• M.I.A. at Terminal 5, October 18th 2007

    Out 21 2007, 2h28

    Thu 18 Oct – M.I.A.

    I haven't posted a log on here for quite some time, but I felt I should retain some sort of cyber record for this event, so the following is essentially an edited multi-forum post.

    First & foremost: this will always go down as the night that I grabbed Maya Arulpragasam's ass.

    No, this wasn't because I was amongst the great unwashes masses that stormed the stage during "Bird Flu". I didn't go up onstage at all (I could barely move my leg at that point, due to a fractured ankle sustained days before...I would have had to climb over the barrier...no thanks). Plus, it was pathetic seeing all the hipsters crowding her. And whoever it was that insisted on trying to digitally capture themselves with Maya onstage was especially irritiating. Stop trying to have a Myspace moment. Just stop & live in the moment, for once! Not everything has to be proven online later (except for this last.fm blog entry, of course). :p

    Anyways...the ass grabbing.
    The only reason I even experienced this incidental bodily contact was because she essentially fell on me when she stagedived at the end of the set. I merely acted impulsively, to be completely honest. She was inches above my ahead - her back and her ass, specifically - so I simply tried to anchor her, but unintentionally managed to cop a feel. The opportunity, literally speaking, fell into my lap, ha. Although, after the fact, I was like "Whoa, I just grabbed Maya's ass." IT WAS TO PROTECT HER FROM FALLING, DAMN IT. It was one 95 lb female out to save another from a nasty spill (naturally, other people steadied her as well, but it took them long enough for their protective instinct to kick in - I guess they were too worried about getting that perfectly well-composed, yet spontaneous shot to post on Myspace).

    I didn't go backstage to meet her because the show ran really late like as people have noted. My friend & I had to haul ass to get the train home (and ended up getting a cab part of the way because my ankle was useless & we were running out of time).

    It was a great performance on her part, but I agree with the many complaints regarding the ridiculously long wait. wtf? A 2 hour opening DJ set (even from a former member of Blaqstarr?) I was livid by 9:30...and I am still unsure how I survived ANOTHER hour wait following that!

    The venue's locale was hideous, as was the wardrobe of 95% of concertgoers, yet still, I left feeling elated & more than a little horny. I'm just kidding. It will still always be funny to remember that I accidentally fondled Maya Arulpragasam. In fact, that entire 30 second incident probably was more memorable than the concert itself, which isn't to say it wasn't a solid show. It was - it was just riddled with delays & bad vibes. To express my final sentiment more accurately: I left the show satisfied, but extremely sore & swollen.

    I'll have to look around for the setlist - all I remember was that she opened with "Bamboo Banga", played most of both albums, and that the encore was "Amazon" & "URAQT". I liked her video projections - it was more than I expected. I got some decent photos (I was in the second row, left-hand side). For the record, the most annoying people in the entire venue (those who booed the booers during the DJ set!) were situated immediately right of me. I was ready to slaughter them all.

    OH BTW....THAT WHOLE INTERLUDE WHERE THE LIL' MAMA CLONE PERFORMED WAS SO UNNECESSARY. Actually everything except M.I.A. herself was expendable, although I found Afrikan Boy's endless enthusiasm kind of charming.

    In summation:

    M.I.A. = beautiful, talented, engaging, has an ass you could bounce a quarter off of & make change.

    The venue = horribly conceived - a sad attempt to recreate The Hacienda. But this is upper Hell's Kitchen - the armpit of Manhattan. It is a cultural wasteland - let's not use the vacuum to try to create a newly ordained hipster zone.

    The crowd = disgusting. Terrible clothes & worse manners. Also, seething with racial & socioeconomic conflict. I didn't know a DJ set could provoke racially charged commentary between concertgoers, but you learn something new with every show. Apparently, "all the white people" were sick of waiting for M.I.A. because "they have to go to school tomorrow". (Well, some of us do!)

    The wait = horrendous & mysteriously never justified. If I wanted to hear shitty reggaeton for 2 hours (felt like 20), I could just stand outside a Jamba Juice on Second Ave. What the hell? God, I wish we could have had The Go! Team open.

    My ankle = dead. I had screamed out in sudden pain at various points that evening - during our brief stop at Virgin Megastore, en route to Terminal 5, when the bitch in front of me STOMPED ON MY LEFT FOOT WITH HER ENORMOUS IMPOSTER HEELS, pretty much every 5 minutes post-performance.
  • Girls Aloud Vs. Sugababes - Walk This Way!

    Jan 30 2007, 1h47

    Well, it's finally here.

