Odds & Ends

See above

Petar Dundov, "Oasis" (Gavin Russom remix)
Delia Gonzalez & Gavin Russom, "#5"

The picture, to answer your first question, was basically my reaction to Gavin Russom's abrupt uncloistering last winter; dude had basically spent the last three years keeping a lower online profile than me. I presume few if any of you give a shit; Days of Mars has been out for almost half a decade and despite my undiminished, unyielding advocacy for its era-defining excellence I've been able to get one of my friends to check it out. One. (aside: this person does approve of it mightily.) Still, this is my site, my eight dollhairs a month, get yr laws off my body etc.

ANYWAY. Russom resurfaced last winter by posting four songs to his MySpace: a track from his acid-house side project Black Meteoric Star, two other I can't remember (and since Flash refuses to play nice with my computer I'm unable to check), and his remix of Petar Dundov's "Oasis". The latter was far and away my favorite of the batch; luckily it's also the only one yet to surface as a non-rip, so now you can all join me in basking in its gleeful, don't-give-a-fuck incrementalism (not that any of you will, but hey it's not my job to update your firmware to include good taste). I also thought I'd go ahead and post Delia & Gavin's "#5", erm...thing from the 2005 DFA Holiday Mix; it's one of my very favorite things they've done, but it's also pretty much the biggest outlier in Russom's entire catalogue to date and that ain't no small potaters. Anyway, have them both and either join me in breathlessly anticipating the long-promised BMS debut release (where have I heard that before?) or take yr shots about me disappearing up my own musical ass and go back to yr Dave Matthews Band record.

(Click here to buy "Sparkling Stars" from Juno.co.uk; it's a limited-edition disc with some grin-triggeringly cool packaging, so I would suggest that you jump. Click here to buy a used copy of the DFA's Holiday Mix from Amazon.co.uk - wait, it's like two-fifty these days? MY NEST EGG NOOOOOOOOOOOOO)

Downtown Party Network, "Days Like These" (vocal mix) - This happened to be playing on the embedded player on Eskimo's site when I stopped by in search of info on Lindstrom & Prins Thomas' forthcoming album (set to release, incidentally, on May 18th on CD and motherfuckin' QUAD LP; also "Tirsdagjam", the song currently streaming on L&PT's MySpace, will be released as a teaser single on April 13th), and it ended up being more or less the best thing I've heard all week. Mostly, it's just the way it builds; even blasting out of my shitty laptop speakers, the progression's just so inviting and assured that I kept getting more excited by the second. Strong reccomendation for fans of stuff like House of House's "Rushing to Paradise" and Aeroplane's Low Motion Disco remix, although of course this is like three month old now so it's not like I'm bringing the news to anyone here. (Click here to buy the "Days Like These" single from a GEMM merchant; click here to visit DPN's MySpace)

Doves, "City of Rust" (Prins Thomas remix) - Seriously, fuck Doves; that shit is weak, and I say that as someone who once bought a Keane album. The original is, admittedly, probably my favorite song of theirs to date, but Prins Thomas just gets motherfucking stupid all over it, smoothing out the original's awkward urgency into a loping eight-minute tour-de-force; let's just say you won't have trouble recognizing the point at which he decides to bring the original mix back in (more or less). In a perfect world, this would be the all over the radio, possibly even bumping up against Superpitcher's take on that Gotye song from a while back. (The Prins Thomas mix is still currently promo-only, but you can buy one from GEMM if you want.)

Frankie Valli, "The Night" (Pilooski re-edit) - I'm sure Pilooski must be hell of over the whole Frankie Valli thing by now, but dammit how the hell else am I supposed to react when literally every single one of his edits for the dude own so fucking hard? I mean, "The Night" isn't all that different from his thrilling dissections of "Beggin'" and "Who Loves You" in either approach or effect - basically it's Yet Another Vocal-Driven Pilooski Rave-Up - leaving me at something of a loss; it's a little hard to avoid repeating yourself when you're describe songs with fundamentally identical virtues. What can I say? I'm just a sucker for the gimmick - and "The Night" is as flawless an example as I've ever found. At least this is the last time I have to do it (by which of course I actually mean FUCK, THIS IS THE LAST TIME I GET TO DO IT /wrists). (Click here to buy Beggin': The Ultimate Collection from a GEMM merchant)

Real-Time Record Review: Lindstrom & Prins Thomas II

Subquestion: HOW MUCH DOES THE COVER ART OWN?!??!??!?

