soundstreamsunday: “Ghost Rider” by Suicide

suicideIt’s not until it works its witnesses into a state of ecstatic frenzy, as if reading a preacher-inflected text so self-aware it reaches ascendancy, that New York rock satisfies itself and its audiences.  It’s a city of distillations and self-regard, and so in its great contribution to rock and roll, New York puked up a revival so dazzling in its love for rock’s foundations it sometimes barely reads as the punk it became known as (or maybe a common idea of punk): there is no rejection, it is all embrace.

Suicide played rock and roll, and even as they coined the term “punk” — or at least early-adopted it from Lester Bangs to describe what they were doing — in their world that meant you visited the monuments and tore them down to find what was left in substance, not shadow.  It was an intentional act of art, constraint-driven, that Martin Rev and Alan Vega followed in the rock they made.  And they made it howl.

The pulsing drone riff of “Ghost Rider” leads Suicide (1977), the culmination of seven years of paring and refining and filtering the pure rock spirit.  That Suicide did this as a duo with synth and drum machine was revolutionary to the point of riot-inducing, and to this day sounds outside a point in time.  Suicide denied time, even to the degree that Vega claimed he was far younger than his 39 years.  It was no nostalgia trip, Suicide’s rock and roll, even though that trip hung heavy in the air: this same year the retro band Sha Na Na debuted on TV, though they too had been around for a while, hocking the schlock of 50s rock, that shadow that Suicide made it their business to avoid.  Both were needed but only one was important.

soundstreamsunday presents one song or live set by an artist each week, and in theory wants to be an infinite linear mix tape where the songs relate and progress as a whole. For the complete playlist, go here: soundstreamsunday archive and playlist, or check related articles by clicking on”soundstreamsunday” in the tags section.

Support this fall’s Tangent/Karmakanic tour!

From Jonas Reingold via Facebook:

Hello everybody,

I´m very pleased to present the next Karmakanic/Tangent output. It will be a live CD from the upcoming European/US tour this fall. To be released Jan 2018.

So let me start bitching about this even before the tour has started and nothing is recorded yet. Why? That’s a valid question and I will try to answer it to the best of my knowledge.

WE NEED THE MONEY!!!! PERIOD!!!

We lost a well payed gig in Boston that was one of the anchor gigs to finance this tour. We run into totally overpriced VISA application costs. Do you know how much a application cost for a band like us? 2500 US dollars, just to get in. Then add flights, accommodation, hiring a van, gas, hiring a rehearsal room, paying salary for the band members, domestic travels prior the rehearsals and all other little things that I´ve forgotten right now and you´ll probably understand that the numbers are totally in the red.

So why even think of doing this? Why just not cut the whining and throw this project right out of the window? I´ll try to answer that too.

To run a band is probably the worst business idea you can have. No money coming in a lot of money going out, poor attendance, over the years I´ve also felt lack of support from band members, although, with the current line up I´ve never heard a bad word, yet. And you all know how to make a musician complain don’t ya??? Give him a gig!! But even though with all this in consideration you do it anyway. Why?????

I LOVE MUSIC!!! PERIOD!!!

I also love the people that actually supporting the scene, buying the albums and are attending the shows. That means the world to me. To see a person actually getting moved by something you wrote or played on a recording in a shabby studio somewhere when presented on a stage in another shabby and funky club somewhere in the world is the actually payment for all the hassle, you feel connected, you´re part of something bigger.

So that’s why we, Tangent and Karmakanic reaching out to you guys and giving you all a chance to support this tour but also even more important, support the scene. You can support the tour in two different ways.

Option 1: Pre-Order this live recording just like a normal CD for 15:95 Euro

Option 2: Be one of 200 that will get their full name on the actual front cover of the CD. 34:95 Euro.

Your choice!!!

And of course, if you think that this tour support is just a big chunk of bogus we’re totally fine with that as long as you attend one of this shows on the upcoming tour.
Sincerely

Jonas Reingold

 

Note from Rick K.: you can preorder “TangeKanic Live” at Reingold Records.  I did!

Interview with KILLER CORTEZ

Killer Cortez

Back in January, Boston-based prog duo Killer Cortez released their full-length debut “Maquiladora,” a record which is a pleasant surprise. The two-piece plays a show in Cambridge, MA this July 28th; if anyone is nearby on that date I would truly recommend to stop by and visit the Middle East Upstairs.

Composer and multi-instrumentalist Socrates Cruz spoke for Progarchy about the band’s first album, other genres, and more.

Alright, first thing is first. Before we dive into all the music stuff, how’s life?

