I’ve been looking for a way to slip in something more organic and dance oriented to lift and chill the mood. I think it fits nicely between Sterolab and Fuck Buttons. Here’s rinôçérôse from their super danceable Installation Sonore (1999). I saw them at an open air on a summer’s evening a few years ago and man was that a fun show, dancing everywhere, nonstop.
This will be my second to last post for NEIMT. Though it’s great being a part of it, I am not able to respond to posts in a reasonably timely manner. Though I will continue to listen eagerly. And I promise to deliver my final post within the agreed upon 2 days! m.eppelheimer
I was going to put up an LFO (Mark Bell, who produced some Björk) track that fit in nicely but it felt like too much of the same. Mixes should have pauses, or spaces to reset while a theme develops so here’s a piece by Consor. Some of my favorite tracks are long with a sense of drama and build that start with a theme and dance around it and return to it (Eno, Mogawi, Godspeed). This one reminds me of Music for…-era Eno and has the electronica and scratchiness we’ve been grooving on. I like the ambience and slowness and those deeper pipe-organ-like notes that run throughout.
I don’t know how I came across the video below, but it induced me to go straight to iTunes and buy the album. I’m straying from the industrial path a bit but this track has great beats, atmosphere, and is well dark. Nodern is the moniker of a South African artist/musician named Mitch Stratten who built that crazy dog including animatronics.
The best track from the best industrial album I ever owned, The Revolting Cocks’ Big Sexy Land. Like M.I.A. RevCo was enveloped in controversy in the 80s and the UK even banned tracks like “No Devotion” (“The voice of god means nothing anymore!”). Being in high school during the height of industrial in a city at it’s center (WaxTrax) I saw my share of shows at the Metro in Chicago; Ministry, Revolting Cocks, Test Dept., Laibach, Skinny Puppy, Front 242, Einsturzende Neubauten, Nitzer Ebb and more. In the basement of the Metro was The Smart Bar where “Attack Ships On Fire” and Nitzer Ebb’s “Join in the Chant” always had immediate and complete effect on the dance floor.
I always put Big Sexy Land up there with Fear Of A Black Planet, 2 albums I often revisit that ended the 80s on angry, relentless and awesome notes.
Planets influence each other in a regular, predictable way. Not so the 3 current contributors to the Neverending Mix. This third volume may not be the smoothest ride, but it’s a rocking one. It’s especially satisfying to me as many of Robb’ s and Mike’s tracks were unknown or new to me (discovering new/unknown music being one of the main points of this exercise). Throughout the run of a mix, finding the right track to respond to increasingly complex attributes is a daunting task. At the same time controlling the pacing and flow is not absolute, a track laid down is a track laid down. I wonder how a blind response to a list of requirements would turn out, we each deliver five tracks based on predetermined requirements of genre or year or place or…. would be fun to approach some mixes in an Oblique Strategies sort of way. m. eppelheimer
01 Spartacus by Ungdomskulen
02 Feel the Mores by Wicked Farleys
03 Slipstream by Silkworm
04 No Sleeves by Les Savy Fav
05 Little League by Cap’n Jazz
06 It’s Expected I’m Gone by Minutemen
07 Without MSG I Am Nothing by Mclusky
08 Phoenix and the Faultline by The Plastic Constellations
09 Lie Down on Landsdowne [Version] by Lifter Puller
10 Epic Problem by Fugazi
11 Arizona by The Constantines
12 What If I Was Right by Sleater-Kinney
13 Cresent City by Gabardine
14 Snake Charmer by The Warmers
15 Via Nomentana by Joe Lally
Maybe a quick response will bring back Mike’s good humor?
Though a dip in a pool or some AC might be more successful.
Whenever I listen to Sleater-Kinney I usually end up listening to Gabardine, mostly because I discovered them around the same time. Or maybe it’s the spare approach they share. Gabardine is a trio from Zurich that I had the pleasure of opening for with my last band in Basel. Switzerland is a desolate wilderness for the thirsty, transplanted, rock music fan, but there are a few oases like Gabardine and Shilf. At first I thought Slow Motion Rocket would be a good follow up track, but it’s too slow. Then I thought, hmm, what have they been doing lately? And found the Years & Airports album from last year. Thanks Mike! Then I heard this great track and it was decided. m.eppelheimer
We are listening to each other Robb, just not agreeing and the mix is very interesting because of the unexpected flow. Fugazi’s my appropriate or inappropriate next choice for this mix. For some reason I didn’t get into them until this album came out in 2001, then I backtracked with a vengeance.
I think about Fugazi’s The Argument a lot. It’s in my top all time favorite Albums. That’s capitalized because it’s a true album experience, the tracks interlocking in a sonic story with pacing: ups, downs, climaxes, resolutions. And I could listen to it over and over and over. It’s quiet, tense, loud, bracing, and a seamless crossover of rock, alternative and postpunk and every freaking track is memorable. So if anyone out there doesn’t have this, they NEED it.
