Matt - Greenville

07/27/05 Matt Hursh
Githead - Profile
A spousal project (plus electronic artist Scanner) featuring Wire's Colin Newman and Minimal Compact's Malka Spigal, Githead is finely crafted dub-pop that works in spite of the protagonists' tag of producing largely “difficult“ music. This isn't the robotic punk that Newman's been playing over the last 3 years or so, and it's not Spigal's brand of darker Euro rock; this is rhythm driven rock with cut-up lyrics leaning towards postmodernism and it still manages to be accessible and infectious as hell. Whether this is a new direction for Newman or just a detour, “Profile“ is one of the most interesting and consistent releases of 2005.

07/27/05 Matt Hursh
Mark Stewart - Kiss the Future
This is a compilation of tracks from the former vocalist from The Pop Group (who desperately deserve a reissue of 'Y'. Are you listening Rhino? Thought not.), and it's a varied offering that runs from exclusively evil punk-funk to experimental pop and dub. The cuts from Stewart's aforementioned band are an obvious highlight, but his lesser-known work with Maffia is a nice surprise, and still manages to sound a step or two ahead of the current musical landscape. The track order is effective too, as it abandons the ease of chronology in favor of a scattershot overview. The end result punctuates Stewart's experimentation. If there's any complaint to be made here, it's that we only get 12 tracks.

06/29/05 Matt Hursh
T. Rex - Born to Boogie DVD
Filmed at the height of Marc Bolan's fame, this weird (both weird-good and weird-goofy) film/concert documentary is one I never thought I'd see make it to DVD let alone with a deluxe two-disc treatment like this. It's definitely a product of its time (early/mid 70s), so there's lots of indulgent editing and general surrealism, but the music - virtually all is culled from Electric Warrior and The Slider - is more than worth the price of admission. The extras are superbly enticing, featuring more concert footage and a "making-of." My favorite part about T. Rex? Bolan helped kill the 60s.

06/21/05 Matt Hursh
The Machinist - The Machinist - DVD
Almost universally known upon its limited theatrical release as "That Movie Where Christian Bale Loses 800 Pounds," The Machinist is sure to gain a cult following similar to that of Memento or Donnie Darko now that it has found it's way to DVD. Think of a Cronenberg/Kafka-esque character trapped in a nightmare (as if a character described as such could inhabit any other space) albeit a nightmare where Jennifer Jason Leigh's giving it up left and right. Bale's character hasn't had a proper night's sleep for a year, and things start getting hazy. Reality and fantasy creep up on one another, but where's the line? And what's the resolution for a guy cursed by his paranoia and thus devoured by delusion? Good movie - well acted, nicely shot, and enough supplements to satisfy. This makes a perfect companion piece to the newly issued (and criminally underrated) American Psycho Special Edition.

06/02/05 Matt Hursh
Iggy Pop - Live in SF 1981 DVD
Iggy's solo records of the late 70s (The Idiot, Lust For Life, New Values) are thought of with increasing kindness as perspective adds up, falling just short of the inarguable greatness that was his Stooges output of the decade prior. Party, the album that's being supported within this new DVD, isn't on par with the aforementioned records, but the songs from that album in conjunction with Pop's earlier "hits" ("1969," "T.V. Eye," "Dum Dum Boys") make for a show that shouldn't be ignored. First of all, his backing band is fairly badass, featuring Mike Page, Clem Burke, and Bowie rent-boy Carlos Alomar. Beyond that, Iggy's in some form of trashy drag throughout the majority of the performance, which only adds to his trademarked manic stage presence. It's been decided on here at the store that there's no such thing as a bad Iggy Pop show. Ever. No matter the material. This DVD only supports that argument.

05/18/05 Matt Hursh
John Fox - Modern Art
John Foxx was the original singer for new wave outfit Ultravox, who would achieve a modest amount of success after his departure and the inclusion of Midge Ure. Unfortunately, Midge Ure-era Ultravox, with its flaccid synth and predictable vocals/lyrics sucks. Foxx was (and is) a more complicated and interesting performer, and his departure from the band only exaggerated the creative influence he wielded. Foxx's solo career has been sporadic and fairly obscure, but Modern Art, a compilation/retrospective, does a serviceable job of representing the more engaging moments of his robotic, detached perspective. The first half of the disc has the highlights, with selections from Foxx's debut, Metamatic, but there's enough accessibility and b-side material to please devotees and neophytes alike. Think of him as a thinking man's Gary Numan or at least just think of him. It's worth it.

05/10/05 Matt Hursh
Nouvelle Vague - Nouvelle Vague
An easy nominee for the "Album Least Likely That Matt Will Endorse, But Kind Of Does Anyway" award (still working on the award's title - it's a bit wieldy. Shut up.), Nouvelle Vague's debut is nothing but reinterpretations of punk and post-punk staples, funneling French pop and lounge cocktail mellow into the (often) glacial starkness of the most unforgiving of genres. More novelty, hmmm? Well yeah, it pretty much is just by definition, but the re-workings here are actually pretty inspired, turning something as urgent as Killing Joke's "Psyche" into a slinking horror show and something as widely recognized as Joy Division's "Love Will Tear Us Apart" into an almost uniquely stand-alone melody. That's enough of a recommendation from where I'm sitting, but then there's the matter of the track listing itself - interesting choices all around. You'd expect to see The Clash or The Cure or PiL (and you will), but Josef K? Tuxedomoon? Damned if those aren't obscure, but mighty fine, choices. This isn't going to replace any of your favorite bands or songs, but it's not a disposable joke either. Good "social event" record.

04/14/05 Matt Hursh
Wire - The Scottish Play (DVD/CD)
Last year‘s release of On the Box, the only complete document (the only footage I‘ve seen at all, unfortunately) of the mighty Wire‘s first "phase" was cause enough for celebration. There they were - four guys stuck in punk, beyond punk, not giving sweet F.A. what you called them anything at all, playing largely unreleased songs to a roomful of confused Germans with a confident smirk. Never expected to see it officially, all sparkly and clean. The fact that the DVD was accompanied with a CD of the same performance was just gravy, and now it‘s proven that once, in fact, isn‘t enough with the arrival of The Scottish Play. A set from the third incarnation of the band finds Newman, Lewis, Gilbert, and Grey obviously older, arguably wiser, and angry. "Angry" isn‘t a reference to disposition in this instance more to the point that they‘re just playing the hell out of songs that were written to be played the hell out of. Fast and terse, chaotic and abstract, this isn‘t art rock/punk rock/whatever rock, this is a performance set on scalping speed. No banter, no time to breathe, no backwards glances save for an encore that does more to burn down four of the band‘s "classics" (see the 9+ minute version of "Pink Flag" or better yet the speed freak blink of "106 Beats That"). Newman presses a button on his smoldering effects module to end the set, and thus, the Send/Read & Burn era. Hopefully, that button was "Pause."

04/05/05 Matt Hursh
Nick Cave - B-Sides and Rarities
Simple black and white box, crisp and stark cardboard sleeves inside, this triple disc set is straightforward in presentation, and (consequently?) priced to move. Following Cave‘s increasingly prolific career can be consuming on levels of time, finances, and patience (as Bad Saint Nick has gone from crazy out/feedback bluesman to brimstone puffing, Bible verse piano crooner and back again), but this collection rounds up a good deal of the now out-of-print singles and gives some overall perspective into the band‘s ambition, goals, and talent. Try the acoustic versions of “Deanna“ and “The Mercy Seat“ on Disc One, the “O‘Malley‘s Bar“ trilogy on Disc Two, or the spooky crawl of “Nocturama“ on Disc Three. There‘s 58 tracks in all here, and that‘s a whole lot of murkiness to take in at once, but it‘s also a set that will reward the dedicated listener for a long time to come.

03/15/05 Matt Hursh
Black Eyes - Cough
It‘s saying something - what, exactly, is up to debate - when you can say that a particular album from Dischord Records is unusually abstract and noisy, but that‘s a statement that applies to Black Eyes‘ second full length release. Their first, self titled, was a messy burst that recalled some of the artier noise of the early-80s while fitting nervously on the current musical landscape as well. Cough expands the sound, with Stooges-esque horns cutting through the layers and some nice, thick dub bass boiling on the spine. The vocals might be the biggest point of contentionÂ…the lyrics are existential (which is fine), but dude‘s voice can grate a bit. I suppose the same could be said for this whole record, but for those with a penchant for harder edge stuff that‘s not afraid to explore a bit more than three chords, there‘s plenty to be found within this record‘s just-right 30 minutes.

03/01/05 Matt Hursh
Deadwood - (Complete 1st season DVD)
This series, in combination with Curb Your Enthusiasm, The Sopranos, and Carnivale, is more than reason enough why every other network - cable or otherwise - is eating HBO‘s poop. Deadwood is dark, foul, and perverse. If that‘s not enough of an endorsement right there, then how about this: it also features some of the most well drawn, interesting characters, vibrant dialogue (and yes, it‘s quite filthy, but I‘m not a baby, and chances are that neither are you, so get over it and focus on WHAT they‘re saying rather than HOW), and engagingly layered storylines that have graced the small screen in years. It‘s a period western that completely re-imagines and re-defines the genre; the good guys (who are far outnumbered) are caked in mud rather than decked in white, the damsels are still in distress, but they‘ve got guns, bad pasts and attitudes, and probably a handful of venereal hassles, and everyone‘s got an agendaÂ…namely their own. It‘s also a character actor aficionado‘s wet dream, featuring Powers Boothe, Tim Olyphant, William Sanderson, and Keith Carradine among others. The highlight, however is Ian McShanye‘s role as Al Swearengen, the evil, but entirely consistent and not entiiiiirely illogical, saloon owner who all but runs the ramshackle Black Hills settlement. I‘d write more, but I‘m on the season finale. Be seeing you.

