Digital Good Time V: Gideon Baws (1975 - 2008)

Digital Good Time V: Gideon Baws (1975 - 2008)
(Digital Good Time is a series in which xoxobra focuses on the visual side of music)

Not to give this blog (or this feature in particular) a morose feel as of late, but I'd be doing a disservice if I failed to acknowledge the recent passing of Gideon Baws, one-forth of the video directing team Shynola. Baws passed away just last week in Los Angeles at the age of 33.

(photo credit: dL76)
I have a personal attachment to this news because Shynola was one of the first video directors that I got into. They helped me recognize music videos as a legitimate art form, and that expressing a love for both music and visual art can exist in the same media. I still remember the first time I saw the video for Radiohead's "Pyramid Song". I was lazily flipping channels and tuned into it right at the beginning, and about four minutes later my life had changed a little. I'm not exaggerating when I say that. Seeing that video when I did opened up a whole new world for me musically and played no small part in making me into the obsessive music fiend I am today. Otherwise, I'd probably still consider Linkin Park the pinnacle of modern rock.




The second time I found myself utterly floored by a Shynola video was during my first year of college in '02-'03. I was going through the motions at an art school in a major that I no longer had a passion for, when I saw the video for Queens Of The Stone Age's "Go With The Flow", which is to this day one of the finest music videos ever created, in my eyes. Not long after that I changed my major to Visual Effects & Motion Graphics and never looked back, with a goal in mind of one day trying to be even half as awesome as Shynola was.

Shynola of course went onto bigger and better things in recent years, but the impact of the above videos on my direction in life can be equaled by very few. I'll remember Gideon Baws for whatever part, large or small, he played in their creation as a part of Shynola. Condolences to his family and friends, from a fan.

Links:
Shynola
The Director's Bureau

Caïna - Temporary Antennae (2008)

Caïna - Temporary Antennae (2008)

It seems that a lot of heavier bands naturally mellow out as they get older. This, of course, coincides with the typical process of maturing outside of a musical perspective. Young people live in extremes, see things in black and white, and only age brings out that ability to see the gray areas. Understanding this makes me more accepting when formerly heavy bands return with more subtle and/or varied albums (but at the same time makes me less accepting of people who complain and dismiss perfectly good albums just because the band isn't as heavy anymore). In fact, I expect it, and find it a little ridiculous when bands with members well into their 30's continue to stick to the tactic of sheer aggression and energy. It often seems forced and unnatural regardless of (or perhaps especially because of) the band's past efforts.

The central member of Caïna, Andrew Curtis-Brignell, is not yet in his mid-twenties (as is my understanding) and Temporary Antennae is his third full-length in a career that is as many years old, so it's a little more difficult to explain the changes to his sound on this album, which is gradually moving away from being black metal with forays into post-rock and singer/songwriter, to being more post-rock with forays into black metal. You won't find so much as a growl surface in Temporary Antennae until fourteen minutes into the album and have to wait an additional four minutes for a blast beat.

The signature lazy journalistic move to pull when a heavy band mellows out is usually to compare them to Neurosis. And when said band does delve into post-rock, lazy journalists will also name drop Godspeed You! Black Emperor as an influence for those parts. This has to stop. It's as if Neurosis are the only metal band to ever combine the heavier parts their songs with a softer post-rock sound and that Godspeed is the only post-rock band in existence. Don't worry, though, I'm above such lazy journalism.

That being said, the way that Caïna jumps in and out of heavy segments seems to invoke the style of Neurosis Isis. "Willows and Whippoorwills", with it's brooding buildup that eventually gives way to the growls of Curtis-Brignell, would make Steve Von Till Aaron Turner proud. But Caïna do more than enough to separate themselves from other post-metal Isis clones. Take "Larval Door" as an example, though it comes completely out of left-field, especially having followed the crushing "Tobacco Beetle". Caïna's website mentions 80's pop as an influence, but it's somewhat disorienting to have it injected so suddenly into an otherwise dark and foreboding album. "Them Golds And Brass", which manifests into three distinct segments, draws comparisons to Godspee Explosions In The Sky with it's spoken word part in the middle, as well in other areas with it's guitar work similar to that of Efrim Menuck's best moments. *ahem* Of course I meant Munaf Rayani. Munaf Rayani's best moments. Yes.