    Girls Aloud& Sugababes...perfect together! Sugar rush!
  • Air Reveal New Album Details

    Nov 17 2006, 1h22

    French electronic duo Air are to return on March 5 will a brand new album called Pocket Symphony.

    The follow up to 2004’s Talkie Walkie has been produced by Nigel Godrich (Beck , Radiohead) and features guest vocals from Jarvis Cocker and Neil Hannon from The Divine Comedy.

    The track list for Pocket Symphony Runs:

    Space Maker
    Once Upon a Time
    Hell of a Party
    Napalm Love
    Mayfair Song
    Left Bank
    Mer du Japon
    Lost Message
    Somewhere Between Walking and Sleeping
    Redhead Girl
    Night Sight

    I can't wait!
  • Finally...a Top 50 that represents me at this moment.

    Out 16 2006, 9h19

    For the first time ever, my Top 50 is a true/truer representation of my actual tastes. My Top 100 is even more interesting. As you can see my tastes are very diverse, and they will continue to get even weirder, as I am really plunging deep into the worlds of , , and female . The only new band that really excites me at the moment is The Horrors.
    They are a fucking awesome surf/psychobilly/garage death punk act(seriously! it all applies) & I use the term "death" because their shows are reminiscent of the great energy of the early 80's deathrock shows, even if their sound isn't. Anyway, the stupid NME kids will lump this in with the angular pop movement, even though their music owes nothing to post-punk at all. But whatever. They will end up as another "trend" band, although God only knows what will happen if others follow in their footsteps, haha. Anyway...who else is awesome?
    Oh, the Brazilian Girls, Love Is All, and Erase Errata. I'm fucking done with the millionth wave Gang of Four ripoff acts, although most of them aren't even that bad. I'M JUST TIRED OF IT. Next up: . Yup. And I'll embrace it. I DON'T WANT ANY MORE FREAK FOLK/NEW WEIRD AMERICA ACTS SHOVED IN MY FACE EVER AGAIN.

    NEW TOP 50:

    1 Bauhaus 652

    2 Goldfrapp 638

    3 M.I.A. 395

    4 Yeah Yeah Yeahs 389

    5 Depeche Mode 363

    6 Garbage 362

    7 Franz Ferdinand 351

    8 Joy Division 348

    9 Kasabian 298

    10 Zero 7 252

    11 Primal Scream 251

    12 New Order 249

    13 Madonna 247

    14 Air 239

    15 The Jesus and Mary Chain 235

    16 Blur 230

    17 Sonic Youth 225

    18 Radiohead 223

    19 The Long Blondes 221

    19 Annie 221

    21 The Velvet Underground 219

    22 The Vines 213

    23 Nine Inch Nails 210

    24 David Bowie 209

    25 Muse 199

    26 Massive Attack 193

    27 Metric 190

    28 Thom Yorke 178

    29 Echo & the Bunnymen 169

    30 Gang of Four 168

    31 Gogol Bordello 155

    32 The Fall 153

    33 The Arcade Fire 145

    34 Editors 142

    35 My Bloody Valentine 139

    35 The Black Angels 139

    37 Youth Group 134

    38 Lou Reed 133

    38 Kylie Minogue 133

    40 Ladytron 129

    41 The Stone Roses 125

    42 Liliput 123

    43 The Cure 121

    44 Siouxsie and the Banshees 120

    45 Persephone's Bees 118

    45 Françoise Hardy 118

    47 Curve 114

    47 Lady Sovereign 114

    49 Sneaker Pimps 113

    50 Lily Allen 105
  • Kasabian - Empire Preview. Get new tracks here.

    Ago 25 2006, 4h38

    I started a blog. I can't believe it.

    I dedicated my first post to Kasabian:

    Get some songs from Empire here:

  • New Lady Sov Track.

    Jul 30 2006, 21h48

    Right now, I'm digging Lady Sovereign's new track, which I found by accident on PF [yes, them] last night. I don't think many people have access to it yet, because I don't see it popping up on any of the major sources, so here you go:
  • Pollution you can groove to...in the cruel summer.

    Jul 6 2006, 6h06

    Since I made so many new friends & enemies [waves hi] in my last post, I figured, well...I might as well also post this livejournal entry on last.fm so my cyber stock can continue to skyrocket. hahaha.


    What's with SPIN's makeover? It fucking sucks!
    Beyonce is on the cover?

    EDIT: Oh God, I just found out so much shit regarding SPIN.
    I'll have to update another time about it. Let's just say: things don't look good.

