This’ll get your Maker nerd and guitar geek wheels cranking – ArcAttack performs a Tesla Coil version of Sabbath’s “Iron Man.” The guitar player is using an iron guitar while wearing a faraday suit, which causes half a million volts of electricity arc’ing from the Tesla coil to circle his body without harming the wearer.
The MIDI signal from the guitar is routed through a fiber optic cable to control the Tesla coils.
Creators of the original Singing Tesla Coils, the crew of ArcAttack uses their high tech wizardry to generate a truly ‘electrifying’ performance. Two custom engineered hand built Tesla Coils throw out electrical arcs up to twelve feet long, each one acting as an instrument with a sound reminiscent of the early days of the synthesizer. A robotic drum set accompanies the spectacle, it’s high power LED’s flashing bright colors with the stroke of each mechanically actuated stick, while ArcAttack’s six members churn out rhythmic instrumental melodies. Live instruments meet drum loops and samples to produce rock, electronica and indie with a splash of punk and a dash of metal served with a side of pop. During the show, the MC engages both the crowd and the Tesla Coils by walking through ½ Million Volt sparks wearing the relatively thin layer of his chain mail Faraday suit.
Years is a modified turntable created by artist Bartholomäus Traubeck, that uses light to play a slab of tree trunk rather than dragging a needle through vinyl, translating growth patterns into haunting piano music. Lovely concept – Brian Eno would be proud.
A tree’s year rings are analysed for their strength, thickness and rate of growth. This data serves as basis for a generative process that outputs piano music. It is mapped to a scale which is again defined by the overall appearance of the wood (ranging from dark to light and from strong texture to light texture). The foundation for the music is certainly found in the defined ruleset of programming and hardware setup, but the data acquired from every tree interprets this ruleset very differently.
Evelyn Glennie has been profoundly (not completely) deaf since the age of 12, but tours the world as a master percussionist, speaker, improviser, and living embodiment of the act of hearing – not with the ears, but with the whole body. Contending that deafness is largely misunderstood by the public, Glennie creates and absorbs vibration with a level of nuance that few hearing people can reach. And yet she communicates about the aura of sound so beautifully, so effectively, that no hearing person can come away from her presentations unchanged.
Cafe Tacuba, “Rarotonga”
The Marketts, “Out of Limits”
The Who, “Boris the Spider”
Screamin Jay Hawkins, “Little Demon”
The Cramps, “Human Fly”
Napoleon XIV”, “They’re Coming to Take Me Away, Ha-Ha”
Kraftwerk, “The Robots”
Strangeloves, “I Want Candy”
Boogalox, “Chez les Ye Ye”
Weird Sisters, “Do the Hippogriff”
Roky Erickson, “Night of the Vampire”
Byron Lee and the Dragonaires, “Frankenstein Ska”
The Sonics, “The Witch”
Stevie Wonder, “Superstition”
Whodini, “Haunted House of Rock”
Johnny Rivers, “Secret Agent Man”
Barrett Strong, “Money (That’s What I Want)”
B52’s, “Planet Claire”
Bob Mould, “See a Little Light”
Cafe Tacuba, “Rarotonga”
Crystal clear, warm night at the classic Paramount Theater in Oakland – a venue every bit as classy and surprising as Esperanza Spalding and the Chamber Music Society, who we were there to see during San Francisco Jazz Festival.
Instead of a standard review, decided to try and tell the story through Storify, capturing other people’s impressions and images (both from tonight’s performance and of Spalding in general) via social media, interwoven with some of my own commentary. Not sure this works – what do you think?
As a native Chicagoan who grew up listening to men in black walking the line and grizzled bluesmen wearing their hearts on their throats, I have a pretty high tolerance for moving music that some might consider unpleasant. But even I have my limits. Following up on my Joy Division post, I’ll descend even further into the abyss by listing a few of the most depressing songs that have kidnapped my imagination. The title pays homage to a Lester Bangs essay, A Reasonable Guide to Horrible Noise, and to Warren Zevon’s boo-hoo ode to boo-hoo singer-songwriters, which improbably got Linda Ronstadt to record a Top 40 hit about tying her head to the railroad tracks. Woe is me!
• Samuel Barber, “Adagio for Strings” (According to Alex Ross, “whenever the American dream suffers a catastrophic setback, Barber’s Adagio plays on the radio.”)
• The Who, “Pictures of Lily” (Boy sees girl of his dreams and discovers she’s been dead for four decades.)
• Smokey Robinson and the Miracles, “Tears of a Clown” (When clowns aren’t creepy, they’re liars, or worse, opera fans.)
• Richard Thompson, “End of the Rainbow” (The author of ditties like “The Wall of Death” sings to a baby, claiming there’s nothing at the end of the rainbow. Thanks, Dad.)
• Nina Simone, “Little Girl Blue” (Bored, sad girl counts the raindrops and discovers evaporation.)
• Marty Robbins, “Streets of Laredo” (The singing gunslinger gets shot to death in “El Paso,” but that’s mild compared to this cowboy variation on the ancient “Unfortunate Rake” story.)
