all possible, try to ignore the astonishingly poor name of this band. Try also to set aside your (certainly justified) misgivings about the album's inaccurate Grateful Dead reference for a title. Now, if it isn't too much to ask after you've done the aforementioned superhuman feats (and I must congratulate you if your mind remains at all open, but the true test is yet to come, as you'll soon see), please look past the fact that the first song on this CD is titled (are you ready?), "Buckle Up Scully, I Believe Chuck Here is About to Take Us on a Ride to the Abnormal". Still there? Goodness gracious. What on earth could have prompted this actually-quite-good Greek quartet to make so many astoundingly poor naming choices is truly beyond my ken. Their album deserves better, because it is worth listening to. Titles, after all, are secondary to the music, but one must wonder about why a band would want to represent themselves so.
The entirely instrumental group seems to have synthesized elements of old 4AD records with that slow n'heavy Godspeed You Black Emperor! rock dirge. Even if the drums are played by an actual person (I don't know if they are or not), they have that flat quality most peculiar to the 1980s Cocteau Twins drum machine. The ghosts of Angelo Badalamente scores lurk in the reverb-soaked guitar and heavy Godspeed!-like drama takes the form of one- or two-chord songs that meander over ten minute stretches for maximum "epic" effect. In fact, this band wears their influences so opaquely that they go beyond being simply derivative, and come out as... really quite nice. They add a noisy rock element at times, riding that one chord until it grows louder and louder and feeds back over a steady, simple 4/4 beat. And even though gloomy gothic bombast hangs over all the tunes, it's never off-putting. "What a Long, Strange Journey" is a fine album... but please please tell me, what's the Grateful Dead got to do with it? Look for these at their website or email email@example.com. - Howard Stelzer
electric company, "62-56", "(new)", "Greatest Hits"
You might recognize the name Brad Laner from Medicine, Savage Republic or possibly the 300 albums he has allegedly played on. As Electric Company, his first notable release surfaced in 1997 as part of the Kahanek Incident series on the now defunct Trance Syndicate label, backed/with Furry Things. Receiving the attention of (the now also dead) Supreme Recordings (remember that division of Island that had Red House Painters for an album?), his debut full-lengther, "Studio City" was issued in 1998. Since then, there's been a mess of releases on (the also pretty-much dead) Vinyl Communications, Planet-Mu and Tigerbeat6. The most recent bonafide full length album, 'Slow Food,' was released earlier this year on Mike Paradinas' Planet-Mu in the UK.
'62-56' was first to surface after that, materializing from Tigerbeat6 in July. While it's billed as an Extended Play single, the disc has eleven tracks and totals over 45 minutes. What does separate it from most album characteristics is the whole array of different styles Laner chooses to let loose with, rather than limit himself to a coherent theme. Here, Laner's unafraid to play with beautiful melodies, Kraftwerkian/Mousey punchy beat-friendly tracks, glitchy cutups and even toy with the power of suggestion with the spoken vocals on the disc's closer. There's even a rather interesting 15+ minute improv between Brad and other noteworthy local laptop owners Blectum from Blechdom, Lesser and Kid 606 which would easily please any experimental-Stockhausen worshipping musique concrete fan.
(new), on the other hand is Laner's contribution to Fällt's 'Invalid Objects' 3" CD series. If I've learned anything from Raster-Noton, it's that I never need to buy all the albums in a series ever again. Especially with 'Invalid Objects' where the series consists of 24 releases, all priced over $10 here in the USA. Only 250 of each disc was pressed, however, and the series includes the usual gang of idiots like Pita, Scanner, Kim Cascone, and Richard Chartier. This time around, I only bought the three I cared about (this one, V/Vm and Pimmon) instead of wasting my money on piles of crapola like the 20' to 2000 disappointment. Laner's contribution consists of 14 one-minute long tracks, ranging from low sub-frequencies, frighteningly loud abrasions, live drums, tone bursts, electronic twitters, playground recordings and orchestral samples. It's entertaining and no less endearing as his other releases, as with each track running right into each other, completing the whole more like one intricate 14-minute long track. At the end of the day, however, it's not something I'd pull for from the shelves frequently.
