• not all disco...

    Mar 7 2009, 9h14

    ..but not undisco

    Hello skilled, sleek and silky reader

    I am utilising my headache to write a pithy ketchup notelet

    Seems I have not done this for a while.

    Accordingly, there is much to reveal so I will ease up on unnecessary, spurious, long-winded, gratuitous, avoidable, extrinsic* adjectives

    The good ship SIC is packed to the gunwales with cannonballs, rum, biscuits, weevils and androgynous cabin-persons and is setting sail for A VERY BIG ADVENTURE.

    Kiss your loved ones byebye and break out the handcream.

    First into the tubes
    THE GAY BLADES "O Shot" 23.02.
    Imagine White Stripes fondling Metal Guru's ass.

    Playlisted on Xfm and NME radio, Lamcq's Rebel playlist this week, John Kennedy's Hot One tomorrow, bigass Radar piece on them last week, piece in Uncut, covermount tune on the new Artrocker. etbloodyc

    Here is a video with some mad love.

    http://www. nme. com/blog/index. php?blog=15&p=5702
    The album GHOSTS is coming in May and you may forever call me Margaret Thatcher if it isn't stuffed with low-slung tunes in the modern style,
    reminiscent at times variously of Josh Homme, Beck Hansen, Bright Eyes, and T Rex
    Hot dates? Yep...

    FEB 20 Shepherds Bush Empire BRATS show w/Tricky. Nice.
    FEB 21 Blow Up
    FEB 24 Dingwalls w/SpintoBand
    FEB 25 229

    Currently polishing their bullets and sharpening their trousers
    "No Excuses" 09.03.
    09 DL
    "No Way Down" 23.03.
    09 CD
    Gothenburg's finest hipster-licious nu-disco titans
    Pitchfork's #8 song of '08, tipped for fame from here to Moscow,
    and eating up airtime on R1, 6Music and Xfm,
    press love incoming from MOJO, Vice, DJ, Dazed, Q, UNCUT among many others.

    MANY though. The list of confirmed press is SWEET.
    (Shouts out to the Freeman PR "massive")
    Soon to be seen on the new Friendly Fires single.

    http://www. pitchforkmedia. com/article/download/148840-pitchforktv-air-france-no-excuses-video-premiere
    UK DJ Dates in march once they have spun tunes in Russia, Poland and Japan.

    Global love!
    I am managing them too. Lucky old me.

    Making the right friends at this time of uncertainty also is
    Rewind While Sleepy EP 02.03.
    Kraftwerk, MBV and Hot Chip taking a long bath
    Mysterious anonymous New Jersey band. Actually they are polynymous*** cos they have also been Weird Tapes and are about to settle on the new combi-name MEMORY TAPES.

    Apperaring on a very cool blog near you. And on the radio too.

    How to descibe them?
    Well the EP makes me think of Donna Summer, Kevin Shields, pre-bloat Pumpkins and Hot Chip.

    The imminent album is, well, immensely original and if you forced me to be more helpful I'd say it sounds like Electronic, Daft Punk, ABBA and a very chirpy Robert Wyatt Happy? You will be.

    The album will be a psychedelic girl group disco masterpiece.

    www. myspace. com/memorycassette

    Oh and I have the only pop album that matters this year. AKIRA THE DON's second full length, produced by Stephen Hague, featuring Gruff Rhys, Martin Carr, Gonzales and Grant Morrisson. Coming June.

    Along with the new almost nearly complete third album by Brooklyn's biggest band, the beautiful and quite plangent THE SILENT LEAGUE. And if you hate ELO, you are not going to like it. But then you are just the sort of miserable cuss we shun. So, yeah, beat it, cuss.

    I am also doing some field work for ARMY NAVY, CAPITAL and SPINNERETTE aka Brody Dalle's new band (Ghetto Love http://www. spinnerettemusic. com/ghetto-love-hi)

    ILL FIT will return to Old Blue Last shortly also. And bigger venues too.

    And I will end by saying: SICDISCO.

    It's coming.

    it will take your mind of this summer's riots.


    *fuckin cheers to thesaurus. com for that baby
    ** doesn't even make sense.
    where'd it go?
    *** bluff?Air FranceGay Blades
  • remixes: the end of australian summer

    Fev 11 2008, 21h14

    it was so nice to meet you
    the pleasure's mine i do like you
    come to cancun for spring break
    i'll think about it, it could be great.

    - the teenagers "homecoming" (gentlemen drivers rave mix)

    seconds to the elevator from the station
    how can i resist that kind of invitation
    seventh floor and i'm in trouble
    gotta get me back down to street level
    i get around.