02/24/05 Matt Hursh
Donnie Darko - Donnie Darko: Director‘s Cut DVD
Achieving (widespread) cult status faster than any film in history - and perhaps not entirely unintentionally so - Donnie Darko gets the extended digital treatment with a Richard Kelly-approved cut. The movie‘s a tough one to encapsulate, and may even better served without an explanation, but its basics involve disenfranchised youth, time wrinkles, and a mal(bene?)evolent, human-sized rabbit. See? No expository justice for a film that deserves better. The direction‘s solid, and the Director‘s Cut slows the pace down without getting weighed down by pretension. The soundtrack‘s 80s memorable and appropriate, and the story is one of ingenuity and legitimate originality. If you haven‘t seen it before, now‘s the perfect time. If you haveÂ…you haven‘t like this. Donnie Darko: it‘s not just for 15-year-old girls dressed in black anymore.

02/16/05 Matt Hursh
The Prefects - Are Amateur Wankers
Considering their latter project/incarnation, The Nightingales, have reformed of late are actually slated to play this tear‘s SXSW, I suppose this is the perfect time to review The Prefects. HAHAHAHAHAHAHAHAHAHAHAHAHAAAAAAAAÂ…..see what I did there? HaaaaaaaHahahahahahaaaÂ….Phew. Whew. BoyÂ…Shut up.
Anyway, this is another of those spiky little lost secrets from the A.D. side of the punk movement, something in line with The Sound or The ExÂ…only The Prefects are a bit messier, more succinct, and a maybe just a shade angrier - more aloof at the very least - than either of the slightly more revered outfits. They‘re punkier than (the also very worthwhile) The Nightingales, and although this 10-track CD represents the whole of their recorded output, it‘s not much of a stretch to see these l‘il gits mentioned in the same breath with gawds like Mission of Burma and Wire. Due to their collective brevity and lack of honest-to-goodness production, The Prefects aren‘t going to change your life, but they‘ll ease the tripÂ…and it‘s always nice to hold a comprehensive collection in your grubby little paws, isn‘t it?

02/08/05 Matt Hursh
The Damned - Machine Gun Etiquette
One of the bigger cases of “hindsight is 20/20“ within the punk genre, The Damned‘s third record has proven to have a timeless vitality that‘s influenced countless bands since its 1979 release. After their undeniable (and instant) classic, Damned Damned Damned, the band take a step backward - or at least a misstep forward - with the Nick Mason-produced Music For Pleasure, but quickly regained their focus with a collection of smart, aggressive, and snotty songs. Highlights include (but aren‘t limited to) “Smash It Up,“ “Love Song,“ and the title track, and it‘s reasonable to assume that adding a former member of The Saints (Alastair Ward on bass) lent just the right amount of diversity to the tried-but-still-true formula. Japanese noise rockers Thee Michelle Gun Elephant named themselves after the phonetic mispronunciation of this album‘s title. Countless “awesome points“ right there. This has been hard to find for too long now, and finally a nicely re-mastered edition is available through Chiswick Records complete with B-sides and alternate takes.

02/08/05 Matt Hursh
Metallica - Some Kind of Monster (DVD)
Watching this acclaimed documentary, a number of revelations arose:
1. James Hetfield, while obviously intelligent, uses embarrassing musician clichés like “vibe“ far too often. Seriously. Three times. At least. I kept waiting for a “dig“ or “hepcat“ next. WTF, Cowardly Lion?

2. Lars Ulrich, while a legitimately talented artist, is a self-obsessed douchebag. (Not that that‘s a revelation for the general consensus, but it was to me, as I‘ve never paid attention enough before to notice.)

3. Kirk Hammett is pretty cool.

4. I hate Metallica.

5. A well-made film can transcend - or at least detach itself (in spite of itself) - its subject and create a revealing, informative, and wholly entertaining experience.
That‘s more revelations than can be found on any number of “stock“ (to coin a lightning rod idea within the band‘s camp) live show DVDsÂ…or even conventional dramatic productions. This is as good as advertised, and even if Metallica makes you cringe, cower, or just blush in the wake of mass steakhead aggression, it‘s a documentary worth owning.
Oh, and one more:
6. Man, Dave Mustaine is a pathetic mess, isn‘t he?

01/26/05 Matt Hursh
The Slits - Cut
1979 was a lovely year for rock…especially considering the emergence of punk a couple of years earlier was meant - at least existentially - to be the end of all things guitar indulgent. When the three-chord wonders proved feisty but ultimately limited, bands like Public Image Limited, Magazine, Wire, and The Slits pushed farther, and (mostly) accidentally created sounds and styles that have proved more durable than the critically revered nihilists that preceded them. The Slits, an all-girl trio, crafted their debut around the deep bass driven rhythms of dub and the sharp simplicity of punk, all the while keeping their themes both personal (“Instant Hit“ references PiL‘s highly influential lead guitarist) and fairly lighthearted. The end result is highly infectious and timeless, an album whose originality seems almost effortless in the face of all the pale imitations that have arisen in its wake. Available only on import for far too long, Cut has finally been given the domestic remastering it deserves. Essential.

01/19/05 Matt Hursh
Curb Your Enthusiasm - Curb Your Enthusiasm - Season Three DVD
This doesn‘t have to be much of a “hard sell.“ Curb Your Enthusiasm is easily the finest comedy currently running (with The Office shutting down for good recently), so the third season installment of Larry David‘s latest brainchild can be met on a “need to know“ basis rather than with a neophyte‘s introduction. While Season Five is rapidly approaching on the show‘s natural home, HBO, Season Three sees Larry involved with opening a restaurant with fellow celebrities and friends Ted Danson and Michael York, which culminates with one of the most memorable “closers“ of recent yearsÂ…let‘s just say it involves a chef with Tourette‘s Syndrome and Mr. David‘s spontaneous stab at good will. Highlights also include his brief flirtation with the gangsta rap lifestyle, as a friendship is forged (and predictably lost) with “Krazee-Eyez Killa,“ the hardcore fiancée of Wanda Sykes. Watching Larry struggle to find Killa‘s phone number through an operator at Information (“Maybe it‘s Kill a with an ‘A-H‘ at the endÂ…can you try that?“) may very well be worth the cost of this set by itself. Beyond that, this series represents situational comedy in its purest form; stories that rely on an always expanding string of events that actually go somewhereÂ…whether the end result is collapse or not is beside the point. It‘s a sitcom not bound by cheap sets and even cheaper formulas; it‘s a truly twisted, unique, and improvisational view on life.

01/14/05 MattHursh
M - M (Criterion 2-disc DVD)
Fritz Lang. Director. (Obvious) German. Total bad-ass. The type of filmmaker that has heavy, oversized biographies dedicated to him, Lang‘s catalogue stands up to the best of them, new and old. His work was/is progressive, inventive, and engaging enough to be film class fodder essentially since each title‘s release, but they remain accessible enough to enjoy on a more elementary level. Known best for the epic Metropolis, Fritz‘s most effective film may be 1931‘s M, a tense, paranoid film that made Peter Lorre a star (a ultimately a legend) and is now widely regarded as the first “serial killer“ flick. It‘s no slasher, but considering the era and the social themes that run just as essentially as the driving plot, it caused quite a stir upon its release. The only shocking element that remains is the absolute quality of the story, the adept acting, and the gorgeous photography. M was one of Criterion‘s earliest releases, but now that a beautiful new print has surfaced, this double-disc set has made the prior issue obsoleteÂ…although Criterion was thoughtful enough to retain the original‘s spine number of 30 (in the blasted name of completion). A new print is worth the price alone, but there‘s a ton of special features that are new and exclusive to the set as well, including a feature length commentary and an in-depth documentary on the making of the film. It‘s Criterion, so you know it‘s a bit pricey, but what‘s the length of quality? Besides, support “The Collection“Â…the more we buy, the more they can release.

01/05/05 Matt Hursh
Public Image Limited - Second Edition
With new releases grinding to a halt over the holidays, why not take the opportunity to fill up some shelf space withÂ…oh, I dunnoÂ…the GREATEST ALBUM OF ALL TIME. Released originally as Metal Box, PiL‘s second album laughs in the face of The Sophomore Slump and proceeds to create the rarest of rarities within the rock/pop genre: a unique sound. We like to call it “Red Planet Dub“ around these parts, with John Lydon‘s (still a bit wounded but far better equipped following the dissolution of the Sex Pistols) lyrics ringing more personal than previous incarnations while still managing to get farther and farther detached from the sounds around himÂ…almost to a point where his presence - and the talking of albatrosses, coffin nails, and bacteria laced rivers - approaches a paranoid paranormal conscience on the record. The music? Well, it‘d be dub-from-Mars, wouldn‘t it? If it could be, it is. Keith Levene‘s guitar is so sharp you could write with it; abrasive and concise, with a clear goal in mind: to cut through (and therefore accent) the thick, inventive bass of Jah Wobble. Seriously, with a good remastering the bass on this record will make you move your bowels. In a good way (is there a bad way, even?). “Careering“ is still the strangest song to ever appear on “American Bandstand,“ and stands as the highlight of an album full of highlights; an effort singular in vision and sound. It‘s evil. And you can dance to it.

