End of the Month Music Bitchfest - April 2017

Nine Inch Nails
The wait is becoming a palpable thing...

Beck
The wait is becoming an even fatter man, sitting on my chest and eating a paste made of Velveeta cheese powder, mayonnaise, and olive oil. His name for it is Yummy Glue, and sometimes, Tasti-Paste.

They Might Be Giants
In the midst of recording their latest, can't say much except there seems to be some funky Linnell shit in the mix.

Guess who's disappointed by the new Gorillaz? Yeah, while I reviewed it for Soundblab and gave it a 9 out of 10, that's because, while I don't like it all that much, I do recognize it is a good album...one that does not really appeal to me.
what wrong me.
Review here.

I also reviewed the new (and pretty awesome, Dan Bejar-less) album from the New Pornographers, Whiteout Conditions. HERE! THE REVIEW IS HERE!

Mother Feather are in the studio* recording the follow up to their 2015 self-titled debut. Spoilers: it might be my favorite album of 2017.

I'll be reviewing the new Drew McDowall album, Unnatural Channel, due out 5/27.

Finally, exactly eleven years ago today, the music video Ray Zablocki and I did for Nine Inch Nails' "Every Day Is Exactly The Same" went up on YouTube. Since then, it's garnered over 2.6 million views and thousands of comments referring to either porpoises**, faggots***, and the fact that the audio and video quality is that of a mud-smeared ass.
Well.
Ray went back and gave the whole thing a slap**** and now it looks fantastic. You can watch it here. If we get 2.6 million views by 2029, you'll get the original Nine Inch Nails version which we were sent as an example of what not to do.

* THE SAME STUDIO IN WHICH GORILLAZ RECORDED THEIR GREAT NEW ALBUM WHICH I DON'T REALLY LIKE!!!

** Try to open your mouth a little wider when you speak, Trent.

*** Hi, I'm the Internet, I'm constructed of awful, awful people.

**** Or "complete top-to-bottom re-edit", whatever you tech nerds call it.

End of the Month Music Bitchfest - March 2017

Nine Inch Nails

So...the physical components have arrived...
*deep breath*

That hasn't been one major release from Nine Inch Nails since 1989 that hasn't had distinct and exceptional artwork and/or packaging; Gary Talpas, Russell Mills, David Carson, Phillip Graybill, Rob Sheridan...but the physical component for the December 2016 EP Not The Actual Events, created by John Crawford, Corey Holms, and Jeff Anderson, might take the taco as far as style and uniqueness.

First, you get a black, plastic wrapped envelope in the mail. On it is a warning label:

Inside are six sheets of cardstock preceded by a transparent photograph of Trent Reznor and Atticus Ross with their eyes scratched out. The first five sheets each correspond to a song on the EP, the sixth is a credits page. Unlike every Nine Inch Nails album to date, each of which has had a coherent and unifying theme and motif throughout, here each song's lyrics sheet has a completely different art style, look, and feel, allowing for deeper understanding of each individual song and reflecting the song itself: 'Branches/Bones' is concise and brutal, clocking in at just over a minute and a half; its lyrics are set in the center of the page in a tightly packed rectangle, every word cordoned off by a neat slash*, 'Dear World,' with its sluggish, affected verses and clear, clean chorus has a separate font and layout for each, the former garbled and layered over itself, the latter spaced neatly on lines like notes on a musical staff, 'She's Gone Away' is the sequel to 1994's 'Reptile', a point pounded home not only by snippets of 'Reptile' lyrics lurking in the lyrics tab of the mp3 version of the track, but by the fact that the font on the sheet is the same from The Downward Spiral and are actually superimposed over the lyrics sheet for 'Reptile', the vocals on 'The Idea Of You' are obscured by a jagged, looping guitar, Dave Grohl's barbaric drums, and the fact that Trent Reznor CAN'T STOP WHISPERING, the lyrics sheet, while typed clearly in black ink on white (or whitish) cardstock are distorted; missing letters, sliced in half, printed backwards, making it nearly indecipherable, and the closer, 'Burning Bright (Field On Fire)', which find Reznor screaming at the empty, howling center of the universe as he explodes is portrayed as a solid, vertical line of text, a battering ram, a blazing pillar of defiance.
Oh and everything is coated in a fine patina of black dust that gets all over your hands.
Singular.
And weird.
And filthy.
More pictures than you would EVER NEED TO SEE here.

And, in the world of wild, unfounded rumors related to NIN, Rob Sheridan, former art director and member of Nine Inch Nails side project, How To Destroy Angels, has been posting tiny snippets of video footage from the 'Hurt' live visuals processed with the distinct VHS/glitch filter that defined the motif of HTDA's first LP, Welcome oblivion.

Does it mean anything?

Of course it does: new HTDA this year, culminating with a double headlining tour of HTDA opening for NIN with Reznor, his wife, and their 18 children as backing band a la the Brady Bunch.

Obviously.

Or, Rob is bored.

STAY TUNED!!!

Beck
"Beck"** has set a release date for his STILL-AS-YET-UNTITLED follow up to Morning Phase. You ready?
"Spring 2017".
You fucking space alien...
Oh, and it's ten tracks.
Three of which are out.
One of which has been out for two years this June.
Beck...I feel as if you are doing this wrong.
Anyway, clock's ticking now, motherfucker, because you've set an IRONCLAD DATE...uh...SPAN OF THREE MONTHS in which to release this album! I mean it's not like he can change the release window, right?
Beck's new album, Not Really A Thing, which consists of ten tracks totaling about 40 minutes will be out late 2015, no, wait, November 2016...ah, spring 2017. For real. Totally. Pre-order soon.

Checked out the new Depeche Mode, Spirit. First third sounds so naive and wide eyed, it's hard to believe it's coming from a bunch of guys in their fifties. Have they even heard of Bono? He's been doing the political thing for decades and there is still evil and poverty and famine. But....maybe...if Depeche Mode and U2 team up...!!!!!!
It's like they heard Radiohead's 'Burn The Witch' and were like, "Yeah! But we can do it worse! And for longer!!!"
After these groundbreaking anthems of truth and rebellion (available on sale now at your local Best Buy) comes 'You Move', a track 30-something liberals can fuck to and feel edgy while doing so.
Musically, it's sounds like Depeche Mode. Fans of Depeche Mode will enjoy that while people who are not fans of Depeche Mode will enjoy that less.
As usual, Gore's solo effort ('Eternal', not 'Fail'), is the most compelling and interesting track here, but 'Cover Me' does have some nice dark synths and cool progressions that allow you to ignore its banal lyrics. Otherwise, meh.
To be completely frank with you, my own spirit is weak*** from all these useless petitions and cries for impeachment...via Twitter. The only way Bono or Gahan or whoever the fuck are going to really change things is if they obtain an assault rifle (from a gun show) and, literally, kill every one of the evil motherfuckers in power. Quite honestly, I think there are enough musicians out there to make a difference if each one simply targets one monster.
If Bono shot Trump point blank in the face, I would probably not delete the next U2 album that forces its way onto my devices.
Probably.
Maybe.
What's the single sound like?
Is there watery guitar?
Oh.
Hm.

