Hello, friends! Thanksgiving approaches for those of us in the US, and I've got to say, it's a pretty awesome holiday. The main point of this holiday is to eat rich, homemade, slow-cooked comfort food made from recipes handed down from generation to generation and to eat in sufficient quantities so that you are too sleepy and contented to want to maim or kill your dysfunctional family. This year, Mr. Maise and I are hosting for the first time and will be roasting a dead turkey of our very own. In some ways, it will be nice not to have to cross state lines in order to get some lunch this Thursday, but it is also very intimidating and daunting, especially since we have approximately 5,000 hours of cleaning to do in our home in addition to all the food preparation.
So I figured it was definitely worth a look back at the Saul Williams show that Ro and I caught at the Double Door in October, especially since it was one of the strangest concert experiences I have had recently. I've got no audio-visual goodies for you for this one because that's normally Iris's area of expertise, plus venue security was being REALLY vigilant about cameras, so I wouldn't have gotten away with it anyway.
I will go to great lengths to see Saul Williams live. And when I say "great lengths," I mean staying out WAY too late on a weekday. I used to be quite the insomniac before I hit 30. Now I require a full 7-8 hours of sleep in order to feel remotely human the following morning. Yet when Saul performs in Chicago (with the exception of Lollapalooza), he tends to not take the stage earlier than 11:30 p.m. or midnight. By the time the show ends and I make it back to the 'burbs, it's usually around 1:30 or 2 in the morning, which means that I have to mainline caffeine to stay awake at my desk the following morning. (And I usually feel even MORE exhausted the morning after that, as my body tries to adjust to the violation of my circadian rhythms.) But Saul Williams is worth it. With his high energy level and his clear love for the music and the audience, he creates performances that always exhilarating and powerful and thought-provoking.
But this wasn't my favorite show of his, however.
He was headlining the Afro-Punk tour, which was playing at the Double Door, a lovely, intimate venue. Their audience was composed of 98% annoying white hipsters, which is an occupational hazard of performing in Wicker Park. Hollywood Holt performed first...he was a very entertaining rapper from Chicago, and I wish that he had had the more prominent set just before Saul Williams, as I much preferred him to American Fangs, which had a sort of generic rap/punk sound and seemed to be onstage for years.
Saul Williams appeared on stage around 11:00 or so in his typical warpaint and a turquoise-colored feather headdress. He opened the show with the same recitation of inspirational/revolutionary figures as he did at his Martyr's show back in 2008. This performance had a bit of a "been there, done that" feel to it, especially since he's not promoting a new album at this time. He played a lot of my favorites but didn't have as much energy as before, I thought. Maybe this particular tour is burning him out or he's getting bored with his first two albums, but the highlight of the show was clearly "Grippo," which he performed with his daughter Saturn, who appeared absolutely ecstatic to be onstage and to be up past her bedtime. He sang some of my favorites like "Black Stacey" and "Surrender (A Second to Think)" and "WTF" and "Skin of a Drum," but all I could think about, greedily, was what I was missing. Like "Sunday Bloody Sunday" and "Scared Money" and "NiggyTardust." He did play us a new song with much more intensity, and I was happy to hear that he's working on a new album.
I mean, don't get me wrong...even a "meh" Saul Williams performance is better than most other acts, but it's nothing compared to when he's at the top of his game. A perfect example is "Tr(n)igger," which was an absolute EXPLOSION at Martyr's but didn't have nearly the same urgency and joy at the Double Door.
Then the show just got bizarre. CX Kidtronik, Saul's DJ sidekick, took the stage with his solo rap act, Krak Attack, while Saul took an extended break. Krak Attack seems to be a very jovial act--playing with the irony of various cheesy hip-hop cliches. For example, Kidtronik and his bandmates brought the ladies up on stage to do some dancing during their set. I believe they had a song comparing the relative virtues of white girls and black girls...or was it skinny girls vs. big girls? I don't remember. The point is, while all this was going on for a good 20 minutes or so, all I could think was, "Et tu, Saul? What the hell is this opening act nonsense in the middle of the damn show?! It is midnight!!!" I probably would have more patience for Krak Attack if they had appeared after Hollywood Holt, but I did not have the patience for them at that point, as I pondered whether it would even be worth it to stick around for Saul's return. I was not the only one, as Krak Attack's impromptu performance caused a mass exodus. I decided to stick it out, thinking that perhaps Saul would make it up to us. When he finally did return, we got a lively rendition of "List of Demands." Then it appeared that there would be more...but there wasn't. Show over. Huh?
I must confess, therefore, that I was not the happiest of campers after this show ended. I felt a bit cheated--feeling that Saul hadn't been quite at 100 percent for whatever reason and then annoyed that he surrendered his stage to Kidtronik for an inordinate period of time. I would gladly lose more sleep over Saul Williams, but next time I hope he gives it his all.
Showing posts with label Saul Williams. Show all posts
Showing posts with label Saul Williams. Show all posts
Monday, November 23, 2009
Tuesday, August 12, 2008
Looking Back...
I know, I know. I'm late but I've finally finished working through all that was captured at Lollapalooza this year and have rounded out the individual photo galleries for the PlacesParallel Photobucket. Several of the pictures are still frames from video while recording the large side stage screens so I apologize for the less than stellar quality but I still think they're worth a looksie.
A few favorites (coincidentally also my favorite acts of the weekend):
Jamie Lidell
Rage Against the Machine
Saul Williams
Nine Inch Nails
Now in searching through all this footage I found a...let's say..."interesting" bit in a video clip Mr. Iris captured. Without further ado:
It's okay, Trent. We still love you. Even if this is the gayest thing I've ever seen.
A few favorites (coincidentally also my favorite acts of the weekend):
Jamie Lidell
Rage Against the Machine
Saul Williams
Nine Inch Nails
Now in searching through all this footage I found a...let's say..."interesting" bit in a video clip Mr. Iris captured. Without further ado:
It's okay, Trent. We still love you. Even if this is the gayest thing I've ever seen.
Monday, August 4, 2008
Lollapalooza, Day 3--The Conclusion...
Okay, I woke up extra early this morning to make sure I get my recap of Day 3 written because later today, the husband is whisking me away to Michigan, where I will have ZERO internet access until Friday. We don't even get cell phone reception out there. 100% committment to giving you all the latest news in rock. Well, normally I'm like 45% committed...if that. But Day 3 was SO SOLID, it simply can't wait.
I remember in years past idling in the air-conditioned AT&T Digital Oasis tent, the "Green Street" market, which the husband dismissed as only selling "hippie-wear" this year, and other such distractions. But there was so little downtime this year with all the acts we wanted to see, we barely had time to eat and use those charming port-o-lets.
We arrived in time to see Perry Farrell play a short set with Slash at the kids' stage. As you may recall, we attempted to see the adult version of this show, but the audio completely died in the middle, and so did the performance. They played with at least a couple of members of The School of Rock (and I swear to God, if I ever do have children, I'm so putting them through The School of Rock because how fucking awesome would it be to play a set with Perry Farrell and Slash at the age of 12?)