    - dragonette "i get around" (van she tech remix)

    now I want to be with you
    and I know you want to be with me too
    I used to think you stood in my way
    but I have changed my mind today
    and I might just change it back again

    when I look back I’ve see a made a mistake
    I was just a child but I’m ready today
    and I think you can take me higher
    and if we don’t like the view I can let go of you
    and you can go back down to suburbia
    and I can fall back down on the eurosport sound

    - le sport "i comes before u" (ben morris remix)

    hey hey hey i'm ready to play
    i'm gonna do do do what i've wanted to do.

    - the softlightes "black skinheads in white pants" (matt van she's in search of gravity mix)

    all your friends have gone away
    so let's celebrate.

    - cut copy "lights & music" (boys noize remix)

    just one look to say that
    you still feel the way that i do
    but it could never explain...

    - mercy arms "kept low" (cut copy remix)

    The TeenagersCut CopyDragonetteVan SheLe SportMercy ArmsJoakim
  • discourse: the great daft punk album of 2001

    Jan 22 2008, 20h28

    Discourse: Was The Great Daft Punk Album of 2001 a significant work about the cultural rationalism of robo-erotica, or a subneostructuralist precursor to the current Ed Banger metanarrative?

    Sandra Croft (cultural rationalism)
    Fraser Greenberg (subneostructuralism)

    hosted by:
    Owen Meyers (moderately amused bystander)

    Fraser Gushtiwala Greenberg wrote
    at 11:37pm on January 19th, 2008

    Sandra and I were examining cultural rationalism, and were faced with a choice: accept Justice's subsemanticist discourse or conclude that narrativity may be used to reinforce the MSTRKRFT aesthetic.

    “Sexual identity is dead,” says Sandra. "An abundance of narratives concerning the common ground between Blog House and Daft Punk coexist. However, I promote the use of Sontagist camp to deconstruct robo-eroticism."

    “Sexual identity is fundamentally used in the service of class divisions,” I said; however, according to my opposition, it is not so much sexual identity that is fundamentally used in the service of class divisions, but rather the failure, and subsequent defining characteristic, of robo-eroticism. I use the term ‘the subcultural paradigm of discourse’ to denote the sexual identity of the robot as an aesthetic artifact, to indemnify Sandra's remark.

    Thus, Sartre prevailed.

    Sandra Croft wrote
    at 2:44pm on January 20th, 2008

    It is not so much class that is unattainable, but rather the fickle absurdity of consumer hierarchies after The Great Daft Punk Album of 2001. In the previous works of Bangalter and de Homem-Christo, the subject is contextualised into a manifesto that includes robo-eroticism as a paradox, forcing cultural norms that rest between textual desituationism and neoconceptualist appropriation. The premise of the current wave of dance revisionism suggests that the significance of the participant is solely to make social comment, often via Facebook.

    Therefore, subcultural constructivism implies that class, somewhat paradoxically, has objective value, but only if reality is interchangeable with the output of Parisian record labels; otherwise, we can assume that Pitchforkmedia is capable of intentionality. You can take your Sartre and shove it…Fraser.

    Fraser Gushtiwala Greenberg wrote
    at 1:08am yesterday

    Sandra... your logic is inexorably fraught. “Consciousness is fundamentally a Beta Band recording,” says Pitchfork Media; however, according to the Wire, it is not so much consciousness that is fundamentally a Beta Band recording, but rather the stasis, and some would say fatal flaw, of consciousness.

    Do you recall 'the postdialectic paradigm of expression'? Even Raffi promotes the use of cultural deconstruction to modify and read sexual identity. As such, The Great Daft Punk Album of 2001 can not be seen to represent neostructuralism per se, but rather subneostructuralism.

    Sandra Croft wrote
    at 2:55am

    Your categorization of The Great Daft Punk Album of 2001 is misguided at best, and neomaterialist at worst, Fraser. It is people like you who account for the homo-robotic school of thought that forces us to choose between the Digital(ism) paradigm of singular discourse and indulgent Ed Banger prestructuralist appropriation. If one is to examine such cultural rationalism, one is faced with a choice: either reject the metanarratives of as a figment of the collective deconstructivist imagination, or accept that Justice’s Fabric mix implies the conceptualist sexual identity of being human after all.

    Such self-fulfilling dematerialism is indicative of an adherence to the predominant concept of robo-capitalist subtext so inherent in The Great Daft Punk Album of 2001 - the meaninglessness of reality when one is Alive in 2007. As such, consciousness can be fundamentally attributed to the belief that “If I had the money to go to the record store, I would”.