Gorillaz! Everything Gorillaz! So excited!
And, on the next breath, I have some concerns. When Gorillaz came out in 2001, it was all about them, this weird collection of cartoons making an album****. There were a few guest stars, but this was the Gorillaz. As time went on, they did less and less tracks on their own. Demon Dayz had eight without guests, Plastic Beach had five, The Fall doesn't count, which leads us to Humanz, which features one track without a guest artist. Five of the fourteen songs have been released and, for the most part, there's a lot less Gorillaz than I would like for a band that puts out one album every decade and a half. Who do they think they are, Cake? If Damon Albarn wants to host some sort of festival of cool, underground artists, why doesn't he just...oh...nevermind, he did. Well, okay, if he already fucking did, then why not just make, you know, a Gorillaz album...of Gorillaz songs...performed by Gorillaz?
Anyway, I'll just focus on what I've experienced rather than what I have yet to experience, yes?
Humanz was announced with a brand new amazing video (because, obviously it's amazing, all their visuals are amazing) which is a combination of Scooby Doo, H.P. Lovecraft, and Murdoc floating, naked, through space. Everything one needs.
The four songs that were released are...not amazing. They all have their moments (mostly thanks to 2D, also Vince Staples verses on 'Ascension' are dark as fuck even though his voice is piercing and petulant in all the wrong ways) but nothing is grabbing me. Granted, I just got these and need to spend lots more time with them, but I've found, as far as Gorillaz go, I really do either like tracks from the first listen or not, there's never really been any period of "growing on me", na mean? First thoughts: 'We Got The Power' (the album closer) is happy and bouncy and a rallying cry with as much depth and dynamism as a bread sandwich, Popcaan's whining, autotuned vocals on 'Saturnz Barz' are nigh unbearable. 'Andromeda' is the stand out as it's better than the other four (even if it does sound a bit like a more soulful rendition of 'Doncamatic').
Humanz is out on April 28th in a myriad of formats, including a 2-CD deluxe edition with six extra tracks (all featuring guest artists...grrrr), and a $350, 14-disc, super deluxe vinyl edition which comes with each track on its own record with an alternate version as the b-side, a 54-page art book, and a handjob. From Murdoc.
I'll be reviewing the full album on Soundblab (and here probably) once review copies have shipped.

I'll also be reviewing the new New Pornographers album, Whiteout Conditions, coming 4/7. Some predictions: Neko Case will be the gem she always is while I'll only be able to barely tolerate the three or so Dan Bejar tracks. Three or four of the tracks will be added to my NP playlist, one of which will be truly amazing and make me cry. 

After last month's brush with Transparent, I decided to wander over into the world of Psychic TV. I was not ready. I found that listening to too much made me want to dance and/or join a cult and/or straight up kill someone. If you want a pretty good picture of their mission statement, check out their cover of 'Good Vibrations', which features a spoken word moment that makes things a lot more Manson-y.*****

And, lastly, after attending the Come Together event last weekend at PS1 MoMA to obtain a copy of the Alessandro Cortini/Merzbow collaboration******, I was introduced to the music of Mitski. Might give that a try this month.

* But its variant, which features a bizarre mockery of that same nice, neat shape, reflects the savagery of the track.

** Read: "Capitol Records"

*** smrt. clevr. gud.

**** Yes. I know they're not real. I just dig the aesthetic and the fact that Damon Albarn is a fantastically multitalented dude who had been held back as the lead singer of Blur for so long and that this was a chance for him to do whatever the fuck he wanted.

***** Charles, not Marilyn.

****** By reading that clause, you are now a hipster.

A review of Zos Kia/Coil's "Transparent"

"We've been witnessing your many and varied forms of control today. They're very effective...very pretty." These are the first (and most intelligible) words one hears at the start of Transparent, one of the very first recordings of what would later evolve into Coil. This is not a good album, or, at times, a listenable album, but it is perfect for what it is. Recorded in various live situations (and one studio) over the course of 1983, what was originally a cassette has been restored* and released. This is raw and pure and explosive, the soul and seed of Coil.

Zos Kia was comprised of John Gosling (Psychic TV, Mekon), Mia Kent (the real person on which Helena Bonham Carter is based), John Balance, and Peter "Sleazy" Christopherson, and it was artfuck without compromise or pretension or artifice. Track one, 'Sicktone' features John Balance murdering a violin, 'Truth' is a bit of a precursor to PTV's 'Neurology', 'Silence and Secrecy' is, in Balance's own words, "a tape of cicadas amplified really loud with wolf noises". The female vocalist, Min Kent, adds something perhaps lacking in a lot of later Coil; a sick softness, like the skin of rotten fruit. She sounds like a drowning victim who's resigned to her fate and her ear-splitting shrieks on “Poisons"** will chill your blood.

Will you ever play this at a high school prom, probably not, although it would be remembered. Is this something you’ll throw on to unwind on the drive home, no. It's not even for fans of Psychic TV, Coil, or Throbbing Gristle; it's for true worshippers, devotees, cultists of what these people created. It’s also perfect in its destructive capability and raw, world-ending scum. To say it’s just noise would be 100% accurate and yet a complete dismissal of what’s on offer. If I could, I’d give it a 1 and a 10. But I can’t, so I’m giving it a 10, perhaps the most solipsistic 10 ever, but, still, I stand by it.

* As much as one can restore a shitty cassette from the early 80's

** Although said shrieks are actually part of the previous track, 'Violations', a live and renamed version of Zos Kia's 'Rape' which also features Coil's 'Here to Here (Double Headed Secret)' as a sound bed, all featured on the original version of this album. You got all that?

End of the Month Music Bitchfest - February 2017

Nine Inch Nails
While Reznor's army of slouched and defeated fans wait for Firebrand Media/Gnarlywood LLC/SATAN HIMSELF to fulfil their fucking promise of a "first week of January" delivery for the "physical component" of the Not The Actual Events EP*, I forgot to mention last month that I'm seeing these mooks in July at the Panorama Festival. Let's try and avoid "The Hand That Feeds", shall we Trent? As appropriate as it may be, there are a bunch of other songs that would work just as well or better, namely "Letting You", "Survivalism", "Capital G", "Beginning of the End"...actually, most of Yero Zero has become frighteningly relevant.
Moving on.

