Wednesday 21 December 2011

R.I.P. Christopher Hitchens

I heard with some sadness on Friday that the great polemicist Christopher Hitchens had died of cancer. It wasn't entirely surprising, but from his recent appearances (including a particularly moving one alongside Richard Dawkins) showed that while he'd become physically frail his mind was undented. The man remained, and will remain, an inspiration. Looking about at the obituaries that accompany the falling of such a giant, there are no surprises, and they can pretty neatly be separated into three separate categories - the sick cluckings of Christian voices - fake love thy enemy homilies, speculation of a deathbed conversion and words on Hitch being in hell; fawning obits of the like that would no doubt, if he was anything like his public persona, have made him sick; and last and most obnoxious of all, "it's what Hitch would've wanted" obits casting an eye on his troubling shift to becoming a Bush-loving neocon, occasionally shooting barbed potshots at the Religious Right who had accepted him into their ranks. As you can tell, my writing on the subject will be the third of those - well, I'll aim for that, but it'll be quite balanced as I do like the man's writing.

That old chestnut - "I didn't always agree with his political views". I didn't, many of us who lean to the left didn't. We were actively irritated by his toeing of the Bush party line. On this particular subject he managed to make his brother, Peter Hitchens, perma-scowling Daily Mail columnist ever so slightly on the right of Martin Webster, seem reasonable. He started favouring "humanitarian interventionism" - all men are entitled to their opinions, but when it results in Guantanamo Bay and the death of 113,00 civilians its time to throw your hands up and admit you're wrong. He didn't, of course, he just sneered at those who'd let such petty thing as facts get in the way, hanging all his faith that he was right on lies (familiar?), and made another proto-EDL remark about Islamo-facism. This was, of course a common theme - check his track record on Yugoslavia. He was an outspoken atheist who brought up his twelth Jewish roots whenever challenged for supposedly anti-Semitic remarks, as if that ever mattered.

Now, at the risk of being fair to a dead man who can't defend himself, something Hitchens would never have done or cared about (and why would he?), some of the ones flagged up as anti-Semitic categorically aren't - circumcision, where there is no medial impetus, IS genital mutilation - just the same as the mutilation of young girls but less frequently frowned upon as it has become accepted in Western society (and to be fair, it is less damaging). Its an interesting point that, according to commentators of different religions and political backgrounds Hitchens is a right winger, a leftist, an imperialist, a socialist, a Zionist and an anti Semitic anti-Zionist who has particular dislike for Catholics / Muslims / Jews depending on who you listened to. All this adds up to two things - he's a blonde fat thin man with red hair and a clean shaven beard, and also his own man - not easy to pin down into one box. This was refreshing in a world of "creative free thinkers" churning out books of each other's opinions differently worded, and toeing the party line.

So while I and many people didn't agree with his views and thought he was a hypocritical idiot for holding them and espousing them with all the theatrical fervour of a Bible belt televangelist, that was actually part of the appeal. Here was a man who had no truck with the "left/right" divide thats all well and good and tidy but often bears no resemblance to reality. There really was something of the Orwell about him, a man with similarly flawed logic often bordering on the hypocritical, probably why he idealised him. Both had a way of expressing opinions many of their core readership would despise in a way you'd respect, couched in ornate writing, referencing everything from the halls of Academia to Trotskyist tracts to pop culture and inserting self referential asides that managed to be both boastful and self deprecating. He remembered that free speech included his own ideological enemies as well as his friends. The man could write, and the man could debate. Often it wasn't even that he was right but that his opponents were so wrong. Look at the vultures circling, the "good Christians" spewing passive-aggressive bile in a way that Jesus would've been disgusted by if he'd existed. I will miss him and you probably will too if you've read this far. Let's not remember him as an arch polemicist, let's remember him as a flawed but very intelligent and inspiring man.

After all, it's what he would've wanted.

And imitation, I think you'll find, is the sincerest form of flattery.



