CHOIX A PARTIR DE FABIENNE DEL SOL

If that’s translated poorly, don’t blame me, blame Babelfish. My parents raised an English speaker. As alluded to in an earlier post, 2007 is the year that I discovered THE BRISTOLS and their new-solo vocalist, FABIENNE DEL SOL. I’m hooked. Fabienne herself has a new solo record out now, her second, called “BETWEEN YOU AND MEâ€Â. This French-native English lass skirts the brassy 60s pop of her homeland, and marries it to raw surfbeat, stomping garage rock of a decidedly “Merseyâ€Â bent, and full-blown sugartown pop music. This latest record is better than her very solid solo debut, “NO TIME FOR SORROWSâ€Â, and is probably as good as her BRISTOLS material (which is fantastic – all of it – start with the new greatest-hits collection). I don’t know, I’ll have to get back to ya. I’m crossing my digits for a US tour to see if what goes on in the studio will translate to a live stage, but after seeing Bristols clips on You Tube, I’m fairly certain that it will. Let me know what you think!

(All tracks from “Between You And Meâ€Â CD)

Play or Download
FABIENNE DEL SOL – “Vilainis Filles Mauvais Garconsâ€Â
Play or Download FABIENNE DEL SOL – “Pas Gentileâ€Â
Play or Download FABIENNE DEL SOL – “I’m Confessin’â€Â

NIGHT KINGS ONE & NIGHT KINGS TWO

Once THE NIGHTS AND DAYS had broken up in the late 80s, word started filtering out of Seattle that Rob Vasquez had quickly put together a new, like-minded band called THE NIGHT KINGS, dedicated to raw, mono-fied, transistor-burst garage punk. When evidence finally surfaced in 1990 that confirmed said rumors, there was dancing in the hovels and houses of dozens record dorks countrywide, mine included. Salvo #1 was a sole track on a four-song compilation EP on Estrus Records called “TALES FROM ESTRUSâ€Â. The comp actually led off with THE NIGHT KINGS’ “Dirty Workâ€Â, and it was a glorious thing. Ninety seconds of crunch that brings forth Link Wray’s pencil-poked amps as played through by a ham-handed SONICS. And that voice – man, what a howler. Vasquez was back.

Salvo #2, maybe half a year later, was a split single with a short-lived (mercifully) Seattle band called YUMMY. The Night Kings’ side was called “Bugweedâ€Â, and it practically blew the grooves off the vinyl. Loud, overloaded, garage scorch with no precedent and no antecedent – something pure & unique and totally wild. I’m posting both tracks for you today. Soon the Night Kings would release an In The Red 45, a Sub Pop 45, some comp stuff and a full-blown LP. Here’s what they started blowing minds.

Play or Download THE NIGHT KINGS – “Dirty Workâ€Â (from 1990 “Tales From Estrusâ€Â 7â€ÂEP compilation)
Play or Download THE NIGHT KINGS – “Bugweedâ€Â (from 1991 split 45 with YUMMY)

Indie Rock had soul?

Read This.

I can’t even begin to list the issues with this piece. The pitch e-mail is a good place to start. The conception the next best. Based on sound, Arcade Fire are about as white as it gets. Thanks for the scoop. Who does not know or expect this? Why would anyone attend an Arcade Fire performance (or one by any other TOO-WHITE!!! indie rock band mentioned here) and decide that “exposingâ€Â their lack of “soulâ€Â would make a pointed magazine article? It doesn’t matter that one of the members hails from non-white descent, they could be comprised of Ethiopians and still be white, seeing as how they basically rewrite the Hooters for hipsters. The based-on-sound angle (not always taken in the article) would make TV On The Radio pretty white as well. And Wilco isn’t exactly the Pharaohs. Uh…Indie Rock is too white? Who’da thunk it?!?!? The closest Indie Rock gets to black is when it thinks it’s black (Jon Spencer, The Make-Up). Don’t listen to Indie Rock if you want a Stax boxed set. What the hell is going on here? Reverse slumming?!? Or just slumming? I should afford less quality to a form of music because it doesn’t share sonic or emotional attributes with Black, indigenous, or traditional forms? I suppose that argument has been made for ages, but why now? It’s as pointless as me pitching “There’s Not Enough White Indie Rock in Modern R&B.â€Â Maybe I should pitch that.

Bee Tee Dubya….not a lot of research went into this post.

 

 

I’ve long thought Deborah Solomon was a

I’ve long thought Deborah Solomon was a terrible interviewer. Her short fluffy NYT Magazine interviews have a strangely aloof quality to them, as if there is a disconnect between what is asked and what is answered. As it turns out, that appears to be the case. This is ok for satirists like Colbert and the Daily Show guys, but it’s not so great for the Grey Lady.

I also want to point out Phil Nugent’s clear-eyed analysis of the Bush Administration’s weird ethical gymnastics. It’s a thing of truth and beauty.

Last, but definitely not least, the 33 1/3 blog has an excerpt from David Smay’s upcoming book on Swordfishtrombones. Smay is not just a good friend and a hell of a writer; he’s the guy who first gave me a break when he and Kim Cooper accepted my submissions to Lost In The Grooves. This excerpt excites me quite a bit. I think it’s going to be a hell of a great book, and I’m looking forward to seeing any parallels between his work and my own.

