Do I Sound Like This?

(Video from the Village Voice. Link courtesy of Ben Johnson.)

Eh... maybe not. My speaking voice is much more lovely.

Update: First of all, I'd like to apologize for the fact that this video plays without prompting as soon as the page loads. I'm aware this is the reason we all left MySpace for Facebook. If it didn't think it was important (or at least pertinent) viewing for most of you, I'd consider removing this post entirely.

Secondly, I wanted to add some of my thoughts regarding Chris Weingarten's opinions of online music journalism and criticism. I would have liked to have done so when I first posted the video a few days ago but outside (read: real world) forces prevented this from happening. I went ahead and posted it anyway sans any of my commentary because a) I found it exceptionally compelling and wanted to share it as quickly as possible and b) I'm very much aware of the culture of "firsties" and I had the mild fear that within a few days this video would be exhausted and irrelevant.

In any case, Weingarten (who I confess, I've never read) makes many points that I myself have made in this space on more than one occasion. It's heartening to hear someone else call bullshit on the "hive mind" blog culture, especially when done as in depth and and colorfully as Weingarten does it: "It doesn't matter what someone writes next to the MP3" and "It's not how you best illustrate a keyword, it's how many times a day you can mention a keyword." Right fucking on.

While I largely agree with most of what Weingarten is saying here, I do have a major point of contention. He seems to claim that pre-internet music magazines were inherently superior to blogs. I won't deny that editorial standards were certainly higher ("some" as opposed to "non-existent") but Weingarten is making what more or less amounts to an argument for elitism and cultural hegemony.

Frankly, major music publications aren't and have never been better at exposing their readers to worthy music than blogs currently are. Take Weingarten's employers at Rolling Stone, who their former writer Richard Meltzer claimed "INVENTED the rock 'n' roll puff piece:"

Rolling Stone in the '70s was, as it remains today, a TRADE PAPER, a record industry HYPE SHEET, a promulgator of mass compliance in the Consumer Sector, a principal factor in the dumbing, maiming, and calming down of the public's taste for a rock-roll beast that had once indeed been not only wild & crazy but GENUINELY ANARCHIC.

That might be a little harsh or considered sour grapes but even a cursory look at RS's history will tell you that they were much more interested in James Taylors and John Cougar Mellencamps than Stooges or Minutemen. And it's not exactly like their non-music pop culture coverage is a recent phenomenon.

My problem with most music blogs is not that they are "lowest common denominator" as opposed to "legitimate" music coverage, but that they follow the trade paper/hype sheet format. It's a sad betrayal of the potential of 21st century communication.

I suppose the utopian ideal is something like thousands of digital fanzines, each reflecting the unique taste and ideas of their respective authors, created with ease and accessible to literally anyone in the world. In other words, individual expression instead of algorithmic-derived groupthink. It's an unfortunate fact that most major music blogs are utterly informed by music biz publicists. Thus, the prospect of free, unfettered exchange of ideas has been co-opted by the mechanisms of industry. Perhaps the internet did cause the death the mainstream but really the major differences are that niche taste (including Weingarten's unkillable indie rock) is much more susceptible to the above process and no one's getting paid.

One has to wonder if Weingarten finds irony in the fact that his video deriding art as meme may well become a meme itself. I suspect he'll find it just as ironic as I do every time I use my music blog to express my disgust with music blogs.

Update #2: Hype Machine responds.

I wrote that I had never read Weingarten but it turns out this isn't true. He is the creator of Hipster Puppies. So he already knows exactly what it's like to be a meme.

Project Mersh 21st Century

This is surely old news by now, but even upon initial announcement the impending reunion of Pavement didn't exactly make me convulse in anticipation. This is for a couple of reasons. Despite more or less growing up on indie rock in the 90s, I never felt as deep a connection with Pavement as I did with other bands from that era. They were a band I respected but never really cherished.

Sure, Slanted and Enchanted was, and remains, a brilliant record. However, by the time of the release of Crooked Rain, Crooked Rain, I began to find the band's deep sense of sarcasm and undercurrent of privilege and entitlement to be somewhat off putting. I've never been a fan of over earnestness but when a band trades in ironic (and, frankly, elitist) detachment, it's difficult to form an emotional bond with them. A little sincerity and conviction go a long way. Malkmus had announced he was "crowned the king of it" back on "In the Mouth of a Desert" but actually appearing with a crown (and scepter and cape) in the "Cut Your Hair" video was really pushing things. One might be tempted to call me a snob for my less than total devotion to a band this well regarded but that's a bit hypocritical. Has there ever been a rock song more steeped in snobbery than "Range Life?"