Life is treating us alright, thanks. There are times when we can get caught up with what’s not going well in our daily lives, but it’s also important to step away and understand that overall we’re pretty privileged to be able to make music surrounded by people that support us. That said, the past few months have been a fascinating mix of joy, regret, uncertainty, and excitement. This does lead to a heightened sense of creativity though!

Speaking of music, you have an album. What can people expect from “Maquiladora”?

It’s dark; but melancholy rather than angry. The album is kind of a collection of mini-documentaries that shed light on stories we thought were worth sharing. You could say the album is a little unnerving in that each of these stories is tragic; no matter how detached we are from the characters the plot is meant to feel familiar. Then, you have all these swirling instruments and textures and sounds that make the whole thing feel sweeping and cinematic. If you are looking for music with meaning then this is for you.

Maquiladora

What was it like working on the album?

SLOW. Also exhilarating. We’re really proud of the outcome.

Are there any bigger touring plans in support to “Maquiladora”?

It’s in our DNA to want to tour endlessly but we’re coming at this cycle through a different angle. We’re about to officially “release” the album at our show at the Middle East in Cambridge, MA on 7/28 and are close to announcing a series of dates for late Fall. Details are forthcoming, but most of the shows centered in New England, with a few scattered through NY, PA, and MD.

While we are on the subject of touring, what countries would you love to tour?

Though not exactly countries, we seem to be getting attention in the UK and Eastern Europe. It would be great to tour there soon and maybe cap it all off playing a massive castle somewhere in the middle of Czechoslovakia. One can dream, right?

Who and what inspires you the most?

Any song, moment, story, or person who causes us to reflect on our human condition. We’re both a little addicted to some kind of never-ending search for meaning, which really can rise up anywhere at any time as long as you’re paying attention.

What other genres of music do you listen to? Have any of the other genres you listen to had any impact on your playing?

We’re both really open minded – in the van we’re blasting anything from electronica and progressive metal to power ballads and orchestral film scores. With Maquiladora, some of this variety is reflected in the digital atmosphere of songs like Bracero or Villa Grimaldi, and also in the odd time signatures of a song like Pine Ridge Peltier.

I really appreciate you giving us your time today. Is there anything else you would like to tell us and the fans before we wrap things up?

We’re excited to share our album with whoever is willing to listen. We tried to create a work that celebrates the struggles of the disenfranchised, the dispossessed, the exploited, and the forgotten. We feel that the shared human experience is one of constant struggle and of overcoming those challenges. Music can help us escape but it can also help us look inward.

“Maquiladora” is out now and is available from BandcampBandcamp. Stay in touch with Killer Cortez via Facebook.

The Ignorance of Roger Waters

http://teamrock.com/news/2017-07-18/roger-waters-slams-thom-yorke-over-radioheads-israel-show

I could easily turn this into a 1500 word rant about how Roger Waters has turned into a senile ass. I won’t do that, but I will just say that his head is shoved so far up his rear that he can’t see what’s going on in reality. Just look at the recent interview with Prog magazine where he said the following:

[Trump] might not sell his own kids, though you sense that they’re like lumps of meat when you see them parading around, They’re like prized cattle. They’ve sort of been plumped up. Those Trump boys, they look as if they’ve been injected with hormones every morning before breakfast to get them that pumped up and kind of dopey.

– Prog 77, page 57

Beyond the mere fact that the above idiotic statement has absolutely nothing to do with music, it is completely absurd! Just imagine if someone in Waters’ position said the same thing about Bill and Hillary Clinton’s daughter. There would be people calling for his arrest and hanging!

This pile of crap related to the Israel boycott is nothing more than leftist anti-Semitism. The UN pulls this garbage of siding with the terrorists that run Palestine, even to the point of claiming that the Jewish people have no claim to the plot of land known as the Temple Mount. (http://www.jpost.com/Arab-Israeli-Conflict/UN-General-Assembly-supports-resolution-ignoring-Jewish-ties-to-the-Temple-Mount-474107)

It truly is sad to see the once-great cultural critic Waters succumb to this base level of stupidity. The Palestinian government monetarily supports and vocally condones the utter destruction of the Jewish people and the Jewish state. How can supporting a boycott of Israel in support of the Palestinians be anything but vitriolic racism against the Jewish people?

I’m happy there are musicians like Steven Wilson, Radiohead, Steve Hackett, Mike Portnoy, and many others that are willing to ignore the anti-Israel garbage spewed by some on the left and play in Israel and collaborate with Israeli musicians.

