Stone Cold Pimpin'

In the 70's, Rainer Wehinger created a visual listening score to accompany Gyorgy Ligeti's Artikulation. I (not me, someone) scanned the pages and synchronized them with the music.

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I was trolling the intertubes yesterday and came across the five-volume set of "Symphonies of the Planets," a 1992 release on the truck-stop and Ross Dress-for-Less label , LaserLight. Five tracks of "space music" 30 minutes long. But here's the deal: this "space music" is purportedly real space music.

In 1990, we made the Symphonies of the Planets series from raw, uncatalogued space sounds data as a promotional series... We did not go through the lengthy process to document specific planets, moons or rings. Rather we selected random information from the raw data and processed it to produce Symphonies of the Planets. However all sounds are Space Sounds. There are no engine sounds from the space probes.

Posted by Ted Mills at 11:37 PM | Permalink | Comments (0)

Since I posted this cover of my 1999 m:lls CD compilation on Flickr, I've had some requests, so I've posted the 2-CD set to Megaupload. Feel free to download the mix and check out some still pretty good tunes from nine years ago. (148 mins in total, 31 tracks, 160kbps.)
Track list is here:

Continue reading "m:lls 1999 - CD mix for your ears" »

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[Spit take of my morning coffee]Whaaaaaaaaa????
Yes, David Byrne and Brian Eno are making music together, and an album is set for the end of the year. Ooooooh!

Speaking at an event in New York, Byrne revealed that the duo had rekindled the relationship they formed in the late 70s/early 80s which resulted in three Talking Heads records and 1981’s classic My Life in the Bush of Ghosts.
“I’m finishing up a record with Brian Eno, a musician that I worked with 30 years ago,” Byrne said following an appearance with Paul Simon at the Brooklyn Academy of Music on the 9th of April. “We did a record together of songs, and that’ll come out.”

Posted by Ted Mills at 11:15 AM | Permalink | Comments (0)

We're gonna continue on an Endtroducing tip with a few links.

An after-school percussion group at Minnetonka High School, Minneapolis, play two tracks from Endtroducing, over on this page, circa 2005. Word. The drummer even keeps in the weird drum edits. Big version of file here. Hot damn. Sounds like Steve Reich.

Eliot Wilder wrote a whole book about the album.

There's also this very long review of Entroducing over at PopMatters by Tim O'Neil.

Endtroducing... was a field report from the frontlines of a brave new world, a world which has now become slightly less strange but no less visceral. It would have been hard to rank it above similarly important albums by artists like Orbital, the Chemical Brothers, Underworld, New Order and Kraftwerk, but while each of those artists have produced albums which are perhaps the equal of Endtroducing..., there's not a one of them I could in good conscience put squarely above it.

Posted by Ted Mills at 12:07 AM | Permalink | Comments (0)

DJ Shadow's 1996 Endtroducing... is a masterpiece of sound collage and turntable skills and still sounds incredible 12 years later. The sheer number of samples place this album up there with the Beastie Boys "Paul's Boutique" and Public Enemy's "Fear of a Black Planet". And now blog Goons Dancing Under Full Moons has compiled all the samples into one large 250mb file for educational purposes.

This was a monster. When I saw the sample list I almost gave up before I started. These samples took me to the bowels of the internet and on the way I think I learned enough German and Portuguese to talk my ass out of a fight. If I tried to remember and list all of the different blogs and forums that helped me in my search my brain would bail out my ears. So here goes nothing and everything. 70 mthrfckng samples.