    For all my "" leanings,
    I've found myself vaguely nostalgic for mainstream 90's rock circa 1994, this encompassing both sides of the pond & two disparate, inversely proportional movements: & Post-Grunge The Smashing Pumpkins [yes, a movement unto themselves]. I keep putting Parklife and Siamese Dream on repeat.

    I d/led a good portion of Regina Spektor's new album, "Begin To Hope".
    I'd say I've warmed considerably toward her, but I remain unconvinced that I will ever actually purchase her music.
    This is "Samson"; I love the lyrics:

    One new act that has won me over is Dirty Pretty Things. This surprises me, only because I never really liked The Libertines, Babyshambles are shite, and it's my opinion that Pete Doherty is the most pointless waste of talent to grace the pages of since Shaun Ryder circa 1998. That being said, I'm loving Carl Barat's potential independent of the shipwreck he fled from with due haste. The rock he's created for their debut reminds of The Jam, Blur, & Kaiser Chiefs sparring at a "generation wars"-themed battle of the bands. It's a bit more organic & retrofied than, say, Razorlight, but not far removed enough to alienate Britpop fans of any contigent. Anyway, I like them. This is "Gin & Milk", a discernable highlight:

    As for less mainstream and established acts, well, I've actually discovered some pretty groovy underground gems over the past few days/weeks. There's this woman who goes by the moniker My Brightest Diamond [her actual name escapes me...google it] who sings dark, atmospheric singer-songwriter pop a la classic Kate Bush and a more subdued PJ Harvey. I actually recognize some Fiona-esque inflections in her vocal timbre, but don't expect any degree of lyrical catharsis delivered via quirky cabaret/baroque pop here. I'd say it's a much more subtle, mystical energy that is established here; musically, it's something Bjork might create if she ever actually just sat a piano & put away the baleen-lined autoharps [okay, I made that up, but you get the drift].
    Here's a song called "Dragonfly":

    Plan B is the latest white rapper on the grime scene. Already earning comparisons to Mike Skinner [surprise, surprise], he's turning heads with his gut-wrenching, visceral lyrics. This one, called "Sick 2 Def", is sure to piss off everyone from feminists to pro-lifers to anyone with a stick up their arse. And oh yeah, this is the acoustic version [acoustic post-2-step??? yes.]

    I also like this group called Silversun Pickups. It's sludgy, noisy rock in the vein of Dinosaur Jr. with the addition of palpable hooks and girlish charm.
    This is the first song I listened to by this group & it's still my favorite:

    I could go on and on, and I suggest everyone check out The Young Knives, The Kooks, Guillemots, and Sons and Daughters, but the last act I feel like writing about is The Long Blondes. They are fairly new, and I'm already obsessed. I'm seeing them at the Knitting Factory later this month. They employ the girl-group harmonic devices & melodies of the The Pipettes & Raveonettes, but dress it down with Kim Gordon-meets-Siouxsie Sioux vocal stylings & post-punk era jangly surf guitar. Oh God, you won't get it until you hear it. So listen:

    Oh, and for something cool, new, and largely unavailable still; here is "Gatheration" by Lady Sovereign, off her upcoming album Public Warning, which won't be out until fall:

  • I'm not anti-Pitchfork...I'm POST-Pitchfork.

    Jun 14 2006, 6h52

    In light of the recent [or recently noticeable] polarization of the "indie" community in regards to their feelings on , I thought I'd say a few things. It's 2am, no one will read this, and I shouldn't really even bother thinking about anything other than the fact that Trent Reznor's sweat will be dripping on me 18 hours from now, yet here I go.

    I'm not sure where I really fall in the realm of left-field musical tastes. Some of my favorite groups are actually on the Billboard charts & PLAY ARENAS. Some of them don't even have 500 listeners on last.fm. I really am open to almost any kind of music, although I'm starting to realize that I AM NOT a huge fan of the , acoustic drivel that most young indie fans masturbate over. I'm not a huge lover of anything "raw", "mellow", or--in other words--anything sounding like a third-rate version of or Pavement. [Ironically, I like most of the bands who do record for that label, though; I also don't mind Pavement, Sebadoh, Yo La Tengo, or any of the other relics from the 90's lo-fi heyday].

    So yeah, I have come to terms with the fact that I don't favor organic, stripped-down singer-songwriter material. I understand the supposed perks of this/these genre(s): emphasis on songwriting above all else; unobtrusive production; a dry wit mixed with unbridled emotive qualities embedded in the lyrics; a huge debt to 60's psych-pop [which I actually am a MASSIVE fan of; these new artists just have nothing on The Zombies or Love, sorry]. I appreciate all that - to a degree. I'll take it in small doses. Hey, you have to appreciate both ends of the spectrum.

