Most days, I really like "stoner rock", distorted, slow-to-mid-tempo groovy rock like Queens Of The Stone Age, Bloody Diamonds and Priestess. The Hazytones definitely thread in those waters, with hints of Corrosion Of Conformity, Kyuss and heavy 1990s rock as major influences.
In the lo-fi video for the song "Living On The Edge", directed by Seb Black, the Montréal outfit shares the screen with wolf packs, "crazy" trains, fires devastating dead forests, mountaintops and psychedelic colours and effects:
I've already listened to it a few dozen times already this weekend. Good times!
Sunday, February 24, 2019
Wednesday, February 13, 2019
Mansplaining Reactions To The News That Ryan Adams Was An Asshole
The New York Times continued to out public personalities as assholes/abusers today with a researched piece that has seven women (among them his ex-wife Mandy Moore) accuse indie darling Ryan Adams of being a manipulative creep.
It's a tad short (the article, not the women's suffering), but to the point.
I believe the women's suffering, and I believe there being (at least) seven makes for a pattern. Those are statements that are most likely facts, in a legal manner of speaking.
What I have a problem with is the public lynching in lieu of due process and the lumping apples and oranges to create a bigger story than it is.
Case in point, one at a time:
"95% of the music industry, from the independents to the huge stars, are mediocre pervert dudes." Notwithstanding the fact that almost all pop stars are female, that most of the music paid for in the past five years has been made by or with women, that the most influencial acts of the 1990s that weren't part of the "Seattle grunge quadrinity" (Pearl Jam, Nirvana, Soundgarden and Alice In Chains, maybe Mudhoney and Chicagoans Smashing Pumpkins thrown in for good measure) or Nine Inch Nails were women, including a lot of other Seattle acts (Hole, Babes In Toyland, Bikini Kill, L7, Sleater-Kinney, The Fastbacks, The Gits, Heart/The Lovemongers, Sonic Youth, Unwound, Bratmobile, 7 Year Bitch, The Breeders, Veruca Salt, The Pixies, Suture). I'm sure I'm forgetting obvious ones.
The Beastie Boys - not quite my cup of tea - helped Luscious Jackson and Cibo Matto have success, because friends help friends, and gender doesn't have to be an issue.
One of the best songwriters of all time came from the 1990s, PJ Harvey, in England, but my limited knowledge of British music from my adulthood has me thinking ladies may have been rarefied there indeed. On the American side of the pond, Tori Amos, Ani DiFranco and Liz Phair made a huge dent. In Canada, a jazz singer and pianist, Diana Krall, became a world-renowned jazz legend - the only jazz legend borne out of the 1990s of any gender. I doubt their critically-acclaimed work came only from their looks or men wanting to sleep with them.
I was not a fan of Garbage, Fiona Apple, Björk or Alanis Morrissette, but they had clout.
In the 2000s, the only decent new male rock acts were The Strokes, The Raconteurs and The White Stripes (female drummer). The rest of the fun and quality came from Yeah Yeah Yeahs, The Kills, Sahara Hotnights, Arcade Fire, The Donnas, First Aid Kit, The Pack A.D., The Dead Weather and so many others acts that proven women have a lot more balls and talent than their tired and lame male counterparts. Did all of those acts have to sell their bodies to make it?
And about the men...
Artists: Eddie Vedder, Trent Reznor, Beck, Andre 3000, Ben Gibbard, Marilyn Manson, Jack White, Robert Plant...
Executives: David Geffen, Russell Simmons, Bruce Pavitt, Jimmy Iovine, Berry Gordy... all pervert dudes? Each of their public personae go against all of that.
That's a serious fucking accusation, a high fucking number - and completely made up.
I ran a music festival for over a decade and every night, we had at least one woman on stage - usually one in at least two-thirds of the acts, never with a quota in mind - it just happened that way because that's what was good and worth sharing to concert-goers; the only style of music that didn't fit that statistic was noize - which is basically a bunch of solo sound nerds doodling and tweedling on knobs.
Here's another extremely harsh accusation:
I get the sarcasm, I get the exaggeration for effect, but while we're conducting public lynchings instead of going through the (failed, uneven, biased) Justice System, we are all responsible of our words, for the scope and impact of our comments. Hyperbole is dangerous. It isn't you with your friends in someone's living room; it's public, to the world. It's your public reflection of you.
If a threatening tweet can result in probably cause condemnations, so should false accusations.
Fuck, (wo)man, how many rapists do you think are around?
And all of that is saying nothing about the fact that if any one of the people overreacting to this story in particular played devil's advocate for just a few minutes, they could see that he actually has a half-credible defense if he can get expert testimony from a qualified shrink.
That probably wouldn't be enough to prove he wasn't responsible for the way his victims felt (civil case), but there may be enough evidence that someone who was already recognized as having had bouts of mental illness was just responding the way his brain was letting him, with threats of suicide and bipolarity (not guilty in a criminal case).
We're not there yet, but it helps to once in a while put yourself in the other side's shoes with a clean slate instead of a bias to understand the pattern of behaviour.
Again, I'm not defending his actions. But when he says he can sue over this, he might have a case.
