Tuesday, June 30, 2009
“I saw her dancing with the Devil,” snarls Kelvin Swaby, lead singer of Noid, England's most notorious bandits The Heavy. It is the opening line to the band's new single, “Sixteen,” which is being released today exclusively on iTunes - and on July 7th on other digital retail outlets - via Counter/+1 Records. From there, The Heavy descends into a chilling post-apocalyptic carnival ride. “Now she looked just like Heaven, but her mind reeks of Hell.” Indeed, a soul hangs in the balance, but The Heavy pretty much knows the score: “Sixteen, she's already dead.” This ain't your grandmother's Coney Island ride.
The Heavy are in the midst of a Singles campaign, which is the first new music released since their much bally-hoo'd debut Great Vengeance and Furious Fire. The Heavy's new single ‘Sixteen' is the second of a series of three singles set to be released this Summer, all leading up to the October 6th North American release of their sophomore album, The House That Dirt Built, which was produced by Jim Abbiss (Arctic Monkeys, Adele, Editors, Kasabian). The first single, ‘Oh No! Not You Again!,' came out on May 12th, and features The Noisettes' Shingai Shoniwa.
Monday, June 29, 2009
Holy Ghost released their ubiquitous song ‘Hold On’ on DFA in 2007 and it quickly became one of the biggest crossover tracks from the New Disco genre. The catchy dancefloor anthem works in the New York hipster underground, LA hip-hop ‘hot spots’, everywhere in between, and has been on heavy rotation in my sets since it’s release. Nick and Alex from Holy Ghost have been keeping busy producing dioscofied remixes for the likes of Phoenix, Cursive, Cut Copy, and MGMT, among others, but have been slow to share their original material with the world. The boys linked up with Green Label Sound and last week released a new single "I Will Come Back" (free download www.greenlabelsound.com/holyghost) to wet our appetites for their 2010 full-length album. Below is a video where Holy Ghost talks about how the song was produced. Saturday night I had the pleasure of playing the dubplate (first pressing of vinyl/ only one in existence/ yes I am bragging :)) of ‘I Will Come Back’ at the DFA afterparty in downtown LA and watched as the disco glitter spread across the floor. This five and a half-minute dance floor epic, featuring the angelic voices of the Brooklyn Youth Chorus is dynamite and Holy Ghost have struck gold (again) with this layered and intelligent hit.
Saturday, June 27, 2009
A few months ago I was given the album ‘A Monstrous Psychedelic Bubble Exploding In Your Mind Vol. 1’. Because of my hectic travel/ work schedule, as with most new music that does not directly relate to my djs sets, it did not get the attention that every new remix of the dancefloor hits do. Last week I found some spare time to give this (and a number of other compete albums) the attention that they deserved. I lit some candles am committed an afternoon to music appreciation – my favorite pastime. ‘A Monstrous Psychedelic Bubble Exploding In Your Mind Vol. 1’ is a 2008 album by the Amorphous Androgynous otherwise know as The Future Sound of London. It took over two years to compile, mix and gain sample clearance. Time Out referred to it as "quite simply the best compilation ever”. Noel Gallagher has said it was his favorite album from last year. "[It is] one of the best things I've ever, ever heard," he said on the Oasis website. "I fell in love with one truly great, great album. Go and find it now, it'll blow your tiny little minds." This compilation features the band's psychedelic influences and really got me thinking about the genre of psychedelic music, and specifically psychedelic rock and it’s sonic children. So I chose to, as Timothy Leary would say, "Turn on, tune in, drop out" and explore the genre.
In 1964, several bands in the New York underground music scene began to play what they called psychedelic rock. The term psychedelic was an homage to the hallucinogenic drugs which were only recently entering the public consciousness. Powerful drugs such as LSD, mescaline and peyote mushrooms were being combined with marijuana and alcohol as a means to disconnect from reality.