Furthermore, the band's reunion seemed depressingly inevitable anyway. They can just be added to the ever growing list of bands who've recently reunited to capitalize on the new indie audience: My Bloody Valentine, the Jesus Lizard, the Pixies, Superchunk, Dinosaur Jr., Polvo. I could go on. And "capitalize" is absolutely the correct term. There's no reason to think these bands would be making music together again if it wasn't for monetary gain. The indie audience of the 21st century is simply much larger than when they originally played. I don't blame these bands for attempting to profit from a greater demand for the type of music they purvey. I wish them good fortune. Nor do I begrudge anyone for wanting to see a much-loved band they were too young experience the first time around. I was certainly front and center when Mission of Burma first reunited. However, there's something disheartening about bands who were once champions of music that was made without regard for commercial considerations suddenly getting on stage for little reason other than money.

This is representative of a philosophical shift in indie culture that's marked the last decade. Once a movement centered around independence from mainstream pablum and music industry (and, by proxy, capitalist) values, indie music (I hesitate to classify much of the recent vintage as any kind of "rock") has become merely a niche taste for a particular demographic, interchangeable with any other from a marketing standpoint. The AV Club's Erik Adams pretty much hit the nail on the head when he called today's indie "songs that are used to sell today’s iPods and Zooey Deschanel movies" in his recent review of Cymbals Eat Guitars.

In the pre-internet age, indie culture was driven by fans. That "fan" is short for "fanatic" is absolutely apropos in this case. It took a level of commitment and literacy. Knowledge was achieved by sorting though countless fanzines and record guides, word of mouth from discerning record store employees and college radio DJs, and trust in labels that reliably put out good music. Now, information on nearly any band is just a Google search away. Being a fan of a band like the Clean was once a sort of secret handshake. Coverage of the Clean's recent album, Mister Pop, was wide and unprecedented for a band that toiled away on and off for nearly 30 years in semi-obscurity. That the album (which is fine, by the way) is their first full-length since the release of Merge's easily available and modestly hyped, career-spanning 2CD anthology of the band's material is no coincidence.

The accessibility granted through 21st century technology, be it general information or the music itself via file sharing, eschews the cultural fluency of old school fanaticism. Whether or not this new approach is inherently inferior is debatable but it seems to me that there's a difference between reading about archeology in a textbook and actually going out on a dig. The dilettante can claim expertise with minimal amount of effort.

I am not such a Luddite that I believe that these modern methods don't have an upside. That a band as good as the Clean has gained greater recognition is undoubtedly a good thing. However, as the audience for indie music increases and it becomes more financially viable, its already loose defining qualities become even more amorphous. "Indie" has always been an umbrella term, used to cover an array styles and existing on a slippery-slope to meaninglessness. Not for nothing did Sebadoh's 1991 name-dropping, open fan letter "Gimme Indie Rock" have a large amount of eye-rolling mockery mixed in with its affection. Still, there was a sensibility and kinship there beyond being an alternative to pop. By contrast, that anyone has ever considered major label, chart-aspiring bands like the Killers or Kings of Leon to be "indie" is a joke, a fundamental misunderstanding that somehow got warped into a truism. In 2009, indie seems to exist only to cater to consumers of a specialized taste. It's not even an opposition to the Kaynes and Lady Gagas of the world, but additional product for those who crave something a little different.

One could make the case that the accessibility granted by the hyper-communicative nature of the internet has opened up possibilities for independent bands. The popularity of a band like the Shins earlier in the decade is probably at least partially attributable to this. On the other hand, one could just as easily argue that these new avenues have been readily co-opted and exploited by savvy music marketers and have all but obliterated any grassroots connection to the music. Pop music mechanisms of "breaking" new artists remain firmly in place, even if they travel through different paths. The mass marketing infrastructure of the source broadcasting to the target has been adapted to appear hipper and less obvious, gradually usurping legitimate word-of-mouth. It is perhaps naive to think that the taint of commerce had never previously been a part of indie culture but it's inarguable that that taint has ever been more prominent than it is now.

