Gerard vs. Bear quit blogging?


"2007 maybe see more asshole make say "ME GERARD."



Gerard no make reveal. Gerard maybe fade away.



New report spells trouble for music industry, not Apple

This is a great article in USA today of all places.

"People want their music without restrictions, and too many legal downloads, like those from iTunes, come with restrictions. You can't copy them to another player, or you're limited to how often you can do it, or you have to jump through the hoops of burning your iTunes tracks to CD and re-ripping them to a more useful format. And iTunes works most seamlessly with just one brand of music player: Apple. Right now it's not as much of an issue, with iPods having a dominant market share. But as cellphones with built-in MP3 players gain popularity, users will find themselves up against an entirely new set of usage restrictions.

Some subscription services will delete the music from your player when you cancel your subscription.

You'd almost be better off buying an LP.

Buy a CD or use a program like eMule to steal music and you have no restrictions. And that's what people want.

They don't want to have to match their music store with their music player any more than they want to have to match their brands of gasoline with their brands of car. They want, in short, to be able to use today's music the same ways they used yesterday's: Any way they want.

In fact, the industry's been down this road before and hit a similar wall. In the first decades of the 20th century, the wax cylinders (and, later, 78rpm disks) on which music was recorded worked only with specific players. Industry attempts to monopolize the technology led only to poor sales."

read more....


MUSIC OF 2006: When the kids lost the music

I can't believe how inept and narrow-minded this article is in the "Japan Times."

"Young people aren't interested in music anymore, and it's having an effect on concert-ticket sales. The Rock In Japan Festival [which took place this year in August in Ibaraki Prefecture and attracted 47,000 fans per day over three days] might have sold out, but tickets for individual shows are on the decline. In short, I'm not optimistic about the future of music."

It's almost comical.
Of all the things happening in the world...
Doesn't this make you feel slightly queasy?

Photobucket - Video and Image Hosting

Ok I admit I emailed one of those articles. But still.
Jargon is free now

myspamous - [adj.] posessing fame gathered (legitimately or questionably) on Myspace. This type of fame is often:
  • illusory
  • unfortunate
  • unintentional
  • intensely sought-after
  • purchased
  • not translatable to monetary gain or real fame
  • just fake
  • a corporate advertising scheme
  • momentary
  • read about in articles that have this sentence "due to the popularity of social networking sites like myspace blah blah blah"
The only documented use of the word "Myspamous" is by Betty on the myspace page of "Golden Ax" in the "comments" section

Photobucket - Video and Image Hosting

update: new documented instance of Myspamous on the private myspace blog 200 Bars/ 06' Ether

"I need a beat to rock to. Since these cats wanna make me Myspamous, I guess I gotta show my thanks. Loan me your eyes for a few minutes walk with me and peep game..."


1. Dear Nora // There Is No Home
2. Adrian Orange // Bitches is Lord
3. Justin Timberlake // FutureSex/LoveSounds
4. Bobby Birdman // Giraffes & Jackals
5. Lucky Dragons // Widows
6. Planningtorock // Have It All
7. Valet // Blood Is Clean
8. RATATAT // Classics
9. White Rainbow // BOX
10. Dirty Projectors // New Attitude EP


1. Yoshida Tatsuya & Keji Haino // New Rap
2. Scott Walker // The Drift
3. John Zorn // Moonchild
4. Dead Moon // Echoes of The Past
5. Merzbow // Sennmaida
6. Electric Masada // At The Mountains of Madness
7. John Zorn // Mysterium
8. Paul Flaherty & Chris Corsano // The Beloved Music
9. Rhys Chatham // Die Donnergotter
10. Cat Power // The Greatest


1. Xiu Xiu // The Air Force
2. Rozasia // Rozasia EP
3. Ratface Dream Angel // Mix CD-Rs
4. Sparks // Hello Young Lovers
5. Grizzly Bear // Yellow House
6. Sandro Perri // Sings Polmo Polpo
7. Scott Walker // The Drift
8. Simon Bookish // Trainwreck/Raincheck
9. Planningtorock // Have It All
10. Wyrd Visions // Half Eaten Guitar


Final Fantasy // He Poos Clouds
The Parenthetical Girls // Safe As Houses
Lupe Fiasco // Lupe Fiasco's Food and Liquor
Scott Walker // The Drift
Ghostface Killah // Fishscale
The Mountain Goats // Get Lonely
The Donkeys // The Donkeys
Xiu Xiu // The Air Force
Clipse // Hell Hath No Fury
Boduf Songs // Lion Devours The Sun
(no perticular order)


1. Soccer Team // Soccer Team
3. Bossanova // Hey, Sugar
4. Love and Radio // podcast
5. The Books // Music for a French Elevator
6. The Durutti Column // Heaven Sent
7. The Sway Machinery
8. The Ballet // Mattachine!
9. Tussle // Telescope Mind
10. +/- {Plus/Minus} at CMJ