Tigerbeat6 released "Greatest Hits" in October, but the cover and promos were being passed around before September 11th. Unlike any other album which bears the same name, this one features reconstructions by a host of friends as opposed to collecting old, previously released things. Perhaps it's quite appropriate the cover features a collapsing building, as the "remixes" on this disc are completely reformed pieces from the bricks supplied by the Electric Company, himself. (Of course, the back should probably include the new building erected in its place.) In addition to the proverbial TB6 posse, re-erectors include Phthalo's Phthalocyanine, Tom Recchion, µ-Ziq, Geoff White and the notoriously erect Leafcutter John. The erections [you were waiting for me to use that word] aren't a clever display of genre-straddling like the conventional remix record, but do showcase the reinterpretive styles of each artist. Like the broken record sounding Pimmon track, the acoustic guitar loops of Electric Company himself. Okay, so it's really just a remix album, but it's very nice to listen to. - Jon Whitney
COCK ESP, "THE PRIDE OF NORTH AMERICAN NOISE"
Cock ESP are very silly. The core duo of Emil Hagstrom and Matt Bacon have earned themselves some small reknown by donning fancy dress and delivering very short random noise sets which usually end in some kind of violent chaos. After thrilling to the sound of Cuban screamer Elyse Perez shrieking whilst cracking the bald skulls of drunken beach bums with a gnarled stick of driftwood, they asked her to join them. The theme of this album appears to be the comedy of pain, as most tracks sport corrupted cheesy song titles with one word obliterated by the word 'pain'. During the twenty minutes of quick choking noise bursts there is also a little violin, although you'd hardly know it, and Flying Luttenbacher Weasal Walter blows some honking clarinet blasts over six lucky maelstroms. If anyone out there is still mad enough to be a V/Vm completist then you're going to need this, as the Edgely masher does a mix up on the longest track, and brings his own saxalicious stamp of hacked pompous poptone plunder to the din of the screaming Cock. Rushing through 18 splurges of ridiculous riot noise, Cock ESP kick up a racket that never sticks around long enough to irritate and after the first few tracks shows the kind of irreverent illogic that only a man in a donkey suit could really deliver. Without the live show shenanigens, the Cock ESP experience is of course incomplete, but there is a lovely collection of on stage snapshots on the insert to help your earmagination along. If that's just not enough they'll be touring the US and Europe early next year. There are still more pictures and on the Cock ESP website where you can also find three full short bursts of noise from this release and a selection from their many other spewings. There they also display their various accolades with pride having been described as idiot noise, performance-noise wackos and a bunch of sad twats. - Graeme Rowland
Robert Henke's Monolake delivers the second full length album within a year. "Cinemascope" couples 5 previously released vinyl tracks with 5 others for a 66 minute continuation of Monolake's modus operandi: majestic, minimized, computerized groove. A glacial serenity is ever-present, more so in terms of atmosphere than emotion, as sounds alchemically mix and tracks unfold and evolve. The shorter ones, over half the album, are very rhythmic and dance floor ready. "Ping" and "Cut" in particular neatly toss about bass and beats as though in a metallic tumbler. I'm duly impressed. But it's the lengthier and mellower, more environmental epics that are most impressive. "Bicom" binds dry iced hiccups to a mildly hip hop loop. "Ionized" is adequately named, gradually gaining and losing electrons of charged sound over 11+ minutes. "Alpenrausch", commissioned for Switzerland's cultural symposium Migros Kulturprozent, cuts and pastes sampled vocalizations with glass bells. Monolake albums usually end with a gorgeous ambient minded finale and "Indigo" is no exception as deep blue liquid drips and gathers amongst gently percolating bass. Very nice. Another new album is apparently due out early next year. - Mark Weddle
Regular visitors to the Brainwashed message board might be familiar with the name of industrial prog fiend Tim Jones. Now his cover's blown because The Brain can reveal that not only is he the one and moanly Pendro, but also a collaborator in noise with Triclops and production assistant for the aural hauntings of Berkowitz, Lake & Dahmer. Like BLD, Pendro releases have so far been CD-R's on Fflint Central, the label that Tim founded with longtime friend from Fflint Barry Williams. "Peninsula" is particularly notable for including a good chunk of a head on collision of roaring analogue synth and minidisc loops during which Pendro almost blew the roof off at a Rotations night in Manchester. Pendro's mind crumbling thick drones and piercing whistles are bolstered to eye popping effect by some choice recordings of buddhist monks' gutteral chanting and what sounds like black water swirling down the satanic plughole. This is my favourite noise from Fflint Central yet! The thick choking smog of this epic 'Masonic Incinerator' is preceded by what sounds like the looped distress call of an animated bagpipe beast called 'Flip' and followed by four more truncated chunks of looping and loping Pendroism which inflitrate the dark camouflaged corridors of Faculty X and leave a trail of dancing monkey droppings whilst the disembodied organ grinder grunts in ectoplasmic fury. Whilst there is much wrongness in the unsettled beats of Pendro, the closing 'Breizh Da Virviken' washes out the oddity in some eerie but calm cavernous ambient loop pools.