In the official Lollapalooza schedule/guidebook, they insist that Perry Farrell has "a way with kids," or something like that. Well, he certainly has a way. Writhing like a snake and talking with his "Creepy Uncle Larry" voice, I can't imagine he did anything but frighten the youngest rock fans. I'm paraphrasing here, but he was prone to introducing his songs with bits of Perry wisdom like, "Now, kids, voodoo is nothing to be afraid of. And superstition is just that...superstitious," (after a cover of Stevie Wonder's "Superstition"). Before "Knocking on Heaven's Door," he taught us, "Some of you may have known someone who has died. And death is nothing to be afraid of, kids." Slash was a silent Cousin Itt onstage, chain-smoking. (And doesn't he have a pacemaker? Is that good for his heart?) But who cares? The set still rocked! We also heard Jane's Addiction favorites like "Mountain Song" and "Jane Says." Anyway, this was a totally worthwhile little show, and since Velvet Revolver is no more, perhaps Slash and Perry should collaborate together in the future.
Next, we waited for Saul Williams. We staked out a position in front of the soundbooth, and eagle-eyed Iris flagged down the person who was handing out feathers to the crowd (so we could match Saul). Iris and I proudly wore our feathers all day like dorks...I mean, like the COOL KIDS.
Saul certainly did not disappoint. Before he and CX Kidtronik started performing, the bass to their intro music was so loud that my intestines were vibrating. I wish I was one of those people who could provide you with an accurate setlist, but I was too busy ROCKING OUT to play court reporter. I do know that he played "Gunshots by Computer," "Grippo," "Convict Colony," "Tr(n)igger," "Black Stacey," "List of Demands (Reparations)," "Surrender (A Second to Think)," "Niggy Tardust," "WTF," and "Sunday Bloody Sunday." Maybe "Break?" I can't remember. I do know that he did not let up the manic energy for a second, and the crowd was with him every step of the way. At one point, we saw a portion of the crowd surge forward, and we learned that Saul had gone into the audience. Dressed in his feathers, painted mask, and mohawk, running across the stage, roaring his lyrics, occasionally pausing for a dizzying bout of spoken word, Saul commanded the crowd like no one else I saw this weekend. As always, a Saul Williams performance is a thrilling, deeply satisfying experience. He can work the most apathetic hipsters into a frenzy and make us all feel like teenagers again, when going to a concert was the most fucking exciting thing you could imagine, and you had worked at McDonald's all summer to save up for this one night, and your parents drop you off at the door with some unspoken reservations, and you're standing in the crowd, sweating, and you really have to pee, but you're afraid to move for fear of missing the moment when the lights go out and everyone loses their shit. It's like that.
The only things detracting from this show were the 12-year-olds passing around a pipe (fucking kids these days), and the drunken floozies in sundresses who thought they were SO CUTE, sitting on their boyfriends' shoulders, trying to soak up the crowd's attention and getting in the way of Iris' recording. No Trent appearance, but he was sick, and I could see how he wouldn't want to steal Saul's thunder. Or that's my theory, at least.
Next we proceeded to the f.y.e. tent because ohmahgah, Saul Williams was signing autographs!!! I kind of love/hate autograph signings. It gives you an opportunity to meet and shake the hands of artists whom you deeply respect, love, and admire, but on the other hand, you've got all the handlers barking at you for some kind of violation, like trying to have the wrong thing signed or trying to take pictures, and then you only have about 20 seconds, tops, to make some kind of good impression, and if I'm REALLY into an artist, then I tend to lose all ability to speak. Plus, Saul is rather intimidating with his inherent, unshakeable coolness and ability to launch into dramatic beat poetry at the drop of a hat.
I was struggling to think of something good to say while Iris was trying to get some pictures before her camera was confiscated and destroyed. I noticed that CX Kidtronik was also there for autographs, and shit, what was I supposed to say to *him*? It was a lot of pressure.
As we approached, I said, "Great show!" to Kidtronik and was rewarded with an unsolicited hug. He signed my CD, and then I moved on to Saul. I was wearing my Saul Williams t-shirt (yeah, I'm THAT person), so I informed him that I was fully prepared for this signing. I then explained that he did a great show and that we would give him a glowing review "on our blog that no one reads," which elicited a REAL laugh--not a polite "ha," but a REAL laugh. So there. Then I fled the scene.
Iris told him that he did a fantastic show and complimented the 12-year-old girl who performed with him. Then she was smart enough to ask him for a hug. (Dammit!) As we got out of line, we squeed like schoolgirls. We hung around, waiting to meet a friend, and saw Saul taking some photos with lingering fans. We loitered, trying to see if we could get a pic together with him, but we ultimately chickened out. We suck.
Nine Inch Nails came on shortly afterwards. "9,999,999" led into a strong selection from The Slip: "1,000,000," "Letting You," and "Discipline." He then tackled perennial favorites, "March of the Pigs," "Closer," and "Gave Up." He played each of these with a fierce energy...you would never get the sense that he had been playing these over and over and over again for 10+ years.
Then I started to get concerned. He moved on to some Year Zero selections..."The Warning," which was sexy and menacing as usual. Then "Vessel." Oh hell. Is there anyone out there who *really* loves "Vessel"? I hear it, and all I can think of is, "What the holy fuck is going on in this song?" It's like Duran Duran's "The Reflex." I get so caught up in wondering what the fuck it's about that I can hardly appreciate its musical merits. For her part, Iris hits "skip" as soon as she hears, "I. let. you. put. it. in. my. mouth."
Then we had at least three tracks off of "Ghosts," and I started to really worry. They weren't the most exciting tracks of this album to begin with, and they were slooow, and I was concerned that Trent was going to lose this easily distracted outdoor concert crowd (most of whom were completely trashed and had wilted in the 90-degree heat for 10 hours) with instrumental noodling. Part of the problem was that Trent was on the inferior "Bud Light" stage, which is placed into a sort of depression in the ground in Grant Park. So those of us who were well in the back were kind of higher up than the stage, and it was impossible to appreciate the AMAZING production that Trent has put together. Seriously, this set is the most gorgeous I've ever seen from him and must have cost a million billion dollars.
Plus, Kanye. Kanye West, whom I like and admire, btw, was SO FUCKING LOUD. OH MY GOD. SO LOUD. He was a fucking MILE AWAY, and his sound kept bleeding into our area. This was a problem throughout all of Lollapalooza, but I think this was the first time that I've ever dealt with bleedthrough from one mile away on the complete opposite end of the park. I was waiting for Trent to throw a tantrum about this, but maybe he didn't notice or maybe he was just too sick and subdued. Nine Inch Nails, of all bands, seemed really quiet in comparison.
Next, we got a slow, quiet "Piggy," which I absolutely love, but I was ready for Trent to pick up the pace. After that, "The Greater Good"? WTF? "The Greater Good?" Of all the Year Zero tracks...sigh. I hear, "Breathe...us in...slowly...slowly..." and more often than not hit "skip." Why is this being performed on tour? There are some cool special effects going on in the background, not that I could really see them, though.
Perhaps it was good for those in the pit to have a bit of quiet time, but I felt like the "Ghosts" part of the setlist just dragged a bit too much for this occasion. Meanwhile, during all of this, Mr. Iris, who was trying to take some pictures and video up front, wound up tending to some 350-pound drunk guy who had broken his ankle in a mosh circle and waited for EMTs for 45 minutes. It's an epic tale of incompetence that probably deserves its own post...so stay tuned!