Sonic Youth // Rather Ripped
Liars // Drum's Not Dead
Mission of Burma // The Obliterati
Aids Wolf // The Lovvers
Heavens // Patent Pending
Film School // Film School
Erase Errata // Nightlife
Tokyo Police Club // A Lesson In Crime
Grizzly Bear // Yellow House
Fucked Up // Hidden World
(no perticular order)


Final Fantasy // He Poos Clouds
Scott Walker // The Drift
Sedan // Sedan
Carla Bozulich // Evangelista
Clipse // Hell Hath No Fury
Diane Cluck // Monarcana
Grizzly Bear // Yellow House
Clark // Body Riddle
Beyoncé // B'Day
Brianna Lea Pruett // Winter Apple
(no perticular order)


Nathan Burazer (TUSSLE)
1. Ghostface Killah // Fishscale
2. Justice // Waters of Nazareth
3. Hot Chip // The Warning
4. Clipse // Hell Hath No Fury
5. Motor // Klunk
6. Grizzly Bear // Yellow House
7. Girl Talk // Night Ripper
8. J Dilla // Donuts
9. Erase Errata // Nightlife
10. Indian Jewerly // Invasive Exotics


1. Erase Errata // Nightlife
2. Beyoncé // B'Day
3. Dat Politics // Wow Twist
4. Scott Walker // The Drift
5. Liars // Drum's Not Dead
6. Sparks // Hello Young Lovers
7. Danielson // Ships
8. The Curtains // Calamity
9. Destroyer // Rubies
10. Grizzly Bear // Yellow House


1. Liars // Drum's Not Dead
2. Oasis Collaborating (Omar-S. | Shadow Ray) // Album 2
3. Rafael Toral // Space


Grizzly Bear // Yellow House
Metallic Falcons // Desert Doughnuts
Klaxons // the two 12' on Kitsune
Lo-Fi-Fnk // Boylife i
Thom Yorke // The Eraser
Sonic Youth // Rather Ripped
Bonnie Prince Billy // The Letting Go
The Isles // Perfumed Lands
Beach House
Xiu Xiu // The Air Force
(no perticular order)


1. Kante // Die Tiere sind unruhig
2. Hot Chip // The Warning
3. Trail of dead // So devided
4. Yeah Yeah Yeahs // Show your bones
5. Babyshambles // The blinding EP
6. Depeche Mode // Playing the angel
7. Architecture in Helsiniki // In case we die
8. Deichkind // Aufstand im Schlaraffenland
9. The Flaming Lips // At war at the mystics


Great review of our Saturday show just went up here at Pop Tarts Suck Toasted

(i'm not balding i think my hair is just too greasy)
What in The Hell is going on here?
Tune Glue is like a new video game for indie mp3 dorks.

figure A

comment: veeeery eenteresting.

Figure B

comment: huh?
comment 2: does this mean we're going steady?


Why Bloggers Don’t Run Record Companies
[via axehole]
I appreciate the contratrian nature of this article but I have to whole heartedly disagree. Not because I think eMusic is going to "help musicians quit their day jobs" but for these reasons:
  • iTunes copy protected tracks have also been flatlining of late in case you didn't notice I think it's at about 25 songs per ipod sold.
  • comparing eMusic sales toe to toe with iTunes sales doesn't give you a correct measure of the fate of non-copy protected tracks (non-DRM) because Apple is a mega corporation whose hardware has sky rocketed their iTunes store. I don't think that it will stamp out more independent and customer/independent-musician friendly downloading services.
  • The whole idea for subscription services are that a lot of people aren't using their subscriptions to the fullest so all the math in this article is kind of silly. It's like cell-phone minutes. Just because they provide a certain amount of subsciption minutes doesn't mean all of those minutes are used by the customer.
  • iTunes isn't helping musicians quit there day jobs either. The formula remains that record labels (small and large), promotion teams, hard work and just damn good music are bringing musicians into financial solvency and emusic and iTunes are just other tools in the belt of a struggling musician. Sure there are a few iTunes success stories but not enough to change the game.
  • there is nearly zero distribution and manufacture cost for artists and record labels on these sites and that means that overhead is way less and product is infinitely available. Which means, especially for artist pressing their own CDs any online sale is icing on the cake because it doesn't take any of their units (which are often limited)
  • And finally I think it's great that big record companies can't make ends meet on a diet of downloaded music, because record companies have been fucking musicians for almost a hundred years. And now it makes a lot more sense for an artists to stay independent. DRM or no-DRM music the record companies are losing their iron -grip on the machinery of musical success.
So why don't bloggers run record companies? Who cares...the fact is music costs way less now and independent musicians are working their asses off trying to turn that into a good thing. I think it is a great thing, and I think DRM and non-DRM have a future. But as a musician and a blogger only non-DRM has a future on my ipod.