Thursday 15 December 2011

A Tribute to Rowland S Howard

When Rowland S Howard left this “planet of perpetual sorrow” (to quote his own words) two years ago he was overshadowed by the deaths of others less talented and the general new year festivities. Not for me, naturally, I was inconsolable for a few days. As much as I enjoy these festivities moping over deceased Australian cult icons is one of my hobbies I'll prioritise over anything. Now it’s two years later and I'm still a little annoyed about how it went down. Especially at this time of year, the thoughts return.

How is it that Rowland hasn't received all the posthumous garlands and “I was always into him” claims that others, less talented both subjectively and objectively, have received? While dying at 50 isn't exactly the poignant entry to the Forever 27 club vultures and hacks salivate over, his was still a tragic enough death - dying of a disease he was too poor to be treated for days before he was due to Make A Comeback. So why hasn't he received the posthumous praise that'd make me shut up, or moan about that instead?

For the last two years now I've been writing posts on blogs no one reads, eulogies to Mr Howard. See, he was my Johnny Cash, my Diana, and his death taught me something about empathy. No one wanted to be the one to tell me that Rowland S Howard had died. To recap, Rowland S Howard was one of the best guitarists to walk the earth. Objectively. There was no heads down ponytailed blues rock wanking or bursts of "Look mummy no originality" shredding. He could do divebombing art terrorist sheets of noise and feedback, though, nd he could do it without recourse to FX pedals or anything more than a White Fender Jaguar and a small amp. He could make the damned thing peal out sheets of noise as melody and melody as noise that could bring tears to a statue. Nevermind making the baby Jesus cry - his tone made the baby Jesus real.

Then there's the voice. He was, in an age of X Factor wannabes a great interpreter. A voice that made White Wedding sound properly sinister and sexy and out Lou Reeds Reed himself on a cover of the Velvets' Ocean. He turned Life's What You Make It into the cry of a man aware of his own mortality that left me sobbing - although Pop Crimes only came out after his death over here and context is often everything. He turned those clogged pipes onto songs about lust, death, love, lust, death, theft, lust, death, religion lust and death and made every cussed word as beautiful and tarnished as you could imagine.

He was also a great songwriter, writing the love songs that they play in singing greeting cards in some Bible belt nightmare of hell. No one else on the planet sounds like him, and plenty of us have had a good go at it. Even down to the looks, something that should be irrelevant that isn't - an androgynous face with a boxer's broken nose in the middle of it. Onstage with The Birthday Party the flailing and the jump backwards. When Nick Cave is going around fighting people and Tracey Pew is in leather trousers and a cowboy hat humping his bass, still being the most fascinating thing onstage is quite an achievement - but he was. Right up to the end.

I wrote the bulk of this a while ago before they'd started paying attention and realised what they'd lost but gradually it happened. There's a film about him, Autoluminescent and just seeing the trailer reduces me to a snivelling wreck - could be one to watch alone, its unlikely it'll hit any cinemas near me anyway. Australia's Homebake festival now has a Rowland S Howard stage. Two years on, though, and he's still not had proper tribute paid by the rest of the world, and he touched us too. The serious music press are celebrating either the emperor's new clothes or tried and tested coverstars ranging in age from The Strolling Bones to the Arctic Monkeys (!!!). I'm going to write a tribute to the man every year whether anyone but me reads it or not. The Horrors, Yeah Yeah Yeahs and S.C.U.M, acts the critics are dribbling over at the moment - none of them could exist without him. Nick Cave's career would definitely be different, as without him The Birthday Party would've been just another goth band. I realise its blasphemy even as I write it and they'd be a bloody good goth band, but still.....

There's no time to celebrate mediocrity. We'll all be dust ourselves at some point.


Saturday 10 December 2011

Jesu, Joy of My Desiring

A less thought out post than the ones I was aiming to do but the large amounts of writing I'm doing for my course (on misogyny in hip hop and rock lyrics; Alan Moulder's production techniques; and the contextual roots of industrial music) kind of put a stop to the idea of me writing at any length some of the big ideas I had for a while - til I've got that last one out of the way in any case.

