Yea so this electronica artist from Montreal keeps coming out with consistently good tracks on his myspace page. From Kanye remixes to straight-up orginals, CFCF brings a sound that is instantly familiar. Maybe not as technically impressive as Daft Punk, but certainly as original. The sounds this guy makes with his computer are superb. Enough said. Check it out. And if you don’t trust me, trust PITCHFORK WHO HAS NAME-DROPPED HIM MULTIPLE TIMES !!!!!

I never thought I would dislike having almost an entire month off from term papers, exams, useless discussion periods, and extreme amounts of reading. Then, I learned about Concrete Frequency.
Concrete Frequency is a multimedia concert being presented at the Walt Disney Concert Hall this January (all on dates when I will be shivering with cold in the Midwest instead of basking in the glow of incredible music and the golden rays that shine from the Walt Disney Concert Hall). The performance features classical music, film footage of the city, and raw performances from people such as Zooey Deschanel, Sean Lennon, and Daniel Rossen (of the really cool indie band Grizzly Bear). The music in this concert is supposed to be a ripped-down-to-the-core expose of music about the artists’ feelings, experiences, and attitudes towards the city. It is in several parts, Concrete Frequency I, II and III, that are spaced out over the first few weekends of January. This concert would be an experience unlike any other- fusing together media, 8mm film, the philharmonic orchestra, incredible composers, and ethereal vocalists. As William Miller in Almost Famous would say, this concert is going to be “incendiary.” For real.
So, basically, I need 300 dollars to fly back to Los Angeles for the weekend. and a place to stay. It would be totally worth it.

It’s no secret there are a few power poppers around the office, so here’s one for the fans hot off the MySpace: the Busy Signals. These guys have been up in Chicago mashing pop and punk together for a couple of years now, and they just released their debut LP on Portland label Dirtnap Records. All they’ve gotta do is cover “You’re the Right One Baby” with Jamie Foxx and they’ve got rookie of the year in the sack.

One of the most popular BitTorrent trackers on the net, Demonoid.com, had its site taken offline about six weeks ago, and its situation is finally being explained. Coming only weeks after the closure of OiNK.cd, Demonoid’s shutdown has the torrent community in another frenzy. The following message is from Demonoid.com:

The CRIA threatened the company renting the servers to us, and because of this it is not possible to keep the site online. Sorry for the inconvenience and thanks for your understanding.

The site, hosted in Canada (where it was recently announced that downloading torrents for personal use is permitted), provided a large amount of the Internet’s torrent trackers (or, basically, the instructions for finding peers from/to whom you can download/upload). While the downfall of the site hasn’t yet affected its trackers, the future of Demonoid is obviously unknown, as stated on the site’s IRC channel: “Site is down, tracker is up. Expect the site to return, unless we hear otherwise from [the administrator].”

This wasn’t the beginning of legal trouble for Demonoid, however. Only weeks before its shutdown, the CRIA was pressuring the website. At that time, its trackers also went down but then slowly returned. The site came back online after several days, but it was forced to block all Canadian visitors. The CRIA is also currently aiming at French-Canadian torrent site, Quebec Torrent.

Update: The Demonoid tracker is officially down (~4:00PM), affecting hundreds of thousands of files available on torrent websites across the Internet.

	It Dies Today
	The Bacchanal Affair

Aficionados of the Guitar Hero series of video games (the third installment of which was released at the end of October) were squarely in the sights of equal-opportunity offenders Matt Stone and Trey Parker in this past week’s new episode of South Park. In the show, the game serves as Stan’s gateway into the heart of rock ‘n roll darkness: sleazy record execs, heroin addictions, and shattered friendships. Ultimately, the game also becomes Stan’s salvation but not before Stone and Parker land their finishing blow on wannabe rock stars who think their road to fame travels through a video game.