    Owen Meyers (Spain) wrote
    at 5:20am

    Ok, Sandra.... Fraser.... where is this going guys? I'm enjoying this very captivating and stimulating discourse on my wall, though I wonder if there isn't a better locale where you might reach a larger, and dare I say more impressionable, audience? A sound blog, perhaps?

    Fraser Gushtiwala Greenberg wrote
    at 2:02pm

    It must be raining in Spain ...
    JusticeDaft PunkEd BangerDiscoveryBeta BandMSTRKRFTSimian Mobile DiscoAttack Decay Sustain ReleaseOwen Meyers
  • the great escape

    Nov 30 2007, 19h03

    10 years on: 10 essential albums of Britpop
    FL.AG Magazine
    June 2006

    Blur: The Great Escape
    by Sandra Croft

    It's hard to truly understand Blur's ‘English Life’ trilogy without hearing all three albums. The Great Escape is that last piece of the puzzle which ties everything together and takes the band's formula of acid and hook-laden English character sketches to its logical conclusion. At the time of its release, the struggle between Blur and Oasis was in full force, but ten years on, there is no comparison between the latter's laddish monotone, and Blur's sharp musical intelligence. The record's dark, focused attack shows Damon Albarn to be one of the most intuitive songwriters of our modern era - after the Cockney charade of Parklife, this is a complete nightmare vision of Pynchon's model of information overload leading to entropy and inertia. Whereas Modern Life Is Rubbish was filled with poppy accounts of the British middle class seen through a mod's eyes, and Parklife displayed trashier stories of British city culture, The Great Escape is all about the hidden agendas of upper-class British suburbanites. Albarn sketches some memorable aural vignettes: take the sex-crazed couple in "Stereotypes" ("the neighbors may be staring/but they are just past caring") or the "naughty" businessman in "Mr. Robinson's Quango" who's wearing plaid French knickers and stockings under his suit.

    If you are in your mid- to late-twenties now, there will be a special place in your heart for this record. The Great Escape was a periodical of our generation’s summer of love 1995 - when the shirts were loud, the music was everywhere, and we were drunk.
  • kill the lights

    Nov 30 2007, 5h41

    Kill The Lights
    NXNE 2007 bio.
    by sandra croft.

    Kill The Lights are four men and one woman making calculated noises to specific rhythms with amplified instruments. Alex told Yann, “I feel something gnawing, and the police are giving me a hard time here in Quebec.” Yann replied, “Let us repair to Toronto, there are buildings and things and different people there.” The 401 was a razor of boredom, but percussion and melody were secured in the new metropolis. Lower octaves were required. John, barely visible in profile, emerged from somewhere in the G of the GTA to comply. Joe and Steph added tiers to the construct, in the form of keys and strings. People whispered “Chimaera!”

    Kill The Lights keeps its manager in a state of perpetual anxiety.

    Kill The Lights like late brunches on the Plateau Mont-Royal, autumn, Britpop, first snowfalls, hats worn unpretentiously, Talking Heads, Newfoundland, Greek mythology, and the perfect espresso.

    For the record, Kill The Lights are:

    Yann Geoffroy: drums
    Stephanie Hanna: vocals and keyboards
    Joe Yarmush: guitars and keyboards
    Alexander Hackett: guitars and vocals
    Johnston Dignard: bass

    Kill The Lights is set to release their first album “Buffalo of Love” in March. It was recorded hurriedly in cramped spaces. Kill The Lights has slain crowds at Pop Montreal, North by Northeast, CMJ New York City, and now, Canadian Music Week. You never know when they will strike again.
  • ian curtis back from the dead

    Nov 30 2007, 5h34

    a little gem from creative writing class circa 2003.

    by sandra croft

    After constant, raging speculation from the blogosphere, Interpol have finally announced the addition of a new member to their line up. Truth is really stranger than fiction. Yes, that’s right; the new member is actually the reanimated corpse of Ian Curtis. “At first I had my doubts, what with me being dead and all” explained the recently raised Curtis, “but then I thought of the disorder I could cause.”

    Curtis made his grand reappearance during Interpol’s recent live date at New York City’s Bowery Ballroom. The baffled and awe-struck audience witnessed him rise out of a large crack in the stage, take Paul Banks’ microphone out of his hand and go storming into what was quite possibly the greatest rendition of ‘Love Will Tear Us Apart’ that anyone has heard, ever.

    “It was a religious experience. Or rather, it defied religion, but it was definitely a memorable way for Ian to kick-start his comeback.” said Daniel Kessler, Interpol’s lead guitarist. “It’s a huge honor to have the man that gave me the gift of the love of…”

    Curtis interrupts. “Will you fucking shut up? This is my interview.”

