Archive for the 'y'all' Category

Don’t call it a…ok, it’s an attempted comeback.

In the event you’ve either

A) been living under a rock

or

B) are Hacks, and therefore seemingly immune to trends in pop-packaged consumerist music

let me hip you to a little clue: the VMAs are tonight. And MTV is promising that, this year, there’ll be “stellar, world-changing collaborations”.

Let me guess: Timbaland and Timberlake! Together! God, never, EVER, saw that one coming.

And…and…AMY WINEHOUSE will SHOW UP! Jesus, I’m earning my money today.

Or, or maybe…oh, wait…Dave Grohl and Mr Soul Machine? CRAZY!

(ok, that last one’s actually the most boring of any of them)

Granted, there’s no way in hell that my most desired duet, Rihanna and Beyonce doing a “My Umbrella’s To The Left” medley with, of course, a guest verse from Jay-Z (”My girls ganged up, all right/I’ma sleep outside tonight, ha ha, holla atcha boy etc etc etc” ), would ever happen. However, there sure as hell is a reason to care:

Apparently, Miss Spears is making a comeback.

No, no, no NOT Jamie Lynn Spears.

NO, not the picklepack bunch, either.  Although one of their unnamed pickles certainly does look like a blondeish country bumpkin pop star we know…

Call her “Dyl Spears”.

No, I mean the one, the only, the not-a-girl-not-yet-a-woman  known formerly as Mrs. Federline. For those of you who are too young to remember life before Oh No They Didn’t, Britney Spears once kinda ruled the roost roundabout the pop parts (in a fashion akin to what Sylvester said to that crooked-ass police: “we had a life before you butted up in it”).

Britney may have gone bat-ape shit the past few…whatevers…, but she’s giving this pop music thing another go, and is confirmed to open the Video Music Award ceremonies tonight.

If you want to sneak some rehearsal footage, MTV has it here. But, if you want to hear the song she’s betting the reformation of her pop crown on:

Britney Spears: Gimme More 

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Ok, so, initial thoughts:

1) Timbaland? Is that you?

2)Uh..”it’s Britney, bitch”? You’d better fucking hope this song ends up sticky and hooky as New Order’s bassist covered in jam, because otherwise TMZ’s gonna make that line bit you on your Funyun-tasting ass.

3) The vocal chopping and stuttering at the end is fucking awesome…if the world had never heard EVERYTHING THAT RESULTED FROM FUTURESEXLOVETIMBERLAKE.

I dunno. Britney, in a fashion akin to a handful of artists who always push shit forward, never releases the most flooring track first. Remember In The Zone, which was welcomed into the world like a lukewarm bath via the Madonna collaboration “Me Against The Music”? It wasn’t until a few months after the release that “Toxic” broke free and conquered. This one’s got potential for growth, especially if packed right at the front of a hot, hot 10 song album.

(Get that? 10 songs. TOTAL. Leave us wanting more, Brit.)

There’s another song circulating the dumptrucktubes right now:

Britney Spears: Cold As Fire 

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Maybe “Cold As Fire” is the code-name for the secret Army Of Britneys that have really been doing all the unfortunate crack-whore-starlet antics attributed to their lord-and-master Spears as of late. Maybe this song is from a rejected 2005 album that never saw the light of day.

But it’s undoubtedly annoying as hell. According to Bette Noire, it “sounds like she’s vocalizing baby talk”-this is the sort of thing she could have gotten away with  on the first album, but not one more time after. Now, with the aged Britney being what she is, it’s the sort of sped-up discocrank that sounds like a good idea at 5 A.M., three days later, after a few lines, a few shots and a BJ successfully given to a trachiotomied squirrel in the back of a Kia.

Regardless of whether this is old or new, the pervasive image that’s in the public conscious of Spears isn’t going to be shakeable. It’s that verysame public image that she’s going to have to re-mold, to fight against by sidestepping entirely.  I hate to bring it up again, but fucking look at Timberlake. No one saw “Sexyback”, or the futureravefunkhump of the full LP, coming. He’d cried a river, sure, but no one saw him ejaculating glitter made of a fractured disco ball into it.