12/15/04 Matt Hursh
Wild At Heart - Wild At Heart (DVD Special Edition)
Another Lynch film is finally dusted off and given the Special Edition treatment, and while there‘s a rumor circulating that this MGM release is censored in some form or fashion (whether it‘s an appeasement of the MPAA, a weird cut/adjustment ala Mulholland Drive‘s crotch blur, or just unfounded tripe from picky zealots is currently up in the air), it‘s a more than welcome holiday release. As with most of the director‘s work, Wild At Heart is a love-it-or-loathe-it kind of film, full of sex, violence, general weirdness, and leftfield fetishism, but for those who appreciate the eccentric and unique, it‘s an Alice in Wonderland-y trip worth taking. Nicholas Cage and Laura Dern are starry eyed lovers, and actually make for a believably tragic coupling within a seamy and steamy little Americana bizarro world. This is one of Cage‘s finest roles (i.e.: before he won the Oscar and decided to be one of the blandest action movie stars in cinematic history), and everyone else involved - most of whom are former Lynch alumni - seem to be fully committed to spinning the taleÂ…particularly the greasy, feral performance turned in by Willem Dafoe. The special features are good, especially the making-of featurette and the short specs documentary with Lynch himself. Of course, there‘s no commentary (Lynch has and always will refuse to do themÂ…a stance both admirable and frustrating), but the packaging (housed in a snakeskin sleeve and formatted to be a companion piece to Blue Velvet‘s Special Editon) and overall presentation make for a no-brainer. Good price, too.

12/08/04 Matt Hursh
Nine Inch Nails - The Downward Spiral: Deluxe Edition
In lieu of any actual NEW material from good ol‘ Trent, Universal/Interscope has seen fit to join the holiday cash-grab with this “special edition“ treatment of Halo 8. It‘s been 10 years since The Downward Spiral was originally released. That‘s a decade, y‘all. There‘s been one new NIN record since then. One. It‘s beyond cliché at this point to bring up that fact, but seriouslyÂ… One? One in 10 years. Whatever.
Anyway, this record - one that I haven‘t pulled off the shelf in years - has aged like a fine wine (red, of course). “Mr. Self Destruct“ is a fine introductory mission statement, epitomizing the pounding sturm-und-drang industrial fuzz that Reznor managed to make mainstream, and with “Piggy,“ “March of the Pigs,“ (notice a trend?) and “Closer“ all playing out within the first 5 tracks, it‘s easy to think that the album‘s front loadedÂ…but on the contrary, the songs that follow are even better: “Ruiner,“ the Bowie rip-off “A Warm Place,“ “Eraser,“ and “Reptile“ (arguably the highlight) all sound fantastic with this new 5.1 surround sound mix. The second disc is good-to-great stuff as well, with a wise selection of b-sides and non-album tracks that make all of your singles virtually obsolete. Try “Burn“ from the Natural Born Killers soundtrack, the Joy Division cover of “Dead Souls,“ and the superior version of the “Eff you like an animal“ song, entitled “Closer to God.“ A couple of demos dangle like a collectible carrot for all of you completist donkeys, making for a package that‘s worth a re-visitation and a re-purchase. Besides, if you show Trent the love that he‘s seemingly missing and pining for throughout all of these years, maybe he‘ll work up the ambition to turn off Doom 3 and finish bleedthrough. Or is it With Teeth now? Whatever.

11/30/04 Matt Hursh
Seinfeld - Seasons 1-3
Your decision on whether or not to buy these sets (split into two boxes - Seasons 1 & 2 together, Season 3 stand-alone; or in a super-duper super set with all kinds of minutia) is probably already made. Seinfeld is something of a “love it“ or “hate it“ kind of thing (or at least a “don‘t get it“ feelingÂ…however puzzling that remains), but there‘s no denying the anticipation of the series‘ digital arrival. Is a summation even necessary - or possible, given time, space, and ambition constraints - for a show of Seinfeld‘s influence, stamina, and creativity? Truth be told, Columbia Tri-Star could have released the series one season at a time with no little to no supplemental material and it would sell like the puzzlingly proverbial hotcakes, but the bare-bones treatment is and should be reserved for the likes of embarrassing pap like 227or The Golden Girls. Columbia went all out for these 4-disc boxes, filling each with audio commentaries, episodic text notes, documentaries, featurettes, and deleted scenes (to name only a majority). The menus are varied and lovely, the episodes themselves look and sound better than the nightly syndication hamster wheel (and each runs a full minute longer than the familiar re-runsÂ…at their original broadcast running times), and the price is more than right in comparison to the amount of quality and care put into the sets. It‘s Christmas. You know someone who wants these. It doesn‘t get any easier than this.

11/23/04 Matt Hursh
Eyes Without a Face - Eyes Without a Face (Criterion DVD)
A horror film for the art fan (or an art film for the horror fanÂ…tah-may-to/toe-mah-toe), Georges Franju‘s 1960 flick follows the traditional mad-scientist/creature-feature arc that we‘ve all seen (and loved) before, but does so with a deliberate pace, beautifully framed black & white photography, and a rarely-seen (for the time) metallic premeditation that sets it apart from genre peers. A progressive surgeon uses the needs of his patients to lure specific young women back to his home in the hopes of finding - you guessed it - a new face for his tragically disfigured daughter. Screwed up in a car accident, the girl is forced to wear a mask to hide her hideousnessÂ…a mask almost lifelike enough to fool at a glance, but chilling enough to convey nothing in the way of emotions outside of the eyes. Hence the title. And probably the Billy Idol song. Don‘t blame the movie for that, howeverÂ…it‘s quite good, featuring a prolonged and squirmy “operation“ scene that caused a bit of controversy upon release. It‘s all been restored and classily presented by the lovely Criterion Collection, along with Franju‘s vintage documentary on Parisian slaughterhouses and an old video discussion with the director. Now if only Hollywood would remake this with someone like, oh I dunno, Jessica Biel and spotlight a cover of the Idol song by the likes of Hoobastank in the trailerÂ…my life would complete. Highly recommended anyway.

11/16/04 Matt Hursh
The Swell Maps - Trip to Marineville
The first of two lovely reissues from Secretly Canadian, The Swell Maps‘ debut was initially released midway through the post-punk goodness of 1979. It‘s got all of the characteristics that you know and love from the era (a lead singer, Nikki Sudden, talking or Bowie-moaning over guitar noise, some chunky bass, and a bit of the keyboards), but it‘s a little more varied and experimental than a good number of the genre contemporaries. Some samples sneak in here and there (consider the era, this isn‘t exactly the same time that bands like Ministry or, later, White Zombie ran the whole concept into the ground), but there‘s just as many abrasive sound trials as there are straightforward “we remember punk ‘cuz it was 11 months ago“ attacks. The second track, “Another Song,“ is fittingly titled, as it sounds like vintage Wire filtered through vintage Stiff Little Fingers. That‘s a good thing. At the same time, the band doesn‘t overload you with pretensions; with track titles like “Don‘t Throw Ashtrays At Me!“ and “Midget Submarines,“ it‘s clearly more about the sound than it is the stance/pose. Many prefer 1980‘s “Jane From Occupied Europe,“ and I won‘t argue that fervently against the preference, but as an introduction, this debut‘s the way to go. Ask Pavement or Sonic Youth. Go ‘head.

11/02/04 Matt Hursh
Placebo - Once More With Feeling: The Singles 1996-2004
This isn‘t billed as (or would it be if it were) a “best of“ collection. That‘s a good thing, since a majority of any artists‘ overviews often exclude essentials that leave devotees scratching their heads and neophytes missing out on the good stuff. “Once MoreÂ…“ is strictly a singles compilation of a band that‘s either fairly underrated this side of the Atlantic or an outfit that‘s ruined by the fey Rush-like shrill of lead singer Brian Molko. Sure, you remember “Pure Morning,“ with its catchy guitar hook and drug/sex references, but that‘s not a fair representation of the internationally mutt trio. Early tracks like “Bruise Pristine“ and “Nancy Boy“ rock like a Nirvana meets T. Rex, and even singles from their third (and weakest) record, Black Market Music, sound fresh and exciting within the confines of the collection. If you‘re looking for Placebo‘s definitive album, just pick up Without You I‘m Nothing. For others who‘ll be satisfied with a nice overview this domestically priced import will suffice.