- Graeme Rowland
RHYTHM & SOUND, "RHYTHM & SOUND"
Collecting most of the 12" tracks from the past 3 years, Rhythm & Sound's s/t CD is the first since 98's Burial Mix collection "Showcase". Unlike that disc, which featured the vocals of Tikiman throughout, this disc is primarily instrumental save for 1 track. Rhythm & Sound are part of the Berlin based contingent of minimal electronic music makers, their specialty being lazy dub in varying degrees of fuzziness. Repetition is key as a limited palette of bass/beats are treated with an equally limited palette of dub effects from 6 to 17 minutes apiece. One thing's for sure - you need to be a fan of the sound to be able to sit through the entire 80 minutes. Fortunately, the tempos and arrangements are varied enough to maintain my interest. "Smile" features the heavily accented spoken words of Savage which is fine but not as engrossing as Tikiman's more melodic singing. "Mango Drive" and "Outward" are the most likely ones to convince you to get up off the couch and move a little while the rest are better suited for a ganja coma. Good stuff, but I prefer Rhythm & Sound's sound as a vehicle for Jamaican vocalists. - Mark Weddle
The Oakland California trio Replicator ignite their debut album with an instrumental that puts the rock into rocket. Slow burn smouldering dual note guitar atmospherics soon zoom boldly skyward with big brash jettison chords that'd make Trans Am's red line go green. For the next six songs they twist and turn through angular song forms with clipped vocals which couple melodic hooks with a complexity which is forceful but never forced. The hard hitting precision production from Shellac bassist Bob Weston gives equal weight to every aspect of Replicator's sound, and might just get them a few more Shellac comparisons than they otherwise would get, but they are definite fans of that band and at times employ similarly dynamic song structures. However they have a stronger melodic sensibility that on 'Strategery' recalls an angrier Poster Children and on 'Motivationally Challenged' they remind me how good the first Archers of Loaf album was. Replicator play with an engaging energy and exuberance on their songs but it's the three instrumental tracks that really fire me up. The mournful guitar on 'Journey to the End of the Night part II' rises to another crescendo that doesn't quite erupt like the opening '(No More) Salted Beef' did but sounds just fine even so. The long goodbye of their 'Taxi Driving' finale couples a moving piano melody with tub thump drums and a backwards rotor loop betrays a Flaming Lips influence, and perhaps opens the door to more experimentation with their sound next time round? - Graeme Rowland
I've mostly lost faith in the whole Ant-Zen/Hands thing. Recently, though, two albums were released that nearly restored my entire faith in the style of music as a whole: Azure Skies (reviewed last week) and Tarmvred's "Subfusc."
Right from the start, "Subfusc" appealed to my tastes - most of the songs are quite long (I'm a long-song freak). But what really sets it apart is the fact that it's written really damned well. You will find no contrived distorted dancefloor songs here: the beats are there, and in full force, but they never slip into the four-on-the-floor trap and they will never make you think you're listening to Noisex.
Which brings me to the point that Tarmvred sounds a lot like an evolved Winterkılte. The structure and approach is kind of the same, but I dare to say that Tarmvred pulls it off better... Nor is Tarmvred afraid to break out the Sidstation, and drop in a phat old-skool C64 melody at the end of track one. The whole album has little cool bits like these in it, that break away from the cliches and make wonderful use of new, interesting sounds.