I would, though, like to share with you a recent discovery of mine. Well, I say a recent discovery, I've been into this act's work for quite a while. One of the highlights of last year was setting out for a night out with Jesu's Star blasting in my ears, and I've been quite fond of the Silver EP for quite some time but lately with nights growing longer, the skies darkening and winds going cold I've found myself drawn to Jesu. For those readers who don't already know about Jesu, it is the project Justin Broadrick embarked on after breaking up industrial-metal pioneers Godflesh. Broadrick has many projects on the go, and most of them are excellent - even while in Godflesh he found time to work on Ice Techno Animal with Kevin Martin; play on Scorn's first album Vae Sollis with Mick Harris and Nick Bullen (the other two original members of Napalm Death, a lineup preserved on the excellent side 1 of Scum); and generally remix and appear on many other projects. As he continues to do.

In Godflesh tracks like Flowers you can trace the roots of Jesu, a more shoegazy project marrying the slo-mo grinding beats and walls of down tuned guitar with twinkly synths and twisted pop melodies. For the most part on Jesu (itself named after the final track on the final Godflesh album), Broadrick uses clean singing as opposed to the vocal delivery on Godflesh tracks somewhere between a hardcore bark and death vocals. For the most part, Jesu is excellent and the Silver EP was a great start point, from the title track sounding like Disintegration era Cure at their most deathlessly majestic but made even gloomier to Star, still one of my favourites from Jesu, where that down tuned pop really comes in.

This could be a pop-punk track from Green Day or Blink 182 (yeah, where its 80% pop - 10% rawk - 10% punk), you can hear that in the chord sequence, the melody, the lyrics and Justin's breathless delivery. But its delivered over a machine beat straight off a Godflesh track, with that same Jesu guitar sound spilling over into atonality at times. It was my first real exposure to his stuff but I can only think how startling it was to long-time fans that here Broadrick is, making a piece of pop genius - one that is just begging to be used in an American sitcom in a "realising you have to literally run to your love to make it happen" scene.

Then that slams into Wolves, with a wash of droney guitar textures wrapping itself around a brutally slow, punchy machine beat as the bass throbs gently away. The high pitched guitar melodies soon entwine with a big down tuned riff, and you may find yourself involuntarily swaying and headbanging very slowly. His vocals are mixed low at first, soon rising up semi-triumphantly when the drums drop out only to be buried again, and it just evolves slowly. I've noticed this track lasts 8 and a half minutes and Broadrick rarely seems to do anything under four (bloody stoners....), and as I'm usually a lover of short songs that say what they need to and get out quick I'm surprised I've fallen for this (and Nadja) so much lately. Infinity held my attention as one long, hypnotic track for the full 45 minutes of its duration. The final track Dead Eyes is if anything even better, mostly instrumental with treated vocals buried deep under the distorted beats and guitar, throbbing bass and washes of backwards electronics. Another one to cause the involuntary slow motion head banging, for me at least.

Listening to some of his other work (bits of the self titled, Conqueror and Ascension) I'm equally impressed with all of it, and very pleased with my recent discoveries. If you're not yet a fan, then check him out and if you are, feel free to give me some recommendations of what I'd like by him or others.


Friday 18 November 2011

The Bordellos - It's Lo Fi! Folk Off - Track by Track

Music made by three music fans for an audience of three music fans.

http://bordellos.bandcamp.com/
Hear the sound of festive coke adverts, time to start gritting the roads - you know its this time of year because The Bordellos are releasing a free EP no bugger will listen to. To a deafening silence, a mini album entitled, originally Bandcamp Mini Album was released online earlier in the year - no one wanted to pay anything. They didn't even want to stream-rip the preview tracks we put up. In this climate I'm not particularly sure I blame them - who wants to take a chance with money these days (even though it was priced less than a ticket from Dalehead Place to Town Centre, ridiculously - bus ticket inflation is a particular bugbear of mine).

Neverless we''ve put together a mini album for you and here's a track by track runthrough by way of sleevenotes for this free download only collection:

1. Dark Folk Song
Brian Bordello takes this one on his own, singing moodily backed only by his acoustic guitar. The idea was to have something of the Nick Cave about it - not in sound, obviously, but definitely in mood.