Finally, "Pinion" kicked in, and Iris and I simultaneously felt a sense of "Fuck yeah!" They then launched into "Wish," finally turned the volume up to 11, and rocked the fuck out for the rest of the show. OMG, I have never ever heard a harder-hitting version of "Survivalism." That was probably the best song of the night for me. But really the entire second half of the show was just devastating, all the way up to "Head Like a Hole." Trent actually did an encore...he's doing encores now? Then returned to talk to the crowd. He apologized for his voice and explained (rather sweetly, I thought) that he had played the first Lollapalooza 17 years ago and was shocked that he was still alive and that he was still playing to a full house, so he expressed sincere gratitude to us and to his band. Then we got "Hurt," which as far as I could tell, was NOT ruined by the fans, and "In This Twilight," which turned out really well, considering his illness.
So that was the end of Lollapalooza 2008, the best I have attended so far. On the way out, Mr. Maise nearly started a fistfight in my defense when I was hit in the head with a rugby football, but we were able to resolve the situation without damaging U.S.-Australia diplomatic relations.
And now the rest of us return to the real world of work, sunburns, hangovers, moshing injuries...but not me! I'M ON VACATION, BITCHES!
Iris will update soon with amazing pics and vids, so stay tuned!
**EDIT**
All videos are now posted to our YouTube account.
I remember in years past idling in the air-conditioned AT&T Digital Oasis tent, the "Green Street" market, which the husband dismissed as only selling "hippie-wear" this year, and other such distractions. But there was so little downtime this year with all the acts we wanted to see, we barely had time to eat and use those charming port-o-lets.
We arrived in time to see Perry Farrell play a short set with Slash at the kids' stage. As you may recall, we attempted to see the adult version of this show, but the audio completely died in the middle, and so did the performance. They played with at least a couple of members of The School of Rock (and I swear to God, if I ever do have children, I'm so putting them through The School of Rock because how fucking awesome would it be to play a set with Perry Farrell and Slash at the age of 12?)
In the official Lollapalooza schedule/guidebook, they insist that Perry Farrell has "a way with kids," or something like that. Well, he certainly has a way. Writhing like a snake and talking with his "Creepy Uncle Larry" voice, I can't imagine he did anything but frighten the youngest rock fans. I'm paraphrasing here, but he was prone to introducing his songs with bits of Perry wisdom like, "Now, kids, voodoo is nothing to be afraid of. And superstition is just that...superstitious," (after a cover of Stevie Wonder's "Superstition"). Before "Knocking on Heaven's Door," he taught us, "Some of you may have known someone who has died. And death is nothing to be afraid of, kids." Slash was a silent Cousin Itt onstage, chain-smoking. (And doesn't he have a pacemaker? Is that good for his heart?) But who cares? The set still rocked! We also heard Jane's Addiction favorites like "Mountain Song" and "Jane Says." Anyway, this was a totally worthwhile little show, and since Velvet Revolver is no more, perhaps Slash and Perry should collaborate together in the future.
Next, we waited for Saul Williams. We staked out a position in front of the soundbooth, and eagle-eyed Iris flagged down the person who was handing out feathers to the crowd (so we could match Saul). Iris and I proudly wore our feathers all day like dorks...I mean, like the COOL KIDS.
Saul certainly did not disappoint. Before he and CX Kidtronik started performing, the bass to their intro music was so loud that my intestines were vibrating. I wish I was one of those people who could provide you with an accurate setlist, but I was too busy ROCKING OUT to play court reporter. I do know that he played "Gunshots by Computer," "Grippo," "Convict Colony," "Tr(n)igger," "Black Stacey," "List of Demands (Reparations)," "Surrender (A Second to Think)," "Niggy Tardust," "WTF," and "Sunday Bloody Sunday." Maybe "Break?" I can't remember. I do know that he did not let up the manic energy for a second, and the crowd was with him every step of the way. At one point, we saw a portion of the crowd surge forward, and we learned that Saul had gone into the audience. Dressed in his feathers, painted mask, and mohawk, running across the stage, roaring his lyrics, occasionally pausing for a dizzying bout of spoken word, Saul commanded the crowd like no one else I saw this weekend. As always, a Saul Williams performance is a thrilling, deeply satisfying experience. He can work the most apathetic hipsters into a frenzy and make us all feel like teenagers again, when going to a concert was the most fucking exciting thing you could imagine, and you had worked at McDonald's all summer to save up for this one night, and your parents drop you off at the door with some unspoken reservations, and you're standing in the crowd, sweating, and you really have to pee, but you're afraid to move for fear of missing the moment when the lights go out and everyone loses their shit. It's like that.
The only things detracting from this show were the 12-year-olds passing around a pipe (fucking kids these days), and the drunken floozies in sundresses who thought they were SO CUTE, sitting on their boyfriends' shoulders, trying to soak up the crowd's attention and getting in the way of Iris' recording. No Trent appearance, but he was sick, and I could see how he wouldn't want to steal Saul's thunder. Or that's my theory, at least.
Next we proceeded to the f.y.e. tent because ohmahgah, Saul Williams was signing autographs!!! I kind of love/hate autograph signings. It gives you an opportunity to meet and shake the hands of artists whom you deeply respect, love, and admire, but on the other hand, you've got all the handlers barking at you for some kind of violation, like trying to have the wrong thing signed or trying to take pictures, and then you only have about 20 seconds, tops, to make some kind of good impression, and if I'm REALLY into an artist, then I tend to lose all ability to speak. Plus, Saul is rather intimidating with his inherent, unshakeable coolness and ability to launch into dramatic beat poetry at the drop of a hat.
I was struggling to think of something good to say while Iris was trying to get some pictures before her camera was confiscated and destroyed. I noticed that CX Kidtronik was also there for autographs, and shit, what was I supposed to say to *him*? It was a lot of pressure.
As we approached, I said, "Great show!" to Kidtronik and was rewarded with an unsolicited hug. He signed my CD, and then I moved on to Saul. I was wearing my Saul Williams t-shirt (yeah, I'm THAT person), so I informed him that I was fully prepared for this signing. I then explained that he did a great show and that we would give him a glowing review "on our blog that no one reads," which elicited a REAL laugh--not a polite "ha," but a REAL laugh. So there. Then I fled the scene.
Iris told him that he did a fantastic show and complimented the 12-year-old girl who performed with him. Then she was smart enough to ask him for a hug. (Dammit!) As we got out of line, we squeed like schoolgirls. We hung around, waiting to meet a friend, and saw Saul taking some photos with lingering fans. We loitered, trying to see if we could get a pic together with him, but we ultimately chickened out. We suck.
Nine Inch Nails came on shortly afterwards. "9,999,999" led into a strong selection from The Slip: "1,000,000," "Letting You," and "Discipline." He then tackled perennial favorites, "March of the Pigs," "Closer," and "Gave Up." He played each of these with a fierce energy...you would never get the sense that he had been playing these over and over and over again for 10+ years.
Then I started to get concerned. He moved on to some Year Zero selections..."The Warning," which was sexy and menacing as usual. Then "Vessel." Oh hell. Is there anyone out there who *really* loves "Vessel"? I hear it, and all I can think of is, "What the holy fuck is going on in this song?" It's like Duran Duran's "The Reflex." I get so caught up in wondering what the fuck it's about that I can hardly appreciate its musical merits. For her part, Iris hits "skip" as soon as she hears, "I. let. you. put. it. in. my. mouth."