I would love to go to one of Waters’ upcoming shows in Chicago, but I refuse to give my hard-earned money to that man after the things he has said. For that same reason, I refuse to buy his new album, and even if somebody gave me a copy, I probably wouldn’t listen to it. I am even having trouble listening to Pink Floyd because of his absurd comments, and they are one of my very favorite bands.

Roger Waters has completely lost touch with reality, and he needs to seriously reconsider his political positions because they are in direct contrast with the anti-establishment and anti-totalitarian (and brilliant) lyrics he wrote for Animals, The Wall, and The Final Cut.

Mr. Waters, if you choose to support an egregious boycott of Israel and the Jewish people who choose to live there, then I can choose to boycott you.

soundstreamsunday: “Isolation” by Joy Division

ian-curtis- joy-division-wendy-winder-obskur-magazineMusic critics tend to dismiss Joy Division’s posthumous Still as a hit-and-miss collection of studio scraps paired with a lackluster recording of their last show.  And in a specific context — compared to the brilliant Unknown Pleasures and Closer, it seems a bit of a rush job with less-than-pure motivations — this holds some weight, although I’d argue as its own thing Still may be more representative of the band as a whole, and that the live half of the double album contains fiery performances wildly joining hard rock, punk, and synth-y goth music.  My first exposure to Joy Division, over thirty years ago now, was hearing “Shadowplay” from Still, and it gave me the metal thunder frights.  It sounded as if Peter Hook, Bernard Sumner, Ian Curtis, and Stephen Morris channeled the essence of Fleetwood Mac’s “Green Manalishi” through a punk filter, as they sped to the center of the city in the night.  Even as they rode their wave of goth punk popularity their songs betrayed the band’s primary strength: their music was as much about making connections as alienation, masked and revealed in turns by Curtis’s not-waving-but-drowning lyrics and delivery.

When Curtis made good on the promise of his lyrics a few days after the show, the band pivoted into New Order and went on to define electronic dance music in the 1980s.  It’s a remarkable story of artistic continuity in the wake of tragic change, but the strength of the group’s trajectory even before Curtis’s death can be found on Still and on “Isolation” in particular.  Stripped of producer Martin Hannett’s carnivalesque studio tweaks, the song’s live incarnation has a punch lacking on Closer, with Sumner’s keyboards threatening to submerge Curtis’s plaintive singing, and Hook’s and Morris’s stripped bass-and-beat backbone out-crafting Kraftwerk.  The big guitars so much a part of their origins were yielding to distilled, synth-led rhythmic and melodic lines.  While “Isolation” would sit comfortably next to its future cousin, the New Order calling card “Blue Monday,” it remains a place of passage rather than a destination, a liminal space aglow with potential.

soundstreamsunday presents one song or live set by an artist each week, and in theory wants to be an infinite linear mix tape where the songs relate and progress as a whole. For the complete playlist, go here: soundstreamsunday archive and playlist, or check related articles by clicking on”soundstreamsunday” in the tags section above.

Member of Adrenaline Mob Killed in Fatal Car Crash

I just heard about this horrible story via Mike Portnoy’s twitter. Bassist David Zablidowsky of Adrenaline Mob (and Trans Siberian Orchestra, as well) was killed in a car crash in Florida that involved all members of the band, as well as Symphony X singer Russell Allen. According to reports, Allen was seriously injured along with A-Mob drummer Jordan Cannata and guitarist Mike Orlando. Several other people traveling with the musicians were also seriously injured.

Progarchy sends its deepest condolences to David’s family and friends, and we hope that the rest of the band members, Mr. Allen, and those traveling with them have a speedy recovery. This is truly a devastating accident.

http://loudwire.com/adrenaline-mob-involved-in-fatal-vehicle-crash-in-florida/

The Beatles: All My Loving

by Rick Krueger  (Thanks to Brad Birzer for his encouragement in the comments on his Sgt. Pepper at 50 post.)

“Bliss was it in that dawn to be alive, But to be young was very heaven!”

— William Wordsworth

I was definitely young — just over 2 years old, in fact — in February 1964, when this came on my grandparents’ TV:


It’s the first thing I remember.  It felt like Wordsworth’s “very heaven.”  And it instantly led to the first two things I remember wanting: Beatles records, and a Beatles wig.

My birthday is in November, so I have no idea how my parents pacified me till then.  I have a vague memory that my mom re-purposed a yellow fringed toilet seat cover and I became a blond Beatle for a while.  Whether that’s fact or imagination, you can see the outfit I got when I turned 3 after the jump:

Continue reading “The Beatles: All My Loving”