His Name Is Alive - Are We Still Married

 #His Name is Alive #experimental rock #dream pop #avant garde #alternative rock #indie rock #neo-psychedelia #art rock #Quay Brothers #animated music video #stop-motion

This was the first music video that the Quay Brothers were entirely responsible for, having previously contributed animated sequences to Peter Gabriel's 'Sledgehammer' (d. Stephen R. Johnson) in 1986. They had previously been approached by Warren Defever, the Michigan-based founder of the musical project His Name Is Alive (alongside vocalist Karen Oliver and drummer Damian Lang), who wanted to licence extracts from Street of Crocodiles (1986) for use in one of their music videos. The Quays refused permission, but were sufficiently intrigued by Defever's work to agree to shoot a music video for him from scratch.
'Are We Still Married?' was originally released in 1991 as a track on His Name Is Alive's second album Home Is In Your Head. This is very typical of the band's work, and indeed many other releases on the 4AD label, creating a dreamlike ambience through selective distortion of instrumentation and vocals, to the point where it's often hard to make out specific lyrics. Naturally, this approach suited the Quays down to the ground, and they duly ignored the song's textual content in favour of a typically oblique evocation of childhood.
The most immediately striking image is of a young girl, whose head is barely visible, but whose ankles expand and contract in a rhythmic motion. This looks as though it was computer-enhanced, but the effect was in fact entirely mechanical - the Quays' regular technical collaborator Ian Nicholas built a hinge mechanism in the girl's ankles. Around her, a somewhat moth-eaten white rabbit plays a manic solo game of ping-pong.
The video was initially inspired by an image by an anonymous photographer of a girl standing in front of a door holding a paddle. There was also a white doorknob in the picture, which the Quays initially mistook for a ping-ping ball. Although the Quays claimed not to have read Lewis Carroll's Alice in Wonderland, there are unmistakable echoes, from the general theme of little girls growing and shrinking before one's eyes, mysterious bottles of unidentified substances and doorknobs that turn into ping-pong balls.  From: http://www.screenonline.org.uk/film/id/1222875/index.html

His Name is Alive are a rather eccentric experimental rock project from Livonia, Michigan, currently based in Detroit. Founded in 1990 by guitarist, composer, and sole constant member Warren Defever, the band is fond of Genre Roulette, having recorded songs ranging from Dream Pop, alternative rock, funk, prog rock, and Baroque Pop to experimental noise and gothic ambient compositions. The band was originally signed to 4AD Records, under whom they released a string of critically acclaimed records throughout The '90s, but were dropped by the label in the early 2000's after failing to meet sales expectations. After this, the band went defunct until 2006, when Defever revived the project with a new lineup. Since then, the band has steadily released new records and shows no signs of slowing down.  From: https://tvtropes.org/pmwiki/pmwiki.php/Music/HisNameIsAlive

Blackshape - Itiiitiatiihylihyl

 #Blackshape #math rock #progressive rock #post-hardcore #post-rock #progressive metal #music video