Government asked to investigate Christmas music torture (UK)
Finally!!!!! Maybe the people who put bad christmas CDs on repeat in stores and restaurants should be held indefinitely without charges or trials.


Is This Really Helping Us?
Mp3 blogs and the sublime chaos of online music

(this is a
an article I just wrote for Creating Culture - APAP 2007 Technology Blog)

2006 has been a big year for music. Everything is changing so fast that it’s hard to know what’s a fad and what’s a fundamental shift in the way musicians and fans do business. Myspace seems ubiquitous. YouTube has made celebrities out of nobodies. Mp3 blogs are everywhere, and now they are all being archived and aggregated. Microsoft has entered the mp3 player fray, and what the hell is a mog? The New York rock scene is burgeoning, and the RIAA is kicking and screaming and scrambling for any penny it can find.

The question that I hope to answer is how, out of all of this confusion and over-saturation, do musicians stand to benefit? Call me an anarchist, but as a composer I can’t help feeling intensely optimistic about the chaos surrounding music this year. And here’s why...

keep reading...
The Genius of Andrew Hoepfner

Andrew Hoepfner (mastermind behind anti-folk love band Creaky Boards) is a new friend and hero of mine. Do treat youself to his great Essay: Medium Pain

his myspace

his "orgy" photo shoot

and our show together saturday:

I Feel Hamp

My friend Luke Winslow King found this on the street and gave it to me.
please go listen to his music.


Isn't it great that music is free now?

[paid] Music downloads in downward trend

If the troubled music industry has been looking to Steve Jobs as its saviour, it might be time to look somewhere else. [via the globe and mail]


Karen O upclose (very close)

2 lo-fi Karen O tracks were leaked today. It's so nice to hear her with out all the production.

I'm too lazy right now to upload them
but they are over at Dreams of Horses
Mp3 Blogs Sell Out!

This is a wonderful essay from The Torture garden.

It's really true that bloggers are going to have to start thinking about ethics. And it's really true that there is a big incentive structure within hype machine to blog about whatever is being buzzed instead of what you actually want to write about.
Can the RIAA get any more evil????

"Aggressively litigious group has claimed to protect musicians in the past. Now believes musicians deserve less for 'innovative' music distribution."

It's true, musicians do deserve less. Those greedy musicians with all their greedy websites and greedy online distribution. They are so greedy. They think they should just get money when people by their dumb music. No christmas spirit.

For more on how evil the RIAA is check out the Future of Music Coalition's online Manifesto.

Cry Me a River - Record labels still sniffing around for the profits of yore.
Published: December 11, 2006 in the New York Times
"Major labels have begun demanding a cut of concert earnings or T-shirt, ring tone and merchandise revenue from new artists seeking record contracts."

This article gives a nice look into the dissolving of the old record industry and the death of the blockbuster.

“Consumer fickleness has become evident on the Billboard charts, where the old blockbuster album appears to be a dying breed. More titles have come and gone from the No. 1 place on the magazine’s national album sales chart this year than in any other year since the industry began computerized tracking of sales in 1991. Analysts say that reflects the lackluster staying power even among songs in demand.”

I don't read it as lackluster staying power but as a turbo-charged consumers, listening to so much more music from so many different sources: smarter consumers. Record labels are so upset that it's so hard to get millions of people to all want the same thing now that they have more access, but that seems like good news to me. It's a slow decline of conformity in a way. I'm going to try and flesh this out later in my article for the APAP blog
A few music is free now moments:

Tower records selling their music for pennies on the song (idolator)

Profit starved music industry going after "guitar nerd" tablature websites (idolator)

Just go to freeindie.com and be in awe of all the free music

and then go hug mp3 hugger

Major labels start to offer Mp3s (brooklyn vegan)


Saturday December 16th, Lisps at 11pm please come:
What is it about Stickers?

So there's this band called Stickerbook. Which I haven't seen live, but their websites and musics are excruciatingly charming. My friend Chad speaks highly of them. They do "experimental" covers of very popular songs from the 80s and 90s i guess. Their experimental sounds a little more like lo-fi irony, but I'll take it. The band reminds me of my favorite Chris Cutler quote:

"For now I'm really interested in the way pop really starts to eat itself. Here together are cannibalism, laziness and the feeling that everthing has already beed originated, so that it is enough now endlessly to reinterperet and rearrange it all. The old idea of originality in production gives way to another (if to one at all) of originality in consumption."
from Plunderphonia

If you chose a random city and stroll through the rock bands in that city on myspace. It's terrifying how similar the bands do start to sound. Yet a band like stickerbook which is audaciously "unoriginal" seems delightfully original compared to their myspace neighbors.

stickerbook on myspace
[mp3] Stickerbook - Don't Stop Believin'


YouTube vs. BoobTube in Wired Magazine

This is a great article in Wired about the way that media is changing. I freaking love it. I love how the corporations feel so out of control of the future of entertainment.

read the article....


