Livin’ in a Powder-Keg and Givin’ Off Sparks!

Dear Coilhäusers,

I do not have a confession to make. I do not have an abiding and utterly irrational love of Bonnie Tyler’s “Total Eclipse of the Heart.” Not at all. Really, I don’t. Anything you may have heard to the contrary is the most vile and vicious slander. Again: I don’t like it. I sure as hell don’t crank up the volume when it comes on the radio. No Sirree. That’s only a repeated, annoying technical malfunction. I also, absolutely, 100% do not sing along in an overly dramatic fashion. Nope. Not me. Uh-uh.

The last thing I don’t do is lie awake at night, fearful that if my (non-existent) secret love of this power ballad came to light it would utterly ruin my reputation and any future rants of mine would be outright dismissed as they came up against the cold, hard brick wall of “Hey, Forbes is obviously wrong. The bastard likes Total Eclipse of the Heart. End of discussion.”

I mean, after all, it’s a terrible song: the gaudiest kind of syrupy ’80s excess. The video is even more awesome worse, so mind-numbingly ornate it provokes long, detailed thematic dissections. It has dancing greasers, sweaty fencers and dashing lads in suits wrecking elaborate dinners. And ninjas, of course, you can’t forget the frickin’ ninjas. Or the flying hive-mind of choir boys with radioactive eyes. Oh yeah, there’s also an angel. Really.

But all is not lost. If there is something I have no shame in adoring, hidden or otherwise, it’s the brilliant kitchen appliance battering, tracksuit-wearing Norwegian band Hurra Torpedo‘s cover of TEotH (my how I love that acronym. It sounds like an invocation to some grand hell-beast! Come, Great TEotH!). Minimalist and silly but surprisingly poignant, Hurra gives a whole new feel to this song-I-so-don’t-like.

See there? Doesn’t banging on kitchen appliances make everything better? Damn f’in right it does!

And I ain’t confessing crap.

BTC: Shiny, Shiny, Bad Times Behind Me…

Damn it, my laptop’s power supply cable just queefed and died. I’ll have to be extra quick with BTC this morning before my little external brain goes sreepytime. Luckily, I have just the thing cued up on my playlist:


Scrumptious promo image for HF’s first (and only) album, Battle Hymns For Children Singing. I can’t be the only one who imprinted on Kate Garner’s fashion designs. Stripey, stripey…

Ragamuffin pop duo Haysi Fantayzee *cough* formed in London in the early 80s. Typing out that terrible, horrible, no good, very bad name is like nails on a grammarian’s chalkboard, and the label “Dickensian Hillbilly Rasta” makes me cry blood. Still, I love these guys with a deep, doofy devotion rivaled only by the size of my permaboner for fellow Brit-fops Adam Ant and Boy George.

Performed by Jeremiah Healy and Kate Garner, produced by Garner’s then-boyfriend Paul Caplin, Haysi Fantayzee’s *twitch* UK dance hit, “Shiny Shiny” is quite possibly the most chipper song about the apocalypse ever written (short of Fishbone’s “Party at Ground Zero”). May the antics of these two sexy human fraggles help you dance your cute petudies all the way to work.

A couple more Haysi Fantayzee *gack* clips after the jump.

Psychobilly Godfather Lux Interior Dead at 62


The quintessence of Lux. (Couldn’t find a photo byline for this. Anyone know?)

Oof. Lux Interior, lead singer of The Cramps, died earlier today of a pre-existing heart condition, aged 62. He is survived by his maximumrocknroll wife of almost 40 years, guitarist Poison Ivy.

The Cramps’ genre-defining “psychobilly” sound was unlike anything else to originate from the late 70s NYC punk scene –sharp, savage, sexy, filthy, campy, goofy, sometimes just plain sick— and Lux retained his gritty, untamed edge until the very end. From their publicist’s official press release:

[The Cramps’] distinct take on rockabilly and surf along with their midnight movie imagery reminded us all just how exciting, dangerous, vital and sexy rock and roll should be and has spawned entire subcultures. Lux was a fearless frontman who transformed every stage he stepped on into a place of passion, abandon, and true freedom.