10/25/04 Matt
Killing Joke - For Beginners
A confounding compilation from one of the most varied, intense, and media savvy (in that their artwork, sound, and presentation has been potent and precise since Day One) bands ever, “For Beginners“ is a fairly ironic title in that it‘s really not…but what would be? Featuring “The Wait“ and “Primitive“ from their self-titled debut - an album without a wasted second - it‘s a good enough introduction to what I consider to be prime Killing Joke. Then again, that‘s a point of contention in and of itself: what is prime Killing Joke? The spiky, tribal quasi-punk of their early days, the (by comparison) slicker mid-80s stuff that put them on *gasp* the charts, or the growling brutality of their recent releases? Politics and general angst (and an apparent sense of humor…yeah, it‘s there) is a constant throughout, of course, but when it comes down to a “primer“ for the uninitiated, there‘s really no concrete, academic path to follow. Progressing from the early days (cuts from Revelations and What‘s THIS For…! and corresponding B-sides are most welcome) to the murky decadence of “Night Time“ and “Tabazan,“ this is all killer until the (arguably) generic niceties - for lack of a better word - of “Obsession“ and “Rubicon“…not exactly the most memorable output from this unforgettable band.
So is it truly “for beginners?“ Mmmm…it can be, but one might be better suited with the earlier compilation entitled Laugh? I Nearly Bought One! This is a nice piece for already converted, though, with some rarely seen live tracks and oddities included to entice.

10/18/04 Matt
The Ex - Turn
Ah yes, The Ex. Like you know, hahaha. Not that you should. I didn‘t…so I‘m a unknowing non-elitist fellow (or fella…is that the female version?...no?) just like yourself. It‘s not your fault you haven‘t heard of The Ex before, regardless of the fact that they‘ve been around for the better part of two and half decades. All of their records up to their Touch and Go debut in 1998 are now out of print dating back to 1980, so what the dozen+ records that came before 1998‘s “Starters Alternators“ sound like is as unknown to you as it is to me, but that shouldn‘t discredit the quality output they‘ve had over the last 6 years. “Dizzy Spells,“ circa 2001, is a post-post-post punk record from some of the founders of the sound that more than lives up to its roots, and “Turn“ proves to be one of the luminaries of the entire pack released to this point this year. Full of jagged, noisy guitar and politically charged vocals (but not enough not to be sardonic…lyrics like “Surround sound DVD is ecstasy.“ prove that…), this is almost two hours of extended experimentation within the outer limits of the rock genre, and anyone that likes a bit of edge with their rock would be wise to find out what he/she can before these - like the others - are lost to the ether known as “out of print.“

10/11/04 Matt
Various artists - Left of the Dial
Subtitled “Dispatches for the 80s Underground,“ this 4-disc box set from Rhino is just another in a string of high quality era overviews from the most loving and varied “restoration“ label presently alive. As with anything that serves as a compilation of sorts, subjectivity is key, and there‘s undoubtedly some personal glaring omission you‘ll spot (where‘s Big Black‘s “Kerosene,“ yo?), but in the interest of serving as a mood setter, this box is a success. From The Pretenders to Killing Joke to Magazine to Husker Du to Black Flag to The Go Betweens, the literal sonic variety makes for easy and fairly addictive listening. The accompanying book is typically interesting and aesthetically pleasing, and even notes in the introduction that this is to serve as an unofficial sequel to the greatness of their “No Thanks!“ 70s punk collection released earlier. “Left of the Dial“ isn‘t the glowing, representative triumph that that box was - it‘s simply a vast, multi-headed kind of animal - but its aim is true for those looking for a re-visitation or an introduction.

10/04/04 Matt
Mansun - Kleptomania
Mansun. A (The?) band of recent memory that turned out to be just too experimental, progressive (as a concept, not as a musical genre, thank Christ), and real-deal independent for its own good. Their first record, “Attack of the Grey Lantern“ went #1 in the UK out of nowhere, and its follow-up - “Six“ - is a masterpiece lost in the hype of “OK Computer“…a musical equivalent of television‘s acid sci-fi puzzle known as “The Prisoner“; dark, fragmented, and thoroughly realized. Stepping sideways can be fine, but a step backis what “Little Kix“ turned out to be, and it unfortunately proved to be Mansun‘s final LP as an active band. “Kleptomania,“ available on import through Parlaphone, takes away the adult contemporary aftertaste and caps the too-short career of Mansun much more satisfactorily. A triple disc set, Disc One is what can be pieced together as what would have been the outfit‘s fourth record, and it‘s a welcome step forward (and sideways) from their other material…both spacey and rockin‘, full of Paul Draper‘s acerbic and askew lyrics. It could have, would have, and now is something. The second disc compiles non-album singles and B-sides (90% of which are brilliant), while the third delves into the demo drawers. A lovely little set at a reasonable price, and as good a send-off as a band of this caliber deserves…if it had to happen at all.

09/27/04 Matt
The Wives - Erect the Youth Problem
Clocking in at just over 27 minutes, The Wives debut LP has a lot more going for it than a running time that doesn‘t wear out its welcome. It‘s a lovely little potboiler of noise and chaos, running from oldies-and-goodies like Big Black and The Minutemen to newies-and-goodies like McLusky and The Liars. Considering the album‘s title and the general points of reference, I‘m sure there‘s some socio-political stands being taken, but due to the lack of liner notes (not a bad thing, by the way, because to paraphrase the gods known as Pere Ubu, “to print lyrics is a bad thing“) and the fact that there‘s some yelling swimming around amidst the din, I haven‘t got that far yet. No matter. If you‘re a fan of the awesome, this $9.91 disc is academic.

09/20/04 Matt
The Faint - Wet From Birth
Back to save the lives of li‘l black-haired and star-tattooed sweeties everywhere, The Faint‘s “Wet From Birth“ isn‘t their best record…but that‘s not to say it isn‘t worth your time and folding money either. There‘s no mistaking this is the same band that released “Blank Wave Arcade“ and “Danse Macabre“; the crazy synths still run rampant, the vocals are still affected, and the comparisons to all the usual new wave suspects can be made. Here, however, the scamps have thrown a little more funk into the frantic mix…and I‘m not talking George Clinton. Think more like Cameo or The Gap Band. Sound lame? Fair enough, but it‘s really not. Works quite well actually. Anyway, if you‘re a fan of the band‘s last two releases, there‘s no reason you won‘t like this. The strongest track? The final lone, entitled “Birth,“ which features *gasp* guitars and real drums and stuff. Could The Faint‘s next step from “Birth“ be rock? Stay tuned, star children.

09/13/04 Matt
Romero, George - Dawn of the Dead“ (4-disc DVD)
You‘re a person of culture, right? You know, keep up on current events, look at yourself in the mirror before exiting your hovel, read a bit more than 16 year olds‘ internet journal entries, things like that. Good…with that being the case, a worthwhile member of our community like yourself needs to own the “Ultimate Edition“ of George Romero‘s brain-eating magnum opus, Dawn of the Dead. What does flesh eating and rampant squib indulgent violence have to do with functioning positively within our finely honed social confines, you ask? It‘s multi-tiered, but very simple: firstly, having the crown jewel of any cinematic genre (or subgenre, in this case) displayed handsomely (and baby, this black slipcase package is hot sex) on the extension-of-you shelf is never a bad thing. Next, Romero‘s characterizations are absolutely masterful...you know the little group of human survivors holed up in the ultimate symbol of material excess - the shopping mall - like you know characters in a Coppola or Kurosawa film. That‘s a hallmark of pretty much every Romero film, actually (look at Martin…please). Finally, Dawn of the Dead works not only on the direct, visceral level of a gore fest zombie flick, but also as an observation on herd mentality, politics, and human duplicity. See? When broken down, this set is tailor made of an individual of discerning tastes. What‘s on it? Oh, the theatrical version, the “extended cut“, and Dario Argento‘s Euro edit…all of which are gorgeously presented in the correct aspect ratio and a wealth of audio options. Commentaries are present for each, along with other supplements of interest. The fourth disc houses the new “Document of the Dead“, a feature length retrospective on the conception, execution, and marketing of the film. “It‘s too much!,“ some might retort. They would, of course, not only be incorrect, but uncultured swine. Rise above it. Buy this.

09/06/04 Matt
Cronenberg,David - “Videodrome“ (Criterion DVD)
A few weeks I proclaimed the recent DVD release of Tod Browning‘s Freaks the DVD release of the year. If you want to talk technically, I lied, because the double disc set of David Cronenberg‘s lo-res/new wave/sci-fi/horror masterpiece Videodrome easily trumps the antiquated classic. However, if we can get down to the heart of the matter, Videodrome has been lovingly reissued by The Criterion Company, an organization so respected and revered that their DVDs cease being “DVDs“ by cinephiles - they‘re “Criterions.“ Quite simply, a Criterion release is in a league of its own. Undeniable evidence of this lies within (and even around…the packaging is a revelation: James Woods sinking in the cathode whispers of Deborah Harry‘s Nikki Brand on the slipcase, a Betamax cassette replica serves as the case, its label emblazoned with “Long Live the New Flesh“), with supplemental material previously unheard of. Two feature commentaries (one with Cronenberg and the DOP, the other with Woods and Harry), the Videodrome torture sequences unmolested and presented in their entirety, a new documentary on Rick Baker‘s simply awesome makeup effects - forget ‘the stomach slip‘, go on - and Cronenberg‘s Toronto Film Festival short, “Camera.“ Depending on your level of interest, that‘s more than enough to warrant the price tag. Outside of that, you‘ve got one of the finest films of the 1980s, a story that only becomes more prescient with the passing years regardless of its analog roots. What‘s it about? Haaaa…uhhhh, progress. And bodies. And fantasy. And reality. And stomach slits.
This would be the DVD of the year (promise that time), but it‘s not a DVD, now, is it? Mmmm hmmm, it‘s a Criterion. “See ya in Pittsburgh…“

