The CHIRP Blog
With the advent of compact discs, and now MP3s, the cassette tape went the way of the dinosaur. And, with it, went the mixed tape. Made of an “A” side and a “B” side, the mixed tape provided music lovers with the opportunity to create a sonic theater of sentiment complete with an intermission. Having two sides made it possible to fit two themes onto one tape, to make two full acts of music and to draw the crescendo of the tape out in a dramatic way.
It is easier, of course, to make a mix on a cd. All that is needed is a computer and a burner and a mix can be made in less than ten minutes. Tapes required elbow grease. Pulling the tapes you wanted to dub, searching for the tracks. Re-taping it if the sound didn’t come out right the first time, and trying to get the timing just right, so that no songs got cut off but also trying to avoid minutes of blank tape at the end of a side. I have fond memories of spending nights hunched over my tape deck, meticulously making mixes for friends (“Tori Amos Essentials”, “Good Going Out Tape”, “Girls!”) and for partners (“Love/Lust”, “Make Out Mix”, “You, Me, Rock”). Getting a handmade mixed tape was the best gift one could get. There was such an excitement in throwing it in your tape player and putting on your headphones, wondering what the next song, and the next side, would be.
In 2009, it is rare to find someone with a tape player. The last time I made a mixed tape was in 2003, and then subsequently had to buy my boyfriend a tape player to play it on. Cds are the wave of the future, but how can we make them just as good as the old standard, the mixed tape? And what just plain makes a good mix?
Shorten the sentiment, or double up: Abbreviate the message that you want to send, or make two discs and emphasize that they should be listened to in succession. After a recent trying time, my best friend made a set, with one disc carrying the theme of heartbreak and sorrow; the other was full of songs about redemption and survival. Trying to fit all of that on one disc could have been too much – the story was better told on “sides”, and it worked perfectly.
Know your audience: Even if you are making a mix for a specific occasion, like a holiday or a celebration, pay attention to what your listener likes. If they love noisy rock, dig around for Christmas song covers instead of putting traditional standards on their Xmas Jams 2009 cd. Customize the music to their specific tastes, even if those aren’t necessarily the songs you want to hear. And use caution when making a mix for a new sweetie. Songs that use the words “love” and “forever” could be taken the wrong way. Keeping all of this in mind…
Surprise them: Mixes are a great way to expand someone’s musical knowledge. Use the bands you know they love as a spring board for artists they might be unfamiliar with. Throw in a few groups that they know as anchors, but perhaps include b-sides instead of their more popular songs. Don’t forget liner notes so that they know what the wonderful new tunes you gifted them with are!
Nobody ever asks me that question. I tend to get more “Do you have a quarter?” and “What are you looking at, man?” Maybe the reason for that is purely geographical. I hail from the southwest corner region of Logan Square. Although maybe it’s more of a corridor than a corner. That’s not important. What is important is the present state of community radio in the neighborhood. Right now it’s fairly limited to the enormous Harley Davidson that likes to swing by blasting AC/DC’s “Back in Black” and MGMT’s “Electric Feel” which rises through my apartment’s floorboards on a regular basis thanks to my downstairs neighbor’s egomaniacal stereo. Don’t get me wrong. I love both those songs and could listen to them all the time. And do. But I yearn for more. Sometimes I get it when the neighbors two doors down pump up their tejano music to set their Friday night garage party in motion. Plus there’s the not-so-faint sounds of electric guitar thrash and reverb that escape the walls of Ronny’s four nights a week. Still, the sound quality is poor. I get better static tuning in an AM station from St. Louis. And so for these reasons and many more, I look forward to the day CHIRP launches and changes what community radio means to me, which is more often than not the neighborhood ice cream truck’s twenty minute rendition of “Pop Goes the Weasel” on calliope
One wonders if Colin Meloy et al get together once every few years and say to themselves, “As The Decemberists, what is the weirdest thing we can do next?” or if The Decemberists are just quirky people who get together and say, “We should really write an operetta. About fawns.”