Then we had at least three tracks off of "Ghosts," and I started to really worry. They weren't the most exciting tracks of this album to begin with, and they were slooow, and I was concerned that Trent was going to lose this easily distracted outdoor concert crowd (most of whom were completely trashed and had wilted in the 90-degree heat for 10 hours) with instrumental noodling. Part of the problem was that Trent was on the inferior "Bud Light" stage, which is placed into a sort of depression in the ground in Grant Park. So those of us who were well in the back were kind of higher up than the stage, and it was impossible to appreciate the AMAZING production that Trent has put together. Seriously, this set is the most gorgeous I've ever seen from him and must have cost a million billion dollars.
Plus, Kanye. Kanye West, whom I like and admire, btw, was SO FUCKING LOUD. OH MY GOD. SO LOUD. He was a fucking MILE AWAY, and his sound kept bleeding into our area. This was a problem throughout all of Lollapalooza, but I think this was the first time that I've ever dealt with bleedthrough from one mile away on the complete opposite end of the park. I was waiting for Trent to throw a tantrum about this, but maybe he didn't notice or maybe he was just too sick and subdued. Nine Inch Nails, of all bands, seemed really quiet in comparison.
Next, we got a slow, quiet "Piggy," which I absolutely love, but I was ready for Trent to pick up the pace. After that, "The Greater Good"? WTF? "The Greater Good?" Of all the Year Zero tracks...sigh. I hear, "Breathe...us in...slowly...slowly..." and more often than not hit "skip." Why is this being performed on tour? There are some cool special effects going on in the background, not that I could really see them, though.
Perhaps it was good for those in the pit to have a bit of quiet time, but I felt like the "Ghosts" part of the setlist just dragged a bit too much for this occasion. Meanwhile, during all of this, Mr. Iris, who was trying to take some pictures and video up front, wound up tending to some 350-pound drunk guy who had broken his ankle in a mosh circle and waited for EMTs for 45 minutes. It's an epic tale of incompetence that probably deserves its own post...so stay tuned!
Finally, "Pinion" kicked in, and Iris and I simultaneously felt a sense of "Fuck yeah!" They then launched into "Wish," finally turned the volume up to 11, and rocked the fuck out for the rest of the show. OMG, I have never ever heard a harder-hitting version of "Survivalism." That was probably the best song of the night for me. But really the entire second half of the show was just devastating, all the way up to "Head Like a Hole." Trent actually did an encore...he's doing encores now? Then returned to talk to the crowd. He apologized for his voice and explained (rather sweetly, I thought) that he had played the first Lollapalooza 17 years ago and was shocked that he was still alive and that he was still playing to a full house, so he expressed sincere gratitude to us and to his band. Then we got "Hurt," which as far as I could tell, was NOT ruined by the fans, and "In This Twilight," which turned out really well, considering his illness.
So that was the end of Lollapalooza 2008, the best I have attended so far. On the way out, Mr. Maise nearly started a fistfight in my defense when I was hit in the head with a rugby football, but we were able to resolve the situation without damaging U.S.-Australia diplomatic relations.
And now the rest of us return to the real world of work, sunburns, hangovers, moshing injuries...but not me! I'M ON VACATION, BITCHES!
Iris will update soon with amazing pics and vids, so stay tuned!
**EDIT**
All videos are now posted to our YouTube account.
Monday, May 5, 2008
Overdue Saul Williams Concert Review, April 18, 2008...
So dear readers, I woke up this morning to the news that Trent has indeed released a new album, The Slip, which fans can download for FREE. Unfortunately, I have to pay the bills, which requires getting to my day job in the morning, so I have not yet been able to listen to it, but comment and discussion will be forthcoming. I know that it's a popular position around here that a Nine Inch Nails album isn't worth listening to unless it has taken 10 years to produce, or alternately, that we should all be exploring ancient Norse Death Metal instead, but *I* am certainly excited to hear the new album. I am especially appreciative of the trusting relationship that Trent is building with his fans, where he doesn't just want to collect money every time someone listens to his songs. He wants to get his work out there and wants his fans to deconstruct it and rebuild it or create their own art in response to it. So kudos to him. Hopefully I can get that on my ipod tonight.
Anyhoo.
Saul Williams!!!!
So Iris, Mr. Iris, Ro, and I made our way over to Martyr's, a tiny Chicago club that was packed for the late-night sold-out show. Normally shows that begin at 10 p.m. (with opening acts) make me grumpy, because a ghost dog loves her beauty sleep, but since I managed to double-book myself for another important event that night, it worked out to my advantage. We arrived approximately halfway through the opening set, as performed by the Dragons of Zynth. They kind of reminded me of Living Color, and there was some funk to their harder rock sound. I never fell madly in love with them, but I was pleased by the Barack Obama poster that they had flanking the stage. Sorry, Hillary fans, but you'll find a lot of Obama-love at a Saul Williams show.
There was a loooooooooooooooong wait between the two acts, but 40 minutes later, CX KiDTRONiK took the stage in full Spiderman costume, which had to be hot as hell because even at the back of the stage, your PP correspondents were roasting. (Unfortunately because the club remained cloaked in darkness for the entire show, we don't have quite as many awesome pics and vids for you, but of course, what Iris did manage to capture is brilliant, as usual.)
When Saul finally took the stage, he was dressed in feathers and tribal face paint, and this awesome, awesome David Bowie/Adam Ant-esque coat.
Saul opened with some spoken word, invoking the names of artists and revolutionaries, and he would return to spoken word several times throughout the set, which was actually quite exhilerating. His delivery is always powerful, even if you aren't entirely sure if what sounds profound actually makes any sense. It does make me wonder if he's apt to bust out into spoken word during normal conversations:
Me: Saul, what do you want for dinner tonight?
Saul: Fresh meat, feel the beat, the poet, the painter, the jungle, the temple, my heart is broken but my pants are mended...
Me: Oh, Jesus Christ.
Although Iris felt that Saul's vocals were occasionally off-key, this was a tight, tight performance with a lot of enthusiasm. Saul moved through the crowd, stood on the merchandise table, and got a room full of white hipsters to dance like dorks (no easy feat, I can assure you). The Public Enemy-influenced "Tr(n)igger" was an explosion of energy...I was surprised because it's the song that theoretically would appeal to me least, but it's now become my favorite song on the album.
"Niggy Tardust" was a fun experience for the audience as most of us participated in the amusing chorus..."When I say 'Niggy,' you say nothing. Niggy..." "NOTHING!" "Niggy..." "NOTHING!!!!" "Shut up." Saul took a few moments to chuckle at the audience members who looked a little intimidated. "Should I say 'nothing'? Should I just be quiet? Am I allowed to say the title of this song?" I believe it was at this point that Saul explained to us his belief that we are all one, and that when one of us is degraded with a racial slur, we are all degraded. Referencing Obama, he said that you don't have to have a mixed racial background to be "hybrids," and that we are all hybrids. Which is true. I mean, I'm the whitest girl on the planet, but through my veins runs the blood of nationalities that all hate each other, plus at least one genetic wild card where paternity couldn't be confirmed, so I could be part anything. So I agree with and embrace Saul's inclusive philosophy, but I'm still not going to be spouting off the n-word. Even when I sing along with "Tr(n)igger" in the car, it usually goes like this: "The trigger is YOU...the nnnnnn...is YOU...the trigger is YOU!"