2. Wish List
Cannibalised and reconstituted from a never recorded Bordellos song dating back about 5 years or so, with new bits added on the end - by new bits, thats about 3 minutes of the song. Something of an epic for that - maudlin third album Velvets acoustic pop with some ace harmonica and a thrumming bassline. To me it sums up what we're about completely. We're underrated and underpaid, still we refuse to change our ways.

3. Vicious Circle
This one is me on my own so it'd be in bad taste to say anything too good about it, just me singing over bass with a bit of guitar here and there. This one is available in lo-fi video somewhere in the internet in a full band guise sang by Brian Bordello, nothing like the haunted piece of misery it became.

4. Lennon Never Died
He did you know. This is another oldish one, originally featured on a Huckleberry EP no bugger downloaded even though it was free, a few CD-Rs got sent out too. Seeing a pattern - the buggers won't even take it when we give it away, and they're often the same to bemoan bands being safe and unchallenging. Not entirely sure what this song is actually about, you'd have to ask him - my dad that is, not John Lennon.

5. Peach
Jolts some life back into the old dog - the EP that is, not John Lennon. Another relatively upbeat one with surf guitar, dirty bass and snarled lyrics. It took more takes to do Ant's backing vocals than anything else, ridiculously.

6. Tom Waits Blues
Sang this song, which he wrote in 5 minutes on the bus, the day the excellent Bad As Me came out. Nothing Waits like about this at all, sadly, but great harmonica from Ant.

7. Primal Whisper
Originally a track hidden in the bundle when you download Bandcamp Mini Album. As no bugger did, it fits the mood of the album so we let it stay.

8. Holy Love
Apparently it was meant to be called Unholy Love but I mistitled it. How I'm supposed to know it's called Unholy Love when he sings Holy Love I've no idea, but this is one of my two favourites along with Wish List. It's very short and prompted Ant to say it wasn't enough like Noel Gallagher, he'd have extended it, put a solo in and another chorus. On the whole we don't do solos, though. Mini-zither featured on the last two tracks, a gift my dad got off my mum from a toy catalogue still being used now.

So there you have it - 8 apparently "lo-fi" tracks recorded in Ant's living room as per usual. Not sure it'll take off, mind, these are human performances with fluffed notes, background noise, instruments falling over and the sound of people with emotions making it. It is not buffed to a landfill indie sheen, and there was no use of Autotune at all. If you're reading this blog it's probably because A) you were directed to it by The Bordellos Facebook or Myspace, B) you like the same music as me or C) both - so I'm preaching to the converted a bit here. Just sick and tired of the celebration of mediocrity that passes for bold new art at the moment. Don't get me wrong, this is no touchstone and it won't change the world but its a set of free songs by music fans for music fans - check the cover where we spell it out, a collection of Brian Bordellos albums scattered on the floor with the stupidly cute cat Oscar stood on them. Give it a chance, you may like it - and if you like this, you'll love what we've got around the corner.


Sunday 13 November 2011

Luke Haines - 9 1/2 Psychedelic Meditations on British Wrestling of the 1970s and early 80s

So the notoriously prolific Luke Haines has made an album of songs about "placing 70s wrestlers in psychedelic situations". Its the kind of perverse move Haines is known for in a career of expertly written pop songs about terrorism, child murder, fake psychics and often forgotten pop stars. It's a strange topic but somehow unsurprising - what's even less surprising is how good it is.

Big Daddy Got A Casio VL Tone is probably the best example of the musical perversity onshow here, with an intro akin to The Fall's Man Whose Head Expanded giving way to synthesized flutes and "Are Friends Electric" synth/guitar stabs. Seemingly out of nowhere, he switches to pastoral acoustics before falling back into quirky synth pop.
Similarly, Linda's Head switches between dreamy psych-folk choruses and swaggering, propulsive verses with a fantastically "That'll do" guitar solo tossed off in the middle.
One of the standouts, Gorgeous George is, fittingly, a gorgeous ballad albeit one directed at a wrestler and featuring the line "The cat's in the bag and the bag is in the river". Rumbling surf guitar and swaying strings back Haines distinctive sneering croon, and it is a melody anyone would be proud of. Haines voice is often underrated but few people could sing his songs and pull them off.