Oh, Lux, we’re gonna miss you so much. A eyeball martini toast to you and your fiery spirit, with loving thoughts for Ivy during this painful time.


An unforgettable clip of Lux Interior in action from URGH! A Music War.

Click below for more photos, blurbs and video footage of The Cramps from over the years.

World Premiere: David Garland’s “Diorama”

“Garland is a superb, crazily imaginative songwriter. Singing through a synclavier or banging on a piece of Styrofoam, he’ll sing about how insane the nightly news is, how painful true love is, how scary getting to know other people is, and it all quietly creeps up and hits you right where you live.”
—Kyle Gann, Village Voice

Upon first meeting David Garland a decade ago in NYC, what moved me most was the man’s remarkable voice. David has what I’ve often referred to as an “NPR voice”: calm, gentle, assured, reflective of a deep and kindly intelligence. I could happily listen to him recite the phone book, or Goodnight Moon, or Nietzche’s “Wahnbriefe” for hours on end. It’s no coincidence that he hosts and curates one of my all-time favorite radio shows, WNYC’s Spinning on Air. (If you have any interest in off-the-beaten-path, non-commerce-driven music, you should bookmark that link immediately.)


Photo by Anne Garland.

David’s also a gifted singer/composer, infusing his “control songs” with all of the qualities mentioned above. He’s been keeping busy recording new material with everyone from Sufjan Stevens to Greg Saunier to Diane Cluck. Catching up with me by phone recently, he said he’d just finished shooting his first music video with none other than Amber Benson and Adam Busch. (SQUEEE!!) Here’s what David had to say about the events leading up to their collaboration:

My wife Anne Garland and I had been introduced to the joys of Buffy the Vampire Slayer by our son Kenji in the summer of 2007. Anne and I were happily working our way through the many seasons of Buffy, and had just recently seen Amber’s character Tara killed by Adam’s character Warren. We went out to an Indian restaurant for lunch and waiting in line just ahead of us were Amber and Adam. We got talking, learned of Adam’s band Common Rotation, and enjoyed one another’s company. We’ve done a few projects together since, and now this video. Adam and Amber are creative, generous people, apparently willing to get involved in a project just for the fun and love of it, and I’ve really enjoyed hanging out and making stuff with them. Amber really likes Anne’s Luminous Playhouse photos, and suggested the effective idea of mixing and comparing the miniature and full-size scenes as a visual theme for my song “Diorama.” We borrowed a super-8 camera from Ken Brown and in two intense afternoons shot the footage, Amber and Adam co-directing and filming.

David, it’s an honor and a pleasure to premiere that video here on Coilhouse. Thank you, as always, for your wise and beautiful voice.


Diorama from David Garland on Vimeo. Directed, filmed and edited by Amber Benson and Adam Busch. David Garland’s songs “Prelude” and “Diorama” from the album Noise In You on Family Vineyard. Featuring Anne Garland’s Luminous Playhouse Theater Company. Singers: David Garland, Diane Cluck, Sufjan Stevens, and Mira Romantschuk. Appearing in the film are David Garland, Kenji Garland, his friend Aurora Cobb, Viking Moses (Brendon Massei), Golden Ghost (Laura Goetz), and Anne Garland.

More Garland-related clips, links and images after the jump.

Cthulhu Meditation: Listen On Dry Land!


A spectrogram of the mysterious “Bloop.”