If you haven't yet heard Saul's previous self-titled album, it's definitely worth checking out, as "List of Demands" and "Black Stacey" were standouts at this show and audience favorites.
Going back to Niggy Tardust, we also got "Sunday Bloody Sunday" and "Scared Money," the latter being one of my favorite tracks with the tambourine and voodoo rhythms. And as I'm trying to achieve some kind of self-actualization, the chorus has become a mantra of sorts for me. (Not that I'm talking about actual money when I remind myself that "Scared money don't make none.")
In other audience-bonding moments, Saul assured us that he reads his Myspace messages as he wished a happy anniversary to a fan who didn't seem to respond. So he felt like a dork for a moment, I think. He also encouraged us to visit the merchandise table, considering that most people just downloaded his album for free. (I'm very happy with my hyena t-shirt, folks, which was a reasonable $20, so I recommend indulging in some "Tardust" fashion. I was also happy to see that my t-shirt did not include the word "niggy" anywhere, as I didn't want to be the subject of any misunderstandings in public.) And we all got to sing happy birthday to the woman selling the merchandise for the night, and she appeared to be charmingly embarrassed.
I know I'm jumping all over the place, but it's hard to recount the intensity of this show. Here's a clip of "Banged and Blown Through," as filmed by Iris. You'll have to excuse the darkness and sound quality, as they had the volume turned up to 11 in the tiny venue.
There were also quieter, more contemplative moments. We were particularly moved by the part of "No One Ever Does," when he sings, "Suddenly, who I thought was me/ was not me at all/ and I feel so small/Sitting way beneath who I want to be/I don't want to be who I've grown to be..." At this point, Saul started removing the feathers from his headdress and dropping them to the audience, looking lost. An excellent performance of a song that I tend to write off as something that sounds like a Seal track.
When I walked out of Martyr's, well past my bedtime, I felt refreshed and invigorated, rather than exhausted. My ears were ringing, to be sure, but I'll forgive Saul for any aural damage, as this was one of the best live shows I've ever seen. At one point, I texted Gabriel to inform him that Saul Williams live was truly a mind-blowing experience. One that I can't recommend highly enough to all of you.
If you would like to check out more Saul Williams pics, look here!
Anyhoo.
Saul Williams!!!!
So Iris, Mr. Iris, Ro, and I made our way over to Martyr's, a tiny Chicago club that was packed for the late-night sold-out show. Normally shows that begin at 10 p.m. (with opening acts) make me grumpy, because a ghost dog loves her beauty sleep, but since I managed to double-book myself for another important event that night, it worked out to my advantage. We arrived approximately halfway through the opening set, as performed by the Dragons of Zynth. They kind of reminded me of Living Color, and there was some funk to their harder rock sound. I never fell madly in love with them, but I was pleased by the Barack Obama poster that they had flanking the stage. Sorry, Hillary fans, but you'll find a lot of Obama-love at a Saul Williams show.
There was a loooooooooooooooong wait between the two acts, but 40 minutes later, CX KiDTRONiK took the stage in full Spiderman costume, which had to be hot as hell because even at the back of the stage, your PP correspondents were roasting. (Unfortunately because the club remained cloaked in darkness for the entire show, we don't have quite as many awesome pics and vids for you, but of course, what Iris did manage to capture is brilliant, as usual.)
When Saul finally took the stage, he was dressed in feathers and tribal face paint, and this awesome, awesome David Bowie/Adam Ant-esque coat.
Saul opened with some spoken word, invoking the names of artists and revolutionaries, and he would return to spoken word several times throughout the set, which was actually quite exhilerating. His delivery is always powerful, even if you aren't entirely sure if what sounds profound actually makes any sense. It does make me wonder if he's apt to bust out into spoken word during normal conversations:
Me: Saul, what do you want for dinner tonight?
Saul: Fresh meat, feel the beat, the poet, the painter, the jungle, the temple, my heart is broken but my pants are mended...
Me: Oh, Jesus Christ.
Although Iris felt that Saul's vocals were occasionally off-key, this was a tight, tight performance with a lot of enthusiasm. Saul moved through the crowd, stood on the merchandise table, and got a room full of white hipsters to dance like dorks (no easy feat, I can assure you). The Public Enemy-influenced "Tr(n)igger" was an explosion of energy...I was surprised because it's the song that theoretically would appeal to me least, but it's now become my favorite song on the album.
"Niggy Tardust" was a fun experience for the audience as most of us participated in the amusing chorus..."When I say 'Niggy,' you say nothing. Niggy..." "NOTHING!" "Niggy..." "NOTHING!!!!" "Shut up." Saul took a few moments to chuckle at the audience members who looked a little intimidated. "Should I say 'nothing'? Should I just be quiet? Am I allowed to say the title of this song?" I believe it was at this point that Saul explained to us his belief that we are all one, and that when one of us is degraded with a racial slur, we are all degraded. Referencing Obama, he said that you don't have to have a mixed racial background to be "hybrids," and that we are all hybrids. Which is true. I mean, I'm the whitest girl on the planet, but through my veins runs the blood of nationalities that all hate each other, plus at least one genetic wild card where paternity couldn't be confirmed, so I could be part anything. So I agree with and embrace Saul's inclusive philosophy, but I'm still not going to be spouting off the n-word. Even when I sing along with "Tr(n)igger" in the car, it usually goes like this: "The trigger is YOU...the nnnnnn...is YOU...the trigger is YOU!"
If you haven't yet heard Saul's previous self-titled album, it's definitely worth checking out, as "List of Demands" and "Black Stacey" were standouts at this show and audience favorites.
Going back to Niggy Tardust, we also got "Sunday Bloody Sunday" and "Scared Money," the latter being one of my favorite tracks with the tambourine and voodoo rhythms. And as I'm trying to achieve some kind of self-actualization, the chorus has become a mantra of sorts for me. (Not that I'm talking about actual money when I remind myself that "Scared money don't make none.")
In other audience-bonding moments, Saul assured us that he reads his Myspace messages as he wished a happy anniversary to a fan who didn't seem to respond. So he felt like a dork for a moment, I think. He also encouraged us to visit the merchandise table, considering that most people just downloaded his album for free. (I'm very happy with my hyena t-shirt, folks, which was a reasonable $20, so I recommend indulging in some "Tardust" fashion. I was also happy to see that my t-shirt did not include the word "niggy" anywhere, as I didn't want to be the subject of any misunderstandings in public.) And we all got to sing happy birthday to the woman selling the merchandise for the night, and she appeared to be charmingly embarrassed.
I know I'm jumping all over the place, but it's hard to recount the intensity of this show. Here's a clip of "Banged and Blown Through," as filmed by Iris. You'll have to excuse the darkness and sound quality, as they had the volume turned up to 11 in the tiny venue.
There were also quieter, more contemplative moments. We were particularly moved by the part of "No One Ever Does," when he sings, "Suddenly, who I thought was me/ was not me at all/ and I feel so small/Sitting way beneath who I want to be/I don't want to be who I've grown to be..." At this point, Saul started removing the feathers from his headdress and dropping them to the audience, looking lost. An excellent performance of a song that I tend to write off as something that sounds like a Seal track.