The real heart of the album, of course, is penultimate track We Are Unusual Men - a statement no one is likely to argue with. This track sums up the album, with swings into synth pop in the chorus before a passage of sampled wrestling dialogue sure to mist the eyes of anyone who watched it all first time around leads into a reprise of Gorgeous George. The Plumber, mentioned earlier in a brief spoken track, re enters proceedings, and it all falls into place - maybe it'll fall into place for you earlier, I can be quite slow at these things. Haines really has written his Rock Opera in Key Of Existential Misery. More than that, he has written his Melody Nelson - and it just happens to be about 70s wrestlers.

We Are Unusual Men is, in its own way, highly nostalgic, looking back to a time of less choice where people had to make an effort to connect with each other. Sadly, a handful of TOTP appearances aside with Auteurs and Black Box Recorder, the great British public in their infinite stupidity have largely ignored Luke Haines work. Typical, really - he is that most British of songwriters, speaking a language of pop culture references and neighbours wall overheard gossip. He is not as cold as they'd have you believe - this is a deeply emotional album but not one full of infantilised soulfulness and self pitying wallowing. This is emotion concealed by a sense of reserve, a self deprecating smile with quiet desperation in it.

He's very British, yes, but far from an idiotic, twee tea and crumpet caricature or Little Englander. Instead of looking back to the days when Ray Davies was a lad and celebrating the inarticulate grunts of indie lads where sincerity, passion and intelligence are unthinkable crimes, we should be celebrating him. He's one of the best we've got - especially if you like your pop melodies with a side of barbed wit.

Saturday 12 November 2011

PropaganDan on Witch House (Part 1?)

A witch house post may well be out of date by this point, micro-scenes such as this usually dying out pretty quickly. Looking around at the time of writing, it seems to be as healthy as it was when I first heard Salem, first act of this type I'd heard. Hearing Redlights for the first time through 20 Jazz Funk greats was an epiphany, I went around saying "This stuff is going to be big". I wasn't right then and I'm still not, witch house hasn't yet been co-opted by the mainstream in the same way as dubstep has been, and the chillwave/hypnagogic stuff is beginning to be co-opted by lightweight landfill indie guitar acts. The obligatory journo buzzwords attached to witch house say it all - haunted house, ghost step, any number of permutations of electronic dance music genre tags melded to something supernatural. It is, however, creeping into memedom, with witch house band name generators existing spewing out mixes of occult symbols and language with pyramids and stars.

A lot of music potentially falls under the witch house umbrella - the music consists of elements of downtempo chopped and screwed hip hop, juke, industrial music, noise, fragments of half remembered film soundtracks, shoegaze, synth pop and just about anything you can imagine filtered through an aesthetic that has more than a little in common with black metal. Sometimes there are vocals, demonic slo-mo rap or MBV like reverb drenched icy siren songs. The unifying thread seems to be that as long as you're into the aesthetic there are no rules - no set bpm or rigid boundaries of what is acceptable, unlike most electronic dance music.
One way of talking about and "legitimising" witch house would be to mention the influences of various minorities, black and gay cultures intersecting in a way they haven't really since house proper. It is for this reason that some critics distaste for the vocals pitch shifted down to drawl thug-rap epiphets says more about them than it does about the musicians. When they dismiss it as "minstrelsy" as the New York Times did, it says more about their own perception of scary black men than it does about the musicians, kids imitating their favourite (not always black) rappers because they like them.