Blackshape’s self-titled debut has a hell of a lot going for it. For one, the record sounds phenomenal. Producer Matt Goldman and mastering engineer Troy Glessner bring the same glossy, cinematic palette here that they brought to, respectively Underoath‘s Define the Great Line and the Devin Townsend Project’s Addicted: spacious percussion, searing guitars and bass that has plenty of presence (if not always much definition). Especially considering this is their first-ever release, Goldman and Glessner provide a sleek coat of polish to the album that gives Blackshape an impressive confidence and a sense of credibility, setting them apart from the many small-time bedroom projects that populate the modern math rock scene.
Moreover, the band employs a blend of styles and influences that play together every bit as nicely as you’d expect them to. They root their sound in the CHON school of math rock—equal parts Explosions in the Sky twinkle and Animals As Leaders prog muscle — but they augment the recipe with some squalling forays into post-hardcore and metalcore, even evoking bits and pieces of Rolo Tomassi in places. As a result, guitarists Scott Shephard and Joe Woit lean away from the noodling tap-a-thons of their contemporaries and move towards a more breakdown-oriented approach, patiently building and releasing blistering, metallic climaxes with an impressive sense of restraint. The combination is, more than anything, well-balanced. The hints of punkish snarl give the tricky time signatures more heft, and the airy post-rock atmospheres give the punchier moments a sense of sophistication. It’s heavy but not brutish, pretty but not cloying and technically accomplished without ever seeming overindulgent.
So here we have a good, sturdy formula that isn’t too played-out, executed well and given an immaculate studio treatment. All should be well, however, despite that strong foundation, much of Blackshape ends up feeling somewhat plain — not bad per se, but never quite rising to meet the band’s obvious potential. Far as I can tell, the crux of the issue lies in the band’s compositional priorities. They have an undeniable gift for atmospheres, and they certainly know their way around a crescendo, but in-between the two they seem to struggle with melody.
The entire band tends to blend into a cohesive whole throughout the album, but as a result, nothing really takes center stage and offers a single, strong musical idea to latch onto, and that refreshing lack of showoff virtuosity ends up doubling as a stifling reluctance to dazzle. The guitar leads bind themselves too tightly to the grooves; they rarely spring forth with a solo or even a catchy lick or riff, and when they do it comes off as textural playing that adds welcome color to the proceedings but can’t quite hold my attention on its own. This is only underscored when the Sigur Rós-esque “Itiiitiatiihylihyl”, the album’s only non-instrumental track, proves by far the most impactful offering here — it’s the only point where a clear lead melody emerges and, more importantly, sticks. The vocals fill a space in the band’s songwriting that they often leave conspicuously empty elsewhere.  From: https://www.slugmag.com/music/local-music-reviews/blackshape/

A-Wa - Habib Galbi

 #A-Wa #Yemenite music #Mizrahi #world music #ethnic #Middle Eastern music #electronica #traditional #music video

Let us introduce you to a band of sisters with the last name Haim. No, not the ones you’re thinking of. Tair, Liron, and Tagel Haim are sisters from southern Israel, and together they form a band called A-WA (Arabic for “Yes,” pronounced AY-wah). “It felt like music chose us,” Tair Haim explains. “We really have so much love to give, and so much good music, and we are all about bringing people together.”
Their musical style is unique — it’s a combination of traditional Yemenite songs, electronic music, and hip-hop. In 2016, their song “Habib Galbi” (“Love Of My Heart”) went viral, becoming the first song in Arabic to reach the top of the Israeli charts. Their debut album, also called Habib Galbi, uses traditional Yemenite folk chants and re-imagines them with electronic beats, pop music, and more. Their music is a powerful mix of modern and traditional, emphasizing their Jewish Arabic roots. And they’re the coolest. Seriously. “Since a very young age, we all discovered the love of music. I am the oldest sister, and I was always dancing and singing around the house. We grew up in a very small desert village in southern Israel called Shaharut. There weren’t many kids around so we were always best friends,” Tair told me. “We were known at school as the musical family from Shaharut.”
Their new album translates to My Home Is In My Head, and it tells the story of their great-grandmother Rachel’s journey from Yemen to Israel. “She used to say, whenever she was asked in Yemen, why are you always traveling from one place to another? Why don’t you stay in one place, and she said, ‘I can’t stay in one place. My home is in my head.’ She was a very legendary character in our family; we heard a lot of stories about her from our grandma, and from our dad,” Tair says. Their great-grandmother came to Israel from Yemen as part of Operation Magic Carpet, in which 49,000 Yemenite Jews were airlifted to Israel between 1949 and 1950. She wouldn’t agree to stay in an arranged marriage, Tair explains, and so she traveled as a single mother. Now the Haim sisters want to tell her story. It’s a “courageous story – traveling from Yemen to Israel, coming to Israel as a refugee, and starting from scratch. And being such a strong woman. We always laugh and say she was a feminist without even knowing what one was,” Tair explains. “We had so many things we already wanted to say, and we felt like we could use her life story and her voice — things she wanted to say, but couldn’t – and kind of blended with our voices. Each song on the album represents a piece of her life.”  From: https://www.heyalma.com/a-wa-a-band-of-yemenite-jewish-sisters-want-you-to-feel-at-home/

Ben Folds Five - Song for the Dumped

 #Ben Folds Five #alternative/indie rock #power pop #piano rock #1990s #music video