When I walked out of Martyr's, well past my bedtime, I felt refreshed and invigorated, rather than exhausted. My ears were ringing, to be sure, but I'll forgive Saul for any aural damage, as this was one of the best live shows I've ever seen. At one point, I texted Gabriel to inform him that Saul Williams live was truly a mind-blowing experience. One that I can't recommend highly enough to all of you.
If you would like to check out more Saul Williams pics, look here!
Tuesday, February 12, 2008
Who Has Saul Williams Tickets?
We do, that's who!
In case you were unaware, Saul Williams is taking the "Tar Spangled Banner Tour" (subtle!) on the road this spring. And on April 18th, Ro, Iris and I will take it all in at Martyr's, a Chicago venue I've never heard of before. But it sounds tiny, doesn't it? Like the kind of place where they'd have some stampede related to some fire code violation, and then they can say "Maise martyred herself at Martyrs for Saul Williams."
Anyway, I'm very much looking forward to this show. When I asked Mr. Maise if he wanted to go, he snarked, "No, thanks, I've already seen Nine Inch Nails." Yes, Trent Reznor has certainly left his mark on The Rise and Inevitable Liberation of Niggy Tardust, but if you really listen, it is easy to see that Saul has remained true to his poetry and hip-hop roots. Niggy Tardust remains an exciting and underappreciated album several months after its release, and I'll be interested to see what Saul brings to his live show.
If you'll bear with me as I return to the Saul/Trent comparison and contrast, I will point out that like Trent, Saul can be inspiring, but also baffling. He can be witty, but also boneheadedly obvious.
Take, for example, his video for the cover of U2's "Sunday Bloody Sunday".
Here, we learn that one should be a little compassionate to the homeless and perhaps walk a mile in their shoes. Unless there's some deeper meaning that I'm missing? Seriously, is there? I mean, if there's not, don't you kind of wish that there were some sort of more complex backstory? Maybe Saul Williams in The Fisher King? I mean, who is this Homeless Guy Protagonist? A man with mental illness? A tortured, starving artist? A mistreated war veteran? What???
And is that an Amy Winehouse cameo at 3:53? Just kidding.
Actually, speaking of Amy Winehouse, she was on the Grammys (in case you weren't already aware). And she was actually kind of...well, I wouldn't say awesome, but she was at least conscious and NOT slurring her words, which is more than one can say for her performances since August. It's a good sign, really, from someone who loves her, and I hope that she truly is getting back on track. She seemed to be enjoying herself, even if she seemed a little awkward. However, I hope she didn't wreck her voice at the same time that she tried to wreck her body. I mean, not to be rude, but I've done better renditions of these songs in my car on the way to work. And really, that's not me trying to brag.
But I wish her nothing but the best and a speedy recovery, and I hope she takes all this shit and makes an even more amazing album out of it. Keep up the good work, Amy!
Oh, and Kanye was at the Grammys too! And although I'm not a huge fan of his, if his upcoming stage productions look like this, I'm totally up for seeing him live. OMG, he looks like Elton John in these light-up sunglasses! And the Daft Punk! And the random fashion references in his lyrics! LOVE it.
And of course, the big WTF of the night was Herbie Hancock winning Album of the Year, but...does anyone actually care about the Grammys? (Other than Kanye, who ALWAYS wants to win.) All of Trent Reznor's bitching about award ceremonies always comes off as sour grapes in a way, but in this case he's totally right. Irrelevant industry bigwigs handing out trophies. Meh.
I mean, hell, I didn't even watch the Grammys, so if there are any other highlights we should be aware of, feel free to mention them!
In case you were unaware, Saul Williams is taking the "Tar Spangled Banner Tour" (subtle!) on the road this spring. And on April 18th, Ro, Iris and I will take it all in at Martyr's, a Chicago venue I've never heard of before. But it sounds tiny, doesn't it? Like the kind of place where they'd have some stampede related to some fire code violation, and then they can say "Maise martyred herself at Martyrs for Saul Williams."
Anyway, I'm very much looking forward to this show. When I asked Mr. Maise if he wanted to go, he snarked, "No, thanks, I've already seen Nine Inch Nails." Yes, Trent Reznor has certainly left his mark on The Rise and Inevitable Liberation of Niggy Tardust, but if you really listen, it is easy to see that Saul has remained true to his poetry and hip-hop roots. Niggy Tardust remains an exciting and underappreciated album several months after its release, and I'll be interested to see what Saul brings to his live show.
If you'll bear with me as I return to the Saul/Trent comparison and contrast, I will point out that like Trent, Saul can be inspiring, but also baffling. He can be witty, but also boneheadedly obvious.
Take, for example, his video for the cover of U2's "Sunday Bloody Sunday".
Here, we learn that one should be a little compassionate to the homeless and perhaps walk a mile in their shoes. Unless there's some deeper meaning that I'm missing? Seriously, is there? I mean, if there's not, don't you kind of wish that there were some sort of more complex backstory? Maybe Saul Williams in The Fisher King? I mean, who is this Homeless Guy Protagonist? A man with mental illness? A tortured, starving artist? A mistreated war veteran? What???
And is that an Amy Winehouse cameo at 3:53? Just kidding.
Actually, speaking of Amy Winehouse, she was on the Grammys (in case you weren't already aware). And she was actually kind of...well, I wouldn't say awesome, but she was at least conscious and NOT slurring her words, which is more than one can say for her performances since August. It's a good sign, really, from someone who loves her, and I hope that she truly is getting back on track. She seemed to be enjoying herself, even if she seemed a little awkward. However, I hope she didn't wreck her voice at the same time that she tried to wreck her body. I mean, not to be rude, but I've done better renditions of these songs in my car on the way to work. And really, that's not me trying to brag.
But I wish her nothing but the best and a speedy recovery, and I hope she takes all this shit and makes an even more amazing album out of it. Keep up the good work, Amy!
Oh, and Kanye was at the Grammys too! And although I'm not a huge fan of his, if his upcoming stage productions look like this, I'm totally up for seeing him live. OMG, he looks like Elton John in these light-up sunglasses! And the Daft Punk! And the random fashion references in his lyrics! LOVE it.
And of course, the big WTF of the night was Herbie Hancock winning Album of the Year, but...does anyone actually care about the Grammys? (Other than Kanye, who ALWAYS wants to win.) All of Trent Reznor's bitching about award ceremonies always comes off as sour grapes in a way, but in this case he's totally right. Irrelevant industry bigwigs handing out trophies. Meh.
I mean, hell, I didn't even watch the Grammys, so if there are any other highlights we should be aware of, feel free to mention them!
Friday, January 4, 2008
Oh come on, people!
Today, Trent provided the following update about Saul Williams' latest, The Rise and Inevitable Liberation of Niggy Tardust:
"Saul's previous record was released in 2004 and has sold 33,897 copies.
As of 1/2/08,
154,449 people chose to download Saul's new record.
28,322 of those people chose to pay $5 for it, meaning
18.3% chose to pay."
Given that the entire album was a mere $5, which is about half the price you'd pay for it on itunes and maybe even 1/3 of the price you'd pay for it at Target or Best Buy or other music stores, I find this most depressing.