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Erica and I met Jon and Joan down in L.A. last night for the one-night-only appearance of Cornelius at the Walt Disney Concert Hall. For Jon and myself this was our first time seeing Cornelius since the Fantasma Tour in 1998. For the ladies, it was their first time ever. (CORRECTION: Jon reminds me he saw the band in 2002.) Keigo Oyamada and his band (which includes their smokin' ace drummer Yuko Araki) dress sharp and produce a tight post-rock that breaks rock and and electronica into small parts and reassembles them into fascinating sculptures. There's no other artist quite like it, though I would suggest The Books for the cut-up aesthetic and Yo La Tengo for the ability to play in different genres without sounding like parody. Accompanying the group was a video display which was synchronized to the music (or rather, the other way around)--and here I can use the powers of YouTube to present some of my favorites from the night. These aren't just abstract vids, but crazy animations whose domestic backgrounds mirror Cornelius' own bedroom aesthetic of music creation. "Fit Song" was incredible on the big screen, especially.
Opening for Cornelius was the two-man DJ operation called Plaid. I don't know how to categorize their sometimes pounding electronica, as it verged often into the abstract. You wouldn't be dancing to them. It's too rhythmically complex to be ambient. It's Plaid. Their video work behind them was a relief compared to watching two guys at laptops.
Finally, being my first visit to the space, the Walt Disney Concert Hall, designed by Frank Gehry, is a truly beautiful thing to be inside. I may have problems with a lot of Gehry's work, but inside the Hall it feels like being inside a giant wooden cup, vertiginous, and despite our balcony seats, we had a great view of the entire event and felt on top of everything. The acoustics are fabulous, especially for Plaid, as the various frequencies seem to come from different areas of the Hall. The bass was remarkable. The only trouble with Cornelius was moments were so frikkin' loud that the very high frequencies rose to the top of the hall (wood, you know) and assaulted us. But I think that was the point. Oyamada plays his trusty Theremin and one of his bandmates was sawing away at some unidentified electronic instrument with a bow, producing some otherworldly screeches. And did I mention that the drummer is amazing?
So here's some video. Fit Song:

Like a Rolling Stone (YouTube can't do this justice):

Point of View Point:

Drop (Do It Again):

Wataridori:

Posted by Ted Mills at 11:10 AM | Permalink | Comments (1)

Not everybody knows Laurie Anderson, even during her most popular period, 1980-1986. So I have trawled YouTube to see what I could find for all y'alls education. Her most enduring track is 1980's O Superman, her mesmerizing 8 minute opus that amazingly went to Number One in the UK in some sort of aberration of coolness. If you've never seen it, well:

Then there's her 1984 album, Mister Heartbreak, which has a number of great tracks on it. But Sharkey's Day was the only (?) video from it:

There's some great moments of early video surrealism here.
Finally, there's a great Stop Making Sense-like concert movie called Home of the Brave, which has yet to be released on DVD. In the meantime, here's the Language Is a Virus video, which is a sort of trailer for the film. This remix of the song is not in the film, but was produced by Nile Rogers to promote it.
For an idea of what the film actually looks like, though, here's one of the best songs, Smoke Rings. There's several things I love here: the gameshow intro (a parody of a SNL skit); Anderson's second microphone, which is connected to a echoey delay so she can sing a single high note into it and have it careen around the mix; the morphing of a smoke ring into a zero and then its binary opposite, a '1', then turning into '911'; Anderson's weird electronic sampler-violin at the end that make sawing, diving sounds.

Posted by Ted Mills at 05:57 PM | Permalink | Comments (0)

All three tracks of Sgt Pepper isolated, then played together. (the fourth track I think was used for the crowd sounds.)

It's also the only time that I've heard the track trail off into studio jamming and not segue into "With a Little Help"...

Where this comes from I don't know. (Well, the link was found on boingboing, but who "Beatlepuzzle" is, I don't know.

Posted by Ted Mills at 12:02 AM | Permalink | Comments (0)

My first favorite song of 2008. The lead singer looks like the lovechild of Buggles-era Trevor Horn and Elvis Costello. And is the band's maneuvering through the video a tribute to these kind of Japanese game shows?

Posted by Ted Mills at 09:55 PM | Permalink | Comments (0)

If we're gonna go out, let's go out like this song, joyous in the face of un-knowledge and un-certainty.

There's a city in my mind
Come along and take that ride
And it's alright, baby it's alright
And it's very far away
But it's growing day by day
And it's alright , baby it's alright
Would you like to come along
You can help me sing this song
And it's alright, baby it's alright
They can tell you what to do
But they'll make a fool of you
And it's alright, baby it's alright

Posted by Ted Mills at 01:38 AM | Permalink | Comments (0)

I'm back from Hawaii (didn't you know I'd gone?) and I've been sorting through blogs and mail and such. And this new video from Denki Groove is TEH COOLNIZ. It starts awesome and continues through several variations on awesome. To be more coherent, it is steady zooms on '80s style Japanese girls. It's cute and creepy at the same time, and the hair! the hair!!
Credit where credit's due to Chipple for pointing this out.
(Hawaii photos coming soon...)