Y’all know about “The Bloop”, right? Via Wiki:

The Bloop is the name given to an ultra-low frequency underwater sound detected by the National Oceanic and Atmospheric Administration several times during the summer of 1997. The source of the sound remains unknown. The sound, traced to somewhere around 50° S 100° W (South American southwest coast), was detected repeatedly by the Equatorial Pacific Ocean autonomous hydrophone array, which uses U.S. Navy equipment originally designed to detect Soviet submarines. According to the NOAA description, it “rises rapidly in frequency over about one minute and was of sufficient amplitude to be heard on multiple sensors, at a range of over 5,000 km.” According to scientists who have studied the phenomenon, it matches the audio profile of a living creature but there is no known animal that could have produced the sound. If it is an animal, it would have to be, reportedly, much larger than even a Blue Whale, the largest known animal on the earth.

OMG, R’YLEH?! But seriously. That is some mind-rending, scary-ass, dont-think-about-it-too-hard-or-you’ll-shit-a-squid kinda stuff, people! Forget about alien invasion from outer space. Our destruction shall come from the depths. I’m telling you.

Some kooky Thelemite going by the humble title of Frater Tanranin Uhcheek Gozaknee, 222 has composed the following “Cthulhu Meditation” using original Bloop sound files (as well as what sounds suspiciously like a human left-cheeky-sneaky thrown in for lulz) and put it on YouTube. Quite mesmerizing, actually! I recommend popping some ‘luudes and listening to it in the bathtub. With the lights on.


Favorite Youtube comment: “Maybe it’s Cthulhu farting!” Second favorite: “Maybe it’s Amy Winehouse!”

The Magenta Foundation Stares into the American Sun

What a historic day! Big, bonecrushing hugs from all of us here at CH headquarters to everyone else on planet earth who is rejoicing at the departure of the Bush administration. There will never be a better time to post the following human rights essay and interview that our staffer Jeff Wengrofsky (aka Agent Double Oh No) has been working on for months. At Coilhouse, we’re glad to supply subject matter ranging from the utterly frivolous to the deeply involved and intense. This piece goes in the latter category. We’re honored to provide a forum for Jeff’s in-depth, thought-provoking conversation with human rights activists Suzette Brunkhorst and Ronald Eissens. We hope that their story and struggle will move some of you as much as it has moved us. ~Mer

“Human institutions appear to be the obvious and obtrusive causes of
much mischief to mankind; yet in reality, they are light and superficial
…in comparison with those deeper seated causes of impurity
that…render turbid the whole stream of human life.“
– Thomas Malthus  (1798)

As membership is constitutive for a society, its conditions are routinely, if not essentially, contested.  More than any other society, America has wrestled with two competing notions of membership: one based on exclusion (class until 1824, race formally until 1870 and practically until 1965, and gender until 1920) and another based on inclusion and rooted in the Declaration of Independence’s influential clause: “all…are created equal.”  This quarrel over defining principles was apparent even in the drafting of the Declaration. Thomas Jefferson’s original document, later altered in a compromise, called for the abolition of slavery.  Jefferson himself was in love and sired children with Sally Hemings, an African-American who was the half-sister of his wife and his slave. And so, America was born in original sin under a star of some perversion with an ever-present element of redemption. Even today, America blinks like a giant, Masonic hologram, simultaneously symbolizing and embodying our greatest hope and, in the Bush years, our greatest disappointment.

In 1903, W.E.B. DuBois declared “the color line” to be the defining issue of the 20th Century. The election of Barack Hussein Obama Jr. opens up the question as to whether the United States has begun the new century by transcending racial exclusion. Surely the America of 1903 looks little like the America of today: African-Americans are no longer its largest ethnic minority, its citizenry includes significant numbers of people who do not fit into the black-white axis, the Civil Rights and Voting Rights Acts rendered discrimination illegal 43 years ago, Affirmative Action dates back to J.F.K., intermarriage is not unusual, Martin Luther King’s birthday is a national holiday, racial bigotry has long since fallen into disrepute in the sciences and is not tolerated in polite conversation, and even the Bush Administration had African-Americans in its cabinet. On the other hand, police departments are often charged with brutality and “stop and frisk” policies that target black youth, African-Americans continue to be overrepresented among our nation’s most impoverished and undereducated and imprisoned, and African-Americans are the victim of more hate crime than any other group in the United States.