Tom Lax of Siltbreeze Records, on sending the first Times New Viking album to Pitchfork:

I did send one to Pitchfork for review and after a while I e-mailed to ask if they got it. In response I got an e-mail asking me if I'd like to advertise. I didn't and it never got reviewed. So the more things change, the more they stay the same, don't you think?

Then again, when I saw Times New Viking around the time of Present the Paisley Reich, they played a cover Pavement's "Box Elder." Perhaps, the flood of 80s and 90s band reunions shows that today's indie audience craves something more authentic and is resisting the hype machine. That may just be wishful thinking.

Speaking of which, I hope they play "Debris Slide."

How to Advertise Creative Bankruptcy Part II

A few months back I wrote a post deriding the awful, awful names of a bunch of blog buzz bands. (Alliteration!) I recently had a inclination to do it once again and had been compiling a list of the more aesthetically offensive monikers gleaned from the various mass e-mails I get from publicists. However, I had an attack of ethics, reasoning that these were all relatively unknown bands just trying to get a little recognition. There must be much more deserving targets for my ridicule. Maybe Jamie Kennedy's Heckler affected me more than I realized. I want to be a creator like George Lucas, not a destroyer like all those guys who correctly state that George Lucas hasn't made a good film in the past 30 years.

This weekend I ran into Pop Tarts Suck Toasted's Pat Duffy and told him of my aborted idea. He told me (I'm paraphrasing) "All these bands have PR behind them so it's okay to trash them." So if anyone has any problems with anything I've written below, I'd encourage you to head on over to PTST and take it up with Pat. (His blog also includes MP3s of most of these tracks if you actually want to give these songs a listen.)

Deer Tick "Long Time"
Not technically a bad name but points get deducted for adding further confusion to the marketplace with another "Deer" band. (See Deerhunter, Deerhoof.) Sometimes I wonder if these bands just get popular due to misplaced name recognition. People hear "Oh that Deer-something band is supposed to be good" and check out the wrong group but decide they like it anyway because that's what's hip. Crystal Stilts, Crystal Castles, Crystal Antlers... I dunno but one of them got "Best New Music."

I'm aware that's a pretty cynical point of view but keep mind I live in a place that elected a guy named Molinaro directly after a guy named Molinari.

But I digress... the track itself is inoffensive NPR-indie with some country affectations. If that description captures your interest you should probably be reading another blog.

Radical Sons "I'm So Sick of the 21st Century"
I concur with the sentiment of the title but from the sounds of it these guys actually never heard a band who made a record before 2001. I would almost swear that I saw this band play Luna Lounge hoping to take the same career path as the Strokes or the Walkmen. Is that retro already?

Phil and the Osophers "High Art"
Oof. With a name like this, I'd expect these guys to be playing pre-grunge modern rock covers to drunken Rutgers students at some club on the Jersey shore. Do you guys know any Dramarama? What's Matt Pinfield like in real life? Surprisingly, this song aint that bad: minimal, clean and catchy with some garage accents that don't evoke mere 60s revivalism. Give it a listen if your physician recommends three and half minutes of moderate head bopping a day.

Sunset Rubdown "Idiot Heart"
Pretty decent facsimile of the more commercial branch of early 80s post-punk. If you told me this was a lost Grauzone track I'd probably believe you. I guess that's a compliment.

Previously on Lost "Be My Constant"
A bad name yes, though when I was making notes for bands to include in the piece I had no idea they were actually writing songs about Lost episodes. I don't know if that makes it better or worse. I like Lost as much as anybody but nothing about this homemade demi-prog gave me a deeper appreciation of Desmond and Penny's relationship. Plus, now I can't do my long promised surf band tribute to Jim Starlin's run on Warlock without it seeming like a opportunistic knockoff.

Genghis Tron "Blow Back"
There were a couple of dudes from my old college radio station were really into metal (usually served black) and gabber techno. I'm pretty sure they would find this totally weak and deride the band with some kind of homophobic slur. I don't condone that sort of intolerance but, in this case, I can't really argue.

Screaming Females "Starving Dog"
I bet these guys like Primus. That's all.

Touch and Gone?