Beck
NEW ALBUM COMING SOON! NO TITLE, TRACKLIST OR RELEASE DATE!
BUT! SOME SHIT HE DID IN 2011 FOR I AM NUMBER FOUR APPEARED OUT OF NOWHERE!
LISTEN HERE!!!

Eels
Bobby Jr. died.

They Might Be Giants
Total silence.
Creeping numbness.

St. Vincent
St. Vincent** put out a Mixtape Delivery Service for Prince and I checked that out. While it's always nice to hear people talking about the Purple Banana, I could have done with a few deeper cuts, or, you know, something from the last twenty years.

As a result of playing Watch Dogs 2 and the horrors occurring in the world, I've been listening to a lot of electronica. Squarepusher and Plaid mostly. It's been a lovely (and distracting) blend of blippy sharp cold circuitry, warm mellifluous watery washes, and combinations of each to varying degrees, and it's been very helpful. I've curated a three and a half hour playlist spanning their combined discographies and I recommend you do the same.

Next, I'll be seeing Garbage (YAY!) and Blondie (meh) at the Beacon Theater (yuck) in August (yarg)***. I'll be sure to tell you about that...in six months. Get ready.

Also, Marilyn Manson forgot to put out his new album****. Probably better that way...

Finally, I'll be reviewing the primordial ooze from which Coil sprang AKA the 2017 reissue of Transparent. Look for a review of Soundblab in the coming days. Oh boy is this not for casual listeners...or maybe even people with functioning ears...


* IT'S JUST A FUCKING ENVELOPE FULL OF SOOT AND FUCKING LYRICS SHEETS YOU FUCKING IDIOTS. HOW DO YOU FUCK THAT UP?

** Whose new album, due out in a few months, might just be called "CVRTAIN".

*** Ball sweat. Ignore me.

**** I'm going to try and get away without ever saying the name of the album because it might be the silliest thing he's ever uttered...I think, I 'd have to go back through those last three steaming piles before The Pale Emperor to be sure, but I won't! And you cannot make me.

Watch Dogs 2 + Resident Evil 7 = Resident Dogs 9

SPOILERS FOR WATCH DOGS 2 AND RESIDENT EVIL 7!!!

I didn't play a lot of video games over the past year and half. After Arkham Knight came out, that was kind of it for me. I was looking forward to stuff and I bought stuff, but for some reason, I looked at these games (Fallout 4, Uncharted 4, Rise of the Tomb Raider, The Witcher 3, etc.) and said, these are going to take way too long so I'll play them some other time. After I beat the shit out of AK (cough 240% completion cough), I had "nothing". So, I picked up some of these procedural indie games I'd kept hearing about; games like Spelunky, Rogue Legacy, Enter the Gungeon, and, lastly, The Binding of Isaac.

With those first three, I played a lot, but got to a point in each where I just wasn't good enough to proceed, but, with Isaac, I dug my heels in. Over the course of six or so months, I put...so much fucking time...into that game. I just recently stopped playing it (but will pick it back up as soon as Afterbirth plus comes out for PS4) and picked up Watch Dogs 2, which I finished in a few weeks.

Overall, it's kind of like all the reviews said: it was more fun than its predecessor, mainly because the protagonist wasn't talking like Nolan's Batman the whole time, and because of the Jumper and drone as hack tools. I got pretty sick of trying to hop from camera to camera in the first game, only to find out I'd fucked up somewhere along the way and had to restart. Anyway, I found myself not really giving a shit at some point and just rushed through to wrap everything up. The ending was a let down, but then again, I can't think of one open world game that doesn't have a non-climax.* I tried to play the game as stealthy as possible (I only purchased three weapons the whole time; the silenced pistol, silenced assault rifle, and the sniper rifle, but as all the enemies were telepathic, that seldom worked. Honestly, I don't have anything really negative or positive to say about it (maybe because I don't live in San Francisco?). There were some fun moments and some boring, grindy moments. One thing that stood out was the clothing. This is kind of weird, but since the game made such a concerted effort to give Marcus literally thousands of outfit combinations, I found it bizarre that, literally, not one other main character wore more than one outfit the whole game. Pretty odd choice...

All that said, I'd play a third one if were set in New York with the same amount of (apparent) detail that went into San Fran. I'm a sucker for that, hence why I purchased and played through True Crime: New York.
While I was wrapping up WD2, Resident Evil 7: Biohazard came out. Now, this was something I was actively looking forward to, even though I was pensive about the switch to first person.** I'd played all versions of the demo and even gotten the "good" ending.*** As much as people hated RE6, I enjoyed a lot of it and thought they did an incredibly brave thing by having a game with three intermingling campaigns, even if two of them were less "survival horror" and more "machine gun murder factory". But, anyway.
I sat down with RE7 and played through it over the course of three or four sessions, clocking in at about 20 hours on my first playthrough. I noted that there were trophies and rewards***** for beating it in under four hours, a feat which I thought was reserved for only the most Japanese of speedrunners******...until I watched a dude (a Canadian!!!!) beat the game in about 90 minutes. With the Canuck as my guide, I managed to sneak out in just over three and a half hours. I'm sure I've mentioned this before but: even though I've been a gamer since I was 6, I am not very good at video games.
I've really enjoyed this game. The smaller scale and return to a focus on dread and resource management feels like a fantastic return to the good old days of the fist three RE games. And all the little nods are just delightful...that fucking Crank...
Plus! So many questions...why the fuck is Chris Redfield working for Umbrella now? Who made Eveline and why? Who was Ethan on the phone with at the beginning of the game? Where the fuck did that little shit Lucas go? When did that little moment with Jack, Zoe, and Ethan fit into the story and why did Ethan not remember it until just then and how come it seemed to have no impact on Ethan, the Bakers, or the game itself?
As of the end of last week, I have platinumed the game, beating it on Madhouse, beating it in under four hours, beating without healing more than three times, and without opening the goddamn item box more than the three times the game forces one to. Four playthroughs and I have owned this game utterly. I don't do that often...
I'm curious about the next iteration of Resident Evil. I'm not sure I want to wait four and a half years for the next one, seeing as this one was a much smaller affair and can beat beaten in 90 minutes. And, when it does come out, are they going to stick with the sludgy dread of RE7 or are they going to try and make an FPS with zombies...which they already did...with lackluster results...?
Anyway, now that I've finished RE7 (and moved on to the second DLC) and I don't think I'll be able to convince my wife to play it, thinking of getting into either the new Tomb Raider or maybe Final Fantasy XV, which will be my very first FF game. Aside from chocobos, anything else I need to know?   

* Except for Red Dead Redemption, I believe that might be my favorite ending of any video game I've ever played.

** Not a big first person guy. And first person in a horror game feels a bit cheaty, like movies that pelt you with jump scares. Jump scares aren't clever, they're overused.