Posted by Ted Mills at 01:07 AM | Permalink | Comments (1)

November 30, 2007 12:00 AM

The Pipettes - We Are the Pipettes
Riotbecki! Gwenno! Rosay! This retro girl-group trio from the UK has been all over YouTube, KCRW, and SXSW since last year, and now their CD has been released by a Stateside label with a different mix and two extra songs. Their lead-off single "Pull Shapes," like most of the songs, borrows its style from the Shangri-Las and other Phil Spector-produced classics, but with contemporary post-feminist concerns in the lyrics (sample song titles from later in the album "Sex", "One Night Stand" and "Dirty Mind.") The Pipettes' harmonies stay true to their British roots, although sometimes you can squint your ears and swear it's the B-52s. Sunny and bright as well as cheeky and knowing, this might not be brilliant stuff for the ages, but it can't help but bring a smile to the lips.

Radiohead - In Rainbows
OK, computer, now how much would you pay? Radiohead's long-awaited follow-up to the just-average "Hail to the Thief" is currently a pay-what-you-think Internet download with 160 kbps quality sound and no cover art. Beat heavy and funky in places, "In Rainbows" dips into Krautrock ("Bodysnatchers"), shuffling, spaced-out hip-hop ("Reckoner"), and echo-laden shoegazing (the beautiful, languid "House of Cards"), against which Thom Yorke's plaintive voice struggles with basic human relationships yet again (oh, but we wouldn't have it any other way). Light on stand-out melodies, but heavy on intricate production from Nigel Godrich, "In Rainbows" is no "Kid A," but should expand and develop over time in concert.

Continue reading "Soundbytes: Seven Recent CD Reviews for the NewsPress" »

Posted by Ted Mills at 10:21 PM | Permalink | Comments (0)

His marriage falling apart, something like 24 hours of no sleep, Elvis Costello sits down for this one-take video (save final shot) of a song from an album he still disowns. Watch him break down around 1:20 (and again at 2:20), I think it's real. (You can take what you think about '80s production, echo-ed vocals, and sax breaks and stick it.)
Sniff. And that's as most as I get to personal on my blog.

Posted by Ted Mills at 12:56 AM | Permalink | Comments (0)

Rolling Stone has an article up about Who Killed the Record Industry. Answer: the companies themselves.

So who killed the record industry as we knew it? "The record companies have created this situation themselves," says Simon Wright, CEO of Virgin Entertainment Group, which operates Virgin Megastores. While there are factors outside of the labels' control -- from the rise of the Internet to the popularity of video games and DVDs -- many in the industry see the last seven years as a series of botched opportunities. And among the biggest, they say, was the labels' failure to address online piracy at the beginning by making peace with the first file-sharing service, Napster. "They left billions and billions of dollars on the table by suing Napster -- that was the moment that the labels killed themselves," says Jeff Kwatinetz, CEO of management company the Firm. "The record business had an unbelievable opportunity there. They were all using the same service. It was as if everybody was listening to the same radio station. Then Napster shut down, and all those 30 or 40 million people went to other [file-sharing services]."

Also, why don't record companies sell CDs for cheap at concerts? That's a major audience who are ready to impulse buy. I'm sure there's some stizoopid legal reason for this, but I've always seen this as a missed opportunity.

Posted by Ted Mills at 11:24 AM | Permalink | Comments (0)

KJEE'S SEASIDE BEACH BALL: The Queens and I - Guitarist Troy Van Leeuwen part of ever-changing Stone Age roster
Ted Mills, NEWS-PRESS CORRESPONDENT
June 8, 2007 8:00 AM

Signs of Summer: Popsicles, beach towels, flip-flops, barbecues. Add radio-friendly rock bands arriving en masse to that list.

Large rock festivals like KJEE's Seaside Beach Ball, coming to the Ventura County Fairgrounds today, have become a way to expose a roster of popular and up-and-coming artists to the maximum amount of like-minded fans. One month ahead of the Warped Tour, the Beach Ball brings to the sunny city to the south a lineup featuring the famous (Queens of the Stone Age, former Soundgarden and Audioslave frontman, now solo artist Chris Cornell), the hip (Sum 41, Plain White T's) and the buzz-worthy (Cold War Kids, Shiny Toy Guns).