While under the influence of these substances, musicians and artists felt as if they had entered a higher sphere of awareness. Psychedelic rock musicians felt free to break out of the pop music mode and perform longer pieces based on free-form jazz and blues models. Lyrics were no longer required to make linear sense - they could reflect an altered reality of the drug experience.
Many music historians point to the Bay Area of Southern California as the birthplace of commercial psychedelic rock. The alternative lifestyle offered by the hippie culture encouraged mainstream musicians to experiment with both the chemical and musical possibilities of the psychedelic movement. Groups such as Jefferson Airplane, the Grateful Dead and the Doors all found a level of success through psychedelic rock music.
Individual artists like Jimi Hendrix and Janis Joplin also became inextricably linked with the psychedelic culture. In Great Britain, artists such as Donovan and Pink Floyd were also using elements of psychedelia, but it would be the Beatles who once again defined a genre of music. Their 1967 album Sgt. Pepper's Lonely Hearts Club Band is considered one of the best-crafted psychedelic rock albums of all time.
The psychedelic rock era eventually collapsed under its own excesses. Drug overdoses claimed the lives of many of its icons - Jimi Hendrix, Janis Joplin and Jim Morrison. Other psychedelic rock bands either fell out of favor with the public or disbanded their original line-ups.
Neo-psychedelia (a.k.a. modern psychedelic rock) is the product of the psychedelic rock explosion of the 1960s. Modern neo-psychedelic bands (MGMT, Flaming Lips) base strong elements on the works of other notable leaders in the 1960s psychedelic rock culture. A form of free melodic music sometimes associated with indie rock, neo-psychedelic musicians use a variety of elements; distorted electronic sounds (including artists from completely different musical backgrounds such as new wave, alternative rock, shoegaze, space rock, and ambient) with strong influences of the popular psychedelia of the '60s.
Little Radio Playlist 6/23/2009
Planet Caravan - Black Sabbath
Riki Tiki Tavi - Donovan
Lazy Flies - Beck
Of Moons, Birds & Monsters - MGMT
This Is The One - The Stone Roses
Tattava - Kula Shaker
The Inner Light - The Beatles
White Rabbit - Jefferson Airplane
Poor Sad Sue - Manfred Mann
In Another Land - The Rolling Stones
Pepper - Butthole Surfers
Eight Miles High - The Byrds
Blue Honey - Pop Levi
Psyché Rock - Les Yper-Sound
Take It From The Man - The Brian Jonestown Massacre
April Skies - The Jesus & Mary Chain
Born On A Day The Sun Didn't Rise - Black Moth Super Rainbow
Comfy In Nautica - Panda Bear
Glacier - Crystal Antlers
Primitive The Groupies
Confusion Is Nothing New - Beachwood Sparks
Time Has Come Today - Chambers Brothers
I Can See For Miles - The Who
Ball Of Confusion (That's What The World Is Today) - The Temptations
The Court of the Crimson King - King Crimson
You Keep Me Hangin' On - Vanilla Fudge
When I Was Young - Eric Burdon and the Animals
Pictures Of Matchstick Men - Status Quo
"Turn on, tune in, drop out" - Timothy Leary
'Turn on' meant go within to activate your neural and genetic equipment. Become sensitive to the many and various levels of consciousness and the specific triggers that engage them. Drugs were one way to accomplish this end. 'Tune in' meant interact harmoniously with the world around you - externalize, materialize, express your new internal perspectives. Drop out suggested an elective, selective, graceful process of detachment from involuntary or unconscious commitments. 'Drop Out' meant self-reliance, a discovery of one's singularity, a commitment to mobility, choice, and change. Unhappily my explanations of this sequence of personal development were often misinterpreted to mean 'Get stoned and abandon all constructive activity'
Friday, June 26, 2009
dance the night away!
Thursday, June 25, 2009
He was 50.
Jackson's blazing rise to stardom -- and later fall from grace -- is among the most startling of show business tales. The son of a steelworker, he rose to fame as the lead singer of the Jackson 5, a band he formed with his brothers in the late 1960s. By the late '70s, as a solo artist, he was topping the charts with cuts from "Off the Wall," including "Rock With You" and "Don't Stop 'Til You Get Enough."