*** DIRTY COIN, MOTHERFUCKAAAAAAA!!!!****

**** TOTAL LETDOWN, MOTHERFUCKAAAAAAA!!!!

***** Oh Christ do I love those post-game unlocks...

****** KNIFE ONLY NO DEATH TOFU RUN, MOTHER FUCKAAAAAAA!!!!!!

End of the Month Bitchfest - January 2017

It's funny how pointless all this seems right now. Like discussing one's favorite book of short stories while the library is on fire, trying to raise my voice to be heard over the ceiling collapsing so that I can validate my thesis about the writer's intentions behind capitalizing all the pronouns or their lack of adjectives. My thinking is that this country has endured over two hundred years and that four bad years can't do that much irreparable damage, can it? But this seems like real evil. I'm shocked and infuriated and numb while at the same time feeling completely impotent. All these petitions and witty remarks and marches and cries to release this document or investigate this claim seem kind of useless until something actually happens.

Ugh.

Fuck.

Anyway. 

The new Gorillaz ('Hallelujah Money') is dark and creepy and scary and Trump and everything is horrible. Why did I think they were going to be a fun little escape from everything to come? Idiot... One thing is for sure: Benjamin Clementine looks like a combination of Tony Todd and Mads Mikkelsen. 

The full Patriots Day score was (almost apologetically) released on the 13th. I was shocked to find it's only about an hour. The whole thing is a bit of a music sandwich with the soft and beautiful bread, and tense, fearful meat.  The deep, pulsing alarm of 'Escape' will make you want to stop listening it's so huge and threatening. The epic, dread-soaked sprawl of 'The Night Drive' is twelve minutes of nerves. And 'The Place You Are Right Now' (and its mirror, 'Long Shadows on the Street'), which travels from delicate and warm to a jagged electronic chase and back again might be the best work Reznor and Ross have done for a film since they started eight years ago on The Social Network.
 This is the most traditional score the two have ever composed, as far as that term can be applied to them.

A review of Nine Inch Nails' "The Fragile: Deviations 1"

\\

When The Fragile was released in 1999, it was 25 songs, clocking in at almost two hours. Even back then, Trent Reznor said that there was more material, in various states, which made up about one more full disc of music. Around the tenth anniversary of the album, he started hinting at a deluxe reissue, complete with unreleased tracks and a 5.1 mix, created by himself and long time studio partner, Alan Moulder. Since then, he'd mention it occasionally; how he'd "just stumbled over some old bits and pieces or demos", how they were "working on it", etc, but nothing ever came to fruition.

At the very end of December 2016, along with the "definitive editions" of Broken, The Downward Spiral, and The Fragile*, as well as a brand new, 5-track EP entitled Not The Actual Events, Reznor released The Fragile: Deviations 1, a 37-track, all instrumental version of the 1999 release, featuring forty minutes of unreleased music**. These unreleased tracks range from completely finished pieces simply missing their vocals to demos and outlines of songs that, for whatever reason, were never completed. The entire two and a half hour journey of Deviations 1 is the definition of epic, and might be the most Nine-Inch-Nails-fan-centric release Reznor has ever unleashed. That said, it is not perfect. It is not the deluxe, cancer-curing, ultimate reissue fans have been teased with since 2009. It is something huge and strange and complicated.

For the most part, the original tracks from the album haven't undergone much transformation, with the exception of "Somewhat Damaged", "Ripe (With Decay)", "The Mark Has Been Made" and a few others, which feature some added elements here and there, and, as for the new material, it's a mixed bag. Tracks like "Missing Places" and "Feeders" don't really stand on their own and found spots on the original album as transitions, while "Taken" and "Last Heard From" seem to be little more than demos. Then there's "The March" and what was originally called "Hello, Everything Is Not OK", the former which ended up as "Skin of a Drum" from Saul Williams' The Inevitable Rise and Liberation of Niggy Tardust!, and the latter which became "10 Miles High". The three most intriguing tracks are "Not What It Seems Like"***, which builds on a simple drum loop and, through subtle layers of sound, becomes something triumphant, "White Mask" which sounds like an homage to Coil****, and "Was It Worth It?", which has an almost startlingly bright feel thanks to some straight up 80's synths in its chorus. That last one appears to only be missing lyrics.

I wanted everything. I wanted a seven-disc release with the original album in 5.1 and all previously released material (remixes, b-sides, etc.) also remastered and in 5.1. I wanted all the video content: those tiny little trailers, both of those MTV Fragility tour specials, all the music videos*****, And All That Could Have Been and its accompanying acoustic special and everything else in blazing high definition with a picture so sharp I cut my fucking eyeballs. I did not get that. I got forty minutes of new instrumentals, twelve minutes of which I really dig, and a vague promise in the form of that little number "1" appearing after the word "deviations". Is there going to be one more? Eight more? Is it going to come out this year? This decade? My logic tells me that Reznor wants to be done with this fucking thing as much as me, to just wrap things up and never have to talk about it again, but my logic also tells me that Reznor is a busy, busy man with four children, two new Nine Inch Nails albums set for release this year, and an unquenchable desire to score everything forever.

Anyway. If you're a foaming-at-the-mouth Nine Inch Nials fan or just love the everloving shit out of The Fragile, hop on over to the revamped nin.com store and pay $80 for The Fragile: Deviations 1, for which you will receive an instat wav download of the entire thing along with a fantastic digital booklet which contains some unused artwork from David Carson's original concept for the album as well as a four-LP vinyl of the record, coming this spring. 

* All meticulously restored and remastered versions of the original, vinyl releases of the albums

** If you ignore the Apple Music release of The Fragile (Instrumentals) from June of last year, which featured three of those aforementioned unreleased tracks

*** Which could be a reference/counterpoint to "Just Like You Imagined" from the original record

**** And since Jhonn Balance and Sleazy Christopherson were lurking around nothing studios recording Backwards at the time, who knows?

***** "Starfuckers, Inc." and the original "The Day the World Went Away" video included

Year in Bitch - 2016

Oh, 2016. You fucking, cocksucking, whoremouthed piece of cum-drenched shit. While everyone else has this feeling that now that the calendar has slipped from 2016 to 2017 everything will be okay, I'm going to sprinkle a little piss on that particular idea right now.
First off, January 1st, 2017 is just another day. Time doesn't care how we delineate it. Time's just a concept anyway, so that's pointless. Secondly, and more importantly, we're going to keep losing the people we love and respect and worship. Not because life is unfair or your idea of god hates you, but because people who are awesome and established and have spent decades creating amazing things that change and define and improve our lives are getting older, getting cancer, and getting dead. We were told when Bowie died* and when Prince died, but, here's the thing, there's no way to know when the next Prince or Bowie will be born. And, more salt in the wound: Justin Bieber isn't going to die any time soon. Kim Kardashian isn't going to either. The good ones, the legends, are going to keep dying while we're left here to mourn them and to drown in the remaining sea of mediocrity.
Bob Dylan and Paul McCartney are going to die some time soon.
As are Mel Brooks, Steve Martin and Bill Murray.
While Kevin James, Katy Perry, Kevin Hart, Larry the Cable Guy, Iggy Azalea, and Tyler fucking Perry aren't going to die for a very, very long time.
Because life is unfair and god hates us.