    I just am biased towards the robotic, synthetic pole. I prefer my production to be heavy & calculated; my lyrics to be ironic, distant, vague, & campy - even nonsensical [Look at Goldfrapp]; and my music to sound very artificial and electronic. Whether it's Silver Apples, Depeche Mode, or Annie, I'm a sucker for synthesized soundscapes. Oh - and post-punk, dance punk, and shambolic garage punk, as well. *shrugs* I like my music a bit dangerous and dark. Not necessarily human.

    Is it a phase [mostly college aged, male] indie fans have to go through? Let's all go jack off to the latest Calexico album. We can get stoned to it, ponder the big questions to it, cry to it when our girlfriends inevitably dump us, and burn it on a mix CD for the next adorably clueless girlfriend we adopt. Oh God. I'm thinking of someone really specific right now, so I need to shift gears.

    Back on topic.
    I mentioned Pitchfork because there is a piping hot debate surrounding the issues of both it's relevance and substantial power over the indie community right now. I can totally understand where the naysayers are coming from: I've long held the belief that the e-mag is full of elitist, horn-rimmed pricks who refuse to grant a note of praise to anyone who may actually approach gold status, while bands with horribly awkward names who have barely been in existence for 8 months are adorned in golden halos of breathless acclaim. Yes, there are exceptions; you don't have have to name them - I know them, okay? And yes, lots of times those "artfully" named bands are actually decent. The problem [for me] is that Pitchfork doesn't seem to be concerned with much else beyond being on top of a burgeoning scene before everyone else. They abandon most of their christened acts within an album or two [kind of like NME], and move on to whatever new kind of Neutral Milk Hotel-inclined artist they decide to espouse next. And have you noticed, once again, they heavily favor either weepy, mellow shit, twee pop, or largely anything that is minimally produced? [Yes, I'm being condescendingly shallow here; I don't care].

    If they were just another Stylus or Popmatters, it wouldn't bother me. It's just that...Pitchfork has become the young hipster's BIBLE. It's ironic to see these supposedly individual, intelligent, adamantly anti-status-quo, anti-conformity youths throw their formative, taste-making years into the hands of one psuedo-publication. No wonder so many indie fans seem almost clones of one another: they are all fucking listening to the same orders: YOU WILL BUY THE NEW Matmos RECORD & YOU WILL LOVE IT. IF YOU DO NOT, OBVIOUSLY YOU ARE NOT READY FOR IT. PITCHFORK CALLED IT.

    A lot of acts I like have scored well with PF: M.I.A. (although I bet her next album won't even get a 7.0], The Go! Team, Goldfrapp; plenty of less mainstream names. Yet, I never find myself relying on them for any direction/advice/ideas whatsoever. I almost never even go to their site; I only read their reviews through metacritic [the best way to get a comprehensive review of what all types and levels of media are saying, though it still has it's flaws. I'm sorry, but a Rolling Stone or Spin review should carry more weight than a damn COKEMACHINEGLOW blog review, for fuck's sake].

    At the end of the day, I guess I am POST-Pitchfork. I never really paid that much attention to them; now I'm just plain indifferent. It's a possibility you may want to consider. Use your own judgement; read the reviews later. You'll learn how to appreciate music more individually that way, anyway.
    If you like the new Charlatans UK album, don't fight it - justify it, buy it, and be proud!
  • Thom Yorke - selections from The Eraser.

    Jun 1 2006, 2h50

    I'm a big Radiohead fan, so obviously my anticipation for Thom's "solo project" [sorry, Thom, what else can I call it?] was great and is now reaching new crescendos.

    These electronic soul soundscapes that have leaked in the past 2 days reside vaguely in the terrain of recent Radiohead, yet you would not mistake these tracks for the band; the only similarity really is Thom's unmistakable vocals & the synthesized orchestratation. A near playfulness exists on these tracks - you get the sense that Thom had a lot of fun fucking with these arrangements & that self-indulgence truly was the presiding principle at hand here. Of course, this is still Yorkie we are dealing with: this is no Triple A record.

    I won't divulge any more: I want to see what you think. I say they're fucking ace.

    Here are links to sample tracks from Thom Yorke's The Eraser:
    [buy the album when it comes out!]

    Black Swan


    The Eraser


    Harrowdown Hill


    Atoms for Peace

  • The new Muse song = S E X.

    Mai 10 2006, 5h22

    I'm fucking serious.

    I almost had an orgasm hearing it.

    Let's just say our favorite gers, Muse, have entered the turbulent world of . Fear not.

    The result is the aural equivalent of triple penetration uber-fucking, as the Onion would say.

    Supermassive Black Hole