Jay DJ Heroin(e) Linden Blair
Friday, August 4th, 2006

TV Party"> TV Party

TV PartyTV Party was a pub­lic access cable show that aired inter­mit­tently between 1978 and 1982 in New York City. The only things that really held it together were the host, Glenn O’Brien, the core three mem­bers of the revolv­ing noise band TV Orches­tra, and every participant’s vague but over­whelm­ing sense that this was much, much more than a sense­less, tele­vised cacophony.

Some­how the hol­low­est of ide­olo­gies always strike me as the most fas­ci­nat­ing and the most inspir­ing. Though lack­ing any focused, dis­cern­able agenda, these peo­ple were any­thing but nihilists. Theirs was a dis­play of raw exu­ber­ance, one less of rebel­lion, rejec­tion, and denial than it was of affir­ma­tion and empow­er­ment. It was some­thing to be believed in, its reg­u­lars, guests, and per­for­mances simul­ta­ne­ously cru­cial and inci­den­tal to this greater Thing.

And, at the same time, it wasn’t any of that.

Any­way, I was a tod­dler in Chicago when TV Party last aired, so it’d prob­a­bly serve you bet­ter to read about it else­where, or bet­ter yet snag the tor­rent of the doc­u­men­tary (or, bet­ter still, pur­chase the DVDs from the offi­cial site).

Very spe­cial thanks to the con­sis­tently won­der­ful WFMU blog for bring­ing this to my attention.

Tuesday, August 1st, 2006

SK"> Farewell to SK

Sleater-KinneyI will be wit­ness­ing the final NY per­for­mance of the cool rock chicks who make up Sleater-Kinney this Wednes­day (8/2) at Web­ster Hall. So, SK, this one’s for you…Thanks for the awe­some rock over the years from Riot Grrrl era ’til now.

Monday, July 31st, 2006

Black Moth Super Rainbow

Black Moth Super Rainbow

I’ve heard this name float­ing around for a while now, and despite the name’s sheer and over­whelm­ing awe­some­ness, I had failed to take notice. But I’m doing my best to quickly make up for that.

From what I’ve been read­ing, these guys are fre­quently get­ting pegged as “rip­ping off” Boards of Canada. It’s a com­par­i­son that would occur to any­body, but “rip­ping off” is a harsh and plain inac­cu­rate way to put it. Still, they are heav­ily informed by BoC’s hyp­notic, break-driven ambiance. And if you amplify these ele­ments with the bom­bast of M83, and hints of Aavikko and Appa­rat Organ Quar­tet, you’ve got a pretty close approx­i­ma­tion of BMSR’s sound.

Fur­ther infor­ma­tion is scarce (not even sure where these guys are from), and they seem to remain inten­tion­ally elu­sive to pho­tog­ra­phers, so please excuse the brevity of this post.

Drippy Eye,” “Side 8,” and “Lost” all come from their (rather lengthy) EP of this year on Grave­face Records, Lost, Pick­ing Flow­ers In The Woods.

Friday, July 28th, 2006

Holy Shit

Holy ShitHoly Shit is a new col­lab­o­ra­tion between pop savant Sir Ariel Pink and The Push Kings’ Matt Fish­beck. Fish­beck is respon­si­ble for most of the vocals, which resem­ble a more ten­der, sober ver­sion of Pink’s, still gen­tly dra­matic and throaty and exag­ger­ated. In fact their debut album, Stranded At Two Har­bors, is kind of a sleeker, more sen­si­ble ver­sion of an Ariel Pink record, though the super duper lo-fi Sev­en­ties AM aes­thetic is still the order of the day. So for those who’ve kept Pink at arm’s length these past cou­ple years, you’ll really want to give this a shot.

Wednesday, July 26th, 2006

Gem of the Past

There are some musi­cians who seem to inten­tion­ally stay obscure, only want­ing their music to be heard by those who try very hard to find it. Vir­ginia Ast­ley cer­tainly is one of these. Mak­ing music from 1983–96, her albums were almost all sold in Japan on very lim­ited vinyl edi­tions. Now it’s almost impos­si­ble to find any of her music, and I doubt that she has any objec­tion to peo­ple down­load­ing it since almost every­thing she’s done is out of print or impos­si­ble to find with­out pay­ing crazy prices or get­ting incred­i­bly lucky in a record store.

I first heard Ast­ley on a mix a friend gave me, and from that one track I was imme­di­ately entranced. Ast­ley makes music that feels like a gar­den on a warm spring day, with beau­ti­ful, min­i­mal instru­men­ta­tion and lush melodies. It awakes a range of emo­tions, from joy to some­thing so beau­ti­ful it’s sad. I only have her debut, From Gar­dens Where We Feel Secure, but appar­ently her later stuff is some­what more syn­the­sized and employs vocal which can be very dark. The debut is instru­men­tal and sooth­ing, and really incred­i­ble to lis­ten to. If you can find it online it’s a must down­load. But for now here a few tracks off that debut… if you have any­thing else by her PLEASE con­tact me.