For Troy Van Leeuwen, guitarist with Queens of the Stone Age, these festivals are a good way to make new fans and to play short sets to an already-hyped crowd. "We just came off KROQ's Weenie Roast festival," he says. "They had a revolving stage, and so you come on already playing. It's crazy."

The KJEE stage might not revolve, but the Queens will be turning heads with a set that unveils many of the new songs on their fifth album, "Era Vulgaris," set to drop in a week.

Continue reading "Arts Article: Queens of the Stone Age" »

Posted by Ted Mills at 11:28 AM | Permalink | Comments (0)

Madness finally return with a new song and a new video. Er, it's just okay. They don't do anything particularly interesting, it looks like it was quickly shot during somebody's lunch break. The video doesn't really show off the full band--are Chrissy Boy, Lee Thompson, and Mike Barson still in the band? Not that you can tell...Still, a new album is coming soon. Let's hope it's better than this makes it out to be. Oh yeh, and this has GUEST STARS rapping during the break. Ah. Yes.

There's also an all-Madness version here.

Posted by Ted Mills at 10:30 PM | Permalink | Comments (0)

This is the brand new video for Togenkyo, shot in front of a series of ramen-ya of various "class" levels. A very odd song, or really, three songs slapped together.

This one came out last year? I have no idea, never heard it before. But nice Rubic's Cube theme. However, neither are as good as Tandem, what can I say?

Posted by Ted Mills at 10:48 PM | Permalink | Comments (0)

The Specials - Ghost Town

and a BBC documentary on the song. Educated yo'self!

Check out the 8-year-olds dancing at 4:50! Ace!!

Posted by Ted Mills at 12:16 AM | Permalink | Comments (1)

Adrian Belew's "Big Electric Cat" video from 1982. Loved this when this came out, check out the totally retro computer graphics. Woo!

Posted by Ted Mills at 01:27 AM | Permalink | Comments (0)

I'm sorry, but this may be the best thing I've seen all month. And it's in my head! And it's in German!! Hilfe!

How many music vids contain both a Godard reference and a Goatse one?

Thanks to Chris for sending this on!

Posted by Ted Mills at 09:27 PM | Permalink | Comments (0)

Well, I didn't think that would ever happen. Stewart Copeland, still one of the finest drummers...ever!

Posted by Ted Mills at 12:46 PM | Permalink | Comments (0)

A little while ago, I co-directed a video with Jonathan Crow for the Boston-based band Freezepop. Well, we at last finished post production on it and premiered it last weekend to a select group of people in the house and backyard of my producer (but not of this video) Sabrina. We had a small but appreciative turnout, but for those who couldn't make it, here it is for you to watch on your computer or download to your iPod.
Inspirations were early '80s "all-white" videos (the background, not the people) and educational film strips from the '50s-'70s. Thanks to Danny Gregory, who has a great book on those filmstrips, and who also has been an inspiration to me in his outlook on art and life. His blessing meant a lot.
WATCH: .MOV file (16.9 mb)
DOWNLOAD: MP4 iPod file (17.6 mb)
Also available on YouTube!

Posted by Ted Mills at 09:50 AM | Permalink | Comments (2)

Simple and clever!

Posted by Ted Mills at 09:53 PM | Permalink | Comments (0)

Dead at age 64, from a heart attack. One of the greats! R.I.P.

Posted by Ted Mills at 09:08 AM | Permalink | Comments (0)

Paul Morely writes in this Observer piece on the history of Manchester's music scene about the nights that changed music as we know it--the Sex Pistols gig at the Lesser Free Trade Hall, June 4 and July 20, 1976.

Devoto, let's just say, for the hell of it because the story has to start somewhere, with a bang, or a legendary punk gig, was the man who changed Manchester because he had an idea about what needed to happen at just the right time in just the right place. He arranged for the Sex Pistols to play in Manchester before the rest of the country had caught up with the idea that there was any such thing as a Sex Pistol. In the audience for the shows were Mark E Smith, Ian Curtis, Morrissey and Devoto himself, four of the greatest rock singers of all time, directly challenged to take things on. Johnny Rotten was like a psychotic lecturer explaining to these avant-garde music fans exactly what to do with their love for music, the things they wanted to say, and their unknown need to perform.

