Month: May 2018

Tim Burgess — As I Was Now

Tim Burgess As I Was Now O Genesis Tim Burgess is better known as the frontman of the Charlatans UK (at least here in the US, in their native UK, they drop the UK from their name because, duh).  The Charlies, as they were known in the UK music press during the Madchester days, aren’t actually a Manchester band, but got grouped into that scene in the late 80s.  They just celebrated their 30th anniversary with a set of gigs in their native Northwich, UK.  Burgess also has a great Twitter, and interacts with his fans a lot.  So, anyway, he dropped this solo album like it was nothing, and doesn’t seem to be doing a hell of a lot of press.  He doesn’t really have to, and dropping the album isn’t much effort for him, since he owns his own record label.  The title derives from the fact it was actually recorded in three days between Christmas and New Year’s in 2008.  And then, well, it seems Burgess thought he released it.  And then, not so long ago, he was talking to Debbie Googe of My Bloody Valentine, who played on the album, and she asked him whatever became of the music.  So, turns out he didn’t release it after all.  And so here we are, his Record Store Day release for 2018, at least on the other...

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Glendette by Brent Raycroft

Our 23rd installment is Brent Raycroft’s “Glendette,” a reflection on the sedimentary nature of used vehicles and previous owners. Raycroft suggests that seemingly inanimate cars impart their histories in material ways, thus keeping traces of the past alive through us.     *** Glendette From what we were told we’re the third or fourth owners of this heavy appendix to car transportation. I’ve got the original road registration: a worn paper slip for a sixteen-foot, one-axle ’65 Glendale Glendette. We might make it road worthy, go for a trip. But it looks pretty good where it is. It will be...

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Iceage — Beyondless

Iceage Beyondless Matador Iceage are a Danish punk band, from the capital, Copenhagen.  They’ve been around for a long time, forming when they were still teenagers in 2008.  I came across them thanks to the Instagram feed of the Norwegian pop/punk band, Sløtface. I don’t know if I’d call this punk, but, then again, I have never really liked the idea of music categories.  Whatever.  Doesn’t matter.  Iceage sound bratty and snotty, both musically and in terms of lyrics and delivery.  And they write catchy as fuck songs. Iceage aren’t exactly unknowns, they’ve been signed to Matador, the premier indie label in the US, since 2012.  And the first single from Beyondless was hyped by the Drunken Hipsters (Pitchfork, for the uninformed) as their single of the week.  So those in the know have always been in the know, it seems. Beyondless is a wonderful album.  This is a big album, compared to the band’s earlier discography.  Frontman Elias Bender Rønnenfelt has always had a sharp eye for social criticism.  And whereas the earlier albums were lean and taught, here, Iceage brings the noise, so to speak.  The music churns and comes in crescendos.  There are touches such as pianos and horns. But, most importantly, the songs are killer.  They’re moody and hard-hitting.  My personal favourite is the penultimate track, ‘Showtime,’ a moody, pulsing track.  Rønnenfelt’s lyrics travel around the audience...

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Barcelona’s biggest market, Mercat Sant Antoni, has finally opened its doors after a renovation process lasting nearly a decade. The original market, by architect Antoni Rovira i Trias, was completed in 1882 inside the then-new Eixample district, occupying an entire city block with a diagonal cruciform configuration that intelligently places entrances at every street-intersection. With its multiple access-points (there are also four mid-block entrances) and its seamless integration with the urban infrastructure, Mercat Sant Antoni was effectively a megastructure nearly a century before these became an architectural thing. A “mini-megastructure”, perhaps, but prototypical nevertheless. First of four underground levels, with a fragment of a rampart unearthed on the site. Now, with the addition of four new levels underground –one level contains a supermarket as well as a multi-use space with archaeological ruins uncovered during the big dig, another underground level is an unloading area for dozens of delivery trucks, and two more levels contain underground parking– this is even more of a megastructure. To boot, the block that the market occupies now forms part of a “superilla“, or a superbock within which streets have been converted into greenways, intersections into public squares, and motor-traffic has been reduced and calmed beyond recognition. A superilla-mini-megastructure? This was previously a busy traffic intersection, now it’s a small square within a “Superilla” The renovation of Mercat Sant Antoni by GINA Architects has all the characteristics...

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Courtney Barnett — Tell Me How You Really Feel

Courtney Barnett Tell Me How You Really Feel Milk Records/Mom and Pop/Marathon Courtney Barnett kind of came out of nowhere back in 2015 and just exploded onto the scene, at least in North America, with her début album, Sometimes I Sit and Think and Sometimes I Just Sit. To call her a fresh voice is an understatement and she became the IT Girl of the moment.  But she always came with a wry smile and knew very well that our tastes shift and her moment in the sun could be over tomorrow.  The lyrics of the album’s hardest song, ‘Pedestrian At Best,’ noted that.  But the thing is, Barnett didn’t just disappear.  She won a bunch of awards in her native Australia for the album.  She was also, at least to my eyes, the first of a new wave of Aussie artists to make it in North America.  Of course, Australia has its own scene, and Aussie bands have been in fashion before, most notably in the 80s with Midnight Oil and the Church, as well as Crowded House, and others.  But everything Aussie was cool in the late 80s, thanks to Michael J. ‘Crocodile’ Dundee. [Note to self, it might be time to watch Crocodile Dundee again]. We even got really crappy Australian beer out of it all, Foster’s Lager.  And so maybe Australian music is cool again, with Barnett, her...

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