I Started a MOG

here's wikipedia on Mog

here's my MOG

Frank Rich: Has He Started Talking to the Walls?

"It turns out we’ve been reading the wrong Bob Woodward book to understand what’s going on with President Bush. The text we should be consulting instead is “The Final Days,” the Woodward-Bernstein account of Richard Nixon talking to the portraits on the White House walls while Watergate demolished his presidency. As Mr. Bush has ricocheted from Vietnam to Latvia to Jordan in recent weeks, we’ve witnessed the troubling behavior of a president who isn’t merely in a state of denial but is completely untethered from reality. It’s not that he can’t handle the truth about Iraq. He doesn’t know what the truth is."

keep reading...
Rozius Unbound: Frank Rich: Has He Started Talking to the Walls?


Back Home

Lisps tour was amazing. We got back last night. DC, Chapel Hill, Atlanta, (conyers), Greenville, Greensboro, Philadelphia. so Much love. Pictures videos coming later.

Tomorrow I think I'm going to this:

Panel Discussion
"Open Source: On the Line"
Monday, December 4, 2006 - 6:30 p.m.
The New School, Theresa Lang Community and Student Center
55 West 13th Street, 2nd floor
New York City
Admission: $8, free for all students, as well as members of Rhizome.org
and New School faculty, staff and alumni with valid ID

Cory Arcangel, artist
Joy Garnett, artist
Patrick May, Director of Technology, Rhizome.org
Daniel Mayer, Co-founder, Wikipedia
Laura Quilter, Founder, Fair Use Network

Christiane Paul, Adjunct Curator of New Media Arts, The Whitney Museum
of American Art

A panel on the aesthetic and political possibilities afforded by open
source systems, and related debates around copyright and intellectual

The panelists will examine sites like Wikipedia and Digg.com as well as
p2p networks and social networking sites, and the practices and
challenges inherent to each. They will also explore artworks, arts
institutions, and businesses that have sought to adopt open source
models, and touch on current challenges to the continuation of this
ethos such as "net neutrality" legislation.

and then this:

This is the show of my friend Nick Ross, and I did some sound for it.
at Upright Citizen's Brigade 7pm

and then this
Monday, December 4 - Waiting For Barbara Galapagos Art Space (70 North 6th St, BKLN) The workshop premiere of Dan's new play. Starring: Dan Fishback, Max Steele & Julie Lake Directed by Michael Schulman (FREE, show starts at 8pm)

and then go see Warhammer 48k at Club Midway.

We shared a show with them in Greenville but had to leave before they played.
We checked out their album and agreed that it was pretty amazing. Apocalyptic yes, but with a huge dynamic and textural range. Very bizzare. Very compelling. They've been on the road for about 6 weeks and deserve the love.
also on the bill is Titus Andronicus.

Warhammer is playing a Todd P show on tuesday 12/5 at Uncle Paulies w/
:: Animandible
:::: Team Robespierre
:::::::: Runny

check out warhammer's myspace page


Rest in Peace Crispin. We are going to miss you so much.

Crispin's "Violin for Nam June Paik"

It is so sad to lose such a young, wonderful, caring, prolific and radiant artist.
Tribute To Crispin Webb (blog)
Crispin's "Do Something" project was so great.
Crispin Webb


Thanks to everyone who came out to the Stone tonight. Brendan Connelly's percussion piece was brilliant. Jeremiah Cymerman was ever present and Ashley Fure's ipod was well equipped for the task of public mashing.

Ashley has no website but here's the piece she wrote for eight blackbird:

[mp3] Ashley Fure - Inescapable (in broken form) (2004) for ensemble, written for and performed by eighth blackbird

speaking of eight blackbird...here's a recent post from their blog:
"Making an Album in an iPod World"

They bring up all the right points, but they sound a little defeatist. Chin up kids, the proverbial "album" needs you guys to redefine it. And I'd start by not agonizing over pause lengths between tracks, because those really are pretty arbitrary these days. But maybe this will lift your spirits.


Not your Grandaddy's Rock Band.

Volcano the Bear (w/ No Neck Blues Band.
The Psychic Elves)
Friday November 17th, 2006 at Hint House (No Neck's Loft space in Harlem)

This was a brilliant show and here are some reasons.