• Billie Holiday, “Gloomy Sunday” (The darkest version I’ve heard of the Hungarian Suicide Song. The composer later committed suicide.)
• Louvin Brothers, “Knoxville Girl” (The most violent song on the cherub-voiced death-gospel duo’s aptly named Tragic Songs of Life, reworking the English “Wexford Girl” murder ballad.)
• Big Star, “Holocaust” (Power pop drained of any power, words drained of any meaning, Beach Boys melodies sinking into quicksand.)
• Hüsker Dü, “Too Far Down”/ “Hardly Getting Over It” (The titans of melodic noise at their greyest, not seeing even a little light.)
• The Antlers, “Bear” (Heartbreaking ode to premature senility and the animal inside.)
• Etta James, “I’d Rather Go Blind” (Passive-agressive romantic obsession turns the lights out and entertains us.)
• Carter Family, “Engine 143” (Lots of songs are metaphorical train wrecks. This one’s the real deal.)
• Graham Parker, “You Can’t Be Too Strong” (“The doctor gets nervous completing the service, he’s all rubber gloves and no head.”)
• Pernice Brothers, “Chicken Wire” (Garage clutter, exhaust fumes, and no redeeming sentiments.)
• George Jones, “He Stopped Loving Her Today” (Why? Because he’s dead, that’s why.)
That playlist could keep you in therapy for years. But none of them outdo the real King of Pain, Skip James. Blues was never bluer. On “Devil Got My Woman,” Skip out-depresses the whole field by declaring that he’d rather be the devil.
Skip James, “Devil Got My Woman”
Big Star, “Holocaust”
Nina Simone, “Little Girl Blue”
One of the most awkward dates of my life ended when I played Joy Division’s Unknown Pleasures for someone whose favorite singer was Billy Joel. Since then, that album has killed more romantic moods than any of my other favorites. Martin Hannett’s creepy production evokes Phil Spector’s wall of sound as if rendered by Spector the convicted murderer. Lead singer Ian Curtis’ relentless sadness was arguably more intense than any of his punk contemporaries’ anger.
Joy Division remains the foundation of Manchester’s Factory Records sound, featured in the fascinating movie 24-Hour Party People and a more serious biopic, Control. Overcome by epilepsy and a bizarre love triangle, Curtis committed suicide just before the band’s planned world tour. The surviving members formed New Order, an equally influential band that was hardly chipper by any normal standard (“Love Vigilantes,” for example, basically retells the Top Forty war weeper “Billy, Don’t Be a Hero” from the perspective of the dead guy). But compared to Joy Division’s intensity, New Order might as well have been Kajagoogoo or Wang Chung.
Earlier this month, I got my first chance to see Unknown Pleasures performed live, in a Los Angeles show featuring Joy Division and New Order’s former bassist and backup singer, Peter Hook, and his new band, the Light. I could quibble about the Light’s performance. Hook’s vocals were decent, but sometimes sounded like he was leading cheers for Manchester United. Guest singer Moby looked enthusiastic, but came off a bit like last century’s lightbulb. Still, the band was good enough to revive the majesty of these songs (and make me feel as if that bad date had never ended).
To perk myself up after the show, I scarfed too many shots of espresso and jotted down a few mildly happy thoughts about the Joy Division revival:
1. Their Disease is Still Better than the Cure
It’s easy to smirk at Joy Division for inspiring future mopeheads to whine into their microphones. Interpol and scores of other less catchy Joy Division-inspired bands have certainly overdone the emoting. But Joy Division also deserves better than to be known only as the emirs of emo and designer doom. As Robert Christgau has noted, Joy Division struggled against depression, rather than wearing it like a designer suit. Joy Division has inspired legions of misfits–among them Bono, Kurt Cobain, Thom Yorke, Morrisey, and even Robert Smith–to reach great, if sometimes grandiose heights. And the band’s taut riffs, fusing punk velocity to Can’s minimalism, sometimes have a life of their own.
Joy Division, “She’s Lost Control”
2. The Muppets Never Covered Any Joy Division Songs
Okay, go ahead and snicker. But a 2009 piece on the Topless Robot blog, The 7 Most Depressing Songs Ever Sung By a Muppet, refers to Kermit and Rowlf’s duet on “I Hope That Something Better Comes Along” as “pretty much the pre-schooler equivalent of Joy Division’s ‘Love Will Tear Us Apart’.” And here’s the really depressing thing: this song only rates as Number Six on the list of the most depressing Muppet songs. The winner is a Fraggle funeral dirge, which we won’t post here because we care about our readers.
Muppets, “I Hope That Something Better Comes Along”
3. They Didn’t Write the Most Depressing Song of All Time
Many have cited Joy Division’s final single, “Love Will Tear Us Apart,” as the most depressing song ever. It’s a remarkable song, whose first passage captures in a few bars the end of one era and the beginning of another. But I can’t rate it the gloomiest. The music has too much energy. I keep thinking of it as half of a medley with “Love Will Keep Us Together,” and wondering how Toni Tenille would sing it. There are stacks of of George Jones, Leonard Cohen, Son House and Tom Waits songs I consider more depressing, but lists like this have to get personal. My selections follow in the next post.