“Song for the Dumped” is a breakup song. The singer rants in an honest and explicit way about the girl who just dumped him. The simplicity of his anger makes the song powerful. He just wants his money back. And his black t-shirt. After everything, it seems like the least she could do.
Shortly before the song, an argument between the band can be heard:
(I hope we got that on tape, because it was a really…)
(Is someone saying something?)
(…it was a really…)
(I don’t know)
(…I was thinking…)
(No, I think I hear some kind of noise — cut that shit!)
(I was thinking about, you know, respecting your work with Steven and…)

The argument was removed from some pressings of the album, although it seems to appear on current CD and digital releases. In 1999, Folds said: The talking before ‘Song for the Dumped’ was a painfully documented real argument that kept bringing up bad feelings. We decided to get rid of it and let the first pressings be for collectors. Better to keep the band together. It was ugly.

I was writing ‘One Angry Dwarf and 200 Solemn Faces’ and it seemed a little complicated to Darren. And Darren, as a joke—and I guess to make a point—wrote the lyrics to ‘Song for the Dumped’ (without any music or anything) in my notebook next to ‘Dwarf.’ Like, ‘Here’s the way you should write a song. It shouldn’t be that complicated. It should be this simple.’ And I took that one day and made some music to it and showed it to him and we started playing it on tour. I don’t think we ever actually thought that would make the album, but it made the album.

From: https://genius.com/Ben-folds-five-song-for-the-dumped-lyrics

Ben Folds Five is an alternative rock trio formed in 1993 in Chapel Hill, North Carolina. The group comprises Ben Folds (lead vocals, piano, keyboards, melodica, principal songwriting), Robert Sledge (bass, contrabass, synthesizer, backing vocals), and Darren Jessee (drums, percussion, backing vocals, songwriter, and co-writer for some songs). The group achieved mainstream success in the alternative, indie and pop music scenes. The band is best known for the hit single "Brick" from their 1997 album Whatever and Ever Amen, which gained airplay on many mainstream radio stations. During their seven years together, the band released three proper studio records, one retrospective album of B-sides and outtakes, and eight singles. They also contributed to a number of soundtracks and compilations. Ben Folds Five disbanded in October 2000, apparently under amicable circumstances.  From: https://www.lyrics.com/artist/Ben-Folds-Five/359896

Emilie Autumn - Opheliac

 #Emilie Autumn #dark cabaret #electronica #industrial #classical #gothic folk rock #singer-songwriter

Emilie Autumn Liddell is a Gothic poet, singer / songwriter, violinist, harpsichordist, performance artist, feminist, and author. She's self described as that she sounds "like the best cup of English Breakfast spiked with cyanide and smashed on your antique wallpaper." Of Emilie's life, very little is known at the moment. What we do know is that she started playing violin at the age of four, a talent that she has continued to this day, and that she voluntarily stayed away from most of the mainstream music communities (both classical and commercial) due to bad experiences and clashes within them: In fact, most of her albums were self published by her own company. Her first album was On a Day - a classical album released in 2000, when she was 20 or 21. The following year she put out the Chambermaid and By the Sword EPs. In 2003 her first full vocal album was released: Enchant, an album filled with a number of songs inspired by fairy tales. Also contained in this CD was the Enchant Puzzle, which no one has ever solved. This was the Enchant era, when Emilie was a faerie.
After going through an extremely awful period in her life that resulted in a suicide attempt and hospitalisation, she was inspired to move in a different artistic direction. This began with the Opheliac EP, followed by the full album Opheliac. This album was far Darker and Edgier than Enchant, and a reflection of Emilie's mental state, as this album was released as an agreement with herself that she'd make the album instead of killing herself. The songs are mostly about madness and suicide, particularly in water. Much of the album is influenced by William Shakespeare, as is made obvious by the title. Many of the songs are not written from the perspective of Emilie, but from Ophelia herself, the Lady of Shalott, and others. Later in 2007, she re-released Enchant along with A Bit o' This & That, which was a collection of previously unheard songs, re-mixes, and tracks from older EPs. Also released that year was Laced / Unlaced. Laced was a re-release of On a Day... while Unlaced was an all-new collection of instrumental songs done in her newer style. In 2009 she was able to release her autobiography, The Asylum for Wayward Victorian Girls. She has also released The Opheliac Companion, which provides information and background about the songs on Opheliac. The Opheliac era is what Emilie is most well known for. And from gaining more muffins (fans), she was able to make more and more theatrical tours which gained more and more theatrics tour by tour. Joining her on stage in the Asylum are her Bloody Crumpets, a group of lovely mad girls.
In 2012 she released another album, Fight Like a Girl, which had been lingering in Development Hell for several years. Despite her initial promises that it was going to be "more metal" than Opheliac was, it ended up being a theatrical concept album based around the fictionalised Victorian story that appeared in The Asylum for Wayward Victorian Girls. According to Emilie, she intends to use the album as part of the soundtrack to the play she's currently writing about the book. The album has created a Broken Base in the fandom because of its differences from the highly popular Opheliac and because the violin plays a much less significant role it in than it had in her previous music. Her current look and shows are generally referred to as the FLAG era by fans. She played the Painted Doll in The Devil's Carnival and its sequel Alleluia! The Devil's Carnival, musical films by the creators of Repo! The Genetic Opera, alongside two of her Crumpets, Captain Maggots and Contessa.  From: https://tvtropes.org/pmwiki/pmwiki.php/Music/EmilieAutumn