In 1982, he released "Thriller," an album that eventually produced seven hit singles. An appearance the next year on a Motown Records 25th-anniversary special cemented his status as the biggest star in the country.
For the rest of the 1980s, they came no bigger. "Thriller's" follow-up, 1987's "Bad," sold almost as many copies.
The pop music landscape was changing, however, opening up for rap, hip-hop and what came to be called "alternative" -- and Jackson was seen as out of step.
His next release, 1991's "Dangerous," debuted at No. 1 but "only" produced one top-ranking single -- "Black or White" -- and that song earned criticism for its inexplicably violent ending, in which Jackson was seen smashing car windows and clutching his crotch.
And then "Dangerous" was knocked out of its No. 1 spot on the album charts by Nirvana's "Nevermind," an occurrence noted for its symbolism by rock critics.
After that, more attention was paid to Jackson's private life than his music career, which faltered. A 1995 two-CD greatest hits, "HIStory," sold relatively poorly, given the huge expense of Jackson's recording contract: about 7 million copies, according to Recording Industry of America certifications.
A 2001 album of new material, "Invincible," did even worse.
In 2005, he went to trial on child-molestation charges. He was acquitted.
In July 2008, after three years away from the spotlight, Jackson announced a series of concerts at London's O2 Arena as his "curtain call."
Tuesday, June 23, 2009
Monday, June 22, 2009
the band since their EP came out late last year and even included the
track ‘Sleepy Head’ on my best songs of 2008 list. ‘The Reeling’ is
the first single off ‘Manners’ and it is everywhere right now. It’s a
catchy indie electro-pop gem and was given the 80s dancefloor
treatment by British cutie Calvin Harris. I like this remix because it
retains the feeling of the original while tactfully bumping up the
energy. Calvin Harris has a gentle hand in comparison to the
aggressive electro remixes that I keep hearing but his style really
works for me. As his remix of the Ting Tings song ‘Great DJ’ did last
year, I expect this reworking of ‘The Reeling’ to be a staple of my
sets this summer. I had the opportunity to hang out with Calvin when
Boom Bip (Neon Neon) and I DJed his album release party in LA. I’ve
included some shots from the night bellow. Because I was the
photographer, I’m not in any, but you can spot Calvin Harris, Boom Bip,and Fabrizio Moretti (The Strokes), hanging in the Purple Lounge at
the Standard, Hollywood.
Sunday, June 21, 2009
A Brazilian telenovela that takes place in India? Dope!
What is your favorite maligned genre? Rap-rock? Electroclash? I’m proud and yet ashamed but overall mostly proud to say that mine is Goth and its art-school dropout cousin, Industrial. I’m not quite sure why these genres haven’t reached the level of urban subculture cred that metal or, of course, disco recently have regained. For example, if I wear a Stryper T-shirt to The Echo, it will be understood amongst those In The Know that I’m still One Of Us, and not a true Hessian with blue collar or red state ideals. (Though I do actually sorta like Stryper). But if I wear a Sisters of Mercy shirt, my Indie.Alt bona fides are not so clear.
Because for the most part Goth and Industrial have become associated with the commercial subgenres they spawned in the 90’s: the metal machine cartoon pop of White Zombie and proto emo angst of Nine Inch Nails. And the legacy of that late 90’s Marilyn Manson/Dave Navarro black fingernail polish thing apparently lives on, as evidenced by the Myspace profiles of a million suburban teenage girls and a bunch of terrible, terrible Hollywood bands.
In other words, as happened before with punk: the visuals of a movement have been extracted from the sound and become associated with completely different music, in this case, the emo and rap metal that radio-fed people far away from big cities tend to listen to. The original genre’s sound (which is its own essay but I’ll describe simply as dark, effects heavy and otherworldy take on punk, generally with dance beats) has been held to blame, which has happened before, and it’s just not fair.