Joy Division, “Love Will Tear Us Apart”
Neil Sedaka, “Love Will Keep Us Together”
Growing up, Chaino’s face was always around, floating in and out of the amazing collection of LPs and reel-to-reel tapes my Dad had accumulated before marriage. Every now and then, we’d plop it on the turntable and groove to raw African beats, churned through a mesh of steel drums, slapping palms, shakers, bongos, and moaning voices (yes, moans!) Never stopped to think about which African country Chaino was from – “just Africa” was enough for us. The convincingly tribal LP cover sealed the deal – Chaino was real in our minds.
Remember George Clinton’s fantasy verse in Parliament’s “Chocolate City,” imagining a future government in which Stevie Wonder holds a cabinet post, Secretary of Fine Arts? We’re probably lucky Clinton never got his wish to have Richard Pryor serve as Secretary of Education. But something like his basic idea occurred in Peru this summer. President-elect Ollanta Humala chose one of my favorite singers, Susana Baca, as the new Minister of Culture. The New York Times reports that she will be the first minister of African ancestry to serve in the Peruvian parliament.
Susana Baca’s smoldering and gorgeous version of “Maria Lando,” written by her mentor Chabuca Granda, is the standout track on David Byrne’s uniformly excellent 1995 compilation, The Soul of Black Peru, and also appears on one of her solo albums. Since “Maria Lando” is a heartfelt ode a woman who works hard for the money, I’ve sometimes put it on playlists that also include Dolly Parton’s “9 to 5.” But the ache in Baca’s voice is so intense that it makes the protagonist sound like her hours are 9 AM to 5 AM.
Baca is actually highly qualified for her new post, as an adept music historian and the co-founder of a cultural organization, the Instituto Negrocontinuo. The appointment comes just in time to promote Baca’s new album, Afrodiaspora, which takes her out of her traditional ballad comfort zone and on a journey to survey the threads of African influences in all the Americas (with a brief stop in Spain as well).
If this sounds like one of those sentimental, grooveless world music projects that drowns in self-importance, it isn’t. When the minister wants to get out of the office, she knows how to throw a good party. Afrodiaspora includes suitably moving (in both senses) tributes to Mexican singer Amparo Ochoa and Cuban salsa icon Celia Cruz. But Baca also ventures in more unexpected directions. She drastically reinterprets the Meters’ classic New Orleans funk strut “Hey Pocky Way.” Things get even sweatier on “Plena y Bomba,” a collaboration with Puerto Rico’s Calle 13 and its often-shirtless leader/MC, René Pérez Joglar (AKA Residente). Baca also sang on Calle 13’s “Latinoamerica” last year. Although 2011 is far from over, I’ll predict now that Afrodiaspora will win the award for Best Nontraditional Latin Album by a Credentialed Burecaucrat.
Susana Baca, “Maria Lando”
Susana Baca (with Calle 13), “Plena y Bomba”
Since I’m in a serious funk over the astonishing increases in inequality that define our age, it seems like a good time to feature the seriously funky legacy of England’s two-tone rebel soul pioneers, The Equals. The biracial group of native Brits and immigrants from Jamaica and Guyana, formed in North London in 1965, has been described by musician and ska expert Marco on the Bass as the first “real” two-tone band, paving the way for the Specials, Selecter and other integrated bands in ska’s second wave. Although the Equals drew from ska, they incorporated many other influences, including pop, garage rock, psychedelia, soul, and funk.
Those who know the Equals’ guitarist and main songwriter Eddy Grant as the dreadlocked pop-reggae singer who recorded “Electric Avenue” (written in reaction to a 1981 Brixton riot) might be surprised to see him with the Equals, sporting dyed blond hair and sometimes playing fuzzy psychedelic guitar as if his life depended on it. Growly Derv Gordon, not Grant, served as the band’s lead vocalist, and the band continued after Grant, weakened by serious illness, quit and returned to Guyana in 1971. But the band’s peak period ended with Grant’s departure.
The Equals’ two signature songs are probably best known as covers. The infectious “Baby Come Back,” which received a lighter treatment in Pato Banton/ UB40’s 1994 hit version, is concise and compressed enough to remind me of one of Grant’s heroes, Chuck Berry. The hard-charging “Police on My Back” fit so seamlessly into the Clash‘s repertoire on its sprawling 1981 album Sandinista! that most listeners assumed it was a Clash original. But the Equals’ original version packs almost the same wallop, with a little extra dose of sweet soul.
The Equals, “Baby Come Back”
The Equals, “Police on My Back”
When the Equals are mentioned at all, it often seems to happen after some major protest in which England’s youth take to the streets–most recently in Salon, which offered the band’s work as the soundtrack to a burning London. It’s true that by the late sixties and early seventies, the Equals offered some compelling slices of politically charged psychedelic soul (“Black Skin Blue Eyed Boys,” “Equality,” “Stand Up and Be Counted”). Yet the Equals weren’t close to being politicians, and their love songs hold up as well as their fight songs. They would deserve to be heard even if the streets of London became perfectly quiet.
The Equals, “Black Skin, Blue Eyed Boys”
The Equals, “Equality”