08/30/04 Matt
Flux of Pink Indians - Strive to Survive/Neu Smell
All right, I‘m serious about this one. Wandering the shelves one humid evening, stumbled across Strive to Survive, had heard a real noisy mess of a record (that‘s a good thing) by Flux of Pink Indians before, and threw this on the headphones. Coworkers were summoned, knowing smiles and “shit‘s good“ nods were exchanged. Spending some real time with it, one thing is clear: this album is high, high, high quality. Fast, abrasive, inventive (even for the fairly conformist -aha ha--punk genre), chaotic and smart, Strive to Survive is a British masterpiece, full of infectious drumming that flip flops between tribal pounding and military cadence, chunky guitars that devolve into screeching feedback, and a vocalist whose delivery actually matches the chip on his shoulder. Released originally in 1982, you might get an idea of their direction if you think of Crass, but in all honesty, this record far exceeds anything their better known label mates released. This CD version includes an early EP called Neu Smell that‘s just as strong (and makes a case that Steve Albini‘s guitar sound might not be as revolutionary as we thought)…so what‘s it mean? This is the reissue of the year. Seriously.

08/23/04 Matt
U2 - Boy
“Why review $#%&ing U2, Fancy? We all know about them already!“ True…and maybe not so true. Yeah, you know Achtung Baby and Joshua Tree and all the singles and mega tours, etc. etc. Now let‘s go back; back to their beginning: 1980‘s Boy is easily one of the most memorable and auspicious debut records in rock history. Released amidst a (new) wave of bands like Echo and The Bunnymen, Joy Division, and The Cure, U2 stood out due mostly to Bono‘s (known then as “Bono Vox“) pair of big, brass vocal balls. While everyone else was mumbling and moping about - or just doing different variations of The Bowie Croon - Bono was all over the place, making stuff up, not afraid to sound like a fool. Yes, folks, at one point, Bono was “gutsy.“ And try to deny the post-punk infection of “I Will Follow“ or the crawling funk of “An Cat Dubh.“ I dare ya. There‘s not a bad track here…it‘s all Edge hooks and solid, inventive rhythm. Now that the whole new-new wave stuff has come (and almost gone, if flag bearer Interpol‘s TERRIBLE new record has anything to do with it), it‘s funny that one of the most influential bands of the era is rarely cited as such. Hence, Boy is an underrated record. You read that correctly: a U2 record is underrated. It probably has something to do with their bloated fame of today, sure, but bottom line: if U2 had released only Boy, October, and War, critics and collectors alike would be falling over themselves like they do with Joy Division or The Sound. Sucks to rule the world, in that respect.

08/09/04 Matt
Iggy Pop - The Idiot
Mr. Osterberg‘s finest solo record, 1977‘s The Idiot bridges the gap between Iggy‘s search-and-self destruct days with The Stooges and his quasi-rehabilitation as a vital artist and functioning human being. Recorded in the decadent company of David Bowie, this album rocks in a way that‘ll seem foreign to fans of Pop‘s earlier work, with dirge guitars chugging away (on “China Girl“, for instance…yes, it‘s originally an Iggy song, and yes, Iggy‘s is better) and staggering and dive-bombing (on the album‘s highlight, “Dum Dum Boys“) thanks to Rick Gardiner and future Tin Machine men, the Sales brothers. You‘ve heard “Nightclubbing“ before in some form…either in its own pulsing, menacing brilliance, or in a virtual sample on NIN‘s “Closer“ - that drumbeat is unmistakable - and “Funtime“ stands as one of the Naughty Little Doggy‘s all time classics. This is a damaged, weird, dark record. Sounds essential, hmm? You‘re right.

07/26/04 Matt
Nick Cave & The Bad Seeds - The Videos“ (DVD)
It was with a single tear and a smile that my worn VHS copy of Nick Cave & The Bad Seeds‘ video collection came off the shelf and into the “To Sell“ stack. The little black box has served me well, you see, persevering through the years - and multiple viewings -- with plucky, but noticeably degrading, resolve. Still, with the DVD release/reissue of St. Nick‘s promo films, it‘s time to part ways because…let‘s be honest: VHS sucks. The videos contained here run non-chronologically up through the late-90s, so don‘t expect to find the indulgent brilliance of “Babe, I‘m on Fire“ here, with highlights being the filthy folk evil of “Stagger Lee“ done up in Vegas show glitz (complete with Cave in lounge mode with pink baby doll tee), the crook lilt of “Henry Lee“…because it‘s got PJ Harvey in it, and the cinematic hyper reality of “Where the Wild Roses Grow.“ Yeah, so those are all from Murder Ballads, so what? Not even my favorite Bad Seeds record, thank you. Anyway, “The Mercy Seat“ and “Loverman“ are absolutely essential as well, and each video is stitched together with interview/outtake footage with the band. Would have some extra material been welcome considering some time and albums have passed since this collection debuted? Sure, but the price is right (the price of a new CD) and the video and audio are pristine compared to its haggard video predecessor.

07/19/04 Matt
The Concretes - S/T
Sometimes there are albums where you don‘t really need to elaborate that much to get your point across. The shimmering second album by Stockholm band the Concretes is one of those, I could just simply say that the record sounds like Broadcast doing Velvet Underground with Nico covers and that would be enough. But I‘ll go further. I say the band sounds like Broadcast because of the smooth-martian delivery of lead singer Victoria Bergsman, whose performance is equal parts sultry and sleepy. The key to Bergsman‘s singing is a key to the production as a whole, as the players evoke a sound that seems simplistic but is lushly rendered. Which would explain the Velvet Underground reference. Also like VU, the Concretes present songs that make you feel okay about being miserable. Another quick way to describe this cd would be as an ideal Sunday morning listen. Or any morning. Rating: Three out of Five Indies

07/12/04 Matt
Really Red - Teaching You the Fear
There doesn‘t seem to be too much information about Really Red…or at the very least, I haven‘t found it yet. What can be surmised from “Teaching You the Fear“ is that the band was from Houston and this is their one and only full-length release. Released originally in 1981, this is certainly categorically “hardcore“ punk, with overtly political lyrics (“NO MORE GHETTOS!“) shouted over incessant, whiplash guitar chords. Songs are short and direly named (“Starvation Dance“, “Pigboy“, “Bored With Apathy“) and split into two sides - all telltale signs of the genre - but where this record diverges from the rest is in its rhythm section. The drums and (particularly) the bass have a bit of the funk dripping off of them, turning what could have been a mundane exercise in bad anger management into a jaunty, interesting exercise in bad anger management. Any way you look at it, Really Red‘s an ideal example of the real deal, and together with Stick Men With Ray Guns they make a strong case for the vitality of Texas punk rock.

07/05/04 Matt
Wire - Pink Flag
I‘ve put off talking about Wire as much as possible, as they‘re my all time favorite band of all time. This presents a problem because if I fawned over them as heavily as they deserved, I‘d 1. be here all night, and 2. never be satisfied with what I wrote anyway, so plain and simple: Wire‘s debut, 1977‘s Pink Flag, is arguably the finest punk record ever. (Arguably) Better than Never Mind the Bollocks. (Arguably) Better than London Calling. It feels absolutely meticulous and utterly effortless at the same time, and in short time (21 tracks over about 35 minutes…songs only last as long as they should; no repeated choruses for the sake of a hook). Lyrics are abstractly (and smartly) political, but just as much social, and the guitar sound is still extremely unique in its thick, doomy bursts (just thinking about the title track makes me want to cry) and grinding repetition. Still, it‘s not a “hard“ record…it‘s got a timeless accessibility; enough so that Elastica made a career out of the riff from “Three Girl Rhumba.“ There‘s something to be said for a record that never overstays its welcome no matter how often you play it. Pink Flag‘s a record like that. It doesn‘t adhere to the burgeoning “rules“ of punk rock, either…we don‘t even stock it in our (expansive and awesome) Punk section. It‘s just completely its own animal, and follows its own rules. “Punk“ in ways malls and Mohawks wouldn‘t even dream of. Listen, people have been praising this record for almost 3 decades now, and every word you‘ve read or heard is right. If you haven‘t yet, it‘s time you found out why for yourself.

06/28/04 Matt
The Joe Schmo Show - The Joe Schmo Show: Season One (DVD)
Now let‘s get something straight right now: I hate reality television. I hate reality television just like everyone else that‘s trying to appear as intellectual, “counterculture“, and (as a result) appealing as a viable option for potential mating hates reality television. I actually dislike it for real though, as well. Anyway, I started watching The Joe Schmo Show on Spike (which used to be The Nashville Network, and which still makes me laugh) during its initial run because it looked really, really subversive and mean spirited. It‘s one of those “living in a house together and voted off one by one“ games, only all the contestants, the host, and the crew are operating together for a singular cause: to simultaneously entertain and humiliate one poor, unknowing bastard. So cameras roll 24/7, scenarios unfold, relationships are forged, and it‘s all done with premeditated malice-masquerading-as-experiment for a voyeuristic nation. Morally corrupt? Perhaps, especially when you see the subject break down in very real tears after the eviction of a very fake contestant/friend. As the show wears on, something strange happens, though; you can‘t help but like Mr. Schmo, and neither can the conspiratorial folks pulling the prank. The ending, where the truth is unveiled, is fairly cathartic and pays off, and as far as “reality television“ goes, maybe it‘s only appropriate that the fakest of the bunch turns out to be the most genuine. This set has every episode of the first season in its uncensored rawness (the new season is airing right now on Spike, with a new cast of characters and a new type of elimination theme), along with some featurettes and a commentary.