    We are in a luxuriously blood red hotel room at The Casket, in the East Village. “I chose the hotel” laughed Ian, the irony not lost on the living. Sitting with me, is - of course - the now not dead Ian Curtis, Daniel Kessler, Carlos D, the bass player from Interpol, and Eric, their touring keyboardist.

    Ian, it’s wonderful to see you return to the world of music. And the living. You’re looking wonderfully embalmed as usual.
    Ian – “Thank you! it’s a pleasure to be undead.”
    Carlos – “Hear hear!”

    What made you decide to come back to us? Why twenty-three years later?
    Ian – “Never mind love tearing us apart, these guys were tearing apart my songs! No, seriously, but I have a lot of respect for Daniel, Carlos, Paul and Sam’s work.” (Laughs) (Eric looks hurt)

    You certainly seem much happier than you were when you left us. Was death a happy, liberating experience for you? What’s it like in the afterlife?
    Ian – “Well, as you’ve obviously heard by now, I wasn’t the happiest person when I ended my life. Certain things were, let’s say, dragging me down. But, let me tell you, it’s the best thing I ever did. The atmosphere down there with all the dead souls is amazing. It’s utter disorder! (laughs slightly maniacally, drains his glass) What’s the best thing about fucking twenty three year olds?”

    Ian – “There’s twenty of them! (laughs, fake spasms and knocks Eric’s G&T over) “Got you, you wanker!” (laughs again)

    Yes. Well. OK moving on. Have you talked to any of your band mates since coming back? What do you think of New Order?
    Ian – “Well, obviously they’re not as good as Joy Division, but I’m glad that Bernard and the lads still carried on and didn’t spend their time moping on after me. I have appeared to them on numerous occasions over the years, but Peter always started screaming “Avaunt! Avaunt!” and Bernard just threw things at me.”

    Is there a God?
    Ian – “No.”

    Paul hasn’t been seen performing at any of Interpol’s gigs since your recent arrival. What’s happened to him?”
    Ian – “He’s here.” (Ian reveals a small bottle around his neck, with what looks like a miniaturized Paul kicking and screaming within.)
    Paul – “Stella! Stella! Stelllaaaaa!”
    Ian – Aw, bless him, he wants a beer.”
    (sudden deathly silence descends) (Ian’s eyes glow red)

    Ian. Why are you here? Really?
    Ian – “That would be telling.”
    (Eric suddenly attempts to escape via window, and Ian helps him. Carlos and Daniel shift back away from Ian as he sits back down. A crunching noise can be heard from the pavement below.)
    Daniel – “Never did like that fucking prat.”
  • Friday night is boring.

    Nov 29 2007, 6h21

    Kathryn says:
    and sean fear too
    roscoe says:
    yes, although he is a bit worse for the wear now, what with his obession with containers
    Kathryn says:
    haha - cool - i will let you know.... uh containers?
    Kathryn says:
    like tupperware? trash bins?
    Kathryn says:
    the human body as a container for the soul?
    roscoe says:
    yeah like shipping containers
    roscoe says:
    he is obessesd
    roscoe says:
    it's all he talks about
    roscoe says:
    when he finishes school next year he wants to live in a container
    Kathryn says:
    what a weirdo
    roscoe says:
    hahaha yes don't even get me started on his container dreams
    roscoe says:
    they are expansive
    roscoe says:
    oh yes, did i mention that he wants to live in a container IN HIS PARENTS BACK YARD
    roscoe says:
    talk about leaving home but not leaving at all
    Kathryn says:
    that's pretty nuts... if he is going to go through all that trouble he'd better do it all the way - no hopping into mom and dad's to shower - container life only
    roscoe says:
    yes time will be the true judge of whether he realises his ambitions or not
    roscoe says:
    if he doesn't, i think history will not look upon him kindly
    Kathryn says:
    he could start a new trend - it'll be like hobo chic
    roscoe says:
    yeah, except that not everyone has access to containers
    Kathryn says:
    but they will, it would be like u-haul, you could rent a container - and knockoffs could sprout up, only they would be storage units in a building
    Kathryn says:
    the real estate market would plummet, throwing the economy into chaos - he must abandon this dream for the good of the country!
    roscoe says:
    haha instead of trailer parks there will be container parks
    roscoe says:
    phenomenally awful
    roscoe says:
    ok i have to go now, but be in touch about reading week

    Kathryn says:
    oh yeah - later
    roscoe says:
    friday night is boring
    roscoe says:
    i am going to find something to do
    Kathryn says:
    good plan