Regardless, friends, The Decemberists. I’m nuts about ‘em. What some pass of as a self-conscious explosion of the emo hipster fedora persona, I like to think of as a joyous, innovative, uninhibited, artistic process that we’ve been privileged to listen to. When I found out that The Decemberists’ latest album (Hazards of Love) was an operetta, I was nervously curious. Perhaps, having signed with a major label, they were over-compensating with something mildly unpalatable to get back their indie cred? Maybe they’ve just gone bananas?
No! It took two listens, but Hazards of Love thoroughly won me over, and assured me that the band was still the brilliant, absorbing band I loved. It’s the story of William, a fawn by day and man by night, and Margaret, who is quite possibly a forest fairy. They fall in love, and start having nightly woodland dalliances, and the Queen of the forest – who rescued William when he was a baby and turned him into a fawn – is all mad. But she agrees to let him have one more night with Margaret, he will return to her in the morning (to die? It’s unclear). But then! Margaret is abducted by The Rake, who sings a lovely song about how he killed all his children, and then whisks Margaret away. This is all very convenient for the Queen, who helps The Rake get across the rushing river, happy to get Margaret out of the picture. But lovesick William goes inevitably after Margaret, making a deal with the river that if he can cross safely, and rescue Margaret from danger, they will come back and duly drown later. I don’t mean to spoil the ending, but yeah, they drown. But they drown kissing! So…love!
This stuff is nuts. But The Decemberists make it work. Last Thursday at The Riviera in Chicago, as they have on the entire Hazards tour, they played the operetta straight through. It amounts to roughly 60 minutes of continuous music – no breaks, no banter – during which the whole trippy, mystical story unfolded in front of us. Every now and then, during an instrumental interlude or a bandmember’s solo, one or two of the band would be able to duck offstage to grab a new water bottle or, I don’t know, plunge their fingers in an ice bucket, but otherwise the entire band played and sang for an hour.
One couldn’t help but feel grateful for such an obvious effort, and the result was truly a great show. Frontman Colin Meloy sings the part of William, grounding the narrative with his familiar voice. Guest vocalist Becky Stark (of Lavendar Diamond) sings the part of Margaret, and her ethereal voice filled the theatre in an enchanting way that is missing from the album, on which she sounds sweet and small. Shara Worden (of My Brightest Diamond) sings as the Queen, and she brought the flipping house down. The show didn’t really bring the crowd to life until her first solo. I was sitting in the middle of the balcony, easily 200 feet from the stage, but when she belted out, “Your life for the evening/ I will retake by morning./ Consider it your debt repaid,” I kind of wet my pants in fright.
Although the album is a single work, within it are tucked all the Decemberists’ specialties. “Isn’t it a Lovely Night?” and “Annan Water” have Colin Meloy in the plaintive ballad mode of “Grace Cathedral Hill” or “As I Rise.” “The Rake’s Song” and “Repaid” have the same fist-pumping, jump-up-and-down quality of “The Infanta” or “We Both Go Down Together.” And the infectious effervescence that have made The Decemberists great are sprinkled throughout, in the four permutations of “Hazards of Love,” and William’s theme, “The Wanting Comes in Waves.”
The Decemberists have been touring this show for a good few months, so the fact that they produced 60 minutes of pure verve was commendable at least, and inspiring at best. The crowd went wild.
After a short break, the band came back and played another 50-minute set of their perennial favorites. It was so generous and, as is obvious, combined with the sight of Colin Meloy in suspenders to launch me even farther over the moon for this band. That second set – including “O, Valencia,” “Los Angeles, I’m Yours,” “Grace Cathedral Hill,” The Crane Wife trilogy, and “Sons and Daughters” – made me very happy I’d plopped down $25 for the concert tshirt I will undoubtedly wear at next year’s Pitchfork.
This being the third Chicago show the band has played this year, Colin Meloy asked at one point, “Man, Chicago, how many times do we have to come back here?”
Never enough, Colin, I’ll be there every time.
What’s the iPod/MP3 Shuffle? It’s just a way to get people to share music and foster some discussion. I started doing this on my Facebook page a while back and it’s been great seeing friends exchange comments on each others lists. Every Friday, I get out my 120 GB iPod (which has about 24,000 songs now), hit shuffle and write about the first 10 songs that come up. Sometimes the 10 songs are kind of conventional, sometimes there’s a lot of obscure stuff. So check mine out and please add your own shuffle or discuss other people’s shuffles!