That said, let's dig in!

Musically, most of my year was spent in a state of shock. Bowie and Prince, two of my favorite artists, who, in my eyes, were actually immortal, as in literally defying the effects of time itself, gone. And there's already been shitty "Best Ofs" released. Aside from those two, massive blows to the very idea of music, Beck released a song, They Might Be Giants released a song. Nothing from Eels. Nothing from Cake. Nothing from St. Vincent. Then, right at the end, we get a literal deluge: two scores and a new EP from Reznor PLUS (part of) that long rumored Fragile deluxe edition we've been promised for SIX THOUSAND YEARS. And it wasn't enough.

Anyway, primarily I listed to Blackstar, the debut from Mother Feather, the new Radiohead, and all that Q4 Reznor/Ross goodness**. More of the year was spent reading and listening to and seeing comedians I love. Michael Ian Black, Amy Schumer, Louie C.K., Tina Fey, Amy Poehler, David Cross, Patton Oswalt, Jim Gaffigan, and Dylan Moran to name a few. I also rewatched the bulk of Reno 911!; not a fantastic show, but populated, for the most part, with fantastic comedic actors. I also spent a large portion of the year creating music, which might never be heard by anyone.

All that to say: I have a very small list.

Best Song of 2016

'Blackstar' by David Bowie

This was my most played track and most viewed music video. It is, in my mind, the best track David Bowie had released since 2003's "Bring Me The DIsco King". While I'm still let down we didn't get a deeper look into this world, Bowie was never one to spoon feed things to people, and I can appreciate that.

Album of the Year 2016

Mother Feather by Mother Feather

You've heard everything I have to say about Mother Feather. You either get it, or you remain in the dark. No judgement.

Most Anticipated Release of 2017

The new Gorillaz album

I was thinking about the new Beck, but, from what's been heard, it seems like some sort of retro-backlash against the lack of mass appeal and radio singles from Morning Phase***. The third single ("Up All Night") is in both the new FIFA game and a watch commercial, and sounds like a combination of "Can't Feel My Face" and every other piece of Mindless Shit Pop from the past five years. Beck can't need money that badly, can he? But the album's never coming out, so we'll never know for sure.
That's why I'm giving it to whatever the fuck Albarn and Hewlett come up with. We're going to need some musical innovation and cartoon shenanigans in the new year, and these two are the ones to deliver it. I could also handle a double album. If you're reading this Damon.

Most Anticipated Release of 2018****

The new, full length album from Nine Inch Nails

First thought FIRST FUCKING THOUGHT when I hit the new nin.com and saw the anouncement of a brand new, 5-track EP was: "well, fuck, we're not getting a full length album for another fucking year."
I could teach Sartre a few things about pessimism.

Hopes For 2017 Which Have Yet To Be Fucked, Crushed And/Or Killed

• I'm still holding out hope for Dial-A-Song 2017, although the Johns have made no announcements yet and 2017 starts...now, so...shit
• Maybe some new Eels? 
• For the new Beck to be less fluffy than these three singles have indicated 
• For the new St. Vincent to be a quarter as impressive and elegant as her last one
• Prince/Bowie reveal it was all a hoax and that their triple-album collabo is available for download now.
• I don't know...either for less awfulness or to just go completely numb, fast.

* Here's a summation of David Bowie's life and career from my particular and narrow viewpoint.

** Before The Flood OST, Patriots Day OST, Not The Actual Events EP, and The Fragile: Deviations 1.

*** Yes, I know that this new one was written before Morning Phase, but time isn't a thing for Beck, obviously.

**** Yes, I also know that Trent Reznor announced on Beats1 that Nine Inch Nails will have not one, but "two new, major works" under the Nine Inch Nails umbrella, but, well, Trent Reznor announces a lot of things.

A review of Nine Inch Nails' "Not The Actual Events"

Trent Reznor seems to have decided that 2017 will be one of his active years. Along with definitive reissues of all of Nine Inch Nails' core releases on vinyl and high resolution audio, he has promised "two new, major works" from Nine Inch Nails. Then there's his and Atticus Ross' score for Peter Berg's Patriots Day (official release in a few weeks), the upcoming Ken Burns doc about the Vietnam War (due in Q3), and who the hell knows what else. But, before all this, Reznor started things off by fulfilling his promise from last year by releasing new Nine Inch Nails music in 2016, namely, Not The Actual Events, a 21-minute, 5-track EP.

Reznor says the story and concept for NTAE originated from a few years' worth of musical experiments and the idea of directly referencing back to a track of his from the mid-90's. He says it's impenetrable and unfriendly. He says it should be played loud. Some of the lyrics here feel like automatic writing, stream of consciousness. Reznor's voice is affected on some tracks, nearly unintelligible on others, and, on the opener "Branches/Bones", half of the song's lyrics aren't sung. Maybe we're supposed to...feel them...? Also, the fourth track, "The Idea of You", sounds a bit like electronic Metallica.

It's dense and it's brutal, but I can't tell if the fucking thing is good. I haven't stopped listening to it since it came out, but that means nothing; I'm a Nine Inch Nails fan and that's my function. I can say that I actively enjoy "Branches/Bones" and that, when the chorus of "Burning Bright" kicks in, I feel something explode inside of myself. But that's me. Not The Actual Events is on all streaming services as well as vinyl and some other mysterious format Reznor is teasing people with, so give it a listen and decide for yourself.

A side note: One of the most intriguing aspects of the EP (for me) is its artwork, which is identical to that of NIN's 2002 release, Still.

Still was a 9-track collection of acoustic interpretations of earlier works and leftover tracks from the Fragile sessions and it sounds absolutely fuckall like this new EP. Which begs the question: is NTAE to whatever's to come from Nine Inch Nails next year as Still was to The Fragile? Are we getting a new double album? Are the tracks on NTAE alternate versions? Also: who killed John F. Kennedy? Why is Hitler? Are 23 and 42 related?
In 2017, we shall find our answers.

A review of Trent Reznor & Atticus Ross' "Patriots Day" score

Note: This is a review of the "For Your Consideration" edit of the Patriots Day score. What this means is that this is not the final version of the score as is set to be released commercially in January 2017. Certain tracks are merely different edits of other, longer tracks, some with different mixing, instrumentation, and arrangements. As that is the case, this is less of a formal review and more of a "first impressions" write up.