I could call it the new punk - DIY aesthetic, no rules, largely self released material and content often offensive to some. Combine the occult imagery a lot of people are still uncomfortable with in a society dominated by the Abrahamic religions with content consisting of both hip hops glorification of sex, violence and drug use and you have potential controversy indeed! The cheap sensationalism of some people making strand of the genre and calling it "rapegaze" just pours fuel on the fire - this puerile nastiness isn't to be encouraged but no subculture is exempt from morons. Looking at the etymology of the word punk, you can trace it to a male prostitute - at least one of Salem, according to an interview with underground American gay publication Butt Magazine has been a rentboy. So it's more authentic this time around. Yes, that ugly word authentic, we'll get to that some other time, because it is really missing the point completely.
While both of these are true the fact is that in the context of this scene (that isn't a scene) ethnicity, sexuality and social backgrounds are largely irrelevant as long as you can make good spooky electronic music that touches the heart and moves the feet. A lot of the creators are anonymous, hidden behind computer screens and uploading Youtube videos of their tracks, sharing zip folders of tracks or putting them straight up onto Soundcloud or Bandcamp. The same people who complaining that there is no such thing as original thought anymore are usually the like who didn't like the old punk, nevermind "the new punk". It wasn't in their field of reference. This is why this phenomenon has been dismissed as another bunch of hipster drivel, and largely ignored. The fact it has such a silly name doesn't exactly help matters either of course - Frankie Knuckles spinning Salem's Killer?

Large amounts of witch house recontextualise existing content into new forms with no concept of "good" or "bad" taste : Tri Angle records Lindsay Lohan tribute Let Me Shine For You and Salem's apocalyptic rehaul of Britney Spears Til The End of The World co-exist with work influenced by Coil and Scorn. Lil Wayne or Gucci Mane can be mixed into beats straight out of the darkest industrial acts repetoire, and it doesn't matter. Witch house, arguably more than any other genre, is a mirror of today's magpie music culture.

Salem's King Night is currently the closest its has got to infiltrating the mainstream, and is fairly representative of the myriad strands represented in W.H. It opens with a mangled sample of Barney the Dinosaur spinning off into beats like frozen ice under choral synths. It is an album where menacing, pitch shifted rap vocals rub up against Cocteauesque vocals and distorted synth like guitar and guitar like synths skate on bass heavy beats with the needle in the red - shoegaze meets hip hop for a bout of ultra homoerotic ultraviolence in an abandoned subway tunnel. It culminates in the aforementioned Killer, one of the most emotionally stirring pieces of music I heard in 2010. The lyrics, something to do with "miles to go" and "spiders in your hair", are distorted by the heavily treated but resolutely human vocal delivery, slurring and teetering on the brink of tears. The same could be said of the music.



When you start listening out for it, its surprising where it leads you - alongside the obvious goth, industrial, hip hop and shoegaze strands, some of NIN's quieter moments could fit well between Ritualz and NoVirgin in a witch house mix. The same could indeed be said of quite a lot of various peak era Depeche Mode tracks, the Smashing Pumpkins' Eye or even a lot of stuff from Burial's critically lauded Untrue or Darkstar's North. On that same dubstep tip, quite a lot of Zomby's recent (great!) album Dedication has more than a touch of the witch house about it. Tyler The Creator and Syd Tha Kid's beats and productions on OFWG tracks have that same sparse moodiness and sinister edge, in a case of hip hop being influenced by the very thing it influenced. Even aesthetically - OF fonts and symbols could be White Ring. Still "minstrelsy" now? Words must be eaten by the highbrow when the aesthetic is co-opted by young black artists and people working in what is, from the standpoint of he who sucks the joy out of everything, "black music" - even if Zomby isn't black he's operating in a field with roots in drum'n'bass and dub reggae. However, unlike dubstep, I can't see Britney Spears repaying the interest in her and getting Salem to come up and do Til The End of The World with her. Tyler might, though.

Zola Jesus is obviously influenced by the aesthetic, and shows signs of being a majority concern too - 2010's Stridulum's blend of Rihanna, early Human League and Nico went down a storm, and this year's Conatus is doing pretty well too. Unlike the other acts in this category, she'd be equally at home singing Trust Me to Glastonbury or performing Night in the Black Lodge in Twin Peaks - I wouldn't be surprised if she was huge soon.

