Posts from 2021

26
Jul 21

OZZY AND KELLY OSBOURNE – “Changes”

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#967, 20th December 2003

From one reality TV hit to another – “Changes” wouldn’t have existed without The Osbournes, an everyday story of a loveably decayed rock star and his no-bullshit manager-wife. The show’s surface dynamics played into some hoary old stereotypes of calamitous husbands and hypercompetent wives, but it was still far more watchable than most celebrity vehicles.

28
Jun 21

Omargeddon #22: Gorilla Preacher Cartel

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Omar Rodríguez-López song and album titles are some of the very best in existence, and it really doesn’t get much better than Gorilla Preacher Cartel. According to an early release schedule*, this was revised from the originally proposed Scrapyard Handshakes. Both are excellent appellations, and though I’m glad they went with the former, the latter would have been apt – APT!

If Weekly Mansions and A Lovejoy are like chronologies of ORL’s electronic music, Gorilla Preacher Cartel is like a cut-up method album featuring elements from no fewer than six albums, covering De-loused in the Comatorium, Absence Makes the Heart Grow Fungus, Minor Cuts and Scrapes in the Bushes Ahead, Roman Lips, Solar Gambling, and the aforementioned Weekly Mansions (by way of Tychozorente). As on most of his other composite albums, ORL is credited with vocals and all instruments apart from the drums. The musicians featured here run the gamut of the Mars Volta’s lineup, including Jon Theodore, Thomas Pridgen, Dave Elitch, and Deantoni Parks, with only Blake Fleming absent.

23
May 21

Omargeddon #20 / #21: ¿Sólo Extraño? / Nom de Guerre Cabal

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Since the beginning of his solo career, song reworkings and rearrangements have appeared frequently across Omar Rodríguez-López’s oeuvre. Samples and sequences recur on most of his electronic music, and many of the spacey instrumentals that featured on his earliest albums eventually became Mars Volta tracks. 

So it wasn’t a surprise that much of the material released in 2016/17 by Ipecac Recordings contained quite a few new interpretations. Nom de Guerre Cabal revisits ¿Sólo Extraño? in its entirety, although the song order has been shuffled around, and three of the songs have added lyrics where their counterparts don’t. As with other albums in this series, the remade songs on NDGC have simplified titles taken from the lyrics, apart from “Common Condescend” / “Nom de Guerre”, where the title is from lyrics from the original song rather than the remake. ¿Sólo Extraño? itself is heavily influenced by Unicorn Skeleton Mask, a record whose influence habitually pops up like a bad penny, if bad pennies actually increased in value the longer they remained in circulation.

24
Mar 21

WILL YOUNG – “Leave Right Now”

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#966, 6th December 2003

Eg White, the songwriter on “Leave Right Now”, had an intriguing half-career out in the far suburbs of British pop. His album as part of Eg And Alice, 24 Years Of Hunger, has quietly acquired cult status; it’s sophisticated but erratic. Like Daniel Bedingfield, White was a young songwriter trying on his inspirations for size (at one point there’s an unexpected but exciting stab at Remain In Light era David Byrne). Released into a world too earthy and raucous for it, it made no impression – I remember the cassette of it in Our Price sale after sale, forever ignored.

17
Mar 21

Omargeddon #19: Blind Worms, Pious Swine

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Lately, the weather has been seesawing wildly through various meteorological events over the course of any given day, as is oft springtime’s wont. These icy, azure early mornings remind me of the Blind Worms, Pious Swine cover. Of course, the buds bursting into bloom on the trees will produce only boring-ass leaves rather than animal / human heads, like whatever this feather-becapped person is studying quizzically. Are they thinking, “Hey, I think I know that dude!” or “Do donkeys normally grow on trees?” It’s a dilly of a pickle!

The cover also challenges my sporadic synaesthesia in that although the cover feels cold, the actual music sounds warm. The first half is made up of punchy, indie-pop songs that all clock in at under four minutes; the second half is an instrumental prog-lite piece spanning four songs. The two genres might seem like an odd juxtaposition, but the two halves blend together via a gradually intensifying bassline which builds up to a crescendo set up by the magic of Omar Rodríguez-López and Teri Gender Bender’s shared vocals.

19
Feb 21

Omargeddon #18: Un Corazón de Nadie

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To suggest that delivering three albums over a twelve-month period indicates a slow year would normally be ridiculous, but for Omar Rodríguez-López fans, 2012 probably felt a bit like an old-timey cowboy actor (i.e. Slim Pickens). To give this a bit more context, 2009 saw six releases and 2010 seven, which in turn now appears positively tame compared to the glorious twenty-three-record bounty of 2016/17 as part of Ipecac Recordings’ back catalogue clearout bonanza. According to the liner notes, Un Corazón De Nadie (“Nobody’s Heart”) “was completed in November of 2010, and then sat in the wild strawberries vault until its release in May of 2012.” For material to sit around brewing for a couple years before becoming available isn’t unusual for ORL records, but for all of the releases in a given year to have a unifying genre, in this case electronica, certainly is.

Both Wikipedia and contemporaneous reviews refer to Un Corazón De Nadie as the first in a trilogy of electronica-influenced albums, followed by Saber, Querer, Osar y Callar and Octopus Kool Aid. The production is coarse, rather than the cotton-wool fuzziness present on other effects-laden, synthy, mid-era ORL records. It too is drenched with effects but is comparatively more polished – somewhere between Tychozorente and Unicorn Skeleton Mask. Songs are a lyrical mix of Spanish and English, interspersed with instrumental segues as is usual for his electronic music. This collage-y nature is also reflected in the cover art, a photo composition done by his mother (and possibly featuring her holding baby Omar), who passed away the year of this release.