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PostPosted: 29 May 2013, 08:22 
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you can add videos by including [video]youtube link[/video] - for example: [video]http://www.youtube.com/watch?v=zAoPhVn4y1Q[/video] (vimeo and others also supported)

you can elevate discussion by including heartfelt responses or provocative critiques of the music at hand that hopefully extend beyond "kickin' tune" or "sweet jam".

not that there's anything the matter with either of those observations.

enjoy listenin! ;)

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PostPosted: 29 May 2013, 08:24 
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i saw ya baby walkin' in your
x-ray gingham dress
i knew you under your dress
i knew you were under duress
just keep comin' jesus
you're the best-dressed
you look dandy in the sky
but you don't scare me
cause i got you here in my eye
in this lifetime you got
my human gets me blues

the way you were dancin'
i knew you'd never come back
you were strainin' to keep yer
old black cracked patent shoes
cause in this lifetime you got
my human gets me blues

your jaw hangin' slack
your hairs curlin'
like an old navy fork
stickin' in the sunset
the way you were dancin'
i knew you'd never come back
you were strainin' to keep yer
old black cracked patent shoes
cause in this lifetime you got
my human gets me blues

well the way you looked old lady
i could see the fear in your windows
under your furry crawlin' brow
a silver bow rings up in inches
you were afraid you'd be
the devil's red wife
but it's all right god dug your dance
and would have you young and in his harem
dress you the way he wants
cause he never had a doll
god didn't think to ask his preference

you can bring your favourite dress
and your favourite dog
and your husband's cane
and your old spotted hog
cause in this life time you've got
my human gets me blues


a common grievance lodged against popular music is that while the noise is often revolutionary the lyrics are seldom profound. at first listen no more than surreal or downright meaningless, beefheart's lyrics number among the welcome exceptions to the rule. the song opens with a steinian repetition of dress-dress-duress, setting the theme of the song, which is gaze and perception. you look dandy in the sky but you don't scare me / cause i got you here in my eye are the two lines key to getting the joke; my human gets me blues is about the potency of perception, nothing more. "the way you looked old lady." is it the way the old lady looks (appears) that makes her look fearful, or is it the way the old lady looks (perceives)? jesus can keep comin', maybe even a second time, but is he the best-dressed or the most-duressed?—since, as the cliche goes, god's created in man's image. it's tempting to read a feminist or an atheist critique into the song: "baby's" under duress cause she's in a dress, god's gotcha in HIS harem, everyone made Him a boy, mocking and irreverent addresses to god and jesus, etc. however, a broader understanding is preferable: it's humans that get themselves blue through their reading of the world, and it's what you got in your eye that gives you power over it. the music's about freedom, man...

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PostPosted: 29 May 2013, 09:07 
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and so this thread need some good ol denver sound

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PostPosted: 29 May 2013, 10:11 
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that thread title

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I will add a bit when I get a chance, for now, opal tapes - http://opaltapes.bandcamp.com/

Edit - Opal Tapes operate out of England, limited tape runs, electronic music of various flavours. The tape scene in general is pretty interesting, definitely producing some great artwork and packaging if nothing else. There are some really dumb conversations revolving round the lower quality of the cassete, but as Opal tapes label man Stephen Bishop points out, that's part of the charm, and beyond that an integral part of the sound.

re lyrics. I don't know if I'm in the minority here, but I don't pay much mind to lyrics in general. Or rather, if they are important then they come as a second joy, after whatever appeals musically.

Q, a lot of conversation overall, or you've been chatting about them recently? The manner of their releases (materials, limited runs) prefigures some of what I like about tape labels at the moment, though yeah, there are shit tons of other obvious influences at work. Do you know http://tapesofaneongod.com/ ? More noise oriented than ambient/drone/whatever.

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Last edited by Rayuela on 29 May 2013, 19:19, edited 3 times in total.

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PostPosted: 29 May 2013, 10:21 
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oh Captain Beefheart live in Belgium :O will get back later to this what you wrote up MJRH - the relationship between the music and lyrics.


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PostPosted: 29 May 2013, 15:05 
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this thread is to be used for all music discussion with the exception of those times when you'd like to get into something rather specific with a contribution you feel to be significant to warrant its own thread. we're going to set up a mega account, so if you'd like to share certain rips as part of your post, that will also be an option. I'll write up a more detailed set of guidelines to doing things of the sort.

A lot of conversation lately on the subject of zoviet france, so i'll start with that and another band who seems to count them amongst some obvious influences - tam quam tabula rasa.

