Showing posts with label radiohead. Show all posts
Showing posts with label radiohead. Show all posts

Monday, September 5, 2011

Greg Kot - Ripped

One of the most fascinating questions in modern times is, with MP3 downloads readily available and folks swapping files left and right, how is anyone going to make money in the music business.  Greg Kot's book Ripped may not have a concrete answer (does anyone?), but it does raise a number of possibilities as well as provide history on how we got here.  Along the way, he tells how many of the most interesting bands in rock / indie today - Wilco, Radiohead, Bright Eyes, Death Cab for Cutie - took advantage of some of the changes in music technology and in the industry to achieve a level of success that might not have been possible for similar bands in the pre-Internet/MP3 era.

My complaint with the book is that Kot repeatedly casts the record companies, and corporations in general, as evil capitalist overlords that only do harm to consumers and artists.  And hey, let's face it - the record industry has not covered itself in glory over the past twenty years, missing the boat on the Internet despite numerous opportunities and making every wrong move when it comes to adapting to the digital music era.  It's clear that the industry is going to need to be re-molded to meet the needs of fans, artists, and distributors; what's less clear is that the record companies have no role to play in this process, which seems to be the position Kot is taking.

Still, while the book has few answers to what the future does look like, Kot covers an admirable breadth of possibilities in his examples.  Wilco was famously catapulted to "stardom" after Yankee Hotel Foxtrot leaked on the Internet.  Radiohead self-released album In Rainbows.  Death Cab was given huge exposure when they were featured on teen dramedy The O.C.  Arcade Fire and Clap Your Hands Say Yeah were jump-started by exposure through web 'zine Pitchfork.  These routes to success may not be open for every band, but they're interesting examples of how bands can reach a wide audience, often in a short period of time, independent of the model that has largely sustained the music business over the last half-century.

I'd recommend Ripped to anyone interested in the music industry and what the business of music looks like over the next couple decades.  There isn't anything earth-shattering for folks who have been following what's happened over the last decade, but Kot's writing is engaging and the anecdotes and quotes that fill the book are fun and interesting.  Kot continues to follow developments on his blog and on radio show / Podcast Sound Opinions.  You should check those out and if you enjoy them, Ripped is a great summary of how we got here and where we might be going.

Greg Kot official site

Wednesday, June 1, 2011

Radiohead - The King of Limbs

Rating: B

The King of Limbs is almost a paint-by-numbers Radiohead album.  That's a weird thing to say about the most inventive band of its generation, but they're not treading any new ground here.  There's beauty, and some groovy tunes, but none of the earth-shattering weirdness that's marked their going-on-twenty-years career.

Take "Codex."  It a gorgeous melodic tune arranged starkly, mostly just singer Thom Yorke's voice over piano chords.  Kinda like "Pyramid Song" from Amnesiac.  Or "Sail To the Moon" from Hail To the Thief  That's not to say it isn't a good tune.  It's one of the stronger tracks on the album.  But essentially it's a beautiful re-hash.

It's like that up and down the album.  Opener "Bloom" could slot easily on Hail To the Thief alongside "2 + 2 = 5."  "Little By Little," with its drum track and melodic bassline, would fit on Amnesiac right next to "Packd Like Sardines In a Crushed Tin Box."  The incoherent atmospheric vocals over the fast dance beat of "Feral" bring to mind "Pull/Pulk Revolving Doors" from that same album.

That said, there is no bad Radiohead.  Every moment in the album is drenched in luscious sound, and there are some brilliant moments: the backing sound dropping out in "Morning Mr. Magpie," leaving just Yorke's haunting voice before building back up; the opening creepy bass drones and background noises that open "Lotus Flower"; the gentle acoustic guitar in "Give Up the Ghost."  It's a Radiohead album, and even if it's not the most inventive of their efforts, it's still better than 99% of what's out there.

Radiohead official site

Tuesday, October 27, 2009

Greg Kot - Scary Halloween Songs

Great blog post from the Chicago Tribune's Greg Kot on his favorite Halloween songs:
http://leisureblogs.chicagotribune.com/turn_it_up/2009/10/scary-songs-to-put-a-shiver-in-your-halloween-party.html

I'll add a few more favorites:
Ryan Adams - "Halloweenhead" - it's got Halloween right there in the title.
Big Star - "Holocaust" - one of the great poppy bands ever with one of the great creepy songs ever.
Nick Cave - "Red Right Hand" - no surprise that this was used in "The X-Files" pilot.
Cranberries - "Zombie" - OK, it's a war song, not a zombie song, but it's still pretty haunting.
Howlin' Wolf - "Evil (Is Going On)" - even more sinister than it sounds thanks to Howlin's Wolf's gruff, passionate vocals.
Del McCoury Band - "It's Just the Night" - the definitive bluegrass Halloween song.
The Misfits - "Last Caress" - who knew rape and murder could be this fun?
Bill Monroe - "My Last Days on Earth" - this stark instrumental musing on death will stay with you.
Okkervil River - "For Real" - the modern masters of the murder ballad with their most potent take on it.
Outkast - "Dracula's Wedding" - what is a vampire scared of?
Portishead - "Sour Times" - should be in ever noir soundtrack.
Radiohead - "Climbing Up the Walls" - I used to nap in college listening to OK Computer and I'd wake up in a cold sweat in the middle of this song.
The Ramones - "Chain Saw" - because part of Halloween is silly, campy horror fun.
The Raveonettes - "Aly, Walk With Me" - the haunting opener to their 2008 offering Lust, Lust, Lust.
Tool - "Opiate" - no, it's not subtle, but it is frightening.
Wilco - "Bull Black Nova" - psychological nightmare of their latest LP.
Warren Zevon - "Werewolves of London" - cliched, but it's gotta be in there.