While different from their previous score work, this is still clearly Trent Reznor and Atticus Ross. On their next score, I'd really enjoy hearing them take more risks, getting out of their current workspace. Maybe it's them, maybe it's Peter Berg, the film's director, maybe it's the inherent lack of innovation in Hollywood stifling their artistic inclinations, but these two are much more adventurous than this.

Of their five scores thus far, Patriots Day feels the most like an Oscar Movie Soundtrack*. A really stand out, interesting Oscar Movie Soundtrack, but still well within the constraints of the system.

"Couples & Brothers"

Warm watery background with soft ascending and descending piano over it.

This is an R&R score.

Close to "Juno", but less spacey.

Maybe didn't need to be 7 minutes.

The ending gets uneasy.

"Donuts & Legs"

Delicate with a rough buzz in the background. Lower notes reminiscent of bass from "La Mer"/"Into The Void". This is a shade of "Obama & Coffee".

"Fornicator"

Little pops and clicks under a rising throb of menace. Like a dark, electronic open wound

":26"

Unsettling and cavernous. Wave cut short.

"Arrival"

Dissonance and tension. Very uncomfortable track.

Wrong notes. Staticky steam towards the end.

"Dread"

This makes me want these two to score the new Aliens movie so hard. A distant alarm tone pings while walls of noise rise and fall. Huge sound.

+"Bombs"

A longer, more fleshed out version of "Dread". Some deep synths and distortion around the edges. 

"FBI"

Two notes repeating before a subterranean pattern emerges to darken things up.

"Black Falcon"

Subtle intensity, low key chase music.

+"Hospital & Whole Milk"

Has remnants of "Dread"/"Bombs". Those somehow panicky alarm tones bouncing off the walls. Some very "Juno" moments about halfway through.

#"Vigil"

Another permutation of "Obama and Coffee". Clearer and more defined. This and its ilk are my favorites thus far.

+"Tommy Breaks Down"

Yet another, more stripped down version of "Bombs". The deep synth and alarm motifs are the focus here until things deteriorate and splinter towards the end.

@"Left of Boom"

Manipulation of "FBI", those two notes.

Find my attention wandering…

#"Obama & Coffee"

This Reznor & Ross is my favorite kind. It might be a formula, but it's a great formula. Hope there's a longer, deeper version of this on the final release.

"Roommates"

Very sinister crawl to this. It feels evil...

"Backpack & Brothers to M.I.T."

Nebulous and tense.

"Shoot Seann"

Feedback and reverb, baby, feedback and reverb. I'll say it again: will you guys please do a horror movie/video game? Death Stranding anyone?

"Car Jack"

First few seconds feel like "A Warm Place" before the electronics come in and makes things cold.

"Drive to Watertown"

Those "Juno"-esque vibes again...

"Escape"

The most electronic track thus far.

Like a digital washing machine. Peals of feedback drift around like ghosts. One or two moments actually harken back to NIN's Tetsuo theme.

"Shoot Out"

Sounds a bit like electronic indigestion.

Then more dark and pulsing programming.

"Tamerlan"

Right up there with "Escape" as far as its electronics. Like some diseased heart monitor. 

&"Manhunt"

Permutation of "Car Jack". Deeper, more electronic, more fleshed out.

"They Got The Wife"

Literally, a blast of noise.

^"Interrogation"

Reminiscent of "Perpetual" from Gone Girl thanks to the instrumentation.

Then, shades of "Arrival".

#"Watchlisted"

Features bass line from "Donuts & Legs" with a more compelling, electronic layer on top of it.

"Good Versus Evil"

Absolutely gorgeous. Warm and welcoming after the nervous tension of the rest of this score.

+"The Boat"

Another combination of that scratchy percussion and that alarm noise. Accompanied by the requisite waves of synth.

+"SWAT"

All right, that alarm noise worked once, maybe even twice. But by this point it seems so overused as to be almost ineffective.

"Capture & Fenway"

Finally, something different. Some nice light strings. This goes up there as one of the best tracks here. Feels like "34 Ghosts IV", the live arrangement of "The Day The World Went Away", and How To Destroy Angels' "A Drowning". Loving everything here.

%"Interviews"

Callback to "Couples & Brothers". This should have been the definitive version.

"Main Titles"

One of the only tracks with proper drums. Another perfect example of a rock solid Reznor/Ross joint.

+ Contains elements of "Dread"

# Contains elements of "Donuts & Legs"

% Contains elements of "Couples & Brothers"

@ Contains elements of "FBI"

^ Contains elements of "Arrival"

& Contains elements of "Car Jack"

"Donuts & Legs", "Vigil" and "Obama & Coffee" are all different iterations of one another and they're some of my favorite pieces here, along with "Good Versus Evil", "Capture & Fenway", and the main titles. Other stand outs include "Fornicator", "Escape", and "Tamerlan", mainly for their dark, sludgy electronics.

To reiterate, this is not a 100% accurate representation of the final score, set for release next month, and, going by just how many of these tracks are different versions of one another, I feel like I'm only getting a portion of what's to come. I hope. Because, unless there's some crazy additions to what's on offer here, this is going to be yet another solid yet unsurprising score from Reznor and Ross.

* That's not really meant as a compliment...

End of the Month Music Bitchfest - November 2016

Beck
Well, the new album*, which was slated for 2014, then 2015, then October 21st 2016, then November 2016 is now slated for 2017. Whether that means next year or the next 2017, after 9999 AD when the calendar resets, only Jesus knows for sure. Beck himself is saying that he doesn't know when it's coming out, even though it's been done for a while and members of the press have heard the fucking thing. I feel like this is the downside to working with a label.

The new single from Tapeworm, "Up All Night" sounds like something from a watch commercial or that song about stroke victims.

Nine Inch Nails
While the film isn't out for a few weeks, this score for Patriots Day is already getting predicted to get an Oscar nomination. So, you know, mitigate those expectations.

Here's that review of the Before The Flood score.

They Might Be Giants
Only a month until Dial-A-Song 2017...I think. There's a good chance the Johns took this year to spend time with family and friends. Like assholes.

Other than that, I've been listening to the sound of the Angry Marmalade Pancake Man and his clutch of slimy, worthless minions gearing up to destroy the world over the next eight years or so.
Stay woke.

* Which I'm just going to call Tapeworm

A review of Trent Reznor & Atticus Ross, Gustavo Santaolalla, and Mogwai's "Before The Flood (Music from the Motion Picture)"

Taken out of context of the documentary for which it was created*, the Before The Flood soundtrack contains compelling, original music from Trent Reznor and Atticus Ross, Gustavo Santaolalla, and Mogwai, with occasional collaborations between the first three. Reznor and Ross provide their usual electroacoustic depth and breadth of expression while Santaolalla's strings add a decayed pastoral feel, as well as a touch of grandeur and worldliness, and Mogwai...well, Mogwai win the album. 