Artists, especially up-and-coming artists like Saul Williams, need money, folks. That cat with an eyepatch isn't going to pay for his own Meow Mix. I know that not everyone has a lot of expendable cash these days, but $5...that's a single trip to Starbucks for most of us. That's less than 2 gallons of gas. And I think if you can afford the fancy-schmancy ipod to put the music on, you can afford to throw Saul Williams $5 for his work, his livelihood. I understand that some people may have wanted to "try it out first," and perhaps they weren't sure if they were going to like it, and they saw that it could be free, so they thought, what the hell?
Maybe that's just the state of affairs these days, and people simply will not pay for albums. I certainly hope that if those people liked the album (and there's no reason why they shouldn't have), that they intend to support Saul on his upcoming tours. Or buy his merch. Or SOMETHING.
Music shouldn't be expensive, but it's not WORTHLESS. Support your artists, kids.
**The more you know.
"Saul's previous record was released in 2004 and has sold 33,897 copies.
As of 1/2/08,
154,449 people chose to download Saul's new record.
28,322 of those people chose to pay $5 for it, meaning
18.3% chose to pay."
Given that the entire album was a mere $5, which is about half the price you'd pay for it on itunes and maybe even 1/3 of the price you'd pay for it at Target or Best Buy or other music stores, I find this most depressing.
Artists, especially up-and-coming artists like Saul Williams, need money, folks. That cat with an eyepatch isn't going to pay for his own Meow Mix. I know that not everyone has a lot of expendable cash these days, but $5...that's a single trip to Starbucks for most of us. That's less than 2 gallons of gas. And I think if you can afford the fancy-schmancy ipod to put the music on, you can afford to throw Saul Williams $5 for his work, his livelihood. I understand that some people may have wanted to "try it out first," and perhaps they weren't sure if they were going to like it, and they saw that it could be free, so they thought, what the hell?
Maybe that's just the state of affairs these days, and people simply will not pay for albums. I certainly hope that if those people liked the album (and there's no reason why they shouldn't have), that they intend to support Saul on his upcoming tours. Or buy his merch. Or SOMETHING.
Music shouldn't be expensive, but it's not WORTHLESS. Support your artists, kids.
**The more you know.
Thursday, November 8, 2007
Review of the Rise and Liberation of Niggy Tardust!
Alright guys. Let's just back away from the last few posts with all the unpleasant comments they generated and move on to something I'm sure we can all love. Saul Williams's new album:
The Inevitable Rise and Liberation of Niggy Tardust!
I'll admit I was leery at first because while I liked some songs of his previous album, it was by no means my favorite, but I still wanted to support this new "label-free" experiment Trent and others are working on. I'm happy to say that my fears were completely unnecessary, and this album totally rocks! Download it for free or download it for $5, the choice is yours, but just DOWNLOAD IT! The cover of "Sunday Bloody Sunday" is almost worth the $5 on its own, and you shouldn't cut yourself short in the sound quality on this one or any of the other heavily layered tracks. Free 192kps mp3 = crap -OR- $5 320kps mp3 = much higher quality. Or even go for the $5 FLAC lossless audio, but be prepared to use a conversion program to get it to play.
You can clearly hear Trent's NIN influence in the music, and he is credited on most of the songs. If a person were to listen to Year Zero and this album back to back, I don't think they'd be surprised to learn they were recorded about the same time (both being worked on while Saul was the opening act during the [With_Teeth] tour). Both are beautifully layered with "noise," but where Trent makes his lyrical points blunt with NIN, Saul speaks in wide-ranging metaphors cleverly concealed in catchy, dance-able beats so that his "message" isn't completely overpowering. I recommend listening to the whole album before specifically reading the lyrics; it makes it easier if you can hear the flow as you go. Saul has a sense of humor about studying lyrics so closely though. If you're reading through them in iTunes, when you get to the last song, instead of lyrics you get "enough already. Stop reading and dance" and then a plug to his other book The Dead Emcee Scrolls ("available now in bookstores" he tells us).
You can clearly hear Trent's NIN influence in the music, and he is credited on most of the songs. If a person were to listen to Year Zero and this album back to back, I don't think they'd be surprised to learn they were recorded about the same time (both being worked on while Saul was the opening act during the [With_Teeth] tour). Both are beautifully layered with "noise," but where Trent makes his lyrical points blunt with NIN, Saul speaks in wide-ranging metaphors cleverly concealed in catchy, dance-able beats so that his "message" isn't completely overpowering. I recommend listening to the whole album before specifically reading the lyrics; it makes it easier if you can hear the flow as you go. Saul has a sense of humor about studying lyrics so closely though. If you're reading through them in iTunes, when you get to the last song, instead of lyrics you get "enough already. Stop reading and dance" and then a plug to his other book The Dead Emcee Scrolls ("available now in bookstores" he tells us).
While I like all the general topics brought up throughout the songs (standing up for yourself, problems with political authority, self doubt, etc), I wasn't so keen about all the "N" bombs being dropped. It's just not my style and therefore not normally something I even give a chance, but after reading a bit from a document included with the leaked tracks, you realize he's intentionally trying to make you feel uncomfortable.
"The Inevitable Rise and Liberation of NiggyTardust! is the lovechild of Trent and me. The NiggyTardust concept sets me free to do more on stage with costume, etc. than one might expect from a regular Saul Williams show. It allows me to put my theatre training to use. I've also thought long and hard about all the discussion surrounding racial epithets etc. and chose this title as a means of furthering the dialogue while also showing how creativity will outlive and outshine hatred of any kind."
He's wanting to change the interpretations and negative connotations surrounding it. That's commendable and should make for an interesting show when he goes on tour to support this release. So our dear RoRo was onto something. Saul's taking it back, y'all.
But like Saul said, "enough already" on over-analyzing words because the music is pretty amazing too. "Sunday Bloody Sunday" has been overhauled into a bouncy, up-tempo beat that is infectious. It started with just tapping my foot, but by the second round of "oh, oh, oh"s, I was singing along. This one sticks in my head all day and is definitely one of my top three picks. While the majority of the other tracks have that NIN-influenced abrasiveness or sound "hard" because of the delivery of the vocals (e.g., "Black History Month," "Convict Colony," "Break," "Skin of a Drum," "The Ritual"), the songs that really stood out and blew me way were the softer and self-doubting "No One Ever Does" and the simply structured "Banged & Blown Through." I love the vulnerability of the keyboards and the soft texture of the vocals in "No One Ever Does." And while the drumbeat of "Banged & Blown Through" is strong, the falsetto backup vocals manage to still make it feel vulnerable and it gets me every time. That's not to say I don't like the harshness of the other songs mentioned above because I do. In fact, I would say it's the perfect set up to make these softer tunes really jump out at you.
I feel the album artwork is also worth mentioning. I felt that leery sense again when I heard Rob Sheridan had a hand in it, but it's not as bad as all that. The booklet is included with the download as a .pdf file, and much of it reminds me of what was briefly shown in Saul's book (s)he, only with color. Even the lyrics, handwritten in most cases, add to the eclectic group of artwork. There seems to be a running theme of Roman-inspired horses, a few images of Egyptian Gods, and this little voodoo-looking guy. You can clearly see him on page 26 of the booklet, but notice that he's also hiding behind a layer of paint on pages 17 & 27. His little eyes peek out at you. Kind of creepy, no? My point here is that anyone concerned with this new manner of music distribution and seemingly inevitable extinction of album artwork or booklets needs only look through the included .pdf file to see that it will be okay. Perhaps that makes me old school, but I like looking through that stuff. It enhances the tone of everything else. I'd like to think of the much criticized ARG as Trent's online (albeit elaborate) version of Year Zero's "album artwork."