It appears as though landmark independent label Touch and Go is shutting down its long running distribution wing. There's no word on how this move will effect their distributed labels, including indie powerhouses such as Merge, Kill Rock Stars and Drag City. This is indeed disconcerting news but at least it's not quite as bad as originally (and incorrectly) reported by Pitchfork, who said the label would no longer be releasing new music.

Below is the statement issued by label head Corey Rusk:

"It is with great sadness that we are reporting some major changes here at Touch and Go Records. Many of you may not be aware, but for nearly 2 decades, Touch and Go has provided manufacturing and distribution services for a select yet diverse group of other important independent record labels. Titles from these other labels populate the shelves of our warehouse alongside the titles on our own two labels, Touch and Go Records, and Quarterstick Records.

Unfortunately, as much as we love all of these labels, the current state of the economy has reached the point where we can no longer afford to continue this lesser known, yet important part of Touch and Go’s operations. Over the years, these labels have become part of our family, and it pains us to see them go. We wish them all the very best and we will be doing everything we can to help make the transition as easy as possible.

Touch and Go will be returning to its roots and focusing solely on being an independent record label. We’ll be busy for a few months working closely with the departing labels and scaling our company to an appropriate smaller size after their departure. It is the end of a grand chapter in Touch and Go’s history, but we also know that good things can come from new beginnings."

If you'd like to help keep the label in business, why don't you give them some much needed cash flow by heading over to their online store and picking up one (or more) of the many, many fine records they've released in the past 25+ years:

Slint Spiderland
For better or worse, the album that invented "math rock" but done with a lot more warmth and excitement than its imitators could ever muster.

Silkworm Lifestyle
It was only last week that I posted about my fondness for Silkworm. All their releases for Touch and Go are excellent. This one may or may not be the best of the lot but it's got an ace cover of "Ooh La La" to entice you.

Negative Approach Total Recall
Negative Approach's debut 10-song (!) seven-inch might just be greatest hardcore record ever. This CD contains their entire recorded output.

The Mekons Fear and Whiskey
The finest Mekons on record (outside of "Where Were You?") and one of the rare times a Hank Williams affectation is actually affecting.

Ted Leo and the Pharmacists Living With the Living
TL's 2007 full-length, considered by some his best yet.

Big Boys The Skinny Elvis and The Effigies Remains Non-Viewable
Collections for two of the better American punk bands of the early 80s, who both went far beyond the parameters of the standard, 1-2-3-4 punk-by-numbers sound.

Big Black The Rich Man's Eight Track Tape
I couldn't well have a discussion about Touch and Go with mentioning Steve Albini's drum machine noise assault trio, could I? This was their first CD release, hence the title. Contains the Atomizer album in it's entirety, which is as good an indication as any to see if your ears are suited to this band's particular brand of pummeling.

There's also plenty of worthy releases from bands like Polvo, Naked Raygun, The New Year, The Monorchid, The Ex, The Dirty Three and many more. You can check Pitchfork's list of 25 essential Touch and Go albums for further suggestions.

An Individual Just Like Everybody Else

You know how you think you're really cool and different? Well, it turns out you're not:


I can't say anything about this that Amelie Gillette over at the Onion AV Club Hater didn't already say better except to note that, yes, this does actually exist. Perhaps I shouldn't make fun. I could certainly stand to lose a few pounds. Thank goodness I can now do it indie-style with the help of an instructor who looks like a reject from the Rock of Love Bus. (Though, as it turns out, she's actually a reject from A Shot at Love with Tila Tequila.)

In other "indie" news, it's just been announced that Paul McCartney will be headlining this year's Coachella festival, though not Katy Perry as was reported by indie cred king Ryan Seacrest. No word on how Macca will handle this 100-plus degree heat but I bet his rider is better than Ariel Pink's.

How to Advertise Creative Bankruptcy

It's simple, really. Just give your band a terrible name.

I was looking through the very popular and useful Pop Tarts Suck Toasted blog yesterday and noticed how many bands nowadays have awful, awful names. Not that a bad name automatically means bad music. (I am a fan of the Bassholes, after all.) But the old "judging a book by its cover" axiom isn't exactly true either. If one is going to show the poor taste and judgment of giving his or her band a shitty name doesn't it stand to reason that the same taste and judgment is not going to produce worthwhile music? Nine times out of ten, it's probably the case. Unfortunately, there are only seven examples below (all culled from MP3s provided by PTST, click on over there if you want to give them a listen) so that tenth time looks to be beyond our grasp. I was sincerely hoping that at least one of these acts would transcend their moniker but...