Posted by Ted Mills at 03:29 PM | Permalink | Comments (0)

Photo by Brian Damage from this Flickr set.
[Warning: Geeky, obsessed fan review follows]
I've had few transcendent moments watching live music (many more on headphones and/or driving, thanks), but this weekend I had an damn near out of body experience at The Fall concert at the Knitting Factory. It helped that I haven't seen the group since 1993 and that the new album is just brilliant, and also that I was second from the front of the stage, dead center, and located right next a giant bass floor speaker that I'm sure has now rendered me sterile through low frequency vibrations. But it was worth it!

Continue reading "The Fall - Live at the Knitting Factory, LA 5/13/06" »

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I've enjoyed K-Punk's Lacanian takes on Cronenberg, Lynch, and Doctor Who, among others. This week, he starts a two part series examining The Fall, primarily the early albums. It's good stuff, as usual:

On ‘Specter versus Rector’, any vestigial rock presence subsides into hauntology. The original track is nothing of the sort – it is already a palimpsest, spooked by itself; at least two versions are playing, out of sync. The track – and it is very definitely a track, not a ‘song’ - foregrounds both its own textuality and its texturality. It begins with cassette hum and when the sleeve notes tell us that it was partly 'recorded in a damp warehouse in MC/R' we are far from surprised. Steve Hanley’s bass rumbles and thumps like some implacable earth-moving machine invented by a deranged undergound race, not so much rising from subterranea as dragging the sound down into a troglodytic goblin kingdom in which ordinary sonic values are inverted. From now on, and for all the records that really matter, Hanley’s bass will be the lead instrument, the monstrous foundations on which the Fall's upside-down sound will be built. Like Joy Division, fellow modernists from Manchester, The Fall scramble the grammar of white rock by privileging rhythm over melody.

Posted by Ted Mills at 05:41 PM | Permalink | Comments (0)

Us, being, the denizens of the Internet, and one particular blog called Scarstuff. They've dug up and posted the MAD Magazine
Super Spectacular Day flexisingle that I owned back in 1980. The single was particularly interesting for having eight different endings, all randomly determined from where the stylus landed. This meant that as you tried to listen to all eight endings, the song got stuck in your head. I'm almost scared to relisten to it-- I still have that obnoxious "UNTILLLL!!" knocking about my brain all these years later.

Posted by Ted Mills at 10:19 AM | Permalink | Comments (0)

My Life in the Bush of Ghosts is being reissued. And OMGoodniz, they are doing it up properly. Bonus tracks, new cover art, a Bruce Conner video to Mea Culpa, and, on the website only, the ability to remix two tracks by downloading the full multitracks (page not up yet). The site also features behind the scenes photos (both Eno and Byrne have perfect hair) and alternative polaroid cover art. Releases April 11.

Posted by Ted Mills at 10:26 AM | Permalink | Comments (0)

Back in 2000, Headless Household (under a pseudonym) scored my short film "Walk Cycle." The music (minus sound effects) has finally come out as part of Headless Household's new release Blur Joan. I just got the album in the mail and it's their funkiest yet...or ever. And funky is not a word I'd usually use to describe HH. Jeff Kaiser and Jim Connolly appear on the album too, all people who have helped out on the Mills Movie Soundtrack front. Nice.

Posted by Ted Mills at 09:50 AM | Permalink | Comments (0)

The Amen Break is the most famous drum sample in modern music. Just six seconds of a drum solo on an obscure B-side by gospel group The Winstons (for a song called "Amen Brother") has become the main ingredient on rap songs like NWA's "Straight Outta Compton" and pretty much all of drum and bass. Nate Harrison's Installation is really a way of making a documentary without having to clear rights, which is what the second half of the doc covers. It's also what I hoped will start happening to docs--with a need to make a visual essay, doc filmmakers will have to go underground or create installations in order to bypass restrictive copyright laws. Then maybe we'll start to see film and video versions of Greil Marcus or Lester Bangs.

Posted by Ted Mills at 09:39 AM | Permalink | Comments (0)

Okay, so you see this chart of album sales? So where's all the money that mp3s and fille sharing have taken from the record industry? Surely, 1996, before the explosion of the Internet and file sharing, should be higher than now, correct?
Unless, of course, the record industry has just been MAKING SHIT UP.