Lindstrom, "Grand Ideas" (Radio Edit by Prins Thomas) - Once or twice upon a time many moons ago, I hit upon the (completely original) idea to write a running diary for albums as I listened to them for the first time. It worked out pretty well for a while; I really thought the buzz was about to hit critical mass when the Foo Fighters booked me to open for their show at the Gibson Ampitheater, but like so many E! True Hollywood Stories the rock and/or roll lifestyle only ended up driving me to the needle. Consider this, then, to be my coffee-house open-mic-night comeback; I'm just gonna sit here with my acoustic guitar and caterwaul a bunch of couplets rhyming "smack" with "jack" and engaging in heart-stoppingly uncomfortable banter between songs and WAIT COME BACK I PROMISE TO START MAKING SENSE.

Anyway; this album came down a series of tubes a couple of days ago, and since for some inexcusable reason I haven't found the time to to listen to it yet (I choose to blame Waves at Night for coming through with all the goods at once. like, alllllll the goods), here we are. (The "Grand Ideas" remix, of course, has nothing to do with II; maybe this week's theme can be "Awesome-Yet-Tangential-At-Best Hype Machine Bait" [but this edit really is both awesome and a minor pain in the ass to track down, so git].)

1. Cisco

00:00: Since this is obviously going to to take a minute to ramp up, I'd like to start off by apologizing to my vast Scandinavian audience for my mangling of your fine language with these song titles;

00:45ish: WELL, I was wrong; all of a sudden this turned into some lost Fleetwood Mac dub track. It's not a surprising look for them or anything, of course; I'm just impressed by how much quicker they can flip that switch than, like, anyone. Let's all start a rumor that L&PT are producing Lindsay Buckingham's next album and hope it comes true.

03:01: Yeah, not that there should have been any doubt in your minds but I'm sold as shit on this already. I had just turned up my speakers to catch some of the background noodling when in come the big quicksilvery synths. Apparently they made this record to satisfy people whose brains function exactly like mine. I had no idea broke-ass recovering professional scumbags were such an alluring demographic.

05:15: Big weird psychedelic fading-in-and-out going on all over the place. Motherfucking love this so far.

07:00: Wow, that last big gated swell was a tease?!??! They could have gotten like another three minutes out of this motherfucker easily. Not that it sucks in any way as-is or anything, just damn, MOAR PLZ.

2. Rothaus

02:21: Case in point: it took me so long to try and cope w/ the fact that the opener had wrapped up that here we are two and a half minutes into the next song w/o anything needing to be said. To be fair, it's pretty noodly stuff so far; also let's pause to recognize the fact that I'm admitting to the whole internet that it took me three minutes to come up with a MOAR PLZ joke. But where's my parade?

02:44: OH WAIT HERE IT GOES. Okay, this just hit Must Check Out status for anyone who liked the DFA remix of "Rise".

04:20: WOO SMOKE HERB EVERYDAY YEAH WHAT. No, but seriously, this is where the drum fills start to get really tremendous, no mean feat for this song so far. Somewhere in the world, some enterprising young chap or she-chap is blending out of this and into "Get Innocuous" right now. And lo, it was good.

05:58: And there it goes building again. Let's just say that this is clearly one of those records that sounds like it came from a place where the fact that it's colder than a witch's tit for nine months out of the year gives people extra incentive to stay in and get their album just right.

07:29: Love that warm synth pad that just showed up. I believe the term I'm looking for is "Stevie-esque".

08:45: And after all that it just kinda peters out. Then again, after nine solid minutes, where the hell else was there for it to go?