It/They Must Stop – Hall of Greatness

1. Interpretive Dance
2. Poetry readings, poetry slams, and poetry
3. William T. Vollman
4. Indie Film (99%)
5. Rock docs concerning “outsiderâ€Â or “insaneâ€Â subjects
6. Vegetables
7. Dogs
8. Pizza from Whole Foods, Wild Oats, or any health food store
9. Indie Rock/Hipster/Scenester embracement/name-dropping of 70’s Soft Rock
10. Mandolin Players

VENOM P. STINGER: THE SORROW AND THE PITY

VENOM P. STINGER were an overpowering late 80s/early 90s Australian group who morphed out of one scorched-earth, rawer-than-raw hardcore noise band called THE SICK THINGS, and later again morphed into another thing completely: the lovely, edgy instrumental trio THE DIRTY THREE. In between were several LPs, a 45 and one 4-song CD-EP that it is essential that you hear. Nowhere have I heard a band so desperately trapped in their own skin. Their militaristic, brutally loud and often atonal punk rock was an ugly cousin to a lot of the American bands of the day, the ones that came out on labels like Amphetamine Reptile, Treehouse, Noiseville, Circuit and Adult Contemporary. Their singer, Dugald McKenzie, had the rawest mouth-rasp vocals imaginable, and not only was it difficult to imagine him singing without his neck veins popping halfway to China, it was difficult to hear his deep-accented wails and think him anything but Australian. Drummer Jim White usually sounded like he was stuck somewhere between drumming for the Daughters of the American Revolution parade and for later-period John Coltrane. Even when the songs didn’t fall together all that well – and their albums do have some filler – they never wavered from a mood that was dark, angry and ballistic. Even on the (rare) slow ones.

Needless to say, I was a pretty big fan while they were around, and I bought all the records where I could. I got to see them live twice, but without McKenzie, who was held back at customs & which then necessitated the quick recruitment of Venom P. Stinger’s “biggest fanâ€Â into vocal duties. (Or so says informed commenter KI in the comments to this post). Other than their one and only 45, “Walking About/25 Milligramsâ€Â, their best record is this 1991 EP that came out on CD only called “Waiting Roomâ€Â. Play it, download it, and raise a pint of bitter for the now-deceased Dugald McKenzie, one of the great throat-rippers of all time.

Play or Download
VENOM P. STINGER – “Inside The Waiting Roomâ€Â
Play or Download VENOM P. STINGER – “I Try, I Really Tryâ€Â
Play or Download VENOM P. STINGER – “Turning Greenâ€Â
Play or Download VENOM P. STINGER – “In Loveâ€Â

Ok, ok….

…Wes Anderson doesn’t make “whiteâ€Â movies. You win. They are incredibly diverse. Stop with the e-mails. And this should tell you something about standing in lines: I was waiting in line at the book store, and overheard two progressive housewives talking about Cornel West “rappingâ€Â on Real Time with Bill Maher. They referred to it as “really cool.â€Â I incorrectly figured that they knew the difference between Dr. Cornel West and Michael Eric Dyson (author of over-academic Hip-Hop books that I don’t want to read and a man that finds the existence of Benjamin Franklin biographies to be “racistâ€Â), the latter of whom DID recently make a complete ass of himself on the show, rapping about Alexander Hamilton being a “pimp.â€Â Maybe Cornel West dropped some science on Bill Maher as well, though I don’t feel like IM-DIBBING him to find out (he did in fact, put out a Hip-Hop album this year). My style of blogournalism includes using misguided strangers as primary sources. That’s what you’re going to get here at failedpilot.com

I did enjoy Maher referring to 90% of Hip-Hop as “affirmative action for the ego.â€Â Duh, but nicely put.

RIDICULOUS HARDCORE, PART 2: SIN 34

(Read Part One here). I don’t know what it is about SIN 34, and why I come back to their recordings every few years. They were perhaps the first speed/thrash/burn punk band that ever connected with me during my teenage late-night listening sessions with “Maximum Rock and Roll Radioâ€Â, even before Black Flag or Minor Threat. Generic-by-the-numbers early 80s LA hardcore, with the added curveball of female singer “Julieâ€Â, SIN 34 at times had this ability to leapfrog the genre & throw in some burning, stop-start hooks that got testosterone-fueled limbs flailing and bodies flying. I know that their name made it to Pee-Chees and Army surplus jackets even at my Northern California high school – but then again, so did “China Whiteâ€Â, “TSOLâ€Â and “The Adictsâ€Â. In SoCal, they had a much higher profile, due to band member Dave Markey’s involvement with WE GOT POWER fanzine and friendly connections with RED CROSS and Smoke Seven records. Only one 7â€ÂEP and one (quite lame, save for 3-4 tracks) LP made it out, but I’ve cherry-picked the band’s winners for you. Read a whole lot more about SIN 34 here and here.

Play or Download SIN 34 – “Nuclear Warâ€Â (from 1982 “Sudden Deathâ€Â compilation LP)
Play or Download SIN 34 – “Left Waitingâ€Â (from 1983 “Do You Feel Safe?â€Â LP)
Play or Download SIN 34 – “Forgive and Forgetâ€Â (from 1983 “Do You Feel Safe?â€Â LP)
Play or Download SIN 34 – “Notâ€Â (from 1983 “We Got Powerâ€Â compilation LP)