Posted by Ted Mills at 04:51 PM | Permalink | Comments (3)

For without Steinweiss, there would be no Abbey Road.

Big Town Songbook: Make 'em sing
Most people who have bought any musical recordings over the past 60 years might have assumed they always came in covers, or sleeves, or jackets, that featured a colorful graphic designed to enhance the lure of the music.
They didn't. Album covers had to be invented. This was a task that largely fell to a Brooklyn kid named Alex Steinweiss.

Posted by Ted Mills at 01:11 AM | Permalink | Comments (0)

Link Wray died a few days ago, but I just came across this excellent interview from 1993, where Link meets Mark E. Smith and they get along like a house on fire. Too bad there was never a Fall-Wray jam session!

MES: "The trouble with the rock business is that it's too easy to make music. That's why they use the machines. If you want to hear something that's perfect you should go away and listen to classical music, but that's not what rock'n'roll's about, is it!"

LW: "No it ain't. It's about feeling and hurting and pain. That is rock'n'roll, and that's soul music. Soul music is pain - you can hear the slaves, the beatin' and the hurtin'. Who cares if we're playing the right notes or not! Who gives a shit if it's in tune!"

Posted by Ted Mills at 12:43 AM | Permalink | Comments (0)

Larry Fast's gallery of behind the scene shots from the making of the first four Peter Gabriel Albums. I have a soft spot for Peter Gabriel 2. Larry Fast is PG's long time keyboard player.

Posted by Ted Mills at 12:24 PM | Permalink | Comments (0)

A one of a kind object: a model of Yellow Magic Orchestra, circa 1979, and their full live rig. Apparently sold at auction in 2003.

Posted by Ted Mills at 11:53 AM | Permalink | Comments (0)

I'm going to be poor this year end. What with the Talking Heads reissues, Sony/BMG in the UK have at last got around to remastering the Eurythmics catalog, and including all sorts of bonus tracks and such. I'm a big fan of the entire Sweet Dreams album, most of Touch (except for Here Comes the Rain Again, which I heard too much growing up), and--despite what critics say--Savage. But hold on--where's the 1984 soundtrack and the extra dub tracks from TouchDance? Oh well. But I'm sure the remasters will sound great--the CD releases date from the late '80s and have virtually no bass.

Posted by Ted Mills at 01:12 AM | Permalink | Comments (0)

Bumrocks is an mp3 blog that posts a single mp3 every couple of days or so. The tracks are either spacerock circa 1978 or retro new stuff that sounds like 1978 in all the good ways (Moogs, Clavinets, oh my). It certainly is filling my head up with good stuff this last month. Try Metropolitain by Hydravion, as an example, light up a spliff, and don those 'phones, man. All tracks stay up for about a month.

Posted by Ted Mills at 10:41 PM | Permalink | Comments (0)

I get so much music these days, either buying, dowloading, or ripping, that I think I should just list it. I won't even begin to list individual tracks.

Boards of Canada - The Campfire Headphase
The Kinks - The Ultimate Collection (2 CDs - What's with all these Kinks comps and no Village Green excerpts?)
Carl Cox - Back to Mine (Cox chose the tracks on this mix CD, downtempo funky stuff, which all flows well, except for a rap song dropped in there.)

Actually, that's it for this week!

Posted by Ted Mills at 07:20 PM | Permalink | Comments (0)

Here's the most excellent music video for Elbow's "Leaders of the Free World", one of my favorite songs at the moment. The video doesn't disappoint, with Tron meeting Empire Strikes Back meets, well, I dunno, but the band all wear fake moustaches. File size is about 18mb, but oh so worth it.

Posted by Ted Mills at 12:05 AM | Permalink | Comments (0)

Narnack
2005

At last a new Fall album! American label Narnack picked the group up and for the first time the U.S. release appears before the British. I don't know if it's the American engineers, but this album plain out rocks more than any album the group has done. (The last one, the UK "Real New Fall Album" had absolutely no bass on it). I mean, on "What About Us," when the bass kicks in, the Fall sound seriously heavy and hard, man. Woo! The album opener "Ride