But maybe there’s a linguistic solution at hand. Let’s take a trip back in time to San Francisco circa 1976, when Damon Edge and Helios Creed got together and were among the first who dared to add synths, delay pedals and samplers to punk rock. They put out nine records of mostly 4-track recordings done in their house, and called it Acid Punk. What a great name! Can we start a meme and use this to mean the the pre NiN stuff that we love? HRO, can you help? Cuz, like, u r in chrg of mms!
Baron von Luxxury
Thursday, June 18, 2009
Blister In The Sun (Violent Femmes) - Nouvelle Vague
Breaking The Ice - Jeremy Jay
radio christian - Virgins
Self-Taught Learner - Lissy Trullie
Going Down (ft. Kid Harpoon) - Florence & Kid Harpoon
Di Di Di - Hang On The Box
Caught In A Crosswalk - Baskervilles
???????? - Heartsrevolution
The Freed Pig - Cassettes Won't Listen
Goldenshire - The Subjects
Pressure - 123 Amazing
Feel The Pressure - Franz Ferdinand
Slave In Line Out - Panther DLX
Qui Est Cette Fille (Robyn cover) - Yelle
I'll House You (Reebok Classic '09) - Kid Sister
Never Miss A Beat (Cut Copy Remix) - Kaiser Chiefs
Fallen Snow (Teenagers remix) - Au Revoir Simone
The Girl In Byakkoya (Beaufort Remix) - Susumu Hirasawa
Never Content - Air France
Hide And Seek - Imogen Heap
Starlighter - Jupiter
Solo City - Booka Shade
Primary Colours - The Horrors
No Hope Kids - Wavves
Felt Tip - Love Is All
Baby Love - Annie Philippe
Stereo Provolone - Break Bot
Wednesday, June 17, 2009
Tuesday, June 16, 2009
“Boy Boy” by Lissy Trullie off Self-Taught Learner
I first met Lissy while she was DJing at the Beatrice Inn. We were
wearing the same hat and she was playing one of my favorite bands - Television. Like everyone else, I was immediately smitten with this downtown darling and eager to hear her original music. I love the EP (out now on American Myth Recordings) and “Boy Boy” is a fantastic lead single. Photographer Cass Bird directed the video, part of which was filmed at Lit, where Harley Viera-Newton and Cassie Coane (who played the ROXY JBL launch with me) host their rad Wednesday night party. Harley and Cassie even have cameos along with one of my favorite actresses/style icons Chloë Sevigny. This song reminds me of my New York friends and I hope you dig it as much as I do.
Monday, June 15, 2009
I Am the Walrus - Lord Sitar
Jealous Guy - Bryan Ferry and Roxy Music
Stand By Me - John Lennon
Je Sais Que Tu Sais - Iggy Pop
Johnny - Suicide
Converging in the Quiet - Crystal Stilts
Challenger Deep - Zombi
You Don't Know Her Name - Maps
Lions - Tones On Tail
Theme for Great Cities - Simple Minds
Under the Milkyway - The Church
Teenagers From Mars - Pajo
Loretta - Fort king
The Border - Sébastien Schuller
shake it right (bang 'em right) - six sed red
Wonderful Offer - Essential Logic
All Systems - Knightlife
Sleepyhead (Wallpaper. Dio Remix) - Passion Pit
Favourite Things - The Golden Filter
Gentle Giant - Tiga
Your Time Is Gonna Come - Led Zeppelin
Andy Warhol - David Bowie
Because The Night - The Patti Smith Group
Let Me Down Easy - Derrick Harriott
The Sand Step - The Nilsmen
Please Do Not Go - Violent Femmes
Wave of Mutilation - Pixies
Vicious - Lou Reed
Thursday, June 11, 2009
It's summer time! More and more of us are working out more and more. Nothing gets you motivated to do 10 more reps than a hard-hitting up tempo song... and what's better to give you a perfect 30 minutes time frame than a good workout mix?! That good ol' Daisy O'Dell always has our best interests in mind, and created such a mix! (A LIVE MIX, AT THAT!) So, download this and pump it up! Feel the burn! Kick summer time in its finely toned arse!