Even if the “evil mainstream” co opted Salem or NoVirgin or White Ring it wouldn’t matter because most of these artists really aren’t small minded and elitist in the slightest - they just like what they like. No recriminations or statements of "It's not REAL witch house!". The closest they've come, though, is aforementioned Britney cover, Heather from Salem appearing on These New Puritans Hidden and a few witch house mixes on a HIM (!!!) remix album. This means HIM (bloody HIM) were at the forefront of pushing a new form into the mainstream? I was very surprised.In a climate where even the lo fi is pretty hi fi, this is a refereshing breath of fresh air. Like punk, anyone can do it. But as Genesis P Orridge once pointed out the problem with punk was the tired old learn three chords and start a band ethic - why do you even need one chord if you want to express yourself. If you have an internet connection, you have access to some form of music software - just pop some VSTs in a DAW and you too can be making witch house! Do whatever you want, it's up to you.


Recommended Listening :
Salem - King Night
Zola Jesus - Stridulum II
Tri Angle Records Let Me Shine For You Lohan comp
NoVirg1n - Downer EP
Various Artists - Road to Duat Pale Noir compilation
Scare the bejesus out of yourself with some White Ring, dance to some Mater Suspiria Vision

And, of course, obligatory self plug, Neurotic Wreck - Cling Placid
Sadly, and unhelpfully, the majority of what I've heard I've liked. Dive in yourself if you like dark electronic music.
 Melancholia from The Bordellos Songs For Swinging Stalkers

Tom Waits - Bad As Me

When Tom is good he’s very very good, but when he’s Bad As Me he’s better.

There are no bad Tom Waits albums, just albums that aren’t as good as his other stuff. In a career spanning close to forty years, he is definitely allowed a few missteps (Foreign Affairs and Glitter and Doom live I'm looking at you) and this, thankfully is not one of them. It has been quite a while since his mostly good and compelling three disc (!) odds and ends collection Orphans - Brawlers, Bawlers and Bastards, and even longer since his last studio album proper, 2004’s Real Gone. Stopgap live release Glitter and Doom showed his voice shot, and middle aged singer-songwriter “give the sessioneers some” muso excesses creeping in, so it was with some trepidation I first listened to the title track.

At this point, I realised that this was going to be very good indeed - the trademark piano, out of action on Real Gone, was back, along with the ominous horns of the his mid 80s - early 90s work and Marc Ribot’s prosphetic Cuban heeled guitar welded to the percussive clangbooomsteam he’s used as his main mode of expression since Swordfishtrombones. Most reassuringly, he is on fine vocal form, an edge of hysteria creeping into the yowled litany of things that make Tom realise his muse is as brilliantly dysfunctional as he is, and loving every second of it. Most strikingly of all, it sounded like it could’ve fitted on Bone Machine, definitely no bad thing (it is one of the best albums bar none after all) but an unusual one in a career based on moving forwards and never looking back. Here is one of the many things that makes Tom Waits great - where many people after a certain age base their career on retreading and reappraising the past, it seems like a bold move when he does it.

This is one of the things that makes this not only one of his best, but one of the ideal starting points for a new fan of all things Waits. In the past there was a sense that he was ashamed of his Bukowski barfly period, before the transformation courtesy of wife, muse and collaborator Kathleen Brennan. At times on this album, however, that period is referenced. Raised Right Men could fit pretty snugly on Heartattack and Vine, all blues groove and Howlin Wolf growl - til you notice the screeching Vox organ stabs and insistent tabla woven around the edges. Kiss Me, vinyl crackle and all, could fit very well on Blue Valentines - there’s a definite resemblance to the title track and his voice sounds eerily similar to the way it did then. Penultimate track New Year’s Eve even throws back to Tom Traubert’s Blues in its tear sodden incorporation of the refrain to a standard, this time Auld Lang Syne not Waltzing Matilda.