3. For Ett Slikk Og Ingenting

00:30: THEEEEEEEEEE LOOOOOOOOOOVE BOOOOOOOAAAATTTTTTTT...

00:51: The psychedelic overtones of this record are painfully awesome. I absolutely cannot wait to listen to it on headphones.

03:23: There's some odd clicking around here which kind of throws the song off a little; I can't tell whether that's an actual fuckup on their part (unlikely) or due to the arduous en-steal-ulating process this album went through (promo copies apparently went out with the songs divided into 99 fragmentary tracks [so that folks could listen to the CD but have a hard time ripping it, you see]). Guess I'll have to wait until I get the vinyl to find out for sure.

05:47: Okay, congas getting all up in this piece are saving this track's ass from being kinda wanky. Definitely the most jam-oriented of the songs so far, and yet I still want to hear someone throw some Lou Rawls acapellas (god, please let these exist) on top.

08:45: Credit where it's due: the rebellious 80s arcade-game outro is kinda rad in its own right.

4. Rett Pa

00:35: OKAY THIS RULES ALREADY. Lindstrom and Prins Thomas may be better than anyone in the universe at coming up with kick drum sounds; they're just all-consuming and metronomic enough to get even the whitest of honkies up and going. You're just like, "How in the world did they - oh, right. Norway."

02:00: By the way, have I ever mentioned that I missed out on my only chance to see Prins Thomas in LA? Yeah, guess what I'm stewing over right now. (I also missed out on Lindstrom up in San Francisco a few weeks ago; that's of course a pretty formidable commute but LINDSTROM.)

03:39: Yeah, this is building into something motherfucking tremendous. Big-ass drum fills, an utterly beguiling tambourine, and crazy whooshing-ass sound effects all over the place.

05:14: No disrespect to Norway earlier, by the way; I can only dream of living in a place where stuff like this gets played in huge twelve-hour (no joke) blocks. JOAX BRUV.

5. Skal Vi Prove Naa

00:06: And here come the new-age synths. WHOOOO CANNNN SAYYYYYY...

01:00: Uh damn, this just sort of picks right up.

02:24: I'm not going to lie: I'm finding it kind of daunting dealing w/ the lyriclessness of the

05:45: Sorry, I had to set up a job interview for tomorrow. Anyone laying odds of me meeting 2 midgets at 2 interviews within a 1-week span?

06:57: Oh, and this track is kind of pretty good in an utterly-unremarkable-in-the-context-of-this-album kind of way; the most involving aspect of it is just trying to place which massive R&B melody line the book to this song bites (edit: apparently I'm not the only one w/ this problem). "Rothaus" FTW ATM. Y R U MVNG?

08:57: On the other hand, at least this song seems to be wrapping up in a familiar manner; it's pretty great hearing every stem of the song wrapping down one-by-one.

6. Gudene Vet and Snutt

02:35: God, this would be a summertime bar-be-cue anthem if dudes who grilled meat outside could only be convinced to listen to super-hipster disco noodling. I should make a tape of this with a label "Zep Instrumental Takes" and leave it lying around before my neighbors' next cookout.

05:39: Wow, it's going to be pretty interesting to see where this goes; in contrast to "Cisco" this feels pretty thoroughly worked-out by this point.

06:39: Whoa, was that a voice? After like 45 minutes of wordless silence, just the sound of a human voice is almost startling.

07:17: And so it goes all... kind of... acid-y Motown? I'm Ron Burgandy?

07:35: Nope, false alarm; the "Why Can't We Live Together" drums just came in. I suppose that's the "Snutt" part.

7. Note I Love You + 100

00:11: And in contrast to the opener's Fleetwood Mackitude, this one's all Carly Simon'ed up like you wouldn't believe. I ordinarily despise Carly Simon apart from "You're So Vain" but they're actually getting some mileage out of it here.

01:22: Seriously, is there some huge catalogue of vocal or acapella tracks from the seventies floating around somewhere? There's work to be done for enterprising young bootleggers here.