Certainly it is very unusual for the people of any society to select a member of a minority (however understood) to its highest office and, perhaps, this event is even more profound in a country whose entire history can be understood as a long and troubled march toward the fulfillment of its inclusive promise. Can 300 years of racial difference be transcended by legislation or election? Will Americans whose biographies are not like Obama’s accept his leadership in a time of economic and ecological crisis? With the election of Obama, is the United States once again poised to provide moral leadership (as it surely did in 1776)? Is international moral leadership possible? It seems as though history itself has opened and the full range of human potential – the good, the bad, and the ugly – are all equally likely.

What is “racism”? Are all bigotries a form of racism? Is racism conceptually distinct from other forms of ethnic chauvinism? The major genocides of the past century were, aside from the Nazi extermination of the Jews, not understood in racial terms: the Turkish-Armenian genocide (1915-18), the Turkish-Greek genocide (1914-23), Stalin’s liquidation of the Kulaks (1932-33), the Japanese-Chinese genocide in Nanking (1937-38), the Nigerian-Biafran genocide (1966-1970), the Pakistani-Bangladeshi genocide (1971), the Tutsi-Hutu genocide in Burundi (1972), Pol Pot’s Cambodian purges (1975-79), the Hutu-Tutsi genocide in Rwanda (1994), and the Serb-Bosnian genocide (1992-95).

Where do these cleavages, these notions of belonging and otherness, come from? They are found in various forms in every human society.  Sadly, our closest kin in the animal world also share this trait. Wars among chimpanzees and between apes have been noted by biologists since 1970. Are hatreds naturally rooted in “selfish genes”? If so, do we need unrealizable principles to inform our behavior and ground social criticism?

Is cosmopolitanism – the idea that one can be a “citizen of the world” – possible? Aren’t we always already embedded in cultural conversations, genetic inheritances, and political communities? Does anyone have arms long enough to embrace humanity as a whole? What do we do with those who return our embrace with bullets and bombs? Is cosmopolitanism an unrealistic retreat from the world as it actually is? Is cosmopolitanism a rhetorical strategy of the weak to keep the strong from winning?


Suzette Brunkhorst and Ronald Eissens.

On Thanksgiving, an American holiday whose lore bespeaks inclusion and exclusion, I sat down to discuss hate, race, and the limits of freedom in Holland, often considered among the freest places in this world, and on the internet, a transnational network, with Suzette Brunkhorst and Ronald Eissens, the Directors of the Magenta Foundation.  In their own words, “Magenta is a foundation that aims to combat racism and other forms of discrimination primarily on and through the Internet.” They have organized many high profile events in the name of inclusion and understanding, and have presented reports on bigotry before the United Nations and the O.S.C.E. Undeterred in the face of many death threats, they are cosmopolitan heroes. Sadly, just one day after this interview, Suzette was diagnosed with cancer and has since gone into chemotherapy. On this day, full of hope, let’s wish her a fast and painless recovery.

(Jeff’s full interview with Suzette Brunkhorst and Ronald Eissens appears after the jump.)

BTC: Ambidexterous, Autonomous Phasing Soloist

Morning!

It’s hard to quantify the effects minimalist composer Steve Reich’s “phasing” meditations can have on average human grey matter. The best way I know to describe my own listening experience is a wonky, tripped out sensation of neglected synaptic channels in my brainy bits being seared open and reconnected to other brainy bits in new and unusual ways. Occipital, Parietal, Temporal, Frontal, Limbic… feels like they’re all getting a rigorous, interactive workout. If I listen long enough to this sort of thing, it’ll pitch me into a contemplative state not quite beyond reflexive thinking, but certainly more relaxed, more present, somehow. Kinda like toking, but without “I CAN HAZ CHEEZBURGER” side effects.