What works for the NYT is having his ex-wife and ex-fiancée on record corroborating his actions in terms of behavioral change, tonal change, and so forth. They likely won't get him on impeding careers (not of all seven anyway, but maybe Moore), and he definitely inquired about the young one's age (she refused to provide ID and they never met in person) enough to get away with what would possibly have been the worst charge of all.
As a "fan" of legalese, this is far from the Bill Cosby case, but it's also far from the Chris Hardwick case.
It's a tad short (the article, not the women's suffering), but to the point.
I believe the women's suffering, and I believe there being (at least) seven makes for a pattern. Those are statements that are most likely facts, in a legal manner of speaking.
What I have a problem with is the public lynching in lieu of due process and the lumping apples and oranges to create a bigger story than it is.
Case in point, one at a time:
 |
| From this post |
The Beastie Boys - not quite my cup of tea - helped Luscious Jackson and Cibo Matto have success, because friends help friends, and gender doesn't have to be an issue.
One of the best songwriters of all time came from the 1990s, PJ Harvey, in England, but my limited knowledge of British music from my adulthood has me thinking ladies may have been rarefied there indeed. On the American side of the pond, Tori Amos, Ani DiFranco and Liz Phair made a huge dent. In Canada, a jazz singer and pianist, Diana Krall, became a world-renowned jazz legend - the only jazz legend borne out of the 1990s of any gender. I doubt their critically-acclaimed work came only from their looks or men wanting to sleep with them.
I was not a fan of Garbage, Fiona Apple, Björk or Alanis Morrissette, but they had clout.
In the 2000s, the only decent new male rock acts were The Strokes, The Raconteurs and The White Stripes (female drummer). The rest of the fun and quality came from Yeah Yeah Yeahs, The Kills, Sahara Hotnights, Arcade Fire, The Donnas, First Aid Kit, The Pack A.D., The Dead Weather and so many others acts that proven women have a lot more balls and talent than their tired and lame male counterparts. Did all of those acts have to sell their bodies to make it?
And about the men...
Artists: Eddie Vedder, Trent Reznor, Beck, Andre 3000, Ben Gibbard, Marilyn Manson, Jack White, Robert Plant...
Executives: David Geffen, Russell Simmons, Bruce Pavitt, Jimmy Iovine, Berry Gordy... all pervert dudes? Each of their public personae go against all of that.
That's a serious fucking accusation, a high fucking number - and completely made up.
I ran a music festival for over a decade and every night, we had at least one woman on stage - usually one in at least two-thirds of the acts, never with a quota in mind - it just happened that way because that's what was good and worth sharing to concert-goers; the only style of music that didn't fit that statistic was noize - which is basically a bunch of solo sound nerds doodling and tweedling on knobs.
Here's another extremely harsh accusation:
 |
| From this post |
If a threatening tweet can result in probably cause condemnations, so should false accusations.
Fuck, (wo)man, how many rapists do you think are around?
And all of that is saying nothing about the fact that if any one of the people overreacting to this story in particular played devil's advocate for just a few minutes, they could see that he actually has a half-credible defense if he can get expert testimony from a qualified shrink.
That probably wouldn't be enough to prove he wasn't responsible for the way his victims felt (civil case), but there may be enough evidence that someone who was already recognized as having had bouts of mental illness was just responding the way his brain was letting him, with threats of suicide and bipolarity (not guilty in a criminal case).
We're not there yet, but it helps to once in a while put yourself in the other side's shoes with a clean slate instead of a bias to understand the pattern of behaviour.
Again, I'm not defending his actions. But when he says he can sue over this, he might have a case.
What works for the NYT is having his ex-wife and ex-fiancée on record corroborating his actions in terms of behavioral change, tonal change, and so forth. They likely won't get him on impeding careers (not of all seven anyway, but maybe Moore), and he definitely inquired about the young one's age (she refused to provide ID and they never met in person) enough to get away with what would possibly have been the worst charge of all.
As a "fan" of legalese, this is far from the Bill Cosby case, but it's also far from the Chris Hardwick case.
Friday, February 8, 2019
Video Of The Week: Fox And Bones
Somewhere along the lines of five to ten years ago, I took part in a benefit concert for the Mile-End Mission (a homeless shelter) in which all participants agreed to sing political folk songs; most chose to cover Woody Guthrie, Billy Bragg, Bruce Springsteen and Pete Seeger. My friend John "Triangles" Stuart used to hold these every month, each time with a different theme, which usually meant new songs we had to learn.
Fox And Bones sound like they would have attended a show like that one and been turned on by the general themes of "songs of the proletariat", but with an indie rock quality to their sound, a bit more polished.
The Portland, OR couple comprised of co-songwriters Sarah Vitort and Scott Gilmore know how to write a fine song; there's a nice positivity about Better Land that rises the song up like the best songs from acts like The Lumineers, however that takes away from the depth of what one expects from "songs for the people":
The video was co-directed by Chris Bigalke and video animator Zachary Winterton.
Fox And Bones sound like they would have attended a show like that one and been turned on by the general themes of "songs of the proletariat", but with an indie rock quality to their sound, a bit more polished.
The Portland, OR couple comprised of co-songwriters Sarah Vitort and Scott Gilmore know how to write a fine song; there's a nice positivity about Better Land that rises the song up like the best songs from acts like The Lumineers, however that takes away from the depth of what one expects from "songs for the people":
The video was co-directed by Chris Bigalke and video animator Zachary Winterton.
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