The Work-Out-Really-Hard-For-30-Minutes Mix by Daisy O'Dell
Let's get physical - Goldfrapp
Body Work - Hot Streak
DO IT LIIIIVE!!! (DiscoTech Mix) - Bill O'Reilly
Boot it Again (Mowgli Mix) - Chemical Brothers
Workout Plan - Kanye West
Dangerous (Night Facilities Remix) - Busta Rhymes
I'm The Ish - DJ Class
I'll House You (Reebok Classic '09) - Kid Sister
Clap That Ass (Tomboy Remix) - Larry Tee
Titts' Diner (Tom's Diner Remix) - Suzanne Vega
Just Fine (Degree's handleitjusfine Remix) - Mary J Blige
Work Is Never Over - Diplo
Get Low (Wax Motif n Hugga Thugg Remix) - Lil Jon
Shake It to the Ground (Air Jared Remix) - Blaqstarr & Rye Rye
Get Up - Technotronic
Ooh La La - The Wiseguys
Leader of the Pack (DJ Kue Remix) - The Shangri-Las
Poison - Tittsworth
An Open Letter To NYC (Chew Fu Refix) - Beastie Boys
I Love NY - Drop The Lime
Say Whoa - A-Trak
B.O.O.T.A.Y. (Krames Edit) - Bangers & Cash
Shuv It (Disco D Blend) - Santogold
Download the mix here: The Work-Out-Really-Hard-For-30-Minutes Mix By Daisy O'Dell
Sunday, June 7, 2009
Saturday, June 6, 2009
Thursday, June 4, 2009
Daisy O'Dell is hosting a "Vinyl Lovers Lounge" at Palihouse Holloway every Saturday in June. (Check out the pictures of the espresso bar and the lobby lounge.)
What it is exactly is an open call to all vinyl collectors and lovers to bring down their records and take turns on the decks playing their favorite hits, sharing these songs with like-minded vinyl junkies. All kinds of genres are welcome to the laid-back lounge which will have a bar and various activities while you partake in the communal listening party.
If this is you, please spread the word & we hope to see you there!
Wednesday, June 3, 2009
by Jeff McLaughlin
May 12, 1980
Cristina is a punk rock chanteuse whose pseudo-decadent rendition of the Jerry Leiber/Mike Stoller song "Is That All There Is?" so offended its authors that they sought, and were granted, an injunction against further sales of the 12-inch single.
But that is not all there is.
Cristina Monet is a Harvard College dropout who studied playwriting under William Alfred ("Hogan's Goat"), wrote theater criticism for the Village Voice, and considers Bertolt Brecht's "Rise and Fall of the City of Mahagonny" one of the prime reasons that "German theater is the best theater in the whole world."
But that is not all there is.
Cristina Monet Palaci is the 23-year-old, bilingual, ocean-hopping daughter of a French "neo-Freudian" psychoanalyst and an American illustrator-novelist-playwright "who's been married lots of times." Her upbringing transcended the notion of spoiled brat: for her eighth birthday, her parents commissioned a designer to create a Madame de Pompadour gown with an undershirt top ("I looked like Toulouse-Lautrec in drag.")
But even though that is not all there is, let's back up to the cause celebre, the rewritten lyrics to the song Peggy Lee made famous more than 20 years ago.
Lee offered a bittersweet, first-person torch song recounting a series of blows to the heart that might lead some to utter despair, even suicide. But Lee's breathy, tough-woman refrain was: "Is that all there is?/ Is that all there is to love?/ If that's all there is/Then let's go dancing./ Let's break out the booze/And have a ball." Aside from changing "booze" to "ludes," a contraction for the powerful depressant Quaalude, Cristina does not do particular violence to the refrain, nor to the melody, even though it now has a nouveau disco rhythm and she concedes she can't sing very well.