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So, if you need a reason to watch the VMAs tonight, do it in memory of the dancefloor-wrecker pop sensation that Brit Brit was, before the grits and grit got her down-n-out. My money’s on her pulling the wig, stupid hat and HOW RUDE shades (which I am dubbing as a result of the origins of the wondertwins who popularized them), and revealing her actually-sexy short new haircut underneath, and letting fucking loose.

I hope. I. Hope.

And who knows? Maybe time will tell that this new stuff really IS fire.

But it’s left me pretty damn cold thus far.

(Oooh! Burn! See how I used the thread of “fire” imagery to pull the whole thing together? Yeah? Yeah? See that?See how the one song was “Cold As Fire” but I said it just “left me cold”? Ooh! Yeah! High five!)

If you need a reminder of the awesomeness that was Britney (and, apparently, once upon a time, Justice), here’s your remix, on Sunday:

Britney Spears and Madonna: Me Against The Music (Justice Remix) 

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ties the other

I’ve never bought into the whole “support your local (insert entertainment or creative media here) just because they’re local” mindset,particularly when it comes to journalistic, critical coverage/review/feature. If proximity was to be the dominant, or a least a major, deciding factor in wielding that ever-lovely binaural label of “good/bad”, every crappy New York band with red Lip Service ties and black Lip Service jackets (ordered together, from the online store, to save on shipping costs-you can bulk order for your band, you know…now THAT’s good B2B salesmanship) would be gushed upon by photocopied upstate undergrad attempts at newspapers.

Oh, wait…

Anyway. I’m probably an ass for saying so (probably?), but how close a band/artist/DJ/producer resides to me really is relatively little concern of mine. There are some, like, say, Deerhunter, that the Fork-Gum folks would kill more babies than they already do to have performing at the local Chuck-E-Cheese, and I basically refuse to *ever*, ever, engage a Deerhunter live show again. And I think in the next week I’d have four opportunities, if I desired. I just can’t find the beauty of their recorded stuff in the audience-punishing live show, but I digress and repeat myself. Then there are some local bands, like The Swear, that I just don’t get to see enough of-consistently rockin’ live, and with a disappointingly small recorded output, the only way to get the full force of Elizabeth and her band is to step into the realm in which they truly excel-live performance.

I am hoping my new local obsession, One Hand Loves The Other, ends up in the sort of category that bridges the cradled-to-my-chest headphoneloving I have for Deerhunter with the rabid desire to catch every show they every play in this area.

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Seriously. Having just popped up on my radar, and making it a little cloudier yet crisper, One Hand Loves The Other’s self-titled debut album (the name, I assume, comes from a line in Bjork’s “Unison”), released this year by Atlanta indie stalwart Stickfigure (home to one of my favorite, and coincidentally local, bands of all time-the cathartic screamo collective with the greatest band name ever, I Would Set Myself On Fire For You), is the sort of emotional, orchestral, classical composition-infused glitch pop that doesn’t seem of this world. Too crystalline, too textured, too fragile and open, pumping with real blood augmented with chasmic, silver-electronic veins.

From One Hand Loves The Other’s myspace bio

Lou, the lyricist and voice, emerged from a background inspired by blues and soul artists of the twentieth century female persuasion. Nancy, the flautist and fingers of the synthesizer, blossomed out from classical piano and flute instruction. Mikey, the electronics engineer and composer, came from the pits of electronic haze with a clear idea of the ability to merge the organic and synthetic. Lastly, Mary, the cellist extraordinaire, picked up the bow where her precursor left it. She can make like the dickens on the strings of the cello.

Gotta love a band bio that sounds like Dave Eggers wrote it. More to love, though, than the quick-witted press material (or even the ramped-up pr push that’s building fans like Liza with a Z…we at Res sure as hell can’t compete with that, though My Chem can), are the actual songs on One Hand Loves The Other. Having shattered the windows of contemporary post-WARP glitch aesthetic, and re-assembling it with fragments of smart pop stained with sunset hues of opera and neo-classical composition, One Hand Loves The Other isn’t the Stupidisco that’s oozing from everyone’s musical pores right now-this is smart, pretty stuff.