The Pains of Being Pure at Heart "Everything With You"
Fey, kissyface pop with a heavy Smiths influence. Actually, "pop" might be too strong a word as most pop music has hooks. Pleasant enough though the group doesn't really transcend their (obvious) influences. Coming soon to the soundtrack of a Juno ripoff.

Iran "Buddy"
Michener rock! Speaking of bad names, this is apparently TV on the Radio-related. I'm not a fan of TVotR but nothing I've heard of theirs is anywhere as dull as this. Honestly, this is barely a song and the lackadaisical Malkmus-derived vocals aren't helping matters.

Fake Male Voice "OMG!!!FMV!!!"
Also TV on the Radio-related! Could pass for a Prince deep cut though the purple one does have some rather, um, idiosyncratic ideas regarding quality control. Sexy enough to get you laid under the influence of the right drugs (I'm thinking paint thinner) though the apple chewing during the coda kind of ruins the mood.

Fight Bite "Swissex Lover"
Intro recalls one of the "songs" one could make a on and old Casio by letting it play in bossa nova or waltz mode and changing keys every so often. Then the vocals kick in. Did I say "kick?" I meant "prance." Rivals above Iran track for dubious claims to songhood. And it's like twice as long! Or just seems that way.

Dream Bitches "Bad Luck Bill"
New wave-y garage pop with female vox similar to that dog. Aggressively catchy but gets repetitive and wears out its welcome before the second verse. Cute quickly devolves into annoying sort of like Raven-Symoné during her Cosby years.

Blitzen Trapper "Gold for Bread"
Imagine Tom Petty was less interested in writing songs than making in weird noises. Then imagine his talent was sucked out through his eye socket by Jeff Lynne. Points added or deducted for "Mississippi Queen"-esque guitar tone.

Dent May & his Magnificent Ukulele! "Meet Me in the Garden"
Sample lyric: "The softest boy in Mississippi/Would like to know/Why you're so pretty/Whoa whoa." Yes, he rhymed "know" with "whoa." No, I'm not fucking kidding. Definite Brian Wilson (and possible Bacharach) fixation but doesn't have the skills or the pipes to pull off anything more than a pale imitation. If there's anything worse than dumb guys who think they're smart it's guys who try and sing even though they can't. I bet he gets all kinds of action from the ladies though.

Okay, I'll admit the above is sort of mean and probably proves the Staten Island Advance correct in calling me a jerk. (Though a winning jerk.) These are all fairly small bands trying to get a little recognition. They're the little guys, the Joe the Plumbers of the indie world, and here I am maligning them for no good reason. That is, of course, unless you consider trying to prevent my readership from stumbling into bad music a good reason.

Moderate Rock Made Easy

...or Further Proof that Radiohead has Ruined Music for an Entire Generation.

Just after my post on Wednesday about the editors of Pitchfork's attempt to stick it to Jann Wenner, I learned that Seattle's KEXP radio made their own attempt at a definitive list of the music enjoyed by dull young white people. However, this list was voted on by their listeners rather than dictated by the powers that be (whomever that might be). Of course, one could make the case that the opinions of the listeners are informed by, altered and inseparably linked to decisions of the programmers, be it those at KEXP, PFM or elsewhere. This begs examination of the relationship between source and target, the ideas of collective agreement and perhaps even the fundamental flaws in democracy itself.

I was going to write a lengthy analysis of the list tackling these issues but instead I'll just post the following excerpt which I think you'll agree explains it all:

Eating a Dead Horse

...or A 6.8 out of 10 in Canon-Defining.

Come November 11th, the world will be groaning audibly.

Bashing Pitchfork is about as tired and pointless as reading Pitchfork so I'll give them this: at least they had the decency to release this on the Tuesday after the election thus insuring that a large percentage of the Obama-voting populace would not be staying at home, writing angry message board posts debating the placement of Neutral Milk Hotel.

For what it's worth, I'll still take Rock, Rot or Rule as the ultimate argument settler regarding all matters musical.

