EQUALLY INFLUENCED BY PUBLIC ENEMY AND SPRINGSTEEN. AMERICAN MUSIC ABOUT GROWING UP AND FREAKING OUT.
The absolutely wonderful feat that Juiceboxxx has accomplished with this album is to perfectly capture the feeling of suburban teenage North Americana through music. It’s every bit of rebellion, uncertainty and carelessness that I can remember from growing up.
The rhymes are reminiscent of the Beastie Boys, and, as Juiceboxxx said, Public Enemy. The album feels like going to a house party where House of Pain, Springsteen, Grandmaster Flash and Len somehow ended up jamming after one another on the same night, a little strange at times, but filled to the brim with nu classics.
DON’T MISS: the single take video for LIKE A RENEGADE
This is an absolutely excellent 7”, it runs for a little over 7 minutes and has track titles such as “salvia plath” and “hayden’s getting a ddr pad”. It even descends into near unintelligible lo-fi mumbling towards the end and I kind of love it.
The only problem, and I do mean, the only problem, is that the label insists on selling digital downloads through iTunes/Google Play. I wish I was kidding but when I emailed them about it they said: “Feel free to share your download with your friends, they can also listen to it on spotify/rdio or buy it on itunes/google” So, here you go friends. You can also buy the 7” and get a download from Bandcamp, because that makes sense, obviously (it doesn’t, it doesn’t make sense).
There are few albums that I listen to from start-to-finish the way I do with Orange Drink’s “The Widowmaker”. There’s something about the folk-punk vibe that carries throughout that feels so visceral, the distinctly punk vocals, samples and noise aren’t for appearances as much as they are for expression.
A good album will always make sense as a collection of tracks, a great album will be so tightly-knit, but deliciously different enough that you can enjoy it in one sitting without getting bored of or wanting to skip a track.
This is one of the greats for me.
see also: Orange Drink’s significantly different “Minotaur”, a dancy, groovy affair
YOU KNOW HOW SOMETIMES YOU GO TO THE BODEGA AND YOU BUY A LOT OF CANDY BUT THEN YOU REMEMBER THAT YOU HAD A BUNCH OF PIXY STIX LEFT OVER FROM THAT ONE TIME YOU THOUGHT TO YOURSELF “WHY DON’T I EVER HAVE PIXY STIX?” AND THEN YOU THINK IT’S A GOOD IDEA TO EAT ALL OF THE CANDY AND THEN YOU STAY UP ALL NIGHT AND WATCH YOUTUBE VIDEOS AND JUMP AROUND YOUR ROOM AND WHEN YOU TRY TO SLEEP AT 10 AM YOUR EYES ARE JUST LIKE O_O.
THAT’S WHAT THIS ALBUM FEELS LIKE. IT’S PRETTY DAMN GREAT ACTUALLY. ALSO, IT WAS THE SOUNDTRACK TO THE AFOREMENTIONED NIGHT.
I have the hardest time not commenting on world music in bodegas in NYC, I’m not sure why, for fear of some strange cultural encroachment no doubt. Bodega Pop is a blog by a fellow New Yorker who collects the assorted world musics of NYC bodegas:
Soon after I moved to New York City in 1997 I began to notice that bodegas run by people from around the world sometimes stocked CDs and DVDs of music and film from the countries they had come from.
The music I’ve collected from these bodegas can almost never be found in the “World Music” sections of the few remaining places to buy CDs in the U.S.; nor, for that matter on iTunes (or cheapo MP3 sites like Soundike).
Cool? The coolest. You may have seen me freaking out about it when I found it on Saturday night if you follow me on Twitter.
Some highlights for me are:
Perhaps the album (Rdio, Spotify) on the heaviest rotation on my iPod in the last couple of months. From a random recommendation by a friend, I was delighted to find that balance of pensive and noisy that I quite enjoy in a lot of band-related music. The killer combination of an art school drop-out and a computer scientist, Bondage Fairies is named after an erotic manga and described as “nintendo-death-punk”, which is a somewhat apt descriptor conveniently divorced from the commercially-adverse label of “chipmusic” .
You can buy merch from their labels’ English shop, if you want to support them and what they do more directly.
Even more: track called Disco Fever, from their very first studio album, which was before music existed online?
I have been waiting for this EP since I saw them at the Blip Festival open mic. They didn’t have time to set up all of their equipment that night and ended up shouting the lyrics to their song but it didn’t matter, we were all into it.
Blink-182 era punk guitar riffs meet the Game Boy’s particular brand of electronic synthesis with some brilliant vocal work. The perfect EP for an afternoon of this frankly strange summer, kick back, crack open that tequila-soaked watermelon and blast this on you roof. The instrumental interludes between the EP’s tracks (the tracks marked with double slashes) are actually kind of a perfect way to transition between the energies of each track.
Moreso, Thomas, Rebecca and Ryan are part of what I see as a new wave of chip musicians that make me excited for the future, even in the wake of Blip Festival’s indefinite pause. I can’t wait to go to the show where Slime Girls, fuzzheads and Space Boyfriend inevitably rock the house to its foundation.
More: their previous project, The Clumsy Astronauts, never got a proper release, but has several tracks up on SoundCloud (of which, Giant’s Causeway has been played an EMBARRASSING number of times by my account).
UPDATE: After a brief hiatus, fuzzheads have re-released this EP with some sections replaced and with MUCH better mastering!
Japanese Cartoon - Heirplanes
Let’s get this out of the way: yes, that’s Lupe Fiasco doing vocals in a faux-Brit accent in a post-punk band. A number of people were upset about Lupe taking the time to record an album that wasn’t Lasers, I personally love seeing artists branch out and try new things.
This comes up mostly after me finding this video again and remembering I missed the release of Japanese Cartoon’s album in 2010 and not being able to find it for download from their website anymore (note: their website is down). I think about music history and the internet a lot. How will we archive the millions upon millions of creations that the internet has allowed and that have never been recorded on something other than a YouTube/Soundcloud/Bandcamp account?
Japanese Cartoon’s In The Jaws of The Lords of Death (the title is a bit of an appropriate mouthful) never had a physical release. One time, for a few months after July 16th, 2010, several thousand people downloaded a file containing the creative efforts of Japanese Cartoon. It has since been given some persistence on Soundcloud, but what happens when that goes away? Are things like ITJOTLOD even considered to be moments in music history? What and how will people 20 years from now remember the music released today or last year?