Waiting and waiting for a new Boards of Canada album. If I had a top ten song list, Peacock Tail would be on it.
Boards of Canada-Peacock Tail
Poly Styrene’s Talk of Toytown
Poly Styrene (Marianne Elliot Said), singer and songwriter for the 70s punk band X-Ray Spex passed away yesterday from breast cancer. I don’t often feel emotional about the deaths of celebrities and musicians but X-Ray Spex and Poly Styrene were such a looming musical presence in my teenage years that I can’t help but feeling the loss of this amazing musician.
I spent a good chunk of my early teenage years hunting down the music of X-Ray Spex. It’s not like nowadays where I find the most obscure songs, things I’ve been looking for for years, ready to download in a matter of minutes. In the 80s/90s being a music lover required much more patience.
I went to Fairfax High School on Melrose in Hollywood. All around my high school were record shops with owners who loved to price their rare vinyl in the double digits. Bleeker Bob’s was the worst, their prices were ridiculously high. But they were the only shop where I’d ever seen my vinyl holy grail, Germ-Free Adolescents by X-Ray Spex. After school, I’d wander over to the shop and gaze at the album hanging on the wall. It cost something like $50, an outrageous price, I thought. While standing at the counter admiring the album artwork, I’d often ask some stupid question to the guy behind the counter about the record and he would give me that “Buzz off kid, you’re bothering me” look. He knew I hadn’t the money.
In the tenth grade I saw an odd boy on the bus to school wearing an X-Ray Spex t-shirt. I made friends with him and immediately developed a crush on the guy even though I knew he wasn’t into girls and even after he told me, he found the t-shirt in a pile of clothes at the second hand shop where he worked. “Will you give me your shirt? Pleeeeease?” I’d ask him all the time but he always answered with a firm ‘no’. Despite hanging out with a crew of Hollywood punks, he was the only person I knew that actually liked the band beside myself. I was a punk generation too late.
The funny thing is, I only really knew the song “Oh Bondage Up Yours!” It was the X-Ray Spex performance in the documentary The Punk Rock Movie DOA where I remember first hearing the song. That’s when I first saw Poly Styrene and I was captivated by her style, by the crazy energy of the music and by her…color. She wasn’t White and if you are/were are a punk rock kid of color you understand the significance.
Oh Bondage Up Yours from the movie DOA
As my high school years went by, I got caught up in the hardcore scene and my pining for the elusive Germ Free Adolescents album waned as I filled up my ears with the screams and grunts of suburban, angsty White guys from Orange County and Oxnard.
Inside blurb from the Guillotine EP
For years, the Germ-Free Adolescents album hung on the Bleeker Bob’s wall. Even after high school, I’d continue to make my pilgrimage. By then, I refused to give Bleeker Bob’s any of my money and I wasn’t the only one not willing to pay their exorbitant prices because it hung on the wall, untouched for years. Then one day I came across an EP called Guillotine (Virgin Records, 1979), and lo and behold, there was “Oh Bondage Up Yours!” The elusive song I’d been waiting five years to hear! I bought the record, rushed home and felt tingles of joy and excitement as I heard Poly’s famous line “Some people say little girls should be seen and not heard. But I think…Oh bondage up yours! 1,2,3,4!” I wore the grooves down on this little EP.
For many years, the only way to find their music affordably was through bootlegs
Soon after, I got a job at a popular Los Angeles record store and I was able to find all sorts of bootlegs of the album, mostly weird live recordings from England, some released on CD. I also splurged on a few on the 7 inch singles. It was the first time I’d heard many of the songs and I was pleased to find the lyrics resonated with my newly adopted Situationist-influenced politics.
From the song Art-i-ficial
I know I’m artificial
But don’t put the blame on me
I was reared with appliances
In a consumer society
From Genetic Engineering:
Introducing worker clone
as our subordinated slave
His expertise proficiency
will surely dig our grave
From Identity:
When you look in the mirror
Do you see yourself
Do you see yourself
On the TV screen
Do you see yourself in the magazine
When you see yourself
Does it make you scream
About a year later, Germ Free Adolescents was finally re-issued on CD. I played it over and over at the record store I worked at, despite the passive-aggressive protests of my Beatles-loving co-workers. “Saxophone in punk? Hmmm…” One of the indie dudes said disapprovingly. “Up yours, pretentious asshole!” I thought to myself.
Around this time, I popped into Bleeker Bob’s and the album was still there on the wall but now that the CD had been re-issued, they had finally lowered the price. I laughed a secret, evil laugh to myself – greedy bastards! The people who loved X-Ray Spex were not the nerdy, I need-the-first-pressing-vinyl kinda folks but people who loved the music for it’s passion, for it’s politics and for the raw, earnest vocals of Poly Styrene’s energetic voice.