2. I hear you asking: "Why is Volcano the Bear so much better than nearly every other band in the world?"
3. maybe because they are brutally original, and uncompromisingly bizarre.
4. The show began with Aaron and Dan throwing cymbals on the ground and the growling and whining of Laurence's tape decks. The whole show in my head is this chopped up collage of wild gestures and gags. some highlights:
5. aaron walking around furiously with a microphone in his mouth, laws' hitting aaron's adam's apple like an amplified throat whammy bar,
6. Aaron walking into the audience with his weird clarinet mouthpiece chanter tube thing.
7. Dan's kazooing and playing piano like hand drums
7.1 Dan/Aaron clarinet duet
8. Laurence's tape hacking and fader/tapespeed play that created a completely surreal sense of postdigital decay. Like the floor the music stood on was rapidly deteriorating.
9. Aaron's stadiumrock/tribal/"animal from the muppet babies" drumming
10. now in retrospect it all reminded me of a play i saw in Finland once. I couldn't understand a single word but the men were always thrashing about in fits of anger and emotion, grabbing each other and fighting. In a completely exaggerated way...like pro wrestling. It turned into a dance, that was deeply masculine but terribly entertaining.
11. Volcano the Bear is like watching your three best friends, The demure/sensitive one, the alpha/performative one and the zany/eccentric one, all battle it out for your wonderment. They pose and posture, dance and wrestle, yell, touch gently, sing, honk, and bang. And then they all telepathically revert into these pre-literate post-rock super-british "manthems," which steal your heart away on a gentle caveman kabuki rollercoaster.
12. VtB isn't highbrow, it's pure entertainment but these are things you have to leave at home: conventional song structure, expectations for normal instruments, hopes for a sound world that is consistently soothing/familiar and...well...most of what you expect when you think about "entertainment." But once you leave all those things behind and sit on the floor while Aaron stomps through the audience squawking a clarinet mouthpiece into a big piece of bamboo, I'm sure you'll agree that was worth it.

They're on tour in the States..don't miss:
Nov 20 2006 9:00P
AS220, Providence Providence, Rhode Island
Nov 21 2006 9:00P
611 Florida Ave NW w/ Charalambides Washington DC,
Nov 22 2006 9:00P
Nightlight, Chapel Hill, NC Chapel Hill, North Carolina

VtB myspace
VtB Website


You know what's wrong with you northerners?

You don't read enough southern blogs:
Manns World
Southern Shelter
Le Monde Moderne
Half-life and Times
Jukebox bully

kiss atlana
3 red square

Confessions of a Music Addict

ya heard?
Universal Music Group Sues MySpace

"Universal Music Group is taking on the Internet's most popular social networking site and its global media parent. UMG labels and publishers sued MySpace and parent company News Corporation today (Nov. 17) for copyright infringement. "

"Businesses that seek to trade off on our content, and the hard work of our artists and songwriters, shouldn’t be free to do so without permission and without fairly compensating the content creators," a UMPG spokesperson said in a statement. "Our music and videos play a key role in building the communities that have created hundreds of millions of dollars of value for the owners of MySpace. Our goal is not to inhibit the creation of these communities, but to ensure that our rights and those of our artists are recognized."

hmm...another beast at bay. I'm just wondering/hoping that myspace might be replaced one day by a non-commercial (or less commercial), entity. That might change everything if the "portal" wasn't really making millions off ads. (eventhough I've read myspace has so much adspace it can't give it away) The great myspace migration would be an epic day. Craigspace!!!
(right now this is what i find for craigspace is some australian guy's blog)
from Visual and Acoustic Space by Marshall Mcluhan

I'm sorry. I'm obsessed.

"Acoustic space structure is the natural space of nature-in-the-raw inhabited by non-literate people. It is like the "mind's ear" or acoustic imagination that dominates the thinking of pre-literate and post literate humans alike (rock video has as much acoustic power as a Watusi mating dance) It is both discontinuous and nonhomogeneous. Its resonant and interpenetrating processes are simultaneously related with centers everywhere and boundaries nowhere. Like music...acoustic space requires neither proof nor explanation but is made manifest through its cultural content. Acoustic and visual space structures may be seen as incommensurable, like history and eternity yet at the same time as complementary, like art and science or biculturalism."

Marshall McLuhan on recorded sound via Excerpter

From “Understanding Media” (Routledge Classics, 2001), first published 1964

300: “Just how obliquely the phonograph was at first received is indicated in the observation of John Philip Sousa, the brass-band director and composer. He commented: ‘With the phonograph vocal exercises will be out of vogue! Then what of the national throat? Will it not weaken? What of the national chest? Will it not shrink?’
One fact Sousa had grasped: The phonograph is an extension and amplification of the voice that may well have diminished individual vocal activity, much as the car had reduced pedestrian activity.”