Let’s pay tribute to the intricate comic genius of Frenchman Jacques Tati, the man behind Monsieur Hulot. I’m not sure how Tati would view the iPod, as a man who parodied technology, but I’m sure he would have had a great shuffle. And I’m sure you do too. So please grab your iPod/iTunes/MP3 player, hit shuffle and share the first 10 tunes that come up. Here’s mine:
- Black Sabbath — Junior’s Eyes (Never Say Die): Never Say Die is my favorite Black Sabbath album. I’m one of 17 people on the planet who share this notion. Ozzy Osbourne had already nearly left the band, but came back for this finale. What some see as disjointed and half-hearted sounds to me like the band stretching out a bit. This is a slower atmospheric number with a big chorus. Iommi plays some fuzztoned jazz-blues in the verses before riffing more heavily elsewhere.
- The Byrds — I’ll Feel a Whole Lot Better (Mr. Tambourine Man): This is a quintessential jangle rocker, with the 12-string guitar simply glistening. The harmonies are sweet too. Not a hit single, but one of The Byrds’ best pop numbers.
- Beulah — Popular Mechanics For Lovers (The Coast Is Never Clear): This band recorded for the Elephant 6 label, briefly, but wasn’t a retro ’60s psych outfit. Instead, they were one of the better late-‘90s indie pop band, playing music that was bouncy and uplifting, but with normal guy vocals and sort of clever lyrics. This is a nice song, but not one of the best on this album.
- Orchestral Manouevres In The Dark — Stanlow (Organisation): OMD had a few American hits with frothy light synth-pop songs. But the band’s early stuff had so much more texture and depth. Yes, they had their share of hooky singles, but even those had chilly atmospheres and cool influences, like The Velvet Underground. This album closer is ominous and pretty, and shows how much the band had grown sonically. They learned some lessons from Kraftwerk on how to sequence the synths, and then added some touching melodies.
- Petula Clark — Things Go Better With Coke (Things Go Better With Coke): This is an excellent ’60s Coca-Cola ad, where they manage to meld the renowned Coke jingle with Clark’s biggest hit, “Downtown”.
- The Association — Names, Tags, Numbers & Labels (Just The Right Sound: The Association Anthology):* Wow, my iPod is on ’60s kick today. Best known for lightweight fare like “Windy” and “Cherish”, The Association basically only did lightweight fare in that vein. This is soft pop of the highest order, with buttery melodies, cascading harmonies and big crescendos. This song also sports a great strings-and-brass arrangement.
- Robyn Hitchcock & The Venus 3 — Hurry For The Sky (Goodnight Oslo): The second Hitchcock album with the Venus 3 is a comfortable affair. Hitchcock sounds relaxed and the songs are pretty good. This song is all strumming acoustics and an ebbing and rolling rhythm. This song is more to the Dylan side of Robyn than the Syd Barrett side. More than 30 years after The Soft Boys got him started, he can still deliver ace tunes like this one.
- A House — Hay When The Sun Shines (On Our Big Fat Merry-Go-Round): From this incredibly underrated Irish band’s debut. The band’s early music was folky Brit indie pop in the vein of James and Hellfire Sermons. But A House had extra vigor, extra brio, extra sarcasm. David Couse wasn’t always on key, but he had a lot to say and said it loud. This song clatters around until the instrumental break after the second chorus, and from there, it’s like a locomotive running off the tracks.
- Joy Division — Passover (Permanent): A spooky Joy Division song (yes, that describes many of them). It’s mid-tempo, with the drums driving everything, so that the Bernard Sumner’s guitar and Peter Hook’s bass provide decoration. Ian Curtis’s voice seems to come out of the depths of the Earth, or his tormented psyche. These guys were so influential, but no one seems to have topped them.
- Donovan — Hurdy Gurdy Man (Love Is Hot, Truth Is Molten): One of Donovan’s better known hits. For a truly hippy dippy guy, he made some nice forays into psychedelia. His fey vocals are offset by some pretty stinging guitar and lively drumming.
