Listen . . . Oka!/Oneohtrix Point Never
Post-Everythingism Meets Nature
Listen . . . Oka! (Oka Productions)
This beguiling piece of post-rock is neither a proper soundtrack nor a field recording‑-not with the African musicians offered the chance to hear their own inventions on headphones and add overdubs. It's a soundtrack-based Bayaka Pygmy audio collage, very much doctored by producer and frequent co-composer Chris Berry, a Californian adept of Zimbabwean thumb piano. With their dream songs, 54-bar structures, and propensity to turn anything from a babbling brook to a scrap of plastic pipe into an instrument, these culturally threatened Central African Republic hunter-gatherers seem to live music even more than most Africans. Women are the chief creators, which has major consequences as regards both prevailing pitch and how much the music hunts and how much it gathers. But either way, it pervades their lives. By manipulating recorded sounds and songs and inviting the Bayaka to do the same, Berry translates that pervasiveness into a form comprehensible in a culture differently pervaded by music‑-ours. A
Oneohtrix Point Never: Replica (Software)
Daniel Lopatin may be a deconstructionist, but he's no ascetic. Unlike too many post-rockers, he has a taste for content as well as form and for creation as well as contrarianism, harvesting a healthy plateful of diverse sounds and textured note sequences from his beloved analog keyboards and then arraying them in songlike tracks that stay in the four-minute range until the quietly celebratory seven-minute finale. Chugging, grinding, crackling, swelling, bubbling, babbling, these tracks don't sound like part of the natural world, but they certainly sound cognizant of the natural world. And although I may be missing some of their formal interrelationships, I swear they behave as one thing. A MINUS
Can you be sure it's not Lou-uhhh Jordan?
No, But Do you always have to have the last word?
Uh, any Canadian dates?
This from Wussy's FB page
The problem with Canada is the border crossing. The others float through easily but Frankenstein always gets the ****ing cavity search.
June 2012 dates listed so far - St. Louis, Denver, Salt Lake City, San Diego, LA, San Francisco, Portland, Seattle, Minneapolis, Milwaukee, Chicago, Cleveland, Cincinnati.
Uh, any Canadian dates?
This will interest many here
The understatement of the year! Thanks for the heads up Jason. I think I just wet myself. I may drive to Portland and see them twice.
Dad: Mike, How do you pronounce the capital of Kentucky? Lou-Eee ville or Louis-Ville?
Me: (playing dumb) I dunno , Dad. Maybe, Lou-Eee ville?
Dad: (excitedly interrupts me) Wrong!! The capital of Kentucky is Frankfort. ::SlapsKnee::
Ahh, good times.
Tonight's listening is thanks to Joey's great blog.
In order of preference:
1) The Hold Steady- Boys and Girls in America(always preferred Separation Sunday)
2) The National- High Violet (always liked but not enough to pay 50 bucks to see live).
3) Guns N Roses- Chinese Democracy (got for free but never play).
Always nice to have another's opinion and I like the passion Joey brings to his writing.
perils of slapdashery!
yeah, i submitted my list and already realized i forgot The Postal Service Give Up, AoL Icky Mettle, Shakira Oral Fixation Vol. 2, Missy Elliott's This Is Not a Test! and other favorites i'd have no idea where to squeeze in.
oh well, two tears in a bucket, motherfvck it.
So what's the blind spot of this blog's "can order off the Senior menu" contributors?
And that "absurdist neofolkie as goofball abuser, most strikingly in ("ironic"?) rural guise--hick hermit, acoustic bluesman, wallower in honky-tonk lamentation" that Beck Hansen invented. Unless that's the same thing as lo-fi, which I never could figure out.
Early 70's big studio productions of guitar-based rock are still and forever the bombdigity (or however you spell that). "Wanna tell Chuck Berry my news", (second hint).
Edit: if that short URL doesn't work, just put 'Mr. Show' and 'Smoosh' in to the youtube search engine.
about the blogger
Starting in 1967, Robert Christgau has covered popular music for The Village Voice, Esquire, Blender, Playboy, Rolling Stone, and many other publications. He teaches in New York University's Clive Davis Department of Recorded Music, maintains a comprehensive website at robertchristgau.com, and has published five books based on his journalism. He has written for MSN Music since 2006.
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