Monday, September 10, 2007

Don't Do As I Say!

Zizek said knock you OUT!

Though the Great I Cite Flame-War of '07 has burned itself down to glowing embers, I'm going to colonise the conversation by continuing here an exchange started with the mysterious-yet-engaging Six Foot Subwoofer (a.k.a. Hectoring Bore, a.k.a. Sincere Heckler - you know his steez!).

When we last spoke, SFSW was inquiring as to why I "take such stock in nonviolent disobedience and have such little faith in doing 'good works.'" Indeed, on the surface it would seem strange to praise & strive for one and not the other, but there are two distinct reasons why I value the former but not necessarily the latter.

The first is with regard to motive. My antitheism leads me to immediately distrust anyone claiming to do "good" in the name of "faith." Too often when a helping hand is extended, the other is clutching some evangelical tract, some recruitment scheme - a classic Bait-'n'-Switch. But even when the sales pitch isn't made, it's not an act of altruism but a matter of scoring points on some celestial tally. As Dominic put it so well recently, "this is simply a form of deferred gratification, a storing up of riches elsewhere that one will later enjoy at one’s (infinite) leisure... all one is really doing is making a metaphysically shrewd investment."

Also, in this global media-saturated environment, the corrupt motive of "good P.R." is a constant factor to consider. After all, one man's media blitz is another's opportunism.

The second, and more crucial reason I put civil disobedience above "good works" is the purity of negative definition. Now, as a Canadian, defining something by a negative is something I'm inherently adept at & comfortable with:

Q: What is a Canadian?
A: Well, it bloody well isn't an American!

But consider this: good works can be tainted by ulterior motives, unintended consequences, compromise, "the lesser of two evils," or the elevation of intention above result. (Remember with what the road to hell is paved.) Civil disobedience, on the other hand, is muddled by none of the factors because it is defined by what it does not do. Rather than leave a wake swirling with "Why?"s, civil disobedience succinctly answers the question "Why not?" by opening a vacuum in which we can clearly see one action that is missing. There is no room for rationalisation, appeasement, evasion, obfuscation, or half-assing in a void. As a wrinkled green Muppet once said, as simply as possible: "Do or do not. There is no 'try.'"


Also at the last juncture in our conversation, there was a question as to whether romanticism has a place in the revolution. I personally feel that it doesn't, even though I understand why SFSW would think romanticism is unfairly maligned by smug postmodernists. However, by definition, romanticism has little to do with the truth - and, in fact, even runs counter to it. This is not to cast myself as a staunch materialist, 'cuz I ain't. But romanticism is the same false path to the Real that religion is to a sense of purpose or morality.

Let's not limit ourselves to florid, purple fantasy as the only frame for our dreams. Even as rabid a materialist as Bakunin said, "By reaching for the impossible, man discovers the possible."

Next: Make an art noise here!

Friday, September 07, 2007

I've never felt better in my life...

I literally just got back from seeing the mighty Fall. I'm fuckin' exhausted, so details to follow. For now, suffice it to say they played this:

...and this:

...and I'm bloody floating right now.

Wednesday, September 05, 2007

A Self-PR P.S., FYI 2



I just posted a new batch o' Berlin photos here for yr viewing pleasure. Any feedback is welcome & appreciated.

Monday, September 03, 2007

End Hits: It was 20 years ago today...

From the 10th anniversary show

This makes me a lousy so-called devotee, but until I read this superb reminiscence at Chunklet, I forgot that today marks the 20th anniversary of the first-ever Fugazi performance.

In no way does my personal claim on the band come close to that of so many other people, but the sappy truth is that their music changed my life. I had always treated music in a very left-brained, mathematical fashion - more as a craft than an art. It wasn't until I sat slack-jawed, rewinding and rewatching footage of this performance of "Glue Man", that I realized the ferocity, the feral thrust of music was its true intangible magnetism.

Though I've often cursed my late arrival on this planet for having kept me from seeing so many musicians I love, I almost feel spared a greater pain for barely having gotten to see Fugazi. The little of them I saw live put teeth in the oft-repeated claim that the records can't touch the Real thing. Had I gotten to see them dozens of times, being limited to the albums as a sensory experience would be like being surrounded by only shitty photos of a loved one for the rest of my days.

No one's really willing to accept that it's over; I know I can't. I had to remind my wife just the other day that the last time we saw them (at Fort Reno, natch) was, in fact, their last American concert ever. This damn near put her into hysterics. And it's a shame that one last wish will (probably) never be granted.

But we're all better off for them having been here in the first place. Brendan, Joe, Ian, Guy - thank you.

Saturday, September 01, 2007

We've got a full-scale revolution going on...

"Everybody's got something to hide 'cept for me and my monkey... oh, sorry, Joel."

This year has seen a number of pathetic albums by aging iconoclasts. (See: The Fall's Reformation Post TLC, the Stooges' Weirdness, the Beasties' The Mix-Up, etc.) One by one, falling victim to Sick Boy's Grand Unifying Theory ("So we all get old and then we can't hack it anymore...") - but wait! What's that on the horizon? Why, it's a new Brian Jonestown Massacre record! And just what does it sound like, pray tell...?

Well, take a look for yourself.