It's official: Indie rock is trival

From nymag.com:









What was Pavement’s name before they were Pavement? Ok, ok, that was easy. Correctly name four bands that Calvin Johnson has been a member of. Stumped you? Perfect! We’ve created an Indie Rock Trivia night with our secret crew of rock geniuses, hosted by the one and only Zach Galifianakis. You’ll be asked to form teams, so get your smartest friends together to win our super-fantabulous-over-the-top prizes. More on that later! We’ve also lined up Brooklyn’s own Les Savy Fav to perform live and help your brains recover from the exercise.

This actually might be a lot of fun if only because I'm sure Mr Galifianakis will make it so. In case you were wondering, I have no idea what Pavement was originally called. Was it SM and the Sound of White Privilege? As for Calvin Johnson's bands I could only get 3 of them without looking it up.



But at least I didn't think they meant this guy.

This Moment in Slack History: Morsels from the Last Great Era of the 7 Inch Record

"This Moment in Slack History" collects songs from 90s indie 7 inches. For further explanation, please see my original post here.



The McTells "Alice"
Back when I posted that Bartlebees single I stated my general distaste for twee pop. Yet here I am posting another twee pop single. Maybe I do actually like twee pop.

Like the Bartlbees, the McTells were apparently pretty prolific though this is the only piece of their vinyl I own. And it's a neat little thing: two songs on side A and totally blank on side B. Why? I don't know but as I see the sticker on this for was only $2.49 American I think it was an effort by the Four Letter Words label to keep prices down. I would assume that getting a 45 pressed on only one side is cheaper than both. But enough about the medium, let's get to the music. It reminds me of the Undertones. Nothing wrong with that.


Play or Download The McTells "Alice"

This Moment in Slack History: Morsels from the Last Great Era of the 7 Inch Record

"This Moment in Slack History" collects songs from 90s indie 7 inches. For further explanation, please see my original post here.



Envelope "Trophy" and "Try Again"
Envelope was fronted by Matador Records co-president Gerard Cosloy. The band put out 4 7 inches (the fourth and final was a double so I guess it's 5 if you want to get technical) none of which were actually released by Matador though I suppose the band may have wanted to keep a relatively low profile. I actually got to see Envelope perform in 94 or so opening for Cobra Verde and Strapping Fieldhands at Sideshow's by the Seashore in Coney Island. Terrific venue. Anyone know if it's there anymore? In any case, it's definitely a point of interest to hear one of the most influential figures in independent music for the past 3 decades front his own band. (His stint as a GG Allin sideman didn't really count.) Cosloy is still making music with the Air Traffic Controllers and when not running his multi-media empire is writing a sports blog with the most extensive Lastings Milledge coverage on the web.

These two songs are both from Envelope's 3rd 45. Both are seethingly bitter break up songs. If neither rival "Soul and Fire" or "Couldn't You Wait?" as the definitive indie rock heartache song they're at least in the same league. Enjoy!

Play or Download Envelope "Trophy"

Play or Download Envelope "Try Again"

This Moment in Slack History: Morsels from the Last Great Era of the 7 Inch Record

"This Moment in Slack History" collects songs from 90s indie 7 inches. For further explanation, please see my original post here.



The Grifters "Queen of the Table Waters"
Okay, so maybe the first two cuts in this series were a bit disappointing as it turns both tracks were albumized and not 7 inch only. This one though is a killer and I'm nearly positive it's unavailable anywhere else. The Grifters are a strong contender for most underrated band of the 90s. (That title actually probably belong to the Kent 3 but that's another post.) I've always sort of considered them lo-fi's Rolling Stones to Guided By Voices' Beatles. (Apparently, All Music Guide feels the same way.) They never achieved the following the GBV did despite putting out some fine records, both as full-lengths (I'm particularly fond of 1994's Crappin' You Negative) and as slew of singles. In fact, no band in the 90s with the possible exception of GBV had more great material left off their albums, released only on 7 inches. Both bands are long overdue for definitive retrospectives of this material and hopefully some label with more money than sense will correct this. In any case, this one is one of the Grifters' best. I believe this was their inaugural release for big time indie Sub Pop and it was a fantastic introduction to the world at large. However, the public (by which I mean CMJ types) was nonplussed by the band's obvious greatness and after two very good full lengths for Sub Pop were met with indifference the Grifters called it a day. This was shame but now you can listen to this track and once the inevitable lo-fi revival begins you can pretend you were hip to these guys back in the day.

