As you loyal readers know, we here at soundmagician are avid Lightning Bolt fans. Shit, my first contribution to this blog was the brilliant, yet unreleased, track, “Horsepower.” Well, my late night searching of the series of tubes has led me to yet another fantastic unreleased track, the aptly titled, “Run Rabid Run.” Rumors around the Lightning Bolt forums say this is to be on the next album, ideally alongside “Horsepower.” If so, this seems to be their straight-forward, dare I say, punk answer to Earthly Delights’ shoegazey, swirling sounds. Both tracks are jaw-droppingly voracious, and built on a single back-breaking riff. Though the video’s relatively low quality, the sheer ridiculousness of the song speaks for itself. Enjoy
There’s been nothing but hardcore on my mind as of late. The sheer amount I’ve forced into my ears lately has been pretty astounding, so I just felt a pretty strong urge to give a tip of the cap to one of the great genres of modern music. Though we could list band after band here, I’d like to throw Black Flag up, just because they damn well deserve it. They really distill all that is great about the genre, from the sheer, unrelenting anger, the strong musicianship (Ginn knows what he’s doing), and the unsettling neurosis. The Nervous Breakdown EP puts this all on display in five gloriously furious minutes. Keith Morris will always be my favorite Black Flag frontman for really emphasizing all these different elements, whereas Rollins (and most hardcore frontmen for that matter) largely emphasize anger with their vocal style. So here’s the first track off the EP, “Nervous Breakdown,” which is one of the great tracks recorded in the era. The neurotic vitriol of Morris is simply astounding, and his final shout of, “I just wanna die,” which then itself becomes mechanized, is just beautifully disturbing. Enjoy (and, preferably, fight your friends as it plays). More to come in the coming days.
After Jay Reatard’s untimely death in the May of 2010, there seemed to be few musicians who were talented enough to continue his awesome, garage-y aesthetic. Fortunately, it seems we’ve found someone up to the challenge with Ty Segall. Segall has the ridiculously gripping hooks, fun sound, and tongue-in-cheek style that made Reatard great, yet brings his more pop-based sensibilities to the table. Though John Dwyer of Thee Oh Sees is the biggest name of the San Francisco garage rockers, he lacks the great songwriting skills of Reatard and Segall. With Goodbye Bread, Segall’s latest LP coming in late June, receiving a lot of press, it seems the indie community is ready to revamp garage with his sound. Or, at least, they better. I think I’ve written more about Segall than any other artist on this blog, and for good reason. He’s a talented guy, more deserving of critics’ attention than nearly all of the bands currently being peddled by the blogs. Though I’m clearly suffering from a bit of San Francisco pride, Segall deserves the attention. Two tracks off the new album can be heard over at Seizure Chicken, listen to it here
I’m a college student in the capital of the U.S.A, Washington D.C. Naturally, this is a change of scenery from my usual digs back in wondrous Las Vegas, NV. I went to an old record shop yesterday, and saw all these books and memorabilia from the past 40 years of music in D.C. All of this history all equated back to one common denominator: Punk/Hardcore music. This also inspired me to think about the importance of local music, and that effect on music as a whole. If you don’t know, great hardcore and punk bands have started here in D.C. such as Minor Threat, Bad Brains, Velvet Monkeys, Goverment Issue, and Fugazi (two members of which went to my school). Fugazi continue to digitize and release more of their live music, and I’m hoping for a reunion. I urge you all to take a look at these genres, and how they affected musical history as a whole, and to listen to a few songs. Check out the links below for a few quality songs from this genre.
Here is a link about hardcore in D.C.
Fugazi, Minor Threat, and Black Flag with Henry Rollins (a D.C. Native as well.)
If you didn’t, Christ you missed out. Before that, I’d like to simply explain the inactivity that’s consumed our little project here. Honestly, school’s kicking our ass, Spenser’s finishing up his college apps, and my professors here are upping the workload. We’re back though, and I’ll be trying to update this thing as much as possible!
Good, got that out of the way. Holy shit, LCD Soundsystem, holy shit. I may be getting ahead of myself here, but I feel that Murphy’s farewell show was a watershed moment in the music of the 2000’s. Perhaps that show marks, at least in part, a transition to something new, something yet to be created. LCD Soundsystem was one of the giants of music of the 2000’s and they’re gone now, that show may have been the official closing of the door on the 2000’s. They’ve undoubtedly left their mark on indie music, and will surely be an important influence on bands yet-to-be-formed. At they very least, it was a beautifully orchestrated show, that will be marked as one of the great live performances of the decade. LCD Soundsystem will be dearly, dearly missed, both for their effortless combination of every goddamn genre imaginable, and Murphy’s brilliant songwriting. Who else so openly and correctly critiqued and explicated the function of music in modern subcultures? LCD Soundsystem will, without a doubt, be remembered, but here’s to hoping that their farewell show will not be the last we here of James Murphy.
All over the interwebs you’ll find people praising Yuck for their fun mish-mash of all things 90’s. There’s some validity in these accolades (there’s the shoegazy guitars that call J Mascis to mind for one) but “The Wall” is a solid as hell song in its own right. It’s easy to find yourself caught up in the song’s great main hook, and have that refrain, “Trying to make it through the wall” stuck in your head for the rest of the day. The depth of the song goes a bit further though, there’s the great guitar work, and wonderful, thick layers of sound. The structure perfectly reflects the ideas expressed in the vocals, and makes you want to dance, rock out, and kick back and think all at the same time. Take a gander, you’ll enjoy it -