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the last track is an excerpt from the same-named record that has recently come out on graham lambkin's KYE Records label, something that eventually merits a full thread write-up, which I might get going eventually with some shadow ring, vincent over the sink and call back the giants... but pretty much the entire catalogue of what those fellows are doing is extremely compelling.

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PostPosted: 29 May 2013, 15:38 
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PostPosted: 29 May 2013, 19:23 
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these two today, edited earlier post in reply to Q and MJRH

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vincent over the sink is new to me, gonna dig into KYE.

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PostPosted: 29 May 2013, 20:02 
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please do. aside from the back catalog of material from The Shadow Ring, the project lambkin is most known for, it also features tim goss from the same with Call Back The Giants and marcia bassett (zaimph, double leopards, etc..) who had a really great release with samara lubelski last year (sunday night, sunday afternoon)

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regarding ZovietFrance, they were sort of ahead of their time with the way their work was presented to the end user, perhaps intersecting with the ideas brought up in h's thread on "design in an expanded field", but it wasn't just the presentation of record/tape packaging as art objects, it extended into their work at every stage of its creation. like the way decriminalisation of country music was to serve as an ethnographic record of sorts to the glasgow tramway's transformation..

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this actually taps into something I'm thinking of regarding the film thread and leviathan, so more on that later.

lyrics have always seemed secondary to me, though there had been a few cases where they were also inextricable from experiencing a particular piece of music, i think most notably with things like anything daniel higgs related (lungfish) and a lot of stuff that would be classified as punk. Grazhdanskaya Oborona stands out because the lyricist was probably one of the greatest russian poets in generations.

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PostPosted: 29 May 2013, 20:30 
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^ Marcia Bassett & Samara Lubelski puts me in mind of Bill Morrison Light is Calling. fucking A

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PostPosted: 29 May 2013, 20:36 
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well then, why not continue with some more Michael Gordon & his "Industry" for viola & processing. have you ever listened to the score from decasia by itself? And.. did tom cora play on tumult? I know the lot of them turned into what een would term 'fake jazz' enthusiasts (perhaps they've always been..), but there was definitely nothing least bit fake about cora or anything he had ever done..

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PostPosted: 29 May 2013, 21:36 
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PostPosted: 30 May 2013, 06:48 
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been all over the place tbh but rly gettin back into turntablism

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the rest of my youtube history is filled with j-pop tho #notsorryboutit

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PostPosted: 30 May 2013, 07:18 
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^you mean, like that psy fellow everyone keeps going on about?

re:lyrics, there seems to be a general consensus here, rayuela, merz, (myself also) that lyrics are in some sense secondary to enjoyment of the music. the first impression is inevitably coloured by the sound of a song, including how it's sung, but that doesn't mean that a close reading of the lyrics can't subsequently unfold a deeper appreciation thereof. however, lyrical content is "secondary" only in a chronological sense, in terms of spiritual content a lyric has as much potential impact as anything else in a song...

looking forward to what you have to say on the topic, rilu =)

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PostPosted: 30 May 2013, 09:17 
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it's probably worse than psy, but i enjoy it a lot more than psy.

when i slog thru hip hop i find it's more effective to follow producers, cuz even sick rappers will suffer if the beats aren't up to it and sick producers are always working with great artists so you'll exposed to more new artists (and producers). the first few listens i'm only dimly aware of the lyrical content but really trying to get a feel for the rhythmic flow.

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PostPosted: 30 May 2013, 09:46 
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first, let me say i really liked your reading of Captain Beefheart's lyrics! :)
as for the lyrics, it makes sense what you are saying - that it is a secondary content only in a chronological manner, but often it adds to the full experience of the song. and more importantly, it helps us see in it a coherent whole. as we once discussed on the other forum, with pop culture and its phenomena, this whole includes the entire context in which the music is appearing (which is why, for example, after reading an interview with the band, in which they show they are complete idiots, i loose interest to listen to their music). so if say, certain punk song has cheap lyrics, it's almost as it's lost its soul. but finding non-compromising lyrics, which are capable of a really following the sound, isn't easy at all. i'd mention here Shellac and Men's Recovery Project as examples of those bands that managed to accomplish this.


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PostPosted: 30 May 2013, 16:20 
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merz wrote:
did tom cora play on tumult?


Not according to allmusic or discogs, though it was produced by Jon Langford which I didn't know.

Listening to the Decasia soundtrack now, wasn't sure about it without film at first. Whilst typing this post it just gets better and better.