06/21/04 Matt
Flux of Pink Indians - The Fucking Pricks Treat Us Like Cunts
Funny how some things come to your attention. A customer returned this record at one point because it (to paraphrase) “plays three tracks at once and won‘t skip ahead.“ The title suckered me, so I listened to it to 1. test the defect, and 2. get an idea of what Flux of Pink Indians were about. First things first: the disc wasn‘t damaged. There are 18 tracks listed here (including tracks 1 and 9, both titled “Punk“), but it plays as one continuous hour of sheer noise and leftist political fury. I suppose it‘d be “hardcore punk“, but it‘s only hardcore circa barked and shouted vocals and the fact that at its base, “hardcore“ has an aura of being uncontrollable. This record is unhinged, but it‘s full of enough interesting experimentation to lend some substance to the (sometimes) overwhelming assault. It‘s got some electronic/industrial elements to it, lots of filthy and furious guitars, and you‘ll hear some Big Black-ish type of aggression here regardless of the fact that FoPI is a band of Brits formed in the early 1980s. If you like it hard and smart, you should listen to this record. The most ringing endorsement: MattSteve listened to the opening minute, and said, “Iiiiiii don‘t know what‘s going on here.“ Sold.

06/14/04 Matt
The Velvet Underground - Bootleg Series, Volume 1: The Quine Tapes
The “Quine“ of the title is Robert, an important figure in the VU canon in terms of documentation, an original member of (Richard Hell &) The Voidoids, and the guitarist on one of the resurrecting records of Lou Reed‘s solo career, The Blue Mask. Robert died within the last several days, most likely by his own choice (and furthermore reported that it was due to the recent loss of his wife). His passing is mourned at CD World, not least of which for the triple-disc 2001 release of his personal recordings from 1969 of The Velvet Underground. This box features prime pre-Loaded VU touring in San Francisco, a city known for its liberalism, but a city too hippy-dippy and swirling-hand dancy for the sunglasses-and-turtlenecks east coast evil of Lou and Co. Consequently, the band is as coiled and irritable as a cobra, yielding unusual and memorable versions of now-standards.
The tracklisting for each show (one per disc) varies, although each closes with a version of the epic “Sister Ray“; the best of which is on Disc 2 and tops out at 38 minutes of noise and menace. The recordings themselves are surprisingly clean and rival the relative greatness of the previously issued Velvet Underground Live records, so even the picky folks will find satisfaction here. We‘ve got it for $26.91…do the math. This is essential. Oh, and one more thing about Robert Quine: his guitar solo on “Love Comes In Spurts“ (Richard Hell) is one of the greatest of all time. R.I.P. baby.

06/07/04 Matt
Kill Me Tomorrow - The Garbageman and the Prostitute
I know, I know…I cringed at the name of the band and the album title upon first glance too, but don‘t skim and scroll just yet. This trio‘s second full length is an unapologetic and fairly addictive mess, tearing down melodies and projecting images of sex and violence (not necessarily in that order) on the resulting rubble. If you want to get categorically cutesy about it, the sound is mainly that of the whole “dancepunk“ nonsense, but with the interestingly insane gutter sensibilities of, say, the first Liars record. There‘s lots of noise, plenty of processed (but not inaccessible) vocals, and lots of keyboards buzzing and stabbing throughout, all around a semi-formed story about a refuse collector who‘s possibly moonlighting as a bloodthirsty (is there any other kind?) serial killer werewolf. … … … … I know, I know… Anyway, this thing takes a chance when it didn‘t really have to, so that‘s something, right? Think of it as a just-as-ambitious, but leaner-and-meaner 1.
Outside (Bowie‘s 1995 “art crime“ record, which is both brilliant and absolutely laughable depending on the alignment of the planets). This comes packaged at single disc price with a DVD of short films that‘ll presumably correspond with the whole concept here, but I haven‘t watched that yet. See? I‘m honest…

05/31/04 Matt
Minus Story - the captain is dead, let the drum corpse dance
I have yet to actually finish this record because Lee keeps telling me to take it off (which could be a recommendation in itself). Even so, I don‘t have to hear the whole thing (or in some cases, half of it) to know it‘s as hypnotic and transcendent as records can get. This is the kind of album Mike Love would have had reservations singing on, the whole disc is awash with blurry melodies and scribbled-in intros, like an indie orchestra is rehearsing it for the first time, and it has a confusion and a muddiness that makes a dynamic counterpoint to the lush production. But unlike any other band described as an “indie orchestra“ these guys have a strong drummer and aren‘t all sunshine and butterflies. Suitable for fans of the E6 cadre who like rain in their parades and fans of drugged-out Brian Wilson‘s dark side.
Rating: Four out of Five indies

05/31/04 Matt
Crispy Ambulance - Plateau Phase
Tony Wilson summed up the initial fate of this band in the commentary of 24 Hour Party People by saying (to paraphrase): “good band, worst band name ever.“ And Tony‘s right. “Crispy Ambulance.“ Say it to yourself. It doesn‘t roll off the tongue, it‘s not apparently clever (from where I‘m sitting anyway), and it‘s not even irritatingly memorable for those who may be indirectly interested. Yup, and a good band they were…and are. 1982‘s The Plateau Phase is the only proper studio work during their first phase, and it‘s the bee‘s knees for those into the whole post-punk/Joy Division/Martin Hannett/Factory Records scene. Lots of jangly, faintly evil guitars, minimal keyboards, and nice deep bass lines make up most of this record, and there‘s even a crooked nod to Bowie‘s glammy “Drive In Saturday“ within the first track, entitled “Are You Ready?“ Interestingly, CA (that looks and sounds better than the formal alternative, no?) has a little more variety and range than a good number of their contemporaries, adding some psychedelic and (almost) funky moments - check the 13-minute groove of “The Presence“ - to the glacial “rar, we are artsy semi-punk“ proceedings. The CD version tacks some singles onto the back of the record, maximizing your all-important dollar, and if you like what you hear here, it‘d behoove you to check out their 2002 return called Scissorgun. Cuz it‘s good. Different, but good.

05/3/04 Matt
Chrome - Anthology 1978-1983
Chrome is one of those bands that has always deserved better in terms of public appreciation and acknowledgement. At the same time, considering the (still) insane combination of rudimentary keyboards, samples, and acidic static guitar, it‘s safe to say founding members Helios Creed and Damon Edge (who‘s deceased) couldn‘t have cared less. Formed in 1977 and revolving peripheral members over the course of the next decade+, there‘s no apologies to be found in any of Chrome‘s output. It‘s…ummm, kind of punk, more than a little industrial - before “industrial“ was synonymous with filthy thieves in semi-ironic cowboy hats, of course - and perfectly schizophrenic. Screechy, spacey (as a junky void), disturbing, and arguably genius. Yeah, that‘s Chrome. Anyway, Cleopatra has seen fit to release an anthology of the band‘s (no doubt about it) finest era, ‘78-‘83, and the track selection is formidable…though nowhere near “complete“. Focusing heavily on 1979‘s seminal Half Machi!
ne Lip Moves, this disc is most useful in that most of Chrome‘s catalogue in woefully unavailable domestically, and it‘s a perfect starting point for those unsure about delving deeper into their pockets for the legitimate albums. If track titles like “Perfumed Metal“, “Abstract Nympho“, and “Chromosome Damage“ hold any kind any initial intrigue for you, this is a very safe ($11.91, lovelies), solid, interesting buy…and that‘s without even considering the sweet-ass silver foil slipcase cover.

05/24/04 Matt
Alien - Alien Quadrilogy Box Set DVD
Yes, yes…it‘s expensive. At full list price, we‘re talking about a DVD set that totals in the neighborhood of a century. But, first off, we‘ve normally got it used. Secondly, it‘s awesome. Seriously. The extras/special features alone are all but worth the price of the set alone, not to mention the fact that whenever a “director‘s cut“ is available, it‘s included here. The original is inarguably a classic, full of prime Ridley Scott atmosphere and haunted house energy, but (and I can‘t believe I‘m saying this) James Cameron‘s sequel trumps it with sci-fi adrenaline and a more fleshed-out story. Put together, the two are essential sci-fi/horror cinema. The remaining two are, admittedly, a mixed bag full of good (but abandoned) ideas and mostly unfulfilled potential, but we‘ll let sleeping facehuggers lie when it comes to a set that‘s as loaded as this is. 20th Century Fox loaded this box full of goodies, and if I wasn‘t as tragically white as I am, I‘d say something effectively to the effect that this box is all but “tricked out“ in terms of supplements. Each film sports at least one full-length commentary, and along with an all but feature-length documentary on the production itself, the set has the replay value of a Paris Hilton sex tape. Except that, of course, Paris Hilton is a hateful piece of human garbage. Anyway, this set is as good as advertised, and anyone that‘s been considering the healthy investment of picking it up should do so. And should do so here, cuz‘ we won‘t gouge you for it.