I suppose my only complaint is with the absence of any acoustic tracks similar to "Constantine The Blind" or "Wormwood Over Albion" from Mourner. On top of being two of the album's best tracks, they added more variety to the music. But that's a minor issue considering that Temporary Antennae still delivers. Mourner was a grower that rewarded and improved with each listen. Temporary Antennae has the same quality, while innovating enough to keep the listener anxious for what they'll bring next. Anyone looking to fill the post-metal void in their lives in 2008 should look no further.

Score: 8/10


"Tobacco Beetle"


"None Shall Die"

Bach - Complete Sonatas And Partitas For Solo Violin (1993)

Bach - Complete Sonatas And Partitas For Solo Violin BWV 1001-1006 [Grumiaux] (1993)

So yeah...classical. I'm trying to get into it to the point where I can name names and have favorite artists rather than occasionally accidentally turning to the classical station while I'm trying to find NPR and thinking "Oh, this sounds nice."

I'm on my way, I think. I saw Complete Sonatas And Partitas in a book about music (1000 Recordings To Hear Before You Die) that I was looking at while I was bored at a Barnes & Noble. The writer considered it to be one of his favorites, so I picked it up from the library a few days later. A friend of mine, who knows a thing or two about classical, saw my choice and asked "Oh, you like sonatas and partitas?"

"Um...I, uh...sure?"

Of course I have no idea what sonatas and partitas are exactly. I'd like to say that I've looked it up since then and have studiously researched such topics, but nah. I'd also like to say that I knew how to actually dissect a classical album; point out the impressive parts or highlight exceptional playing, but dammit I'm just not that awesome yet. So I'm going to go ahead and fall back on "Oh, this sounds nice".

Well hey, it really does! I'm not just saying that to say it. Arthur Grumiaux, from what I've read and what I heard here, is a very skilled violinist. There are many times throughout this double album where I swore that I was hearing a group rather than one violinist. But if you're looking for a more in depth reason as to why and what this albums' strengths are, I'm not your guy (try the dude who wrote the aforementioned book). The best I can tell you is that this is the most relaxing album I've heard in a while, perfect for playing in the background while you do schoolwork or act snooty while sitting in your study wearing a monocle and reading your original pressing of Moby Dick which was personally autographed by Melville himself...or whatever people prefer to do when they put on classical music hell I don't know.


Score: 7.5/10



"II. Corrente"


"Partita 1-1: Allemanda"

Seven Things I Learned About Dr. Dre While Listening To The Chronic

I checked out this PrefixMag article about Dr. Dre's long awaited Detox album, and it got me thinking about his now 16-year old classic. As we all know, Dr. Dre's The Chronic is one of the most acclaimed, influential, and respected rap albums of all-time. It's hits were inescapable. It's imitators innumerable. And to this day, Dre can still refer to it's greatness and not come off the least bit cocky or have his statement called into question.

So I listened to the album again, and for no particular reason (boredom), came up with seven major things that someone who had been living in a rock can learn about Dr. Dre if using The Chronic as a reference:

1) Dr. Dre is not very fond of this Easy E character or his associates.

2) People should be especially careful not to upset Dr. Dre or Death Row Records in any way, shape, or form.

3) Snoop Doggy Dogg and Dr. Dre seem to have some sort of obsession with oral and anal sex, and would like to perform these acts with/have these acts performed on them by Easy E and other people who have upset them in the past.

4) It is both like this AND like that. Though it is unclear what "it" refers to exactly and what specifically "this" and "that" are.

5) People admire Dr. Dre. Men like to be associated with him and women desire him sexually.

6) On a related note: Dr. Dre is an incredible lover, but is careful not to fall in love with the women with whom he has relations.

7) Dr. Dre habitually enjoys marijuana.

In short: The Chronic is possibly the only album in existence that could get away with being this damn misogynistic, violent, and lyrically repetitive and still be nothing short of classic. Oh, and if "The Chronic (Intro)" isn't the most memorable rap monologue in existence then I can't imagine what is.