The usual South Park conceit is funny enough–i.e. addressing a patently ridiculous idea (like landing a record deal with a high score) with the utmost seriousness. But in the eyes of Guitar Hero fans like myself, the episode is also downright existential. How dare they ruin our fresh-out-of-the-box enthusiasm with intense philosophical quandaries? We’re already a self-aware bunch. We realize that the incessant click-clacking of buttons sounds like an Under Armour commercial turned up to 75 rpm and that it’s impossible to look cool while strapped in to that miniaturized show pony of a guitar controller.

Nope, Matt and Trey have made us feel far worse by pointing out that my quest to score over 300,000 points miming “Surrender” on a plastic guitar facsimile is a hollow enterprise, yet another accomplishment devoid of any cultural value or personal growth (except maybe carpal tunnel). It’s incredibly crushing to realize that in the time I spent trying to master a five-button version of “Holiday in Cambodia,” I probably could have learned the song on a real guitar.

The only real consolation is the fact that I am but a minor grifter in a sea of charlatans, as much of a part of the image-driven music industry as a guy who could actually play the bridge to “Message in a Bottle.” Stone and Parker’s eloquently-titled salvo “Guitar Queer-o” aside, I think I’ll continue to enjoy being a fake musician. Hey, it seems to work for Daughtry.

Anyone who’s from Arizona, like myself, will most likely have the following reaction when they hear anything about Tucson: “Booooring….”

Normally I would agree. Is there really more to Tucson than U of A? And yet, this listless city is the birthplace of one of the most underrated post-rock groups I know of, Friends of Dean Martinez. Now, the indie community has plenty of post-rock/instrumental artists to wade through…Mogwai, Explosions in the Sky, Godspeed You! Black Emperor, Do Make Say Think, The Album Leaf, Dirty Three, etc. And many of these groups have done very well, despite writing music completely antithetical to songcraft: prolonged, restrained, lyric-less and inaccessible opuses. For instance, Mogwai worked with Clint Mansell in scoring Darren Aronofsky’s The Fountain, Explosions in the Sky composed the soundtrack for Friday Night Lights, Godspeed You! Black Emperor’s “East Hastings” was featured in 28 days later. I guess there’s this trend of post-rock music being integrated into films. And it works very well.

That said, does Friends of Dean Martinez bring anything to the table in the face of these instrumental juggernauts? Absolutely. I wouldn’t claim outright that they are better artists than the aforementioned groups, but Friends of Dean Martinez are by no means derivative or lackluster. And after 13 years and 9 LPs, they maintain that difficult balance of being innovative without compromising artistic identity. But they’re still nameless, even within the underground circles of music enthusiasts. I don’t really know why. Perhaps it’s the cumbersome stage name they carry, which probably incites a “Who’s on First?” scenario every time it’s brought up:

“Hey, have you heard of friends of Dean Martinez?”
“Who? I don’t know who that is. Does he have no friends or something? How sad.”
“No, they’re a band”
“Oh, what are they called?”
“Friends of Dean Martinez”
“No…like, what do they call themselves as a band?”
*slap*

But a lot of (in fact, most of them) post-rock bands have longwinded names. It might just be the misleading surname “Martinez,” which initially made me think of a mariachi band (certainly not the case). Or it could be the fact that “Friends of Dean Martinez” sounds like one of those temporary support groups that play at local bars to raise money for a buddy in chemo therapy. Or it could be that Tucson stigma.

Maybe everyone else just thinks FODM sucks. But I’m still going to try.