Clip via Ben Morris, thanks. I truly don’t think it matters whether you have a staid background in music, or math, or both. Whether you understand wtf Aidu’s doing here or not, it’ll stir your noodles. Drop into this stuff and stew for a little while.

This abridged rendition of Reich’s “Piano Phase” by Russian concert pianist Peter Aidu is literally head-splitting. The piece is usually performed by two pianists, one of whom repeats the same sequence of notes over and over again at exactly the same tempo, while the other player gradually speeds up and then slows back down, eventually returning to a unified BPM before the pattern starts again. That’s basically all phasing is. Sounds simple enough, right? But try playing one part of it and you’ll soon realize just how difficult it is to sustain. As for performing two separate parts simultaneously? Great googly moogly.

Aidu’s concentration is astounding. He’s got the hypnotized, slightly crazed expression of someone who’s gone to another plane entirely. (It’s a look I always envy on other musician’s faces. If I could, I’d opt to live “in the zone” all the time.) If you like the clip, be sure to grab the full 20 minute version on archive.org.

Detractors of minimalist experimentation with phasing and polyrhythm all say the same thing; the resulting music is boring, pretentious, cerebral, emotionless. I suspect they’re missing the point entirely. Personally I find the form to be an invigorating causeway to the same meditative state invoked by more traditional forms like gamelan and ketjak. What do you think?

Click below for more Reich-related audiovisual trip toys.

Mark Gormley is Love.

Bricey, bless you. I don’t know where you discovered Mark Gormley, but he’s going to make our more adventurous readers extremely happy. The rest of you may want to stick with Panties With a Dick Hole and My Chemical Bromide or whatever else the kids are listening to nowadays, but for my money, none of that slick, overproduced teenybopper fare can compete with an honest, well-crafted song, a soulful voice, and cable access video stylings featuring a beautiful (if mildly befuddled) bikini model. Mark Gormley sends me over the moon:

Props to the Eccentric Phil Thomas Katt for giving Gormley this platform on his fine show, The Uncharted Zone. “The Most Important Music Television Show Along the Gulf Coast.” Hey, man, you’ve got my vote.

Click below for more Mark Gormley/Phil Thomas Katt productions.

BTC: Virtual Hula Hooping at Siege and KT’s

Mer is incapacitated this morning from too much music-making, so it’s fallen to me to deliver you this segment of Better Than Coffee in her stead. What’s going on in the clip above has been described by photographer and Issue 01 contributor Clayton James Cubitt in the following terms: “Champagne, Wii Fit, Love, Cold NYC Nights, Nerds. In no particular order.” Looking at the clip, I recognize a few faces: Siege himself, his muse KT, Molly Crabapple, Ellen Stagg… the clip may be full of talented hotties, but its true beauty is the dizzy, dorky exuberance. Siege may be a brilliant photographer, but as this clip demonstrates, his video-editing prowess is not to be denied.

They say that how you spend your New Year’s Eve is how the rest of your year will go, and if that’s true, it looks like the folks in this clip are set. Has this belief held true for you? How did you spend your last night of 2008?

DJ Earworm and the “Legofication” of Pop Music

Veteran mashup architect DJ Earworm deserves a friggin’ Grammy for this one:


The whole is greater than the sum of its parts. Via Ponnie, thanks.

Sublime, poetic, and menacing in equal measure, “United State of Pop” is the most beautifully presented –not to mention addictive– musical riff off MTV monoculture I’ve heard since Plunderphonics. As the friend who showed me this puts it:

This video is an example of what’s being called the “legofication” of pop music…[songs] so generic and standardized in [their] structure (not to mention pop videos in their imagery) that all the parts are interchangeable. DJ Earworm mashes up the top 25 on the billboard charts for 2008 to illustrate this point.

Go to djearworm.com to download the audio, and click below to see the full tracklist.