Haunting spaced out drug rock elegy. The recording isn’t too bad on this version. Takes about 2.5 minutes to get started, but what I find totally unastounding is that there are some choads that just kind of chat the whole time. You know, the people that have an infinite amount of bar time and an infinite amount of shows that they see, and they go to bars on show night to just drink at the bar and blabber during some totally awesome song. From their latest, In the Future.
Monthly Archive for April, 2008
Love these two from Beggar’s Banquet. The Rock and Roll Circus (live) version of “Parachute Woman” is decent and on YouTube, but it loses an edge, as opposed to gaining one as many songs do. Just some skeezy blues (the former) and some Dylan apery (the latter), but quite good.
Since this song and another wonderful track from the same album, Holiday, are not on the Tuber but were both used by (genius) Errol Morris in commercials for Southern Comfort, I will link those ads, and you can get a small taste of absolute pop genius. Magnetic Fields’ Stephin Merritt specializes in a hard to describe feeling that touches melancholy and nostalgia. I can only describe this feeling as suburban high school nights driving around in your care with nothing better to do but think about that someone. Obviously, if this isn’t your formative experience, the feeling will likely be attached to somthing else. From the way Morris uses the songs in the ads, you can tell he senses the same feeling in Merritt’s work. These earlier tunes have a Casiotone taste, although these two are the lushest on the album and not as chintzy.
The ad “Young at Heart” uses
The ad “Bridesmaids” uses Strange Powers
Billy Pilgrim hooks up Song of the Day with a taste of Cloud Cult:
Cloud Cult is one of my favorites, on disc and live. They have a
complex, polyrythmic semi-avant sound that mixes prog and pop, with
just a hint of Sonic Youth, overlaid with Craig Minowa’s plaintive
vocals. It’s a surprising sound that grows on you, and they
translate amazingly well live, if being a fair bit more aggressive.
The song structures are…well, non-traditional, to say the least.
But for my money, there’s not enough rock bands sporting teh string
instruments. Not to mention the stereo painters that perform with them.
“Transistor Radio” is a bittersweet reminiscence about the
inspiration of how our relatives can give us hope, inspiration and
determination. It’s a quietish song, but they had me hooked from the
first time Craig punctuates the lyric with a little ‘yep!’ And he
keeps on doing it.
“what comes at the end” is from the album Advice From The Happy
Hippopotamus and starts off with a grinding little guitar, but
settles back before the lyrics start, and after the first verse, the
chorus starts to bleed a little pop happiness on the song.
Cloud Cult self-releases all their music, preferring to operate
outside of the record industry, despite being one of the most played
bands on college radio. They record their music on Minowa’s farm,
which is self-sustaining, and when they tour they purchase renewable
energy offsets for the power they use in the stage show. I’ve seen
’em three times now, and their shows are joyous and life-affirming,
and they sell paintings that are done by the artists while the band
Go see ’em when they hit the road. No excuses Brando.