05/17/04 Matt
Big Black - Rich Man‘s Eight Track Tape
Since Steve Albini‘s name has come up in reference to about 75% of the albums I‘ve mentioned to this point, it‘s only fair to give a nod to his finest personal work. Rich Man‘s Eight Track Tape is a compilation of sorts that combines 1986‘s Atomizer with a subsequent EP (Headache) and single (a cover of the mighty Wire‘s “Heartbeat“), and the end result is one of the most battering, frightening, and addictive collections to ever skulk into record bins. Albini isn‘t a happy fella, and his ragged howls and disconcerting growls are only matched in intensity by the bone-bare (and always intelligent) lyrics to which he gives twisted life. The album‘s opening track, “Jordan, Minnesota“, focuses on a real life small-town pedophilia epidemic, while “Kerosene“ documents desperate boredom in a dead-end place. “Kerosene,“ by the way, has recently been named The All Time Best Song of All Time by yours truly, for the absolute nil that that‘s worth. The music herein isn‘t for everyone; it‘s nois(y)e…drum machine over thrashy distortion, but for those with the ear and stomach, there‘s enough damaged artfulness here for maaaany repeat listens. This isn‘t just silly industrial sludge - Albini‘s got too much of an ax to grind (or demons to summon and, by turn, exorcise) for that. The music found here is unfathomably influential, and even more importantly, still dangerously vital today. Everything Big Black released is excellent, but this is your starting point.

05/10/04 Matt
Magazine - Real Life
Choosing a favorite Magazine record from their first three offerings is a bit rough…different enough to appeal to different ears, similar only in excellence. “Secondhand Daylight“ has more synths and, therefore, textures (oh, and ‘Permafrost‘, one of the all-time greatest songs of all time) for the new-wave sweeties out there. Meanwhile, “The Correct Use of Soap“ boasts some funk and general consistency with its post-punk roots, but I‘ve got to give the nod to their debut, “Real Life“. Howard Devoto, the first vocalist of The Buzzcocks, immediately frames the band‘s intentions with his acerbic phrasing…our favorite being “You caaan touch yourself any time…“ We sing it all the time, in fact. Then you‘ve got the sweet, sweet bass playing of Barry Adamson, whom has gone on to quite an interesting and successful solo career. Listen to the doom on ‘The Light Pours Out of Me‘ and tell me I‘m wrong. John McGeochy was the guitar player. He was awesome. Lots of vintage punky stuff happening, especially on ‘Shot by Both Sides,‘ quite possibly the ultimate, all time post-punk song of all time. He went on to play with Siouxsie Sioux and P.i.L.. He‘s also dead now. There‘s not a weak track, with lots of keyboard improvisation not present on other records of the era (we‘re talking ‘78 here), and they‘re generally one of the most underrated bands I‘ve ever heard. Dark without being Bauhaus-silly, rockin‘ without being AC/DC-duh, and experimental without being Can-yawn. Cheers.

04/5/04 Matt
Killing Joke - The Unperverted Pantomime?
Just like you, we‘re currently in the third trimester of Killing Joke Fever stemming from last year‘s completely kick-ass self-titled return. Considering that, you can trust us to steer you solidly in regards to their other release from ‘03, a mean collection of singles and rarities entitled The Unperverted Pantomime?. Culled entirely from 1980, a year in which KJ ruled British punk/rock, the biggest attraction to longtime fans is the formally rare-as-hell live set from their first UK tour, and while the sound quality is surprisingly clean and realized, there‘s plenty of odds and ends that are equally attractive. The “Malicious single“ version of “Wardance“ features even scratchier guitar noise than the LP cut, while the evil dub of “Nervous System“ and the punk barrage of “Pssyche“ benefit from the alternate spotlight. Round all this goodness out with an unearthed demo and some Capital Radio sessions, and you‘ve got yourself a nearly-essential compilation. Wouldn‘t go so far as to say this is fitting as an introduction to Jaz and boys (that honor would remain with their debut record), but this is a band-endorsed coup to any respectable Joke collection.

04/26/04 Matt
The Office - Season Two DVD
For those without satellite/cable or those with a distinct aversion to all things awesome, the British television series entitled ‘The Office‘ is the best sitcom to grace our overused tubes. Ever. A bold and easily refuted statement, to be sure, considering that objectivity is at the heart of such of a matter, but what Ricky Gervais and Stephen Merchant managed to craft in just a dozen 40-minute installments is nothing short of miraculous. It encapsulates the claustrophobic rat race of white-collar existence in a painfully accurate way, but manages to keep the viewer laughing in place of crying in empathy. What started as a group of wacky “character types“ slowly evolves into REAL PEOPLE, full of identifiable flaws, quirks, and concerns that endear as much as entertain. Shot in mock/documentary fashion, The Office is the coziest place to ever feel uncomfortable (it operates on that same fidgety level of comedy that HBO‘s ‘Curb Your Enthusiasm‘ does), and at only 12 episodes total spread over 2 seasons, there‘s no fat to trim and no welcomes to overstay. Get Season Two just in time (hopefully) for the stateside BBC America premiere of the essential “Holiday Special“ farewell episodes. Bitter, sweet, bittersweet…whatever, ‘The Office‘ is bloody brilliant.

04/19/04 Matt
Speedking - The Fist and the Laurels
Ah, Speedking…we hardly knew ya. Technically, unless you‘re one of the few to see some of this Brooklyn based outfit live in the mid-90s, it can be said that the world never got to know Speedking at all. It‘s a shame too, because just like Six Finger Satellite, they‘d be HUGE right now. Fortunately, thanks to a 2-disc Tigerstyle Records retrospective (?), we now have the opportunity to miss what we never knew we had. Hard enough to allow dudes with sleeve tattoos to feel better about themselves and dance/beat oriented enough to allow Pitchfork Media to say “jittery“ and “dancepunk“ one more time, Speedking actually share as much with Sub Pop black sheep Six Finger Satellite sonically as anything else. From 4-minute synth pulsations to shards of sparse guitars, this is the kind of stuff that Liars fans of today (well, at least before they decided to get really antagonistic and awesome) will go nuts for, but there‘s enough substance here to outlast any kind of passing tre!nd. The first disc comprises what would have/should have been Speedking‘s first LP, while Disc Two brings together some earlier 7“ stuff that hints at the direction the trio ultimately went. Heard of the production team known as The DFA? Yeah, well, there‘s a direct kinship here via drummer James Murphy. Essentially (but not only), Speedking is served best when linked with other Steve Albini-esque ear abuse, but there‘s enough static space to make things a lot more interesting than a simple thrash-about.

04/12/04 Matt
David Bowie - Outside / Earthling / hours
There are a few points of contention regarding this trio of Bowie/Columbia reissues. Any of these points stem from the same question; that being, of course, “Why?“ First of all, the oldest of these records (1995‘s Outside) isn‘t even celebrating a decade on the market yet, so the audio quality isn‘t going to be improved on much. The bonus tracks tacked onto the end of each (only one for the already bloated Outside, 4 for Earthling, 5 for hours) could be construed as breaking the flow of each album an argument applicable in any and all cases. So the technological upgrade is minimal, the bonus stuff is distracting (if occasionally enjoyable), and beyond all of that, these three efforts aren‘t exactly on par with Bowie‘s drop-dead, no-argument works of brilliance from the golden years of the 70s.
Again, then: “Why?“ Because, in this trio‘s case, of moments. Moments like Outside‘s “Hallo Spaceboy“, a grinding, pulsing track full of The Duke‘s trademark space/sex allusions, all the while reminding one of past glories without smacking of nostalgic laziness. Moments like Earthling‘s “Seven Years in Tibet“, a track that actually succeeded in marrying Bowie‘s inherent rock accessibility with the electronic beats he was so enamored with at the time. Or moments like hours “New Angels of Promise“, an unappreciated number that rocks because well, it sounds like something off of “Heroes“. It‘s songs like these that remind the listener why it‘s so fantastic to still have a talent like Bowie around, while standing on their own despite the creator‘s storied legacy.
If you‘re still not sold, fair enough; pick up Heathen instead that one‘s killer front to back.

03/9/04 Matt
Croupier (DVD) - Croupier (DVD)
A well-crafted British underworld/heist film, Croupier has taken way too long to finally make its way onto DVD. For whatever reason, it‘s been available only through a poorly made Canadian edition and through an internet rental site up to this point, so it‘s arrival now is certainly a case of “better late than never“. Plot? Quite winding, in fact, with the essentials shaping up as a rather grim young bloke taking a job in a casino and mixing with various nefarious forms of backstabbing and intrigue. This played in art houses a few years back, but this is no “art film“…it just happens to have actors with accents. Oh, and see why Clive Owen is now universally known as a Cool Motherfucker. This is good stuff; promise.

