Discovering new talents is always fun. Especially in places where you wouldn’t really expect it.
Take this for example:
A niche within a niche within a niche hobby associated mainly with incels. But suddenly a concert in Radio City Hall in NYC pops up a few weeks back and you hear this: (ignore the uncanny valley visuals that seem like a cartoon version of the Thunderbirds)
This really had me stumped. How did these women end up here and not selling out every football arena on the planet? (Especially the vocal range of the short brownhaired one is insane)
Sorry, but the day I go see a live show with cartoon characters on the stage and expect it to be as compelling as live humans is the day you can shovel dirt on me or fire up the crematorium. Are there humans singing this live in the background, or is this whole thing recorded and choreographed in advance?
Sincerely glad you find it compelling. I find it utterly ridiculous.
???
I don’t recall asking you to do that?
I’m also not sure if I’d pay to see a show like this (It’s a yt vid that dropped in my recs. Their singing impressed me). But yeah, I do feel that ridiculous things makes living life worth it. Especially with all the other dark and depressing stuff happening. And when it comes to concerts, I’ve helped at and organized alot of festivals and concerts until my late 20’s (going from 1 to abt 15k audience). I’ve done FoH for The Offspring once, but usually I was managing the backstage. There I learned how ridiculous people can get…I often had more fun there then actually watching the concert)
Also, not sure if this thing was live or pre-recorded. Depends on the facilities available I guess. You’d need a bunch of mocap gear and cameras etc.
In the end, I guess you missed that I was talking about their singing and not the visuals. I very much prefer a live band for the visual part of the entertainment. For sound? It can be a singing turd for all I care, as long as it sounds good.
Rarely does any video enhance music for me. I want my own image in my head not whatever others have created. That said, of course there are videos I enjoy.
I appreciate the vocals in the ‘Alice&u’ and they’re playing to a large crowd. We are not the target audience…
Today’s album listens
The Sundays - Reading, Writing and Arithmetic
Robin Holcomb - Robin Holcomb
Depeche Mode - Violator
Efterklang - Tripper
A 1990 day, except the last one.
Violator is exceptional. Doesn’t hurt that I was 24 when it was released.
I think I posted this Waterboys box set the other day. 6 CDs full of more of the music I loved from the original Fisherman’s Blues I picked up on a lark from the dollar bin just a couple years after release. The Box set contains all the years of music making that led to the original commercial release. The rest is the music they simply made along the way with no commercial aspirations. I imagine it was just pouring out of Mike Scott during those years.
The sound quality leaves a bit to be desired on some sessions but the quality of music makes up for it. There’s still a great sense of the space but I suspect they were limited in the mic department and perhaps even less in skills to place them optimally.
Anyway, best $25 I’ve spent on music in a good while
Today’s albums
Suzanne Vega - Suzanne Vega (first album)
Bibio - Phantom Brickworks (ambient ish)
King Crimson - Red (dislike “Court of…” but this and Discipline are great. Shares a lot more in common with experimental rock, jazz and has spiky guitar forms that sound post-punk a year or two before punk.)
Musicians Gerald Casale and Mark Mothersbaugh were both art school students at Kent State University at the outset of the 1970s.
With their friend Bob Lewis, who joined an early version of Devo and later became their manager, they developed their own philosophy of “de-evolution” – the idea that instead of evolving, humankind has actually regressed, as evidenced by the dysfunction and herd mentality of American society.
Their de-evolution theory was deepened with the aid of a book entitled The Beginning Was the End: Knowledge Can Be Eaten, which held that humankind had evolved from mutant, brain-eating apes.
The trio adapted the theory to fit their view of American society as a rigid, dichotomized instrument of repression ensuring that its members behaved like clones, marching through life with mechanical, assembly-line precision and no tolerance for ambiguity.
The whole concept was treated as an elaborate joke until the bandmembers witnessed the infamous National Guard killings of student protesters at the university; suddenly there seemed to be a legitimate point to be made.