It was a mission, a journey and a struggle to finally get to hear the music of my favorite group but once I did, it was completely satisfying musical experience. There have been many drunken nights my friends and I could be heard singing as loudly as possible X-Ray Spex tunes at the top of our voices, the lyrics still timely and humorous. Maybe tonight I will do the same, in honor of the beautiful Poly Styrene, RIP.
Promotional video for Poly’s new album
Coincidentally, Poly Styrene’s new album Virtual Boyfriend is being released today.
Oh yeah, I finally did get the vinyl version of the album and at a decent price.
The Savages -The World Ain’t Round It’s Square
The Savages, sixties garage punk from Bermuda of all places. Raw, melodic and thoroughly awesome!
Baby
Take a look around
All the people do is bring us down
They stare at us like we don’t belong
They think they’re right but they’re really wrong.
Baby, The World Ain’t Round, It’s Square.
Graphic courtesy of Garagehangover
Connan Mockasin – Forever Dolphin Love (Erol Alkan rework) 2011
The dolphins swam below and along with the boat, the pod churning the waters with their graceful movements. I attempted to photograph them but I was so mesmerized by the way they moved, by the little newly born dolphin swimming alongside it’s parents and by the grace of the water creatures, that I abandoned my attempts for a perfect photo and became transfixed by the experience. The next day I heard this song, Forever Dolphin Love. It was a week of coincidences.
Newport Harbor, California – March 2011 (I am one of the shadows)
The above version of Forever Dolphin Love is a reworking by British DJ Erol Alkan. The original song by New Zealand dreamy psych artist Connan Mockasin is below. His full length album has just been released.
Connan Mocaksin-Forever Dolphin Love (original) 2010
Dark Allies – Light Asylum from Grant Worth on Vimeo.
Light Asylum-Dark Allies
The surprise of last week’s Salem show was this band, Light Asylum. What an awesome performance and such fantastic energy! They almost made me forget the awkward crowd around me: rude supermodels, fascist bristling musclemen, Gucci Goths and other posers from the alienated suburbs. Not to say, it was all bad. I just happen to notice the creepy elements because I pay attention and also because this whole Witch House scene seems rather made-up. For that reason, I gave the crowd more scrutiny than I would otherwise.
I did a brief poll of those around me and asked “Do you know what Witch House is?” I was trying to find out if it really is a “scene” or something being pushed on bands that have that dragging beat drone. Some people chuckled when I asked but became more serious when I said I’m asking for my blog and then they were like “Which blog???” Don’t get excited pretties, I can’t make you famous. Most had heard of Witch House and when I asked if it was something they felt part of, one girl answered “I only have five other friends who like it.” That seems like a lot, right?
But back to Light Asylum, they were my favorite of the night and a tough act for Salem to follow. Light Asylum actually got the crowd dancing, uninhibited kinda dancing too. They were fun to watch and the music was excellent. An electronic band that knows how to put on a live show. Cheers to Shannon Funchess and Bruno Coviello of Light Asylum for making my night and helping me to forget the drippy Echoplex crowd!
Here’s a real show review because I’m not cut out for this kinda thing.
I Wanna Be Your Lover – La Bionda (1980)
Have you ever seen a more amazing sci-fi inspired disco video than this?* I think not. La Bionda were known for being some of the originators of Italo-Disco and for that I tip my beer to them because as you know, this blog is littered with references and videos paying homage to this gem of a genre.
Sally Shapiro-Spacer Woman from Mars (1980s)
*I thought Spacer Woman from Mars was pretty awesome especially after it was matched with these clips from Xanadu.
Salem-Asia (2010)
When I first heard the term Witch House I thought it was a joke, like I knew it was a real genre but I thought the term was used tongue-in-cheek. I was wrong. There’s a real scene out there associated with it, it started in New York but has since spread out all over the country. It’s home in Los Angeles is the tiny storefront club called Show Cave in Glassell Park. (It’s right across the street from a house where I bought my first communal living dining room table in 1995 from a family of junkie white folks. The dad yelled at his wife for selling us the chairs with the table and flicked his arm at us as we were loading the vintage chairs in our car, fucken take ’em, damn! he yelled). I wrote about the Show Cave scene in my review of Tearist. I like the place, it isn’t obnoxious like so many other clubs are, folks seemed downright relaxed, almost friendly and comfortable in their skins. I’m not expecting the same for tonight’s show at The Echoplex where I will see the above band, considered the torch holders of the Witch House scene, Salem.