03/29/04 Matt
The Ex Models - Other Mathematics
It‘s becoming increasingly clear that no LP should realistically run over 40 minutes (and even that‘s being generous), so it‘s with great pleasure that we introduce The Ex Models‘ debut long player, Other Mathemathics. At roughly 25 minutes spread thin and nervous over 13 tracks, the minimal prospects look bright just from a surface perspective, but upon first spin it‘s obvious that this Brooklyn quartet isn‘t about humble understatement. Bear with the fact that they‘re a post-punk playing NYC band (go ahead and vomit.we‘ll call TV On the Radio while we wait), because 1. They were in the noise-making underground scene before most decided that it‘s 1980 again, and 2. They‘re fuck-all better than 99% of their scene peers. Full of fast, grating (yet still a bit jangly) guitars and metronome rhythm, there‘s an accessibility hidden within the cacophonous art mess. The song titles are a thing of beauty as well: “The Idea of Peter North“, “Love Japanese Style“, “The Birth of Disneyland“, among others. You‘ll hear Wire in this, you‘ll hear Steve Albini-esque sonic insanity here, and you‘ll hear the more inventive, interesting members of the new No Wave movement (The Liars, etc.). Their second record, Zoo Psychology, is - thank Gawd - just as short and even crazier. As far as soundtracks to smoking haughtily, cutting oneself, surfing SuicideGirls.com, or fixing one‘s hair goes, The Ex Models are the pick of the litter.

03/22/04 Matt
Iggy & The Stooges - Live in Detroit (DVD)
Lots of things to like about this little Creem-approved release. First and foremost, it‘s a live recording of arguably the greatest band of all time. Call it a “reunion“ if you must (the inclusion of bassist Mike Watt is hardly a step back or divergently sideways considering, well, Mike Watt rules), The Stooges have been, are, and will be back as great as ever. So I like that. I also like that the video quality of this homecoming show (recorded in mid-2003) is very basic and gritty.in a good way. Just a few cameras are set up; no glossy U2-esque treatment here.It‘s as lean as the set and stage set up it‘s focused on. Know what else I like? The trio of sound options that are available, because as much as I like the elementary visuals, I want balls out Ron Asheton guitar licks, and the stereo and DTS mixes provide that. Speaking of things I like, I like the supplementary footage that includes an in-store/intimate performance with the surviving original trio of Stooges. They‘re “Loose“ (har) and tight simultaneously. Oh, I like the fact that they‘re playing nothing but (some) new material and a generous sampling of their first two records, because that means more Fun House and less Raw Power. Raw Power is awesome, of course, but we all know that Fun House is the superior (and unjustly underrated) record, don‘t we? Yeah, that‘s right. Know what I like the most about this, though? Well, I‘m a Gen X fellow who works in a record store, so I‘m predisposed to wasting time, and I just wasted yours, because THIS IS THE FUCKING STOOGES LIVE. That‘s all that needs to be said, and you knew that already. Let‘s cut the shit: the DVD‘s here and waiting for you.

03/2/04 Matt
Straw Dogs (DVD) - Straw Dogs (DVD)
Considering there‘s nothing of more recent relevance that‘s floating my boat (outside of the new Liars disc, but been there, done that…), here‘s a little retro “heads up“ for ya: That double disc Criterion DVD of Straw Dogs? Yeah, well, it‘s actually no longer being printed, so when it‘s gone (sold), it ain‘t coming back (restock). It‘s a matter of aesthetics whether one prefers this or The Wild Bunch in terms of “favorite Sam Peckinpah film“, but I‘ll side with this one for perversity‘s sake. It stars Dustin Hoffman, and his character (a frustrated academic) carts his hotsy-totsy wife (Susan George) back to her hometown in rural England for a little R n‘ R and creative solitude. It‘s more than a fish-out-of-water type thing, however, as some of the local “lads“ take a fancy to wifey, and things get out of hand in a big way when push comes to shove…comes to shotgun. It‘s a memorable flick made even more so with Criterion‘s double-disc treatment,
complete with a great commentary track, behind the scenes stuff, and a feature length documentary on the director that‘s worth the price of purchase by itself. Buy or Die.

03/2/04 Matt
Casiotone for the Painfully Alone - Twinkle Echo
Casiotnone for the Painfully Alone is just that: one guy, casio drums and keyboards, lonely songs that make being an ex-boyfriend or an unrequited crusher sound fun. Calling something emo is kind of lame, but with Casio it‘s okay because he both makes fun of emo‘s posturing and faux-heartbreak and justifies the ‘genre‘ as a pseudo confessional off-shoot of Joni Mitchell era folk. Only instead of guitars, wall to wall keyboards of the cheesy, kmart-brand variety. In fact, once you think about it, the thing that‘s silly about emo is not the sissy skinny guys being sissy, but those sissy guys trying their darnedest to rock. Stick to your strong suit, four-eyes. Casiotone‘s Owen Ashworth succeeds where the Thursdays of the world fail for two reasons: he satirizes love and boredom amongst hipsters so well you aren‘t sure if he‘s serious or not, and he writes guiltily catchy sing-along numbers as irresistible as MASH notes. Rating: four out of five indies

03/2/04 Matt
The Apes - Odeyesee
Please don‘t come after me when I refer to this album by organ acolytes the Apes as ‘biblical‘. I don‘t mean in stature, I mean in sound! True, while trying to make sense of the lyrics in songs titled “crystal coco-tech“ and “worwiz‘s modern problems“ is perhaps foolish, the vicious throb of the keyboards (very few guitars here) and the way the drummer sounds like he‘s playing with bricks instead of sticks is, dare I say it, awe-striking. “far far far from your cities/they‘re building robot bodies to spread disease“ the Apes stridently wail, and they sound as if A. they mean it, and B. we should all be worried. And they drive home their point with cathartic, searing piano riffs that oddly wouldn‘t sound out of place on a Black Sabbath song. In short, the Apes are as venomous and punishing, as they are majestic and goofy, like the bible. Hence, ‘biblical‘.
Rating: Three out of five indies

02/16/04 Matt
The Liars - There‘s Always Room on the Broom
The Liars‘ first LP, They Threw Us All in a Trench and Stuck a Monument On Top, was noisy, layered, left-of-center, and inexplicably catchy. Kinda (but only kinda) like an evil Gang of Four. The last track, a 30-minute exercise in bass driven space rock and loop abuse, makes even record store clerks run for cover. It is awesome. The Liars‘ EP, Fins to Make Us More Fish-Like, has three more tracks of vaguely evil sonic shenanigans. It is only slightly less notable due to its brevity. However, it too is awesome. The Liars‘ new single, There‘s Always Room on the Broom, sounds like a distant relative to their prior output. Like a distant relative that‘s very evil. Not “evil“ in a cheesy Bauhaus kind of way, mind you. More in a “we‘re only as unpredictable as we are good, which is to say ‘very much so‘“ kind of way. The mocked-up Einsturzende Neubauten cover is greatness, as are the whirring, grating guitars, synthesizers, and creepy chanting found therein.
Just released. Cheap, too, with two B-sides. In short: awesome. The Liars‘ new LP, They Were Wrong, So We Drowned, is out February 24. There‘s a track on it called “We Fenced Other Houses With the Bones of Our Own“. Evil. You‘ll want this, because if the past (and present) tells us anything, it‘s that this will be awesome. The Liars? They‘re awesome.

02/16/04 Matt
Metal Urbain - Anarchy in Paris
Yeah, we understand, and you‘re right: this whole “electroclash/dancepunk“ genre regurgitation is a bit overblown, but for every hyped letdown (coughTheRapturecough) there‘s an overdue revival of a lesser-known, yet highly influential, band from the past. One of the most recent reevaluations is Acute Records‘ Anarchy in Paris, an anthology of the French (so yes, the vocals are sung in their home‘s tongue) punk rock band Metal Urbain. Following directly in the wake of The Sex Pistols, these cheeky noise terrorists didn‘t last long (the 24 tracks here comprise virtually all of their recorded output), but their brand of heavily fuzzed-up guitars combined with rudimentary synthesizers sounds “tres cool“ on the current landscape. Need more “cred“? Their single “Paris Marquis“ was the first release ever on Rough Trade Records. More?? Gentle souls like Steve Albini and the Jesus and Mary Chain boys dug this back in their embryonic stages.

02/1/04 Matt
Ichi The Killer (DVD) - Ichi The Killer (DVD)
So you‘re all, “Golly, CD World, y‘all sure do have lots of albums and all, but I‘m kinda in the mood for a movie…you know, something that make me sit up and pay attention, something that‘ll make me as anxious as a three-tailed cat in a room full of rocking chairs, something memorable.“ And we‘re all, “Oh yeah, you want Ichi the Killer.“
This is a mob/yakuza movie with the most sadistic attitude of all time. It‘s as extreme as they make ‘em, only it‘s so well shot, paced, and drawn out from a standpoint of characterization that it‘d be a full-on art film if it weren‘t for the buckets of arterial spray, entrails, and general malevolence on full display. It‘s based on a manga, so it‘s officially the greatest comic book adaptation of all time, but that‘s selling Ichi very short, as it‘s quite possibly the greatest achievement of Takashi Miike, who‘s quite possibly the world‘s greatest living director. We‘ve got the Unrated cut of this film on DVD. It‘s the epitome of why we love (and need) independent retail. It‘s for a very select audience…considering you get this email, you are that select audience.