October 3rd, Beat Kitchen Chicago
In the 1990’s, punk and hardcore started to fray into two very distinct categories — “mainstream” and “underground.” As much of an oxymoron as “mainstream punk” might be, it became a reality with the increasing popularity of bands like Green Day, Rancid, Blink 182 and several others whose wallets and fan base swelled. Through the 1980’s and early 1990’s, punk bands really had no idea that there was money to be made playing punk rock, which allowed a lot of freedom and creativity, giving us a scene that was diverse and interesting; limiting any stylistic choke holds and horrible “post” this and “proto” that genre titles. There was basically punk, hardcore and everything else.
While the Green Days and Offsprings basked in mainstream MTV adoration, bands like MK Ultra, Charles Bronson, Los Crudos (all who shared members at one point or another), Pretentious Assholes, Billy Builders and countless other punk bands around Chicago (and the country really) were continuing to write songs that were far too extreme for mainstream rock radio. The scene was the most outspoken the punk scene had ever been, commenting the political as well as social.
Recently, in celebration of the release of their discography, MK Ultra reunited for one night at Chicago’s Beat Kitchen. With support from another “one time only” reunion band, Pretentious Assholes, east coasters Failures, Milwaukee’s Herds and locals Harms Way, they proved that their music is still vital nine years after their break up.
Up first was Harms Way, which features members of Weekend Nachos and Convicted as well as ex-members of countless Chicago hardcore mainstays and favorites. They play metal influenced hardcore that sits somewhere between Infest and Cannibal Corpse, delivered at both, break neck speed and down tempo sludge. Saturday night was no exception. I listened to their set, bobbing my head while perusing the Residue Records distro table.
Herds, from Milwaukee Wisconsin delivered a thrashy hardcore punk attack that would be most comfortable in a musty basement. Reminiscent of many of the bands coming out on No Way Records and Fashionable Idiots (who coincidentally is their label). What makes them stand out is they’re a bit noisier and unlike some of their contemporaries, their songs break from the formula of fast and loud, introducing tempo changes and breakdowns without delving into the cliched “hardcore breakdown” territory.
Filling out the middle of the bill was Chicago’s Pretentious Assholes, whose punk pedigree is as impressive as their ability to meld styles. Featuring members and ex-members of Charles Bronson, Dischrist, No Slogan and the Repos, they brought a healthy combination of crust, grind and good ol’ fashion hardcore to the show. Musically, these guys would have fit just as well on the Apocalypticrust Fest that was going on at the Black Hole that same night, but I was grateful they played this show instead. Unfortunately, there’s no link on line for this band. To find like minded bands, check out their pedigree.
Following P.A. was NYC’s Failures. The one thing I can say about the midwest, specifically the greater Chicagoland area is that the last of the real maniacs and mongoloids reside within it’s scene (and I say that with nothing but love and adoration.) As soon as Failures started, there was a mass wave of bodies ramming into one another, jumping from the stage and trying to take the mic from the singer. This is why I love punk rock. None of it was contrived or postured. There was no sense of irony to the mosh or the stage dives. It was pure and youthful; a lack of concern for your own well being. With the exception of some technical problems caused by a couple destroyed microphone cables, Failures tore through a thirty minute set in roughly twenty minutes with no pause or acknowledgment of the audience. If you’re a fan of raging, tribal, breakneck speed hardcore, be sure to check out their full length and 7”. Neither will disappoint.
Finally, ending the night was a set from one of my favorite Chicago hardcore bands, MK Ultra. At one point in the 90’s, indie rock heart throb John Vanderslice played in a band of the same name, issuing a cease and desist order on the locals, despite the fact that the audiences didn’t really overlap. MK Ultra reclaimed the name and spent their set Saturday night picking exactly where they left off in 2000. It felt as if they never lost a step and played with the same vigor and energy that they did in their “heyday.”
Unlike the 1990’s incarnation of the band, there was very little political banter between songs and was replaced with genuine appreciation for the audience attending and a call to the punk scene to start talking about issues on stage between songs. Something that was time honored in the 90’s, replaced by either apathy, or an understanding that everyone in attendance operates on the same page.
The discography is now available on two LP’s, along with a digital download coupon, on Youth Attack records.