Graham Nash - I Used To Be A King

 #Graham Nash #ex-CSNY #ex-The Hollies #folk rock #country rock #singer-songwriter #1970s

Songs for Beginners is Graham Nash's solo debut apart from Crosby, Stills, Nash & Young. Released in 1971, it is a collection of songs that reflect change, transition, and starting over. The set was recorded in both Los Angeles and San Francisco, in the immediate aftermath of Nash's traumatic breakup with Joni Mitchell. Unlike the colorful dynamism of Stephen Stills' eponymous debut recording, or the acid-drenched cosmic cowboy spaciness of David Crosby's If I Could Only Remember My Name, Nash's album is by contrast a much more humble and direct offering. It is a true, mostly introspective songwriter's album full of beautifully performed and wonderfully recorded songs that reflect transition, movement, the desire to look backward and forward simultaneously. Like the aforementioned offering, this one is star-studded in its choice of players and singers: Crosby, Chris Ethridge, Jerry Garcia, Rita Coolidge, Clydie King, Venetta Fields, Dave Mason, Neil Young (under the pseudonym "Joe Yankee"), David Lindley, Bobby Keys, Phil Lesh, Dallas Taylor, and drummer John Barbata reflect some of the personnel on this heady yet humble session. The album is bookended by two of Nash's best-known tunes, the anthemic "Military Madness" that remains timeless in the 21st century, and "Chicago," that doesn't. That said, they are among the weakest songs here -- which reveals what a solid collection it is. Unlike many recordings birthed from personal angst, Nash's engages in no self pity; instead, he focuses on the craft of songwriting itself. Despite its personal darkness, "Better Days," with its swirling piano and pronounced bassline, is also an actual paean to self-determination and perseverance, the logic being that there were better days in the past, so there must be better ones in the future as well. "I Used to Be a King," with Garcia on a gorgeous pedal steel and Lesh on bass, is a direct, mature response to "King Midas in Reverse," a song Nash wrote and recorded with the Hollies. "Simple Man," with its sparse melody and strings and a fine backing vocal from Coolidge, was written on the afternoon of the breakup with Mitchell. The violin-cello backdrop to Nash's piano is particularly effective and makes this one of his most memorable songs. The parlor room country waltz that commences "Man in the Mirror," features Garcia's steel, Young's piano, ex-Flying Burrito Brother Ethridge, and drummer Barbata; it shifts keys, tempo, and feel about a third of the way in with a very long bridge that transforms the song's sentiment as well. Ultimately, Songs for Beginners is the strongest of Nash's solo efforts (outside of his work with Crosby).  From: https://www.allmusic.com/album/songs-for-beginners-mw0000197377

Graham Nash & Joni Mitchell

Dengue Fever - Uku

 #Dengue Fever #Chhom Nimol #psychedelic rock #Cambodian rock #alternative/indie rock #world music #garage rock #surf rock #retro-1960s 