309: “A bried summary of the technological events relating to the phonograph might go this way: /…/
The telephone: speech without walls.
The phonograph: music hall without walls.
The photograph: museum without walls.
The electric light: space without walls.
The movie, radio, and TV: classroom without walls.
Man the food-gatherer reappers incongruously as information-gatherer. In this role, electronic man is no less a nomad than his paleolithic ancestors."


[Mp3] César Alvarez - Live iPod Mashup #3 8'05"

Ingredient list
Fit Black Man - The Skeletons and the Kings of All Cities
Messiah No. 42/43 Recitative - G.F. Handel
Hurdy Gurdy Man - Donovan
In Particular - Blonde Redhead
C-Jam Blues - Duke Ellington
Portuguese Language Tape
are these my new favorite bands?

The Happy Hollows

their myspace
their You Tube

their friends:
Lo Fi Sugar
sharp and suspicious lisps review from soft communication. i love it.

I swear I heard a nightingale
"Dear friends,
1. No lie, I requested a copy of The Vain, The Modest, and The Dead by The Lisps because there is someone in the band named César Alvarez and this indie rock Latina likes to seek other indie rock Latins*. Of course there's always the slight possibility that the name's a weird hipster affectation (Hispanic is the new black!) and his real moniker is Joe Smithsonberry. I hope not. Dedos crusados."

read more....

I think I should start a serious art rock band called
"The Affectations of Joe Smithsonberry"


The Lisps on the Associated Press. Whoa.

Collaborating on stage and at home
Is it possible to be in a rock band, live together and come out unscathed? SAMANTHA TUNIS gives it a whirl.
The Lisps. (AP Photo/HO/Courtesy of Samantha Tunis/Chad R. Nicholson)

It might be everyone's secret fantasy to be in a rock 'n' roll band, but try starting one with your live-in boyfriend, and things really start to get complicated.

Mick Fleetwood of Fleetwood Mac, a band that included and subsequently led to the demise of two couples, once said that being in his band was like being in group therapy. The same could be said about The Mamas and The Papas, a band that despite its success broke up three years, several in-band affairs, countless reconciliations and one divorce later. The White Stripes continue to make beautiful music together, but their marriage fell apart.

All of which raises the question: is musical collaboration between a couple a relationship death-sentence?

Here's hoping not. For the last year, I have been in a band with my boyfriend. Our songs generally grow from the jungle of our one-room apartment in the South Bronx, which we share with a senile Dalmatian and a bipolar, tri-colored cat we call "Rumsfeld."

keep reading...


This nytimes article on Web 3.0 is really amazing.

"Their goal is to add a layer of meaning on top of the existing Web that would make it less of a catalog and more of a guide — and even provide the foundation for systems that can reason in a human fashion. That level of artificial intelligence, with machines doing the thinking instead of simply following commands, has eluded researchers for more than half a century."

It reminds me of Erik Davis' essay about the esoteric roots of the phonograph, he desribes McLuhan's idea of electronics as the "outering" of our nervous system.

" 'the telegraph sparked the electric re-tribalization of the West', a long slide into an immersive electronic sea of mythic partisipation and collective resonance. But McLuhan also saw this 'outering' as the technological roots of the age of anxiety. 'To put one's nerves outside,' he wrote, is to initiate a situation - if not a concept -of dread.' "

Is the birth of the Semantic Web the "outering" of our global consciousness/intelligence to go along with our "outered" nervous system which has weathered harsh reality for over 100 years? Maybe now our external nervous system will have better filters, or skin if you will.
To be honest, after getting a new computer which was about 5 times faster than my old computer I've experienced a tangible alteration i the way i think, absorb knowledge, and complete tasks. Weird. It's true though.

listening to: Perro Del Mar on Hype Machine.

this is hiarious via junkonline
why zune is dumb:

from nytimes: "Songs take about 15 seconds to transfer, but transferred songs can be played only three times in three days before they disappear,"

music is free now. Why would you spend money on something that deletes your music?

"Would the Zune ever be able to connect to the Internet? Could someone walk into a Starbucks and use the connection there to download a song? Mr. Lee answered without hesitation: 'Probably, one day.'"

oh brother

Another example of a technology refusing to accept true viral-ness, because they want too much control and they think that their restrictions will get them money. here are other good examples of that kind of behavior:

new york "Times Select"

and I'm sorry but people need to stop writing this sentence: "blah blah blah due to the popularity of social networking sites like MySpace blah blah blah"


The Lisps

photo by Chad Nicholson
I've gotta admit Girl Talk's album Night Ripper is the brilliant and delicious party pop version of what I've been trying to come up with on my ipods. I'm bummed I missed his CMJ show.

here's a great review
and check it out at hype machine


from Swen's blog:
Big labels are f*cked, and DRM is dead - Peter Jenner

theregister.co.uk: ""Few people know the music industry better than Peter Jenner. Pink Floyd's first manager, who subsequently managed Syd Barrett's solo career, Jenner has also looked after T.Rex, The Clash, Ian Dury, Disposable Heroes and Billy Bragg - who he manages today. He's also secretary general of the International Music Managers Forum.
The major four music labels today are "fucked", he says. Digital music pricing has been a scam where the consumer pays for manufacturing, distribution, and does all the work - and still has to pay more. Labels should outsource everything except finance and licensing." More
Miya Masaoka, George Lewis, Marina Rosenfeld, Ikue Mori at The Stone. 11/7/06
this was a brilliant set. I don't have a camera right now so these scribbles will function as my visual aid.