The album gets slightly redundant at points (some of the beginning parts of the longer songs are unnecessary)... but this is still a wonderful album, especially for anyone who was listening to Ant-Zen a few years ago and then got tired of the club music crap. But hey, the club kids should like it too: this is something for everyone. Get it. - Chris Zaldua
OBENG UNGU & JALAN BUNTU WITH GROUP UANG WAYANG OF PALEMBANG
This little 3" CD from the Hot Air label, with it's quaint pictures of Indonesian women wearing old hats of the fifties, has been caught masquerading as a reissue of a rare tape classic which was supposedly originally only released in South East Asia on the Kesenian label in 1982. If the sleeve notes are to be believed, which they're not, then Obeng Ungu and Jalan Buntu not only paid musical tribute to the brave hat wearing women of Sumatra, who risked internment and public execution for embracing fashions from outside their culture, but were themselves the victims of cultural reappropriation. Their 1981 recordings of sessions at the Daging Dingin Candi, beating their gambangs and rubbing their metallophones, were ahead of their time. They were so ahead of their time that their odd combo which sounded like it had it's pot gongs, cuks, caks and sekelengs mixed down on a laptop, that Salford duo Stock, Hausen & Walkman ripped them off willy nilly for their "Organ Transplants". Well, old John Peel of Radio One was fooled. Admittedly, it probably doesn't take much to fool Mr Peel, but surely the picture of the 'Public parading of condemned hat wearers' ought to give the game away if the music itself didn't? Strangely Matt Wand, who has been indulging in works of fiction, has had emails from people with faulty memories congratulating him on reissuing such a mythic recording. I told Matt that the twelve short tracks with silly long titles made me think of truncated "Organ Transplants" done with ethnic percussion and tropical croaking samples. Matt laughed and told me to fuck off. - Graeme Rowland
STAHLGREN & FERGUSON, "PRINTING WITH MAGNETIC INKS"
Having previously pumped up the sounds of surgically enhanced flatulence for a Hot Air 7", the diagnostic sound recording services of Doctors Stahlgren and Ferguson were in demand. Their biggest job to date was the big Omag Magnetizing bank scam. They were hired to record all the whistles, creaks, rattles, wirrings and splutterings made by the printing, magnetizing, sorting and reading processes that digest cheques travelling through the swollen world banking gut. Their big money diagnosis remains a mystery, but some of the magnetic printing sounds have been hacked, chopped, thoughtfully rearranged and even given the odd punchline here and there by their creator Matt Wand. For this dose of Hot Air he's been wearing his electroacoustic hat. Short spells of calm droning are followed by quick collaged crescendos and whilst it all seems quite condensed, there's nothing to stop a second listen. Perhaps the beauty of the 3" CD format is brevity, but I could happily listen to more of this, as Matt does electroacoustic laptopping well and leaps and hobbles adventurously into more abstract soundscaping than on the comparatively safe but cheerful Ungu Buntu 3". I'm particularly floored by the big mangled mash up peaks of the 'Dead Thixotropic Duct Roller', but can just as happily dust the speakers down with the eerie hum wobbling of 'Anti-set-off Powder'. Now where did I leave that 'Shrinking Disinclination Loop'? - Graeme Rowland
We know that sometimes these CDs are somewhat challenging to find, which is why we have a community section which can be used to obtain nearly everything available on this site.
Dntel - Anywhere Anyone 12" (Plug Research, US)
Erasure - Moon & The Sky Plus CD (Mute, UK)
Vincent Gallo - So Sad 12"/CDEP (Warp, UK/US)
Gauge - The Gatehouse 12" (Pause_2, UK)
ISAN - Exquisite Honeyed Tart 7" (Static Caravan, UK)
Sami Koivikko - Kut Pulatin Pt. 2 12" (Shitkatapult, Germany)
* Roots Manuva - Join The Dots 12" (Big Dada/Ninja Tune, UK)
Squarepusher - untitled 12" (Warp, UK)
V & A [Erasure] - Moon & The Sky 12" (Mute, UK)
Various - RND_0.34873349921 CD [with COM.A, Sybarite, EU, Metamatics, Quinoline Yellow, Wauvenfold, Andreas Tilliander, Zan Lyons, The Boy Lucas, Draven Tanks, mati:k, Novel23, Carthage, Maps and Diagrams] (Pause_2, UK)
Yellow 6 - Lake Desert CD (Ochre, UK)
This is simply this week's highlights from the NEW RELEASES provided by Greg and Feedback Monitor.