Even when you consider the cultural cross-pollination that goes on in large metropolitan areas, L.A.'s Dengue Fever had perhaps the strangest genesis of any band in recent memory. It's odd enough for a group of white musicians to cover psychedelic rock oldies from Cambodia, but finding a bona fide Cambodian pop star to front the band -- and sing in Khmer, no less -- is the kind of providence that could only touch a select few places on Earth. Formed in L.A.'s hipster-friendly Silver Lake area in 2001, Dengue Fever traced their roots to organist Ethan Holtzman's 1997 trip to Cambodia with a friend. That friend contracted the tropical disease (transmitted via mosquito) that later gave the band its name, and it also introduced Holtzman to the sound of '60s-era Cambodian rock, which still dominated radios and jukeboxes around the country. The standard sound bore a strong resemblance to Nuggets-style garage rock and psychedelia, heavy on the organ and fuzztone guitar, and with the danceable beat of classic rock & roll. It also bore the unmistakable stamp of Bollywood film musicals, and often employed the heavily reverbed guitar lines of surf and spy-soundtrack music. Yet the eerie Khmer-language vocals and Eastern melodies easily distinguished it from its overseas counterpart.
When Holtzman returned to the States, he introduced his brother Zac -- a core member of alt-country eccentrics Dieselhed -- to the cheap cassettes he'd brought back. They started hunting for as much Cambodian rock as they could find, and eventually decided to form a band to spotlight their favorite material, much of which was included on a compilation from Parallel World, Cambodian Rocks. In addition to Ethan Holtzman on Farfisa and Optigan, and Zac on vocals and guitar, the charter membership of Dengue Fever included bassist Senon Williams (also of slowcore outfit the Radar Brothers), drummer Paul Smith, and saxophonist David Ralicke (Beck, Ozomatli, Brazzaville). Ralicke shared Zac Holtzman's interest in Ethiopian jazz, further broadening the group's global mindset. Thus constituted, the band went combing the clubs in the Little Phnom Penh area of Long Beach, searching for a female singer who could replicate the style and language of the recordings they had.
After striking out a few times, the Holtzmans discovered Chhom Nimol, a onetime pop star in Cambodia who came from a highly successful musical family (analogous to the Jacksons). According to the band, Nimol had performed several times for the Cambodian royal family before immigrating to Los Angeles. Initially not understanding the band's motives, she was suspicious at first, but after several rehearsals, everything clicked. Dengue Fever made their live debut in 2002, with the charismatic Nimol in full traditional Cambodian garb, and soon won a following among Hollywood hipsters, not to mention L.A. Weekly's Best New Band award that year. Purely a cover band at first, they started working on original material after putting out a four-song EP locally. The Holtzmans wrote English lyrics and music, then sent the lyrics to a Khmer translator in the state of Washington, after which Nimol would adjust the melody and words to her liking.
Dengue Fever counted among their fans actor Matt Dillon, who included their Khmer-language cover of Joni Mitchell's "Both Sides Now" on the soundtrack of his 2003 directorial debut, City of Ghosts. However, disaster nearly struck when Nimol was arrested in San Diego in accordance with the stringent, post-9/11 INS policy: she'd arrived in the U.S. on a two-week visitor's visa and simply stayed on. She was thrown in jail for three weeks, and it took nearly a year for the band's lawyer to secure her a two-year visa (his fees were paid through benefit concerts). In the meantime, Dengue Fever released their self-titled debut album on Web of Mimicry, a label run by Mr. Bungle guitarist Trey Spruance. Most of the repertoire consisted of Cambodian covers, many originally done by pre-Pol Pot star Ros Sereysothea, but there were several originals and an Ethiopian jazz tune as well.
With Nimol's limited English improving, the band members considered putting some English-language material on their follow-up, but intended to stick with Khmer for the most part, in keeping with the music that inspired them. In 2007, Dengue Fever not only released Escape from Dragon House, but also starred in the documentary Sleeping Through the Mekong, which saw them performing their music in Cambodia for the first time. Venus on Earth debuted on the M80 label the following year; it was eventually picked up by Real World for worldwide distribution. In 2009 they released a CD/DVD entitled Sleepwalking Through the Mekong, which included the documentary and a compilation album.  From: https://www.allmusic.com/artist/dengue-fever-mn0000237528/biography