Things that I heard and thought about during this concert:
1. Water
2. Sediment
3. sand+water=beach
4. gaps
5. bells
6. max/msp pitch roller coaster sound=I think i don't like any more.
7. So much of taste in terms of non-representational or identifiable electronic sound
has to do with the sound's
a) mystery
b) humor
c) relationship the sounds YOU use
e)what you can figure out about the sound
f) etc.
8. Marina's turntable seemed so locomotive. While everyone's else's sounds were in a kind of atmospheric or dream realm she was doing the work of the turbine or the wheel. I've never thought of a turntable as a vehicle but it truly seemed that way during the set.
9. George lewis played:computer/trombone Marina Rosenfeld: turntable Ikue Mori: Computer/footpedal, and Miya Masaoka: Koto/computer.
10. No one seemed like they were trying to prove anything which was nice
11. there was a lot of granular going on. see #7
12. The second and 3rd pieces were much more playful.
13. something so important in jazz and some realms of improvised music is the voice of the performer. Where as here because everyone is going through the same mixer the premium seems to be on merging your voice completely with others. Marina's voice was identifiable almost always because of the crackle of her dub plates and her visible manipulation of the records, as was Miya's when she played koto. If you wanted to know what Ikue Mori was doing you had to watch her foot, which only gave you a tiny clue. And George's sound was largely a mystery except the handful of times he picked up the trombone, and when he put on a sample of a lady singing and everyone looked at him.
14. brilliant.
15. maybe all the sediment was underlined by the record crackle. I got the feeling much of the granulized water was coming from Ikue Mori and every one was using string sounds to cushion the koto.
16. how do you write about music like this?

Miya Masaoka is Curating the Stone in November


back then it was all about the family
[Mp3] César Alvarez - Live iPod Mashup #1 31'01"
mixed live on 9/27/06

Live iPod mashups. It’s really simple: I have 2 iPods running simultaneously on shuffle drawing from the entire library. And through layering, volume, shuttling, manual looping, skipping, etc I create real time mash-ups and/or plunderphonics. Sometimes songs are recognizable and sometimes they become cacophonous, ambient, mangled, or perfect composites. After the performance I go back on the iPod and note which songs were prominently featured. In this way the “playlist” turns more into a retroactive list of ingredients.

What’s so brilliant about mp3 players is that the playhead can jump from genre to genre in a split second, making rapid choices that I never could have imagined. Music is free now. Not only does it not cost anything but it’s free from all of the boundaries that localize recordings within their own genres. I feel like the main thing keeping musical genres in tact are people’s nostalgia for the way we used to experience music. Music is free now. It’s everywhere. It’s liquid.

"Ingredient List" for podcast #1
(This list is not in exact order and only contains prominently featured tracks)
Sueltame Dark Latin Groove
A Baby for Pree - Jeff Mangum
Misery is a Butterfly - Blonde Redhead
Don't Go Down - Elliott Smith
Teeth in the Grass - Iron and Wine
Le Le Low - Hot Hot heat
Graveyard - Jeffery Lewis
California Stars - Wilco & Billy Bragg
Iowa - Dar Williams
Body Below - Mirah
Damn Damn Leash - Be Your Own Pet
You know so well - Sondre Lerche
Cracklin Water - Giant Sand
Fame - David Bowie
River Boat Fantasy - David Wilcox
The Build Up - Kings of convenience
The Legionnaire's Lament - The Decemberists
Father Blues - Olu Dara
The Anchor Song - Bjork
The Widow - The Mars Volta
Jersey - Dibs
Cosmiz Debris - Frank Zappa
Paper Tiger - Beck
From the Faucet fell an Apostatic Drop - Audio Ovni
Que Sera - Unknown
Big Pimpin'- Jay-Z
Damn Damn Leash - Be Your own Pet
Poor Edward - Tom Waits
Pica Luna - Arab Strap
Flamingo - Duke Ellington
Are you Ready for the Country -Neil Young
I forgot - The Moldy Peaches
Mean Mr. Mustard - The Beatles
The Needle and the Damage Done - Neil Young
La Bamba - Richie Valens
Smoked - The Crystal Method
Virgin With a Memory - Destroyer
Street Life - Roxy Music
My Baby Just Cares for Me - Nina Simone


Music is Free Now. And here's why.