Salem-King Knight
Salem is notorious for being one of those bands that doesn’t give a fuck but who cares if they space out on interviews when they make such badass music. I have a particular fondness for their early stuff which is like hip hop slowed down PCP style until it sounds like some wicked gnome spewing mush from a broken jaw. I’ve read the older songs were influenced by Houston based DJ Screw who is known for his “screwed and chopped” beats. However, the sound goes back even further, check out Hell Interface Project I posted about a couple of weeks ago. In any case, all the music is right up my electro alley and I’m looking forward to hearing how it all sounds live. Also, gonna do my fair share of scenster watching and gonna count up all those upside down crosses and triangles the audience is sure to be sporting in true Witch House style. Psychic TV, anyone?
Interesting take on the Witch House phenomenon here. Grave Wave, hehe.
Pitchfork’s guide to Witch House here.
Can’t stop listening to the Salem’s remix of Gucci Mane. Listen here.
Salem-Trapdoor (2010)
Te Vahine-Tubuai Choir (click to listen)
I must press myself to write blog posts when I’m inspired. I often wait too long, needing more time to do research or frustrated by my struggles with grammar. Often times the posts never get done, they remain ideas in my head, the words long forgotten in the subsequent days.
This is one such post. I’ve wanted to share this song since this blog started, it was going to be part of series of posts examining how the rhythm of certain songs matches the rhythm of travel of the respective music makers. Te Vahine is one example. The rowing of the canoes, the sloshes of water against the vessel as it is propelled by dozens of arms and the energy of the ocean, I imagine these things gave this song it’s extraordinary rhythm. This song is so heavy with it, so compelling in it’s undulating movement of voices that I can’t listen to this song without some part of my body following the beat. It’s believed music was used by Polynesians as a form of oral tradition and to aid in canoe navigation. I would imagine the rhythm was equally as important as the words.
The song is performed here by the Tubuai Choir from the Polynesian island of Tubuai in the Austral Islands near Tahiti. While most of the island music suffers from the crush of Christian missionary zeal which systematically stamped out indigenous sounds and references from the natives’ musical repertoire, Te Vahine is one song that sounds like it could have been sung prior to the arrival of The London Missionary School. It lacks the touch of Mormons which makes it much more listenable than the rest of the album.
From the liner notes:
This old song is about a warrior woman, Te Vahine, using the power of the sky to dispute a high warrior on his declaration of war. She challenges him by taking his spear from him.
Barco Negro-Amália Rodrigues
“No vento que lança areia nos vidros,
na água que canta no fogo mortiço,
no calor do leito dos bancos vazios,
dentro do meu peito estás sempre comigo”
This 7 inch was a surprise to me, I found it my vinyl collection yesterday. How long I’ve had it, I don’t know. Where I bought it, I can’t remember. I do know I haven’t heard anything so beautiful in awhile. A perfect song for a dark and cloudy day.
TEARIST – Civilization
I just don’t have the time to give this band the words they deserve. I saw them play last Saturday and it was one of the best shows I’ve been to in ages. They are the real thing. The music seems to consume them when they are on stage. I was up front for the most of the show and I looked in Yasmine Kittles‘s eyes. She was was in an almost trance. I’ve never quite seen anything like it. If she’s faking it and it looks authentic, does that make it real?
While they are being lumped into the witch house genre (yes, fourth post on this page to mention this genre), I don’t think the label is totally appropriate. The scene at Show Cave where they played, definitely has an aura of witchiness about it and is known as the Los Angeles location for bands of this multi-named genre (the others being rape gaze, haunted house, drag).
I must admit, while I’m not much for scensterism, I actually felt quite comfortable there, lots of black clothes, asymmetrical haircuts, a sorta a urban gothic mixed crowd, gay and straight, White/Latino/Asian, young and old and people dancing. Yes, I said dancing and for real, like moving more than a few inches back and forth. Not even those crazy dubstep beats get the crowd moving all that much at Low End Theory (another Northeast LA club I frequent). There were dudes going crazy like apocalyptic dancing, in their black leather jackets and their dark hair flopping about. After awhile though, I stopped noticing what was going around me and got lost in the beats and Yasmine’s on stage acrobatics. And then out came the pieces of metal percussion she is becoming known for, her signature metal pipes that she bangs together in the most brutal and rhythmic ways.
At one point, she and the pipes come tumbling off the stage and land at my feet. She’s rolling around the floor with her mike, the sound coming out of her just as deep and vibrant as before. Then she jumps up and whacks the metal pillar I’m holding onto. Whoosh, the air rushes across my face and I jump back and smile. What a way to go, I think to myself, death by percussion. After, the song finishes, the circle of audience doesn’t move and looks at her metal percussion instruments strewn across the floor. She’s sitting on the stage. And there’s this weird moment where we all wonder if we should pick them up and hand them to her. It seems as if she’s waiting for this but none of us move. It’s almost like they are sacred objects not worthy of our pedestrian touch. After a minute she picks them up and the show is done. My friend says “Geesh, someone could’ve helped her out!” She doesn’t need our help.
Interview with Yasmine Kittles here.
TEARIST – Break Bone