Oh, and there will surely be more Grifters songs from other 7 inches posted here in future. That is, unless, some label manages to put together a Grifters comp in the meantime. Come on, labels. Relieve me of this responsibility.

Play or Download The Grifters "Queen of the Table Waters"

This Moment in Slack History: Morsels from the Last Great Era of the 7 Inch Record

For those of you who lived through the 90s you may remember that it was a remarkable time for music. If you think that's hyperbole or nostalgia I will remind you that 90s were a time when someone like Lou Barlow could have a side project that was little more than a tribute to the Sliver Apples score a top 40 hit. The 90s were also the last time when the market for 7 inch records was viable and healthy and 1000s of bands took advantage releasing 45s on their own imprint or (if they were lucky) getting an indie label to press it up and distribute it for them. It was the perfect way to introduce a band to the listener: 2 or 3 of the band's best blasts in a small, attractive and affordable package. The bubble burst on this market around the same time that the mainstream alt rock boom went bust and the insidious beasts known as post-grunge (in the mainstream) and emo (in the underground) rose to prominence. Bands are still releasing 7 inches today but in lesser numbers. Why waste the money on making a material item that you then have to go through the process of getting into hands of the public when you can just throw a couple of MP3s on your website (or myspace page) and potentially have the entire world able to hear your work? It's certainly more convenient and economically sound. I won't say which approach I consider better but speaking as someone who is a collector by nature I do miss the ability to possess an actual object as a memento. But that's neither here nor there.

Unfortunately, this era has yet to be documented in any kind of meaningful way. (Hell, I'm still waiting for Rhino to release their inevitable alt rock hits of the 90s compilations.) Certainly, a few labels and artists have released retrospectives of their own 7 inch releases but there's been nothing in the way of a "Pebbles" or "Killed by Death" style collection for 90s indie 45s. So being the semi-ambitious fellow that I am, I took it upon myself to right this wrong. But being the somewhat lazy fellow that I am, I decided, much like the hypothetical band I described above, that pressing up and distributing records would be too much of an undertaking and that converting 7 inches to MP3s and posting them seemed like the more practical thing to do. (Not to mention having to track down all the bands and pay them. I could release a comp as a bootleg and bypass this step but I'm the above board, straight and narrow type.)

Thus, this feature will be something of a piecemeal compilation. I'll provide you with the track and a little background info and you can go ahead and assemble you own comp if you'd like once there are enough cuts posted to fill a CD. Or you can just take it as it comes. That's really up to you. What's up to me is providing you with quality. Though not the kind of quality that one would file under "sound." This was the lo-fi era after all. So all that surface noise you hear from the vinyl to MP3 is there for ambience. Ambience or the fact that I can't figure out how to make them sound any better.

(Note: If any of the artists responsible for these songs object to them being freely available please get in touch and I will delete them without hesitation. I'm not here to tell you that you should be giving your music away though you should consider that maybe demand for those 50 copies left in your mom's basement will suddenly and sharply increase. Another note: The claim that no one else is documenting this era is not entirely true as the good folks at Static Party have been posting cuts from 90s 45s for some time. However, their focus is entirely on the garage punk genre and while some overlap is possible and even likely this feature should be a bit broader in scope. But do go and pay them a visit, will you?)



Sammy "Babe Come Down"
It's fitting that the first installment of "This Moment in Slack History" would start with a very slack track indeed. When I picked up this 45 from Sammy (released on Steve Shelly's Smells Like Records label) I would've sworn that it was Pavement working under a pseudonym. Just listen to it and tell me it's not a perfect slice of "Slanted and Enchanted" era Malkmus and co at their lackadaisical apex. But no, Sammy was indeed their own entity and even put out an album on DGC in 96 or so. They get a big fat zero for originality but one has to admire the craftsmanship of their sonic forgery. They put so much care into imitating the singular sloppiness of the originators that you may have to conclude that they expended more effort into sounding like Pavement than Pavement did themselves. Yes, it's borderline embarrassing but for the couple of minutes this track is playing you probably won't care.

Play or Download Sammy "Babe Come Down"