One Hand Loves The Other: Don’t Know

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As Lou’s vocals climax and soar, the rhythm rides, and strings wrap around each other, it’s possible to get lost in the sheer musical bliss of “Don’t Know”. The lyrics, though, providing a vocabulary and vocal exercise like Anthony Kiedis’ smarter brother who aced the verbal part of the SATs, need their own attenion:

complications evaporation
subtle stasis is all encased in you
subliminal lift the weights off my chains
no more days where i dream in blue

Poetry. Gorgeousness. Like a lucid, drunken dream, achingly clear at the moment but a warm blur immediately post-awakening, this is the sound of One Hand Loves The Other.

They’re playing a handful of shows in the Atlanta area and surrounding locations in the near future, and all that info can be snagged at their myspace. You can pick up the record on iTunes, or at Stickfigure’s site.

I have not been this excited about an Atlanta band in a long, long time. For an electronic music scene that’s just now discovered the last decade of German and French electro, One Hand Loves The Other sounds fresh, real, clear as water and cool as a fall day. This may be an autumn album, but you’re going to hear more from them here at Res very soon. Believe me.





I’ma shave 4 u

It’s likely no new news that, while we here at Resonator were doing our thing over the weekend (ya know, hanging out with Steve Aoki and crying on the dance floor to Ladytron, rebuilding and reconfiguring the web site so pardon our dust, under construction and all those other build-it-up/tear-it-down cliches), Britney Spears was doing some deconstruction of her own.

Now, I’m going to echo a sentiment that seems to be prevalent in the media right now-that of “oh, uh, shit, Britney may really not be ok”. You’ve heard the story by now-possible rehab in/out, tearful breakdown in front of a salon which she had opened specifically to do the duty of shaving her head-which she did her own damn self, only to surface a few days later wearing the most obnoxious blonde wig possible.

I’m not going to enter into the realm of attempt to ascribe meaning to this event-suffice to say, I think we should all be on alert in that she’s slowly slipping less into the realm of Tom Cruise batshit and more into Anna Nicole aching. There could also be a gendered argument made, but saying “oh we shouldn’t care because we wouldn’t care if a dude did it” is right up there and akin to the argument that Meryl Streep “was amazing in ‘Devil Wears Prada’”-in each case, gender nullifies the inherent point. In the Spears’ world, a bald Britney isn’t ok, and we’ve got to assume Britney knows that. As such, this is what’s known as a “cry for help”.

With all the doom and gloom surrounding the current BritState also come questions of “well, musically, was Britney even ever any good?”

Fuck yes she was.

Britney Spears: I’m A Slave 4 U

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If you’ve forgotten exactly what Britney hath wrought, look no further than the devastating “I’m A Slave 4 U”-not only did it tout the greatest Neptunes BBC beat BC (before Clipse), but it also announced her newfound growth the world at large. Dirtyproperfilthgaragebangnasty, what nowadays those less-versed in music that didn’t originate in some dude’s two-car garage in Woodstock would label “Grime”, “Slave 4 U” was an absolutely brilliant pop music moment-the day the mainstream had to stop and pause for a moment of “oh god, what have we done”-esque reflection, before realizing that a new day had dawned.

Britney Spears: Me Against The Music (Justice remix)

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It’s a shame that this remix saw relatively little play. The original version of “Me Against The Music” was a fascinating Electropop punch in the face, minus Madonna’s cutesy-coo “hey Britney” come-hithers, and, though I disagree with the blind devotion that seems to be running rampant in the music industry currently regarding Justice, the Justice remix gives a little more flavor and a little more bite to what the original song intended-Britney versus whatthefuckever.

It’s unfortunate that it seems in real life, Britney’s on the losing end, at least for the time being.

Thus ends your daily dose of celeb gossip.