But violence is done to the recitative verses of the song, and violence-as-sex-sex-as-violence is one of Cristina's new themes: "And then I met the most wonderful boy in Manhattan. We used to walk by the river, and he beat me black and blue and I loved it. I could kill for that guy. But then James left town and I said to myself, Is that all there is? . . ."
Degenerate parody? Tasteless camp? Jet set shock-schlock? Punk romanticism? Avant garde satire? Whatever it is, it isn't what Leiber and Stoller had in mind when they gave ZE Records permission for Cristina to make the disc. ZE's owner, Michael Zilkha, an Oxford-educated person of inherited wealth, apparently neglected to mention the change in lyrics. (That Leiber and Stoller once allowed the Beach Boys to remake their 1950s rock and roll hit, "Riot In Cell Block Number Nine," as "Student Demonstration Time," may not be relevant. That Bette Midler reportedly has a Leiber and Stoller-approved version of "Is That All There Is?" ready for release even now - that may be quite relevant.)
In any event, Cristina came to Boston late last week to talk about her not-for-sale single; her inoffensive, danceable, year-old album (just now being released in the United States); her latest project, a nouveau disco remake of "Drive My Car" by the Beatles, a cassette tape of which was innocuous, perhaps even cute; and herself.
Cristina does not perform in public, nor does she write her own material, so the visit was purely promotional, demonstrating either panache or chutzpah. A far-ranging two-hour interview did not quite resolve that choice, but it did demonstrate that she is intellectually precocious, artistically ambitious, engagingly honest about her own talents and surprisingly sensitive to Leiber and Stoller.
"I find it disappointing and a pity that they did what they did," she said in slightly affected Anglo-American."It wasn't a parody; I was quite serious. In fact, when I was asked to punk out the song itself, I said I wouldn't, it was too good for that. The lyrics per se I thought could legitimately be made a springboard for an expression of a 1980s sensibility. I made up the lyrics as I went along to demonstrate what I meant. I was exploring narrative, a conversational approach that might last have been heard in the clubs of Montparnasse, you know, Paris in the late 1950s."
What, Cristina was asked, has that got to do with rock and roll? "I see what you're driving at," she said. "Well, yes, there is a real authenticity to rock that is its greatest strength, and perhaps some of my stuff is overintellectualized, too cutesy and all that. But I'm terribly tired of hearing emotionally masturbatory ballads, and I wanted to get something with an edge. My strength is not in my voice, nor do I have sexy ankles. I have an analytical brain, and maybe that's a liability in rock and roll, but if I play it right, it will translate musical principles into theatrical terms, which is what I have to do anyway, given my lack of technical expertise in music."
Tuesday, June 2, 2009
02 Tanka II - Brigitte Fontaine
Sappiamo dove abiti - Fare Soldi
Move It Time - Glorious Strangers
Kicking and Screaming (Daisy O'Dell & Hydratwins are House Punks Mix) - The Presets
Back Of The Van (Daisy O'Dell Beatbox Remiix) - Ladyhawke
Weeds (Daisy O'Dell Remix) - AdamandEvil vs Hydratwins
Burning Feeling - Lovelock
Now 'til '69 (Aeroplane Remix) - The Shortwave Set
The Reeling (Calvin Harris Remix) - Passion Pit
Little Girl (feat. Julian Casablancas) - Danger Mouse & Sparklehorse
Psychedelic Circus - The Time & Space Machine
Jezebel Spirit - Brian Eno
Falling in Love With Myself Again - Sparks
Souvenir From A Dream - Tom Verlaine
Minors - Tortoise
Svelte Blonde - In Flagranti
Contort Yourself (August Darnell Remix) - James White & The Blacks
6669 (I don't know if you know) - Neon Indian
Dark Bubbles - Black Moth Super Rainbow
Zero (Animal Collective remix) - Yeah Yeah Yeahs
07 sunday morning - modwheelmood
Sight of You - Pale Saints