"The Chronic (Intro)"

Capricorns - Ruder Forms Survive (2005)

Capricorns - Ruder Forms Survive (2005)

Who out there doesn't enjoy a pleasant, unexpected surprise? No one? LIARS! Well I certainly do, and while listening to Ruder Forms Survive, I got one. I was really digging this record until the third song came on. The first two tracks had established Capricorns' brand of instrumental sludgy post-rock rather powerfully, and I was happily anticipating an album full of more of the same. Then, on "The First Broken Promise", on an album that I believed to be completely instrumental, a familiar voice appears out of the darkness. It's Eugene Robinson.

See, Eugene Robinson is an artist and vocalist that I've made no secret that I quite admire, therefore I'm obviously a huge fan of his band, Oxbow, and pretty much anything that he touches (artistically, that is). So having his unique vocal stylings show up completely unexpectedly on an album that I randomly purchased used was kind of like running into a good friend in a place that you least expected but right where you needed him.

Given my admiration for Robinson, it shouldn't be surprising that this my favorite song on Ruder Forms Survive, but Capricorns aren't exactly slouches without him. As I said, the first two songs, as well as the following four, hit hard, and are excellent works of groovy, sludgy post-rock. Reminds me a little bit of Pelican's old stuff, back when they had balls.


Score: 8/10


"The First Broken Promise (featuring Eugene Robinson)"


"1440: Exit Wargasmatron"

Digital Good Time IV

Digital Good Time IV
(Digital Good Time is a series in which xoxobra focuses on the visual side of music)

There are tons of impressive music videos out there made by talented companies with a big budget to work with, utilizing expensive and complicated software, equipment, and techniques, as well as hundreds of man hours. There are also tons of impressive music videos made by small groups or individuals with nothing but a shoestring budget, loads of creativity, and the free time after your full-time job. "Crown of Age" by the Ettes, created by Andrew Thomas Huang, is one such video.

This video strikes me because it's something I can relate to doing. The production values are obviously low, utilizing nothing but old, unidentifiable film reel clips, crude line animations, and clip art placed on 3D-layers; all topped off with a dust and scratches filter. It's nothing that couldn't be pulled off in a program like After Effects. But the way Huang treats these project assets, the viewer doesn't have the time to think about silly things like production values, and instead only sees what is quite simply a cool music video. Check out Andrew Huang's website for more of his projects. He's building up an impressive body of work so far in his short career and has already made a name for himself. It'll be interesting to see what he comes up with in the future with more tools at his disposal.

Links:
Andrew Thomas Huang
The Ettes

Goldfrapp - Seventh Tree (2008)

Goldfrapp - Seventh Tree (2008)

Seventh Tree album review, short version:

Some of these songs are reeeeeeeaal pretty. The others, kinda plain.

Seventh Tree album review, longer version:

Read any pre-release material for this album, and you might've been convinced that it was more of a folk record. The album cover even seems to hint at as much: a picture of Alison Goldfrapp standing in the plains with the dawn sun rising in the background and her wearing a simple white dress (for the sake of convenience, lets ignore the funky pirate hat). It's a fairly stark contrast from, say, Supernature. But once you get past the first song, the excellent "Clowns", the realization becomes pretty clear: this ain't no damn folk record. What it is, though, is a more subdued album in comparison to her last two releases electro-dance pop feel. The songs here compare more closely to the work on her first album. Seventh Tree is more organic, yes, but it isn't exactly folk. Folky at times, perhaps, but not pure folk.

Having established that, there are a few genuinely good songs on this album that achieve a stunning downtempo beauty. Songs like "Some People", "Eat Yourself", and the aforementioned "Clowns" can be a real joy to listen to. The only problem is that they are sandwiched in between a handful of songs that are similar yet nowhere near as striking. They're nice enough, not terrible or annoying, but suffer from being completely forgettable; almost impressive in their unimpressiveness. Which is why this album can best be described as "hit and miss". Even two of the albums' singles, the significantly more poppy "Happiness" and "Caravan Girl", live by that formula, with the former song being the "hit" and the latter failing to make an impression.

Overall, though, this is worth keeping around for a chillout listen every now and then. Just don't expect to be blown away or anything.


Score: 6/10


"Clowns"


"Eat Yourself"