Most startling in this vein are the two tracks that most prominently feature Keith Richards. Last Leaf features Richards on guitar and backing vocals, a throwback to Bone Machine’s That Feel, but musically this time it could fit on Closing Time. Which actually makes the song all the more moving - on Closing Time, an old before his time Waits sang Martha from the point of view of an old man ringing a childhood sweetheart. Now, at 61, a happily married Waits sings of being the last leaf on the tree on an album where he laughs in the face of his mortality - most explicitly on Satisfied where ith the fire of a man a third of his age, Waits barks “I will get my satisfaction….I will be satisfied” as Keith Richards (given a shout out in the line “Mr Jagger and Mr Richards”) plays in the background. You don’t, for a second, doubt that he will get what he wants.

The energy of a lot of this album puts a lot of people a third of Mr Waits age to shame. It’s not just looking back at the past and laughing at the shadow of the reaper. On Get Lost, he dives into rockabilly in a way he’s never really done before and its a revelation - its as if they held a seance and the spirit of dear departed Lux Interior used ol Tom as a vessel. On Talking At The Same Time he unleashes a Billie Holiday falsetto startling in its purity - previous forays into falsetto had a scratchiness that made them unnerving (see his version of Cole Porters It's Alright With Me where he sounds like a dying Jamaican woman.

Talking At The Same Time one of many songs that could fit on the soundtrack to a David Lynch film and surely they’re aware of each other by this point in time - the coda to Pay Me is pure Twin Peaks, Frank's Wild Years Yesterday Is Here if he'd been listening to Badalamenti not Morricone. Hell Broke Luce sees him barking from the point of view of a traumatised veteran over clattering percussion and guitar riffing bordering at times on avant-metal. Since Real Gone (and arguably before) his political writing has been more explicit, but never as angry as this.

The opening track, though is what really crystallises Waits brilliance - Howlin Wolf meets Bertolt Brecht, a mind and body in the gutter with the fervour of the pulpit as Marc Ribot and Keith Richards guitars do a knife fight dance around each other, the Living Riff and guitarist in the worlds second best Rolling Stones tribute act trading licks with A Plastic Cuban and John Zorn sideman - the avante garde and the mainstream going hand in hand with no meaningful distinction, just how it should be. And his son on drums.

So, yes, this is up there with his best - slotting into my top 5 between Frank’s Wild Years and Rain Dogs (but below Bone Machine and Alice in case you’re interested). It is also the ideal start point for the reason that you get every flavour of Waits here for less of a price tag than the three disc Orphans. However, there’s no turning back from this point. You either love Waits, or you hate him. I know which camp I fall into.

First Post

Hello, welcome to PropaganDan, from the fingers of one Dan Shea, amateur musician, jack of all trades, master of none, expert at being opinionated but less good at getting all the facts right (I will TRY to research anything properly before putting my foot in my big mouth though). Now the obligatory self deprecation is out of the way, it's time to explain what this blog is going to be about - mainly its going to be about music. Reviews, articles and opinion pieces on anything new or old that creeps onto my radar and sets it off. There may, fingers crossed, be the odd interview. There may be posts on other subjects - thrill as I try to wrap my brain around politics, or go off on one about religion, especially that second one. Mainly, though, it is going to be writing about music (bearing in mind Everett True's maxim of "Educate, inform, entertain and irritate") as I'm not qualified to talk about anything else and barely qualified to talk about this. Therein lies the fun I guess.

Here's where I promote my own projects, too - neuroticwreck.bandcamp.com where my, er, neurotic electronic music and slow motion ballads are stored. Mood music for mood swings, inspired by the whole witch house thing. Watch this space for more on witch house.

Honourable mention for The Bordellos, too, my dad's project I contribute to now and then along with my uncle. The family that plays together etc. Currently stockpiling material for third album Idiot Savant, recorded a lot of songs for it this year - a love letter to the album.
Follow them on twitter at twitter.com/thebordellos, although theres not many tweets at the moment and I write the bulk of them anyway. They can also be found on Myspace : www.myspace.com/thebordellos , Myspace may be dead but my dad's blogs are up on there too.

Several pieces are on the way, so watch this space.