02:55: Uh okay, that part just happened.

03:51: Really liking that heavily-opiated guitar.

06:19: Wow, this song's really going to go all over the place. I mean it's eleven minutes long and everything (and it certainly hasn't gone anywhere bad yet), but it just kinda switches gears on you.

07:33: Oh shit, is this going to be the track on this album that just blows itself up in a blaze of glory? That'd sure be one hell of a trick; this song's been exploring the studio space for so long that I can barely remember how it started. I'm not even sure it's going to come together in some huge ecstatic tida wave or anything; this record's pleasures are very detail-oriented so far. But hey, we've got like four minutes left to find out.

09:25: And there's your answer: YEP.

10:10: Oh man, this is some hardcore chin-stroking wanky nonsense right here. It's also really really really good chin-strokoh I'm done with this joke. Basically this song is good.

11:15: Okay, unless this next track's a biblical Revelation I'm pretty sure we're good here. Holy hell, I cannot WAIT to hear it on headphones.

8. Flue Paa Veggen

01:05: Thirteen minutes? God, why didn't I make myself a sandwich before doing this?

01:54: I went through an abortive Miami soul/disco phase a couple of months back - let's just say that aside from George McCrae and a handful of singles it's more or less been evaluated correctly by history - so it's impossible for me not to hear "Why Can't We Live Together" with every occurrence of this album's synth-drum sound. Still, in the case of this song it's going hella crazy places so far.

03:35: How many producers are there in the world (well, the world of mainstream hipster dance music, anyway) whose longer songs always end up being their best ones? I mean, Lindstrom, Prins Thomas, Todd Terje, the DFA kids, Joakim, Pilooski... anyone? (Villalobos doesn't count; every time I hear "Enfants" I kind of keep waiting for him to pull the needle out of the groove and scream GOTCHA SUCKERS like Eddie Murphy at the end of Bowfinger. Uh, spoiler alert.)

06:03: Crazy panning organ like whoa. I can haz acid tabz?

07:16 Okay, this is definitely THE wanky jam of the album - again, it's saved by the dynamic duo's supernatural faculties with musical texture, but let's call a spade a spade here. It's sort of like if someone took the ideas behind George Harrison's post-Maharishi Beatles songs and turned them into a gentle, meandering thirteen-minute nu-disco epic.

09:50: OKAY THE CHOIR JUST COMPLETELY WON ME OVER. Time to start mixing this with the Flying Picketts' RIGHT NOW.

11:20: Wow, you could actually probably just overlay the entire song here. Oh man this is gonna sound like such ass when I spend like four minutes doing it haphazardly in MixMeister.

12:05: And thankfully it looks like they're letting the choir provide the period at the end of the sentence; we've reached the minute where it's all fading out. Great great great way to wrap it all up.

CONCLUSION
This is what we in the record-listening-to-and-then-verbally-evaluating-on-the-internet biz like to call a damn good little album. Both Where You Go I Go Too and Exodus make it look like a bag of hacky quick-cash-in crap, of course, but let's be reasonable; this is clearly an album which deseres to be picked apart like a loose thread, and I'm probably not doing it justice snarking all over it. I don't want to make it sound like my album of the year or anything (so far, that would either be Junior or Merriweather Post Pavillion - why yes, I am the most predictable man on the planet!); it simply strikes me as a thoroughly decent musical accompaniment to any hour you might be looking to soundtrack. Ask me again in six months once I've listened to it again over headphones a billion times; for an album I like a fair bit already, there's nowhere for it to go but up.

(II is due out on Eskimo Recordings on May 26th; if somebody wants to hook a brother up w/ a preorder link I'll throw it in here. In the meantime, click here to buy Where You Go I Go Too from Amazon.com if you don't have it already. Also, there's an allegedly dynamite extra track from the II sessions on Eskimo's MySpace right now; I haven't heard it because Flash 9 is being a butthead and refuses to load the player no matter how many times I reinstall it, but you should probably check it out if you're so inclined.)