Now, FODM does not have the operatic orchestration of Godspeed, the vicious dynamics of Mogwai, or Explosion’s angelic guitar riffs, but they are champions of mood and sonic scenery. Their music is frequently described as evoking desert landscapes, but not in a pejorative sense. Some tracks may feel forlorn and desolate, but they carry an allure of tragic grace. Some songs are markedly sinister, while others are downright gorgeous. The group also has interest in hispanic culture, as evidenced by some of their more rhythmic songs and occasional, Spanish song titles. In addition, they clearly enjoy the retro feel (they have a whole album titled “Retrograde”), and as a whole, FODM can come off as ironic, but it’s never destructive. Stylistically, FODM is pretty consistent. The tempo for most songs is pretty gradual; in fact, while some are rather sluggish and boring, the grave movement often contributes to an endearingly barren atmosphere. Instrumentally, acoustic and/or steel guitars are very common. Above all, a yearning slide guitar is usually center stage, stringing out a melody to tie a song together. In essence, most of FODM is pretty western sounding. Pianos and string sections are occasionally used, and FODM’s later recordings feature more synth-work. On rare occasions, Friends of Dean Martinez demonstrate their versatility with a surprisingly disparate number, being either jarringly experimental or just mind-blowing.

However, as with most post-rock groups, they require patience from the listener. But they may not be for you if you don’t like subtlety. Unlike Godspeed, Mogwai, or Explosions, abrupt changes and extremes in rhythm or dynamics are rare. Their stability in is more like The Album Leaf.

Anyway, if you have a hunger for more instrumental artists, or just feel adventurous/curious, give Friends of Dean Martinez a shot. Their latest album from 2005, Lost Horizon, which is on KSCR’s new wall, was my gateway to their music. The latter half of the opener, “Landfall,” is particularly phenomenal, but, like most of the album, is quite unlike the rest of their music. As of right now, their 2000 release, “A Place In The Sun,” might be my favorite FODM album. It has good variety and some gripping, haunting tracks, although 2004’s “Random Harvest” might be their most endearingly dark LP. I would suggest any of those three to start with.

So it’s past midnight, and certain things only come out about this time. The first is this collection of images, at Henry VIII’s wives (http://h8w.net/work/im.html), of iconic twentieth century moments, as reenacted by individuals who probably lived through every one of them.

What a way to test your pop culture acumen.

Second, up from the 36 chambers of Toys R Us, we’ve got the Ghostface Doll. Really it’s all downhill after that initial doll image and beat, but what a hill it is.

Hopefully you enjoyed this little show and tell. Maybe it’ll be a regular thing, maybe not. We’ll see what happens.

Here is a fantastic blog about the fall of OiNK and its prophecy of music industry revolution

It’s a bit long, but a worthwhile read. There’s a section in particular that I want to post below, for it yields understanding to the incentive and opinions behind many of us here at KSCR.

“Unlike newspapers, record companies own the distribution and the product being distributed, so you can’t just start your own website where you give out music that they own - and that’s what this is all about: distribution. Lots of pro-piracy types argue that music can be free because people will always love music, and they’ll pay for concert tickets, and merchandise, and the marketplace will shift and artists will survive. Well, yes, that might be an option for some artists, but that does nothing to help the record labels, because they don’t make any money off of merchandise, or concert tickets. Distribution and ownership are what they control, and those are the two things piracy threatens. The few major labels left are parts of giant media conglomerations - owned by huge parent companies for whom artists and albums are just numbers on a piece of paper. It’s why record companies shove disposable pop crap down your throat instead of nurturing career artists: because they have CEOs and shareholders to answer to, and those people don’t give a shit if a really great band has the potential to get really successful, if given the right support over the next decade. They see that Gwen Stefani’s latest musical turd sold millions, because parents of twelve year old girls still buy music for their kids, and the parent company demands more easy-money pop garbage that will be forgotten about next month. The only thing that matters to these corporations is profit - period. Music isn’t thought of as an art form, as it was in the earlier days of the industry where labels were started by music-lovers - it’s a product, pure and simple.”

Hopefully, the digital revolution will eventually banish money grubbing executives from recycling music as a disposable flavor-of-the-week. In addition, I suggest anyone who believes “indie snobs” are informed not by personal taste but by a self-righteous, just-for-the-sake-of-it rebellion to the “sheep” of pop culture, to read the above essay and then consider the common defense of mainstream music: “Popular music is popular for a reason. It wouldn’t be popular if it wasn’t good.”