* Basement Jaxx - Where's Your Head At 12"/CDEP (Astralwerks, US)
Beatless - Dominant/Rock On 12" (Ubiquity, US)
Beatless - Like Sugar Like Rain/The Truth 12" (Ubiquity, US)
Richard Devine - Aleamapper CD/2xLP (Schematic, US)
Fad Gadget - The Best of Fad Gadget 2xCD (Mute, US)
Cuica - Trommel Monster 12" (Ubiquity, US)
For a more detailed schedule stretching into the future, please check out the site,
since release dates can and will often change.
THE ANGELS OF LIGHT
Despite technical issues and 1 set tragically cut short, Michael Gira's The Angels of Light shined in Austin and Oklahoma City. Virgil Shaw opened with a rocked out set of pleasant folk/blue grass/country-ish tunes. Gira, looking smart as usual in his fedora, gray dress jacket and slacks and cowboy boots, sang and played a black Guild acoustic electric guitar. Surrounding him were solid multi-instrumentalists Thor Harris, Larry Mullins and Dana Schechter on drums, percussion, vibes, piano, hammer dulcimer, autoharp, bass guitar, keyboard, melodica, organ and backing vocals. The sets are about an hour and a half worth of new songs and ones from "How I Loved You", Gira's "Solo/Acoustic" CD and a couple of SWANS reworkings: Evangeline, What Will Come (new), Nations (new), My Suicide, All Souls' Rising, New York Girls, The Rose of Los Angeles (new), What You Were, On The Mountain, Goddamn the Sun, Failure and Two Women. The new songs are fantatic, especially the memorable mounting groove of "Nations" and the violent orgasm of "All Souls' Rising". Gira did not disappoint, especially in OKC when he became the possessed man I've become accustomed to witnessing: eyes closed, head bobbing around and mouth moving as though he's chewing an imaginary cud, yelling off mike, reeling in his stool and strumming hand slamming the guitar to the point of drawing blood. The tour swings back through the Midwest and ends in NYC on the 20th. See younggodrecords.com for dates and more info. - Mark Weddle
The Beatles "Rubber Soul" blared over the PA in Austin, just prior to Chris Connelly taking the stage to open the Pigface show. Chris played "July" segueing into "The Peepshow Ghosts", two of his more rockin' solo tunes as the rest of the band played with colored flashlights behind white screens. The screens came down to reveal all those on stage: Martin Atkins and Dickless on drums, Curse Mackey on keys, Chris Haskett on guitar, Krztoff on guitar, Charles Levi on bass, Seibold, and later, Meg Lee Chin on vocals and Bob Dog on guitar (and Paul Barker mingled in the crowd and at the bar). The set was in celebration of 10 years of Pigface and related endeavors, including these songs: Broadcasting (The Damage Manual), Think, Sunset Gun (The Damage Manual), Stateless (The Damage Manual), Damage Addict (The Damage Manual), Divebomber, Murder Inc. (Murder Inc.), Heavy Scene (Meg Lee Chin), Autohag, Nutopia, Weightless, Hips/Tits/Lips/Power, Suck, Supernaut (Black Sabbath), Pigface in Your Area and Fuck It Up. I've seen Pigface many times over the past decade and this was the heavest and loudest unit I've experienced. It was really great to have Connelly back at the helm and Meg Lee and Mackey also handled the vocal task with style. Everyone was smiling by the end, on and off stage. The tour continues throughout the U.S. ending up in Chicago on the 22nd. See invisiblerecords.com for dates and more info. - Mark Weddle
|LINK OF THE WEEK|
The Horrible Affliction test
Pick a disease, any one will do, and then answer a series of yes or no questions and see if they can pick it! Actually, it's even more fun to answer the questions as you would yourself, and see what disease you are! squirming.net/meme/tests/affliction
give it a rest already
Subject: Richard DeVine
hey, I'm writing in response to your review of Richard DeVine's latest. I
wondered if you'd heard any of his early work. I don't honestly keep IDM in my
radar (save for Solenoid, who I love, but still isn't RJ).