Anton threw up rough mixes of the newly-tracked album before the recording heads have even cooled - bless his social-revolutionist heart! Though the mixes are indeed a bit burlap on the ears, dare I say this could be the furthest out along the spiral arms Newcombe & Co. have wandered. From the seasick stomp of "Golden Frost" (the video for which is linked above) to the time-warping Kevin-Shields-Vs.-El-P march of "Who Cares Why", not to mention the Expo 70-ish aural bog of "Black Hole Symphony" (imagine a slightly cuddlier SunnO))))... Newcombe is certainly tipping his hand by titling the record My Bloody Underground, but it's a damn hard hand to beat.

An ocean upholstered in people...



There are so many adjectives running through my head looking at this, I can barely pick which aesthetic instinct to follow. And I thought the wave pool at West Ed got full during the winter.

(Hat tip to the awesome Tokyo Mango.)

Thursday, August 30, 2007

Here's your chance, god!


I was 9 years old at the time...

Okay, god - I know I don't believe in you and all, but if:

a) this is true and
b) I can see it with my own two ocular organs

...then we can begin negociations for my soul. (Note to other Higher Beings: MBV or best offer wins!)

Monday, August 27, 2007

I Am a Donut!



Even avoiding the obvious, a rather intimidating people...

Well, after four long months of straight flux, here I am in Berlin. To celebrate the occassion, and get everyone in a Deutsche uber alles kinda mood (in a good way, people - jeez...) I thought we should indulge in some o' the finer musical contributions made in recent deacdes by this stalwart nation. (Remember, it's only 18 years old in its current manifestation!) I've chosen to focus on - surprise - the rock idiom, otherwise I'd just upload the complete works of Strauss, Stockhausen, etc. And sorry, kids, but I can't fuckin' stand techno, so no anthems from the Love Parade, no remixes by Alec Empire, not even any of Holger Czukay's recent work.

"チョト マテ," you cry. "Some of these cats ain't even German! What gives?!" Well, let's establish everyone's Deutsche bona fides, shall we...

~Kraftwerk: 'nuff said.
~Einsturzende Neubauten: could you ask for a more perfect embodiment of the stereotype of Germans as angry, obtuse destructobots with souls the shade of slate?
~CAN: best German band ever, despite the fact they came from Cologne. I almost wanted to upload Tago Mago and call it a day.
~Tom Waits: this song was taken from his music for the theatrical production Alice, originally produced (in collaboration with director Robert Wilson) in Hamburg, back in '92.
~The Fall: Aside from being an early acolyte of experimental German rock (at least before Johnny Rotten started name-dropping Can), Mark E. Smith spiced his shambolic rants with more German (Wermacht! Gestalt! Gotterdamerung!) than any other post-punk polemicist.
~Nick Cave & the Bad Seeds: Cave and his former band, the Birthday Party, were so integral to the underground music scene of '80s Berlin that director Wim Wenders made the Bad Seeds his municipal musical representatives in the climactic scene of Der Himmel Uber Belin (a.k.a. Wings of Desire).
~Wall of VooDoo: Stan Ridgway's use of drum machines and sprechesang was hugely influenced by Kraftwerk. Other than that, I'll admit these cats have more to do with Mexico than Germany.
~Primal Scream: Krautrock has remained a perennial influence on this motley gaggle of Brits, especially Can. A sample from their "Hallelujah" provides the rhythmic backbone to his standout from 1997's Vanishing Point.
~David Bowie & Brian Eno: Probably the most famous expat artist to have resided in Berlin, the "landlocked island," Bowie was so inspired by the city's simmering friction & disquieting history that he produced three of his most significant albums there. This song, recorded during the same sessions as the genius Low album, is just about my favourite thing that either he or Eno have produced.
~Kurt Weill & Bertol Brecht: I mean, come on. This is classic.
~Iggy Pop: Though overshadowed by Bowie's Berlin trilogy, I think The Idiot is a watermark achievement for both musicians. (Bowie co-wrote & produced the record when the two of them decided to hit Berlin - then the heroin capital of Europe - to get clean.) Bowie knicked all of Eno's best tricks for some truly icy, uneasy production, whilst Iggy mined some of the deepest pits of spiritual depletion ever committed to tape. In brief: some epic shit, yo.

Just click on the title to get the mix:

Ze Germans Are Coming!

1. Kraftwerk - "Ruckzack" (00:00)
2. Einsturzende Neubauten - "Zum Tier Machen" (07:45)
3. CAN - "Another Night" (10:50)
4. Tom Waits - "Kommienezuspadt" (16:20)
5. The Fall - "Faust Banana" (19:26)
6. Nick Cave & the Bad Seeds - "Saint Huck" (24:28)
7. Wall of VooDoo - "Factory" (31:46)
8. Primal Scream - "Kowalski" (37:19)
9. David Bowie & Brian Eno - "All Saints" (43:05)
10. Kurt Weill & Bertol Brecht - "Moritat und Schlußchoral" (46:35)
11. Iggy Pop - "Mass Production" (49:55)

Tuesday, August 07, 2007

Artists Only



While I'm around, I should take a minute to plug the phenomenal photographic instincts of Ed, neighbour of my parents and friend to humanity. He's got this incredible photoblog, which features (among other things) one of the only portraits of me I actually like.