Got a bit side tracked thanks to artforspastics (the KDVS sometimes show, not the God and the State joint)

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PostPosted: 31 May 2013, 18:38 
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rilu wrote:
first, let me say i really liked your reading of Captain Beefheart's lyrics! :)
as for the lyrics, it makes sense what you are saying - that it is a secondary content only in a chronological manner, but often it adds to the full experience of the song. and more importantly, it helps us see in it a coherent whole. as we once discussed on the other forum, with pop culture and its phenomena, this whole includes the entire context in which the music is appearing (which is why, for example, after reading an interview with the band, in which they show they are complete idiots, i loose interest to listen to their music). so if say, certain punk song has cheap lyrics, it's almost as it's lost its soul. but finding non-compromising lyrics, which are capable of a really following the sound, isn't easy at all. i'd mention here Shellac and Men's Recovery Project as examples of those bands that managed to accomplish this.


thanks, rilu! everything you wrote is really thought-provoking.

a brief exception to the lyrical rule: music strictly embedded in a certain genre, including punk or, say, the blues, often adheres to a common lyrical formula, but just because the lyrics don't shine doesn't guarantee the songs lose any artistic merit, it just means the lyrics are a sort of 'empty vessel' into which the singer can pour his or her voice. an extreme example: louis armstrong singing scat. meaningless in the literal sense, but pure, liquid gold ♥ but otherwise what you say about blah lyrics (especially in punk, hah!) makes sense. another exception, though:

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but now i'd wish to play devil's advocate to the bolded text in the quote above :twisted: in the rare case of an idiot producing good art, if it's up to you whether or not you pay attention to the lyrics, it's up to you whether or not you pay attention to the interviews, no? and what do you mean by this alleged coherent whole? bringing up barthes again, has the author died, or haven't they? never mind whether or not a coherent whole exists: what's great in a work, however small, can be inspirational, and inspiration is all that matters in art. i goddamn love ride of the valkyries, but hell if i'm gonna listen to an entire cycle of that crap...

merz and rayuela, enjoying your discussion and the bands you're posting. a good example of why a little discussion can enhance music sharing, i know nothing about the scenes you're talking about but i'm really liking them, and their background

wish more people would post, here and elsewhere. wouldn't think there were 44 lurkers.

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PostPosted: 31 May 2013, 23:17 
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i know a few of those who were looking forward to this thread are presently out of town and otherwise engaged. i myself have been too swamped with work to contribute much besides the occasional glance over the past couple of days, but that should soon resolve itself (with the promised leviathan post, i hope.. i've really been wanting to write about that since seeing it not long ago...)

i've got posh isolation's grå fraktion playing a lot recently, something that i was pointed towards by the artist formerly known as corsair sanglot, who'll hopefully be joining us here upon his return from parts unknown. i started off dismissively with posh isolation, the most visible representatives of which are IceAge, at the time a bunch of teenagers who seemed into minor threat and bad brains by way of brainbombs. they caught on, apparently out with a follow-up to their extremely-successful first that I got to see them tour for some years back. grå fraktion comp was released before that, and features a roster of bands I wasn't terribly familiar with - always a good point of departure. the strongest bits are, unfortunately, from someone that chose to go entirely uncredited..

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and from there, once again via c.s., it went to something unrelated but similar in spirit..

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anyway, so back to posh isolation - a couple of things i had liked but never associated with the label in my mind for some reason were things like garrote & puce mary.. the latter seems to be doing a US tour presently, so perhaps some chance of seeing this stuff live in the semi-near future..

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the lot of this warrants a bit more exploration, since i've somehow overlooked a bunch of this stuff, additional leads?

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PostPosted: 01 Jun 2013, 00:30 
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MJRH wrote:
the first impression is inevitably coloured by the sound of a song, including how it's sung, but that doesn't mean that a close reading of the lyrics can't subsequently unfold a deeper appreciation thereof. however, lyrical content is "secondary" only in a chronological sense, in terms of spiritual content a lyric has as much potential impact as anything else in a song...


great post btw, sums up my feelings on lyrics 8-)

^ Merz, weird thing is as you mentioned the bands of the label founders are ... quite different to what you posted

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to the point where if you hadn't posted what you posted i wouldn't give the label a second thought. Part of the we'll put out any joint we like mentality of internet based labels perhaps. dunno, will dig around tomorrow. for now aforementioned tapesofaneongod are the closest i can think of in terms of that sentiment http://prngrphy.bandcamp.com/track/mississippi
http://deathenginesound.bandcamp.com/track/dallas
http://japanesewomen.bandcamp.com/album ... aze-pilots

maybe a bit of dead c which i know you already know.

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looking forward to that leviathan post, haven't caught it yet, despite watching the trailer numerous times.

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