Just about half the score is outstanding: the hopeful fragility of "And When the Sky Was Opened", "8 Billion", which is as heavy and ominous as its title, perfectly capturing the sense of encroaching population, unchecked growth, and then, the silence as the dust settles, but, in sticking with director Fisher Stevens' mission statement of not making things too grim, still manages to infuse the gloom with a delicate light. The two versions of "Thin Ice" allow the listener to see both the clean, crisp surface as well as the murky, freezing water beneath, both "A Minute to Breathe" and its coda "A Minute Later", and pretty much everything Mogwai has here. These all manage to offset the less-than-stellar moments such as "At Dusk" (a toy piano is like a didgeridoo in that it can't sound like anything but itself), "Trembling", "One More Step", and "One Perfect Moment", which has a bit of a "spa at the end of the world" feel to it. An A-Spa-Calypse, if you will.  


Anyone who's heard any of Reznor and Ross' previous score work (or Nine Inch Nails' Ghosts I-IV; "Disappearing Act" could be "21 Ghosts III"'s monstrous, electro-mutant cousin) and enjoyed it will be satisfied but not stunned. Santaolalla sounds like Santaolalla, Reznor and Ross sound like Reznor and Ross, but Mogwai is the clear winner here**, showing how adaptable they can be by adhering to Reznor and Ross' composition style and choice of instrumentation while, at the same time, evolving that style more so than Reznor and Ross did themselves. It was a bit of a disappointment to not have any joint efforts between the whole team, but too many cooks and all that. Whether or not you watch the film***, if you’re a fan of any of the artists involved with the score, you should give it a listen; it might not be rife with innovation, but there’s a lot of good material here.


* Make sure to do your part as a human being and watch said documentary, by the way. We can't save the earth unless you watch this documentary. You are contributing to the end our of world if you don't watch this documentary.


** I know it's not a contest, but I've just made it one.


*** If you don't, you are a monster and a killer and Hoggish Greedly from Captain Planet and worse than global warming.

End of the Month Music Bitchfest - October 2016

Nine Inch Nails
Review of the new Reznor/Ross/Santaolalla/Mogwai musical furpile is forthcoming, but overall, it's a lot of really solid stuff. Although I was surprised to find that the four tracks composed and performed by Mogwai really took the taco for me. It doesn't sound like them, it sounds like them doing their best Mac Quayle impersonation. But, since they were actually working with Reznor and Ross as opposed to being hired to sound exactly like Reznor and Ross*....it's iight. Pretty convinced that this score is going to earn the team an Emmy, making Reznor only one letter away from his EGOT, and, with Fight Club 2 coming soon to Broadway...well, clock's ticking.
And Reznor has recently been quoted as saying he's working on new Nine Inch Nails now and "when he and Atticus have something excellent, they'll unleash it on the world".
You scummy, promise-breaking villain.


Also, I reviewed the Lazarus Original Cast Recording here, but, if you're too fucking busy, here's the nut's shell: it has the three final tracks from Bowie's final album so shut the absolute fuck up and buy it for that reason. A CD is, what, let's say twenty dollars in this pre-post-apocalyptic society, so that's just under seven dollars per new Bowie song.
You can afford it, Joey Gotrocks.

And, if you've been following Gorillaz on instagram, you will have recently learned two exciting things:

1. This is what Murdoc's tadger looks like...

2. Gorillaz are back.

I am. So. Fucking. Lit......for August of 2017, when that album is going to drop. Albarn. You twat.

Hush now.

* Seriously, I don't blame Mac Quayle**; I blame the show creators who tried to get Reznor and Ross and got turned down and then had to turn to a musical soundalike. I think Quayle's original original stuff is really great, and his ability to ape Reznor's composing style is spooky. Check out the first season of Mr. Robot, if thou doubtest me.

** If I ever make an album, I can assure you it's going to sound like shitty Mac Quayle doing a rushed Reznor mock up. Also, bad Coil. Pre-order here.

End of the Month Music Bitchfest - September 2016

Damn, Q4 is going to be poppin'...


Nine Inch Nails

You guys.
"Dive and Slam" was not real.
 Information found on Reddit...was fake.
Take a moment.
...
Okay.
However, in a move I certainly didn't see coming, Reznor, Ross, Mogwai, and Gustavo Santaolalla* teamed up to score Before The Flood, the documentary in which Leonardo DiCaprio learns about global warming and tries to convince all the wrong people that it's a problem.** But, fuck it, new Reznor/Ross music is new Reznor/Ross music.
Also, a bunch of old NIN has been "mastered for iTunes".
The difference is minimal but I still bought $90 worth of old NIN.
And, now, Reznor has three months to fulfil his fucking promise of new Nine Inch Nails in 2016.

Beck
Mister Funk released a proper video for "Wow" and it's...a Beck video. Not the funkiest ever, not the most mundane. A solid 7.5 as far as I'm concerned. That album is supposed to be out really soon but no one seems to know shit about it... Can I get a pre-order link, please?


Tori Amos has a new single, "Flicker", written for the Netflix doc, Audrie & Daisy. It's less embellished lyrically than Amos' usual fair in order for her to get across the simple message about the horror and damage and victim shaming of sexual assault. "Heroines are not born, they are made". Jesus.

The special edition of Radiohead's A Moon Shaped Pool shipped and it's just as beautiful and haunting as the album. You can see a blurry little slide show thing I shit...I mean shot...here. Aside from a piece of reel-to-reel tape from one their past few albums(?!), that ridiculously beautiful Donwood art book, and the album on CD and vinyl, there's a disc with two bonus tracks; the should-have-been-used-in-the-film-instead-of-the-piece-of-shit-they-went-with Bond theme, "Spectre" and a new one called "Ill Wind", which isn't worth the $90 the special edition went for.

Finally listened to Honeymoon and Ultraviolence by Lana del Rey and this chick is nuts. She sings like a sexy villain.

I also reviewed the new Matt Berry and should have an interview with the man himself up shortly. I did not yell "whiskey!"at him.

The final three tracks from Bowie's  recording sessions are coming out on the Lazarus cast recording October 21st. I plan to immediately add them to 's tracklist in a manner which I see fit, listen to the whole thing*** a thousand times in a row, and then cry like a goddamn baby for a month.
Give or take.

SOMETHING IS HAPPENING WITH GORILLAZ!!!!!
Even though we've been told not to expect the new album until 2017****. Hopefully we're getting a single and video before then? And maybe a video collection on Blu-Ray? Oh shit that would be tight... I forgot how much I love the "Stylo" video. And the "On Melancholy Hill" video. And the "Do Ya Thing" video. And the whole weird ass narrative those two freaks have built over the past sixteen or so years.