The New York Times just posted
1) Another article about the "1000 bands at CMJ"
2) Another anemic 2-line treatment of blog culture and the changes brought on by digital music.
3) A (somewhat refreshing) cynical take on the glut of indie rock buzz bands, without a lot of insight on what is really going on.

This article gives me a perfect chance to try and explain why I started this blog.

read the whole article here:
In a World of Cacophony, Experience for Sharing
Published: November 2, 2006

here's an excerpt:
"And if you’d like to sample their music, all you need is an Internet connection and 20 minutes. Aggregator sites like elbo.ws (which publishes a useful blog popularity chart) make it easy to figure out exactly how many blog links a band has; Myspace makes it easy (and free) to hear four songs from just about any band at CMJ. At this festival indie-rock looks less like a wide-open space and more like a well-organized market.

It wasn’t supposed to turn out like this. Only a few years ago, the Internet threatened to blur boundaries of genre and culture making it easy for listeners to fill their iPods with whatever caught their fancy.

But listeners of all sorts like having what Mr. Christgau called a shared experience. That’s why the old monoculture flourished in the first place. And today’s indie-rock fans have something that’s smaller yet similar: a mini-monoculture. That is, a robust infrastructure of Web sites and blogs, along with a (necessarily vague) consensus about what indie-rock sounds like."

Sanneh is assuming that all of the samey bands playing at CMJ are a mildly accurate reflection of what the people attending CMJ have on their iPods. He's also asserting the idea that indie rockers really just long to be part of a monoculture, which is why so much of the music sounds the same. While many of the bands at this festival and on myspace are painfully derivative and formulaic, I really think that's how it's always been and now we're just hearing these bands because the Internet has given interested parties free access to millions of them. The fact that there are so many buzz bands represents a change in the buzz not in the bands. I'd like to forward the idea that the "culture" people want to be a part of is the culture engendered by blogs of insider knowledge and insight into unknown bands, but also a genuine interest in original music. (There is also a creepy spectator sport aspect of "wanting to be there before they got famous" that hangs thick in the air on CMJ week.)

What I’m excited about is that now that so much more music is available I think people inevitably will get bored of themselves. I think that the more you listen the more originality you can tolerate. And the more you listen the more the derivative becomes apparent.

Music is free now. Because it's everywhere and buying it is a customary but voluntary activity. Music is free now because it's all on the same hard disk and each day leaving farther behind the stratifications that have dictated the business of music for centuries. Music isn't free for everyone and it's not that people aren't making tons of money on music and spending tons of money on music, it's that the old machinery is silly. And the new machinery is still spanking new, amazingly functional, and pretty happily anarchic. Additionally, what is right now insider knowledge is rapidly becoming common knowledge.

When Gutenberg printed his first Bible, he took what was the sole province of the select few, reading and interpreting religion, and gave it to many more. And at first very few people had access to printed material but at the technology spread it became, arguably, the single most transformative moment of it's millennium. The digital age will do that to mass media. It has given the power of mass dissemination of images, sounds and words to the world. The YouTube craze I think has completed (now with myspace, flickr, google, blogs, Mp3 blogs/aggregators etc.) the beginning stages of what will be and is a total reinvention of entertainment and information exchange.

It doesn't matter that so many of the videos on YouTube are boring videos of people's pets and rambling confessionals. At this stage it doesn't matter what it is, it matters what it will be. And the fact that CMJ is blowing up while tower records is closing down, means something. Coming back to the original point: It doesn't really matter that so many of the bands sound the same at CMJ, what matters is that CMJ is a gangly (if over-hyped, and hyper-commercialized) physical manifestation of the awkward beginning of a revolution in the way people experience music. (Pimples, conformity, boring indie rock yelps and all.) The monoculture is Internet culture not a specific brand of indie rock; they just happen to be early adopters. And indie rock in my definition doesn't refer to a sound it refers to kinds of venues. Most bands that call themselves "indie rock" would sell their souls to a major in a second. But I don't begrudge them because, while our musical goals don't coincide, they're still hand making their demos and hustling on myspace like everyone else.


[Mp3] César Alvarez - Another Via 19'33"
Another Via is César's remix of Caroline Bergvall's poem Via

VIA (48 Dante Variations) is a compiled list of translations into English of Dante's opening lines. As archived in the British Library up until May 2000. 700 years after the date set for the start of the journey into Hell. The Journey was timed to start and end in 1300. And Dante's 35th year or so-called point of mid-life. Recorded and composed with Ciáran Maher (Summer 2000). The full text has been featured in CHAIN's "Transluccinacion" issue (Autumn 2003).
Caroline Bergvall's Via on Ubu