Overall, I think that Trent and Saul mesh well together, and I hope they stay close for future projects. Their two styles and passions (music and lyrics/spoken word) compliment each other. It's been fun delving into this album and its layers and layers of content, and I can't wait to see what else is waiting to reveal itself in subsequent listens. Bottom line people: YOU SHOULD GET THIS.
But like Saul said, "enough already" on over-analyzing words because the music is pretty amazing too. "Sunday Bloody Sunday" has been overhauled into a bouncy, up-tempo beat that is infectious. It started with just tapping my foot, but by the second round of "oh, oh, oh"s, I was singing along. This one sticks in my head all day and is definitely one of my top three picks. While the majority of the other tracks have that NIN-influenced abrasiveness or sound "hard" because of the delivery of the vocals (e.g., "Black History Month," "Convict Colony," "Break," "Skin of a Drum," "The Ritual"), the songs that really stood out and blew me way were the softer and self-doubting "No One Ever Does" and the simply structured "Banged & Blown Through." I love the vulnerability of the keyboards and the soft texture of the vocals in "No One Ever Does." And while the drumbeat of "Banged & Blown Through" is strong, the falsetto backup vocals manage to still make it feel vulnerable and it gets me every time. That's not to say I don't like the harshness of the other songs mentioned above because I do. In fact, I would say it's the perfect set up to make these softer tunes really jump out at you.
I feel the album artwork is also worth mentioning. I felt that leery sense again when I heard Rob Sheridan had a hand in it, but it's not as bad as all that. The booklet is included with the download as a .pdf file, and much of it reminds me of what was briefly shown in Saul's book (s)he, only with color. Even the lyrics, handwritten in most cases, add to the eclectic group of artwork. There seems to be a running theme of Roman-inspired horses, a few images of Egyptian Gods, and this little voodoo-looking guy. You can clearly see him on page 26 of the booklet, but notice that he's also hiding behind a layer of paint on pages 17 & 27. His little eyes peek out at you. Kind of creepy, no? My point here is that anyone concerned with this new manner of music distribution and seemingly inevitable extinction of album artwork or booklets needs only look through the included .pdf file to see that it will be okay. Perhaps that makes me old school, but I like looking through that stuff. It enhances the tone of everything else. I'd like to think of the much criticized ARG as Trent's online (albeit elaborate) version of Year Zero's "album artwork."
Overall, I think that Trent and Saul mesh well together, and I hope they stay close for future projects. Their two styles and passions (music and lyrics/spoken word) compliment each other. It's been fun delving into this album and its layers and layers of content, and I can't wait to see what else is waiting to reveal itself in subsequent listens. Bottom line people: YOU SHOULD GET THIS.
Thursday, October 25, 2007
WTF????
WTF.
That acronym came to mind when I saw that The Spiral had sent me an email with the subject line "Niggy Tardust." I was checking my email on my cellphone and couldn't actually read the body of the message. I saw only that the message included "attachments." So I thought, "Hm, it says it's from the Spiral, but there's a weird racially provocative subject line and attachments...some racist must have hacked into nin.com and sent out some crazy virus!" Seriously. That's totally what I thought.
Then I checked nin.com to read what I thought would be Trent's vehement disavowal of anything to do with this so-called "Niggy Tardust" virus and Trent's threats to kick the ass of this racist motherfucker, etc. etc.
Instead, what I see is this:
Big news today!As many of you know, I've been working closely with Saul Williams on his new record. We've spent many hours together in hotel rooms, busses, backstages and studios around the world working on something we knew was great. This is the most involved I've been with any project outside NIN since Antichrist Superstar, and I've been impatiently waiting for the chance for you to hear it.
Well... guess what?
The Inevitable Rise and Liberation of NiggyTardust! has arrived!After my own recent dealings with record labels we decided to release it directly to you. Head over to www.niggytardust.com for all the details. Register now and you can download the record November 1st.
Working on this project was a real pleasure. Saul was interested in breaking boundaries / crossing genres / defying expectations and we learned a great deal from one another in the process. When asked about the sound of the record, I've had to resort to "... I really don't know HOW to describe it." That's a good thing more than ever these days.
A word on the way we've chosen to release this.There are obvious similarities in how Radiohead just released their new record and the way we've chosen to. After thinking about this way too much, I feel we've improved upon their idea in a few profound ways that benefit you, the consumer. You obviously will be the judge of this in the end. One thing that IS very different in our situation is that Saul's not the household name (yet!) that Radiohead is, and that means we need your support on this more than ever. If you like what you hear, spread the word.
I hope you enjoy the music,TR
posted by Trent Reznor at 7:56 AM.
Oh, it's Saul. Okay.
Well, that's a relief, I guess.
So then if you go to...God...niggytardust.com, you can see this.
I like the background music, but um, what? There's voodoo and Trent's hand grabbing an English muffin? Can someone tell me what the fuck is going on here?
That acronym came to mind when I saw that The Spiral had sent me an email with the subject line "Niggy Tardust." I was checking my email on my cellphone and couldn't actually read the body of the message. I saw only that the message included "attachments." So I thought, "Hm, it says it's from the Spiral, but there's a weird racially provocative subject line and attachments...some racist must have hacked into nin.com and sent out some crazy virus!" Seriously. That's totally what I thought.
Then I checked nin.com to read what I thought would be Trent's vehement disavowal of anything to do with this so-called "Niggy Tardust" virus and Trent's threats to kick the ass of this racist motherfucker, etc. etc.
Instead, what I see is this:
Big news today!As many of you know, I've been working closely with Saul Williams on his new record. We've spent many hours together in hotel rooms, busses, backstages and studios around the world working on something we knew was great. This is the most involved I've been with any project outside NIN since Antichrist Superstar, and I've been impatiently waiting for the chance for you to hear it.
Well... guess what?
The Inevitable Rise and Liberation of NiggyTardust! has arrived!After my own recent dealings with record labels we decided to release it directly to you. Head over to www.niggytardust.com for all the details. Register now and you can download the record November 1st.
Working on this project was a real pleasure. Saul was interested in breaking boundaries / crossing genres / defying expectations and we learned a great deal from one another in the process. When asked about the sound of the record, I've had to resort to "... I really don't know HOW to describe it." That's a good thing more than ever these days.
A word on the way we've chosen to release this.There are obvious similarities in how Radiohead just released their new record and the way we've chosen to. After thinking about this way too much, I feel we've improved upon their idea in a few profound ways that benefit you, the consumer. You obviously will be the judge of this in the end. One thing that IS very different in our situation is that Saul's not the household name (yet!) that Radiohead is, and that means we need your support on this more than ever. If you like what you hear, spread the word.
I hope you enjoy the music,TR
posted by Trent Reznor at 7:56 AM.
Oh, it's Saul. Okay.
Well, that's a relief, I guess.
So then if you go to...God...niggytardust.com, you can see this.
I like the background music, but um, what? There's voodoo and Trent's hand grabbing an English muffin? Can someone tell me what the fuck is going on here?
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