Anyway, Richard used to do hardcore for Drop Bass, and he was actually pretty
fresh for that set (which had a lot more dim moments than bright ones). The
samples of this new stuff you included makes a lot of sense to me, given what I
know of his previous work; I haven't paid much attention, so it's sort of cool
to go from beginning to end in such a short leap. This new stuff is really
nifty, if you put it in context. Hardcore is (on some level) supposed to be
danceable, and the samples of this new stuff is just barely danceable, to the
right crowd, anyway.
I can see how an IDM purist would be unimpressed, but, as a DJ that aspires to
be fresh AND danceworthy (read: accesible), I have to say I'm still liking
Thanks for the efforts, btw!
Okay, you obviously don't read the brain and are a crazy fan like the rest.
The review was written back in April so you could have only found it with a web search.
Subject: [no subject]
I like waffles.
Subject: more questions
i was just wondering if someone writes a check for something to you, do they
make it out to 'brainwashed' or 'brainwashed recordings' or whatnot. also, if
you were to pre-order the brain in the wire compilation and order, say, fridges
'happiness' cd, would both be shipped april 16th or would the fridge cd be
shipped sooner? thanks.
p.s. i also never realized brainwasheds birthday was on the 16th, ironically
this is also my birthday too.
"Brainwashed" works. Happy Birthday. The other items will ship sooner.
Subject: the ballot
i have a suggestion regarding the Brainwashed best of the year ballot thing.
perhaps you could provide a link to an easily printable version of the ballot
(i.e. simple text formatting, no colors or graphics, etc). that way, people
could easily print it out and fill it out at their leisure more easily. i mean,
yeah, you can print out what's up there now, but with all of the colored text
and form elements, it's not gonna look very pretty. i dunno, just an idea.
There's a print setup feature in your web browser that allows you to print black text. Trust me on this one.
Subject: dancing about architecture
I am very certain that it was Frank Zappa who said (perhaps paraphrasing) that
"talking about music is like dancing about architecture." Please let me also
use this opportunity to thank you for your efforts on Brainwashed. It is a
Thanks, but that's not what the next guy says.
Subject: writing about music
I'm sure people are flocking to tell you, but yes
"writing about music is liking dancing about architecture" -- Steve Martin.
Another reason to like Steve Martin and one of my favorite quotes as well.
Thanks for the great pages.
Thanks to you too, but that's not what the next girl says.
Subject: thinking about linking
Elvis Costello said "writing about music is liking dancing about architecture"
Gee, thanks, too bad the next chap doesn't agree with you.
Subject: whistling about chickens
I think it was Laurie Anderson who once said "writing about music is liking dancing about architecture"
Oh I give up.
|WHAT'S IN YOUR PLAYER?|
ICELAND'S BEST ALBUMS OF LAST CENTURY
1 Sigur Ros - Agaetis byrjun
2 Bjoerk - Debut
3 Megas & Spilverk pjodhanna - A bleikum nattkjolum
4 Studhmenn - Sumar a Syrlandi
5 Trubrot - Lifun
6 Bubbi Morthens - Isbjarnarblus
7 Utangardhsmenn - Geislavirkir
8 Studhmenn & Grylurnar - Medh allt a hreinu
9 Bubbi Morthens - Kona
10 Sykurmolarnir - Life's too good
Gunnar Hjalmarsson, who's book, "Eru ekki allir i studi" is just out. It's all about Icelandic "rock" music. He says "A part of it is a list of Iceland's 100 best albums. I got 200 pros to make a list of 10 "best albums" each. Then I put the results of that, 100 albums, on the internet and asked people to
choose 10 albums each. 4000 people took part of the survey. Then weighed the pros and the people's votes were 50/50 and these were the top 10 results.