Lastly, I attended the final date on "Weird Al" Yankovic's Mandatory Fun world tour at Radio City Music Hall. And then I got to meet him.

There were also a bunch of stormtroopers there. I told him I'd been listening since I was a kid and that his sincerity and humor are very important to me. He was gracious and exhausted. And after the performance he'd just put on, I was completely accepting of that fact.

I think I'll end with that.


* Who I know from his absolutely fucking stunning score of The Last of Us

** Seriously, who the fuck is going to see this that doesn't know about and believe in and understand the dangers of global warming? Talk about preaching to the liberal choir... Like some anti-environment cockslapper is going to accidentally stumble into a theater in which this is paying and then say, "You know what? I didn't believe it until I heard it coming out of Leonardo fucking DiCaprio's beautiful mouth, but now I see the error of my ways and will get EVERY OTHER PIECE OF SHIT LIKE ME TO RECANT THEIR PLANET-DESTROYING WAYS!" Then we'll all jerk off while watching Captain Planet. Ugh. I am so jaded...

*** Because I never felt  was complete, never.

**** Fuck.

End of the Month Music Bitchfest - August 2016

Nine Inch Nails
So. "Dive And Slam".
If this is real (and, even if it is, obviously Reznor, a huge hater when it comes to leaks and all that stuff is going to say it's not), that means a whole new era of Nine Inch Nails starts in a matter of days. Will there be a new artistic style or will Mills helm this new work as well? Will Sheridan hop back in the saddle? Or will we get someone new? What about a new font? New logo? Very exciting times indeed...
In honor of this (alleged) new track, I decided to fritter away a moment or two on Nine Inch Nails' past lead album singles.
As I wasn't aware of them until 1994, I can't really speak to "Down In It" or "Wish", but I do remember when "Closer" was everywhere. Singular. The only thing that looked and sounded like that at the time...or ever? I don't know. Are there music videos any more? What the hell is Mark Romanek up to these days?
...
Okay, I just checked, and he seems to be back to directing music videos.
For pop stars.
*sigh*
Anyway, I've still never heard a NIN single like "Closer".
Next up was "The Day The World Went Away", perhaps the least radio friendly song NIN have ever released as a single. There's no chorus*, no drums, just a goddamn wall of sound juxtaposed by Trent whispering some shit, perhaps about suicide. It's a four minute song with less than one minute of vocals.
It is one of my favorite Nine Inch Nails songs.
After that was "The Hand That Feeds", alternately, one of my least favorite Nine Inch Nails songs.
No, that makes it seem like I enjoy it on some level. I do not. As the first new NIN music since The Fragile, I was ready for disappointment, but, come on, this? Ugh. What's worse is that Reznor seems to love it, as he has played it at 99.9% of all live shows since its release. Aside from the next single, THTF marked the beginning of the decline in quality of radio tracks from Nine Inch Nails.
And that next single was "Survivalism". Great shit. Great video. Great everything. Still felt like a single, albeit rough and electronic and brutal. Perfect lead in and representation of what was to come with Year Zero.
After that was "Discipline", which felt like what someone who doesn't know much about Nine Inch Nails would call the perfect Nine Inch Nails single. It's not a bad song; it's well crafted, the instrumentation varies in an interesting and compelling (yet somehow predictable) way, but...you know, years ago, Reznor mentioned he was concerned that his and Saul Williams' cover of U2's "Sunday Bloody Sunday" sounded "too much like Nine Inch Nails". "Discipline" sounds too much like Nine Inch Nails. If you know what that means, then you are a Nine Inch Nails fan.
Next, we have "Came Back Haunted" which had exactly the same issue as "Discipline", but, if "Discipline" was "The Perfect Nine Inch Nails Single (Rock)", then "Came Back Haunted" was "The Perfect Nine Inch Nails Single (Electronic)". Then there's the fact that, in one, Reznor can't help himself, whereas, in the other, he can't stop himself.
Won't someone please help/stop Trent Reznor?
As with "Discipline", I like CBH, but I still feel the same way.
Which leads us, maybe, to "Dive And Slam".
Shall we begin judging this (potentially non-existant) book by its cover?
First off, I do believe this might be the name of a new Nine Inch Nails song. After all "The Hand That Feeds" was one. "Starfuckers, Inc." was another. As far as what it could sound like...well, I'm going to go with "aggressive". It would be a little silly to have the lead single from a new Nine Inch Nails album, called "Dive And Slam", turn out to be a piano ballade. Unless there's a line about "diving into kisses and slamming into hugs" in the chorus. Or, "Dive" and "Slam" could be his kids' nicknames. I really have no idea. No one does.
If this is real, I'm sure I'll listen to it.
Probably.
Anyway, since Reznor is currently suckling from that Columbia teat, I believe (if this real and not some troll trolling) the math works out to a new Nine Inch Nails album in November...one month before the end of 2016.
You cunt.

Beck
A remix of "Wow" by the Mexican Institute of Sound (AKA "GUAU!") has been released. It's...well, it's kind of what one might expect from a remix of a Beck track by the Mexican Institute of Sound. Listen here.
Also, a few new song titles (specifically "Seventh Heaven" and "No Distractions") have been mentioned but that's about it. Crazy Joyous New Beck Album That Doesn't SOund Anything Like 'Morning Phase'** is due out October 21st. Unless Beck opens his Third Eye and consumes us all in Its Burning Glory.

They Might Be Giants
Only four more months until the deluge of new TMBG music recommences. It's September and I have not actually found myself dying without new songs by the Johns every Tuesday. Weird...
On a more secret note****: the offerings from this year's IFC (the physical stuff, anyway) have arrived and they are lacking. Golf tees? A light up pen? Low quality sunglasses? Yikes, guys, really? I mean, I know this is a writing/recording year and this is the money for the (3) new album(s) we're getting in 2017, but, I don't know, maybe don't have an IFC on off years? There was a pretty solid live album (digital only) which featured some rare treats ("Hey, Mr. DJ, I Thought You Said We Had A Deal", "The Statue Got Me High", and about a third of Glean), and there's the personalized ringtone thing (no news on that yet...) but, still, lacking.

Eels
I'd rather have a healthy, happy E than new Eels music. That being said...is there a middle ground?

And, finally, had a chance to listen to that score Atticus Ross handed me last month. Review is huur.

Next month...shit, maybe a new Nine Inch Nails song. If not, at least you'll be getting a review of the awesome new Matt Berry album, The Small Hours.





* Unless you count Reznor saying "nah" a couple dozen times.

** Working title.***

*** By which I mean my working title.

**** I'm assuming that everyone reading this is a member of the They Might Be Giants Instant Fan Club. If not, just ignore this paragraph entirely. For you, it does not exist.