Angel was last year’s Courtney Barnett. Except at this point, she’s a musical chameleon mining all sorts of styles birthed before she was, or, working out loud what a grunge chanteuse might sound like. My Woman is a strong record, yet I think it will end up being a table setter.
At this point, Jeff Tweedy and Wilco own the stage.
last year kicked off with a spectacular record by Ms. Rodriguez.
A second record with Chip Taylor Red Dog tracks gets back to the duo’s dependable, grown-up folk rock.
Re-release of Bon Iver in Japan added a bonus disc of live performances from last year. Stellar. This set on the day before the last of day of the year is just as good.
His 2016 release 22, a million is quite good, but not as sharp as this concert.
On 3 June 2016 Björk debuted Björk Digital, a virtual reality exhibit showcasing all the VR videos completed for Vulnicura thus far, including the world premiere of “Notget”, directed by Warren du Preez and Nick Thornton Jones, at Carriageworks for Vivid Sydney 2016 in Sydney, Australia. She DJ’d the opening night party  and did the same when the show traveled to Tokyo, Japan on 29 June, showing at Miraikan. During the Miraikan residency, Björk made history by featuring in the world’s first ever virtual reality live stream broadcast on YouTube. She gave a live performance of Vulnicura’s final song “Quicksand”, and the footage will be incorporated into the “Quicksand” VR experience to be released at a later date. Björk Digital is expected to tour the globe for 18 months with its next stop in Montreal. source: Wikipedia
You know you’re in for a good rant when the person delivering said rant opens with “dear little miss media.”
And when the ranter is Björk, well, buckle up.
On December 16, during a highly anticipated appearance at Houston’s second annual Day for Night music festival, the Nordic singer revealed Björk Digital, a five-room installation where attendees could walk through an art exhibit, immerse themselves in a virtual reality version of “intense footage captured from inside [Bjork’s] mouth,” and listen to a music set programmed and deejayed by the artist herself.
The scene, which saw Björk wearing a mask and deejaying from behind a screen of foliage, drew a mix of responses, ranging from positive to negative to “WTF?” from both audiences and music critics (“The crowd remained rapt and respectful but didn’t always seem to know what to do,” hedged Joey Guerra at the Houston Chronicle). And many of the negative responses also seemed baffled: Why was Bjork obscured behind so many ferns? Why didn’t she perform her own music? Was that even her behind the mask?
Björk had a few things to say in response. In a Facebook post on December 21 (as well as a shorter post on Instagram), the singer used her most recent reviews as a jumping-off point to speak out against gender biases in the music industry (as she’s occasionally done in the past). Björk dismissed critics’ flummoxed response to her DJ set, arguing that they’d held her to a different standard than male artists performing similarly experimental work
Classic from 2011:
You mean like Fellini does?
Well, yeah, but Fellini just uses his freaks for one camera frame or something. You…
Yeah, but that’s what I’m going to do from now on. Just like Fellini. Like, I want to get across to the people. I want to be commercial. I want to play rock ‘n’ roll. Do you know, this new album is the only one that has paid itself back and then done some! None of the others did. You see, I think everything is commercial. I thought ‘Trout Mask Replica’ was a very commercial album, didn’t you? There was a lot of humour on that album that I thought people would pick up on. That’s the only thing I give Zappa credit for. He was asleep most of the time at the controls, but if it hadn’t been for him, that album probably wouldn’t have come out. Also, he free-associates, there is a song on Zappa’s last album I like. It is called ‘Montana’ – I just like that title, you know, ‘Montana’.
But what Don Van Vliet does in art already has what the catalogues call a “distinguished aesthetic history” – which is not, of course, something to be ashamed of. And what he did in music was totally new. This is why people will always tend to be less interested in the development of his technique as a painter than in how he learnt to play the harmonica by holding it out of his parents’ window.
…which reminds me of a story evidently not repeated in the archive of the excellent web site devoted to all things Don Van Vliet, The Captain Beefheart Radar Station.
I vaguely recall I first read this story in Creem Magazine a long time ago. The Captain was asked what was the greatest solo he ever heard, and he told the interviewer something like: “Well, I was driving in the deep night on a straight shot through the desert, going 80mph, and I took a D Hohner harmonica out and thrust it out the window. Glory, man!”
Beefheart is the source also of the following:
Captain Beefheart, (Don Van Vliet,) describes the most memorable performance he ever witnessed.
I saw Monk once at a theatre in San Fernando Valley. They gave him a grand piano, a really beautiful Steinway, with a cut glass bowl of roses. He came in late wearing a trench coat. He dumped the bowl in the piano, knocked down the lid, and hit one note. The sound: everything going into the piano, the strings, the water splashing, the roses. And then he left.
CAPTAIN BEEFHEART’S 10 COMMANDMENTS OF GUITAR PLAYING
1. Listen to the birds. That’s where all the music comes from. Birds know everything about how it should sound and where that sound should come from. And watch hummingbirds. They fly really fast, but a lot of times they aren’t going anywhere.
2. Your guitar is not really a guitar. Your guitar is a divining rod. Use it to find spirits in the other world and bring them over. A guitar is also a fishing rod. If you’re good, you’ll land a big one.
3. Practice in front of a bush. Wait until the moon is out, then go outside, eat a multi-grained bread and play your guitar to a bush. If the bush dosen’t shake, eat another piece of bread.
4. Walk with the devil. Old Delta blues players referred to guitar amplifiers as the “devil box.” And they were right. You have to be an equal opportunity employer in terms of who you’re bringing over from the other side. Electricity attracts devils and demons. Other instruments attract other spirits. An acoustic guitar attracts Casper. A mandolin attracts Wendy. But an electric guitar attracts Beelzebub.
5. If you’re guilty of thinking, you’re out. If your brain is part of the process, you’re missing it. You should play like a drowning man, struggling to reach shore. If you can trap that feeling, then you have something that is fur bearing.
6. Never point your guitar at anyone. Your instrument has more clout than lightning. Just hit a big chord then run outside to hear it. But make sure you are not standing in an open field.
7. Always carry a church key. That’s your key-man clause. Like One String Sam. He’s one. He was a Detroit street musician who played in the fifties on a homemade instrument. His song “I Need a Hundred Dollars” is warm pie. Another key to the church is Hubert Sumlin, Howlin’ Wolf’s guitar player. He just stands there like the Statue of Liberty-making you want to look up her dress the whole time to see how he’s doing it.
8. Don’t wipe the sweat off your instrument. You need that stink on there. Then you have to get that stink onto your music.
9. Keep your guitar in a dark place. When you’re not playing your guitar, cover it and keep it in a dark place. If you don’t play your guitar for more than a day, be sure you put a saucer of water in with it.
10. You gotta have a hood for your engine. Keep that hat on. A hat is a pressure cooker. If you have a roof on your house, the hot air can’t escape. Even a lima bean has to have a piece of wet paper around it to make it grow. ?
For my own part, the amazing dynamo man, Jamie Cohen, plucked down Trout Mask Replica on his turntable in 1969, and maybe he said ‘And if you think Zappa is weird,’ and it went down. That was my first experience of the avant-garde for sure. My own appreciation is centered on a few amazing bootlegs from 1971, and, much later, the masterful string of ‘free rock’ records he made between 1978 and 1982 before hanging up his harp and growl. Doc At the Radar Station (1980) is one of my favorite records, and, considering that it burst out of the magic volcano in the midst of the punk musical revolution, it is also one of the greatest musical commentaries on popular music…ever. RIP Don Van Vliet (January 15, 1941 – December 17, 2010)
Thirty years? Have a great new year in music.
h/t Coffee Messiah