But picking a song sure is a task, a problem, an… epic… problem. m.eppelheimer
Talk about muscle.
Mclusky could’ve beaten the shit out of the Minutemen and Cap’n Jazz at the same time.
My dad could’ve beaten the shit out of Mclusky, the Minutemen and cap’n Jazz at the same time.
I don’t fight, I just like to watch. m.eppelheimer
This Les Savy Fav track sure feels like it’s right in line with the previous tracks and you know I like that dance around Fugazi guitar territory. It’s groovy and angular and repetitive. I don’t know what the hell the song means but it contains these great lines: “this is the bishop’s finger” / “edison put the gun in our hands” / “this move was trademarked in 1892″. m.eppelheimer
To kick off round three I’m starting with a song that could take the mix in many directions. I discovered Ungdomskulen (junior high school) watching them make Spaghetti Bolongnese in their apartment on Current TV. I’m not a big fan of prog oriented rock but holy crap do I love this goofball power-trio band from Bergen, Norway. “Glory Hole”, “Modern Drummer” and “Ordinary Son” are all stand outs from the Cry-Baby album, but “Spartacus” is my favorite, with lots of changes, some great Fugazi inspired guitar and the vocal delivery in the chorus reminds me of Album era PiL.
Last.fm member sabsludge described them thus: “King Crimson song structures + Black Sabbath riffs + Sonic Youth tone + Dinosaur Jr vocals = Ungdomskulen. In short, this band is better than eating at Burger King twice per week.” m.eppelheimer
So everything I was trying out was too psych, to heavy, too dark, with lyrics buried too deep to follow that awesome Cribs track. Then I scrolled past British Sea Power. They meld punk, goth, new wave and deliver it in big uplifting waves of crashing sound. When their debut, The Decline of British Sea Power, came out it grabbed me instantly. Bold and brash with a huge ass guitar sound (influenced no doubt by Joey Santiago, Kevin Shields and J.Mascis among others), the album and this track kick it hard.
Loveless influenced so much, and the deeper in the mix we get, the more the possibilities exponentially expand. So I have another huge list of almosts. With “shoegaze” I’m a sucker for the wash, the sense of being overpowered by, or diving into, the sound. There’s a lot of that going on in this mix and I’m going to push it along with a Yo La Tengo track from 2006s I Am Not Afraid of You and I Will Beat Your Ass. They just keep going and going, making one great album after the other.
I also thought it would be nice to have a big noisy epic track right in the middle of the mix: here’s “The Story of Yo La Tango”. m.eppelheimer
Ah, the über great XTRMNTR from Primal Scream. Welcome to the new f’n millenium. Sometimes an album comes along that rewrites it, or, reformulates it, and I’m still shocked at it’s caustic tone, groove, and anger at the world. The melding of shoegaze, psychedelia, punk and electronica is sublime. Mani from the Stone Roses, Kevin Shields from My Bloody Valentine and Bernard Sumner from New Order were all on board for this album.
Shoot Speed/Kill Light closes it beautifully. Felt like the right place to take this. m.eppelheimer
Musical taxonomies are personal for me, musical relationships are about discovered music as it relates to eras and events growing up, making friends, falling in love. For example Rick James’ Super Freak is about bus rides to high school football games, exploding testosterone levels, insecurity, exploration, confusion… Head on the Door is about driving, drinking, sex, changing friendships, becoming.
So, moving from hours to minutes but staying in the 80s, here’s a track by Love and Rockets before they shed most of the goth of Bauhaus and Tones On Tails but are definitely getting more psychedelic, glam, and moving towards the mainstream. It’s a magic spot and this is a magical track, one that Harry Soenksen and I spent many evenings listening to, driving back and forth from home to Medusas, The Exit, Berlin, or the Smart bar. m.eppelheimer
Holy crap this one was tough! I was all over the place, with a folder full of almosts, Funkadelic, Talking Heads, Miike Snow, Rinocerose, Brian Eno & John Cale, Four Tet, The Style Council…
So, I went with this awesome feel good track track from Camera Obscura, replete with Afro beat, guitars, girls, and of course, horns. You can dance to it, sing to it, rock to it. And thinking of John Zorn (though still the right choice!), when I heard the line, “tell me where it all went wrong, maybe I can make it better” that cinched it.
Those last two tracks had to result in John Zorn with the Naked City band, but it was a real battle between Punk China Doll, Saigon Pickup, and Contempt. They all are bustin’ genre like mad and the sax wails throughout. Contempt is the straightest of the them and has some dirge and hypnotic qualities that could have steered us back a bit. Punk China Doll was the heavier, rockier punk meets Ornette Coleman track. Saigon Pickup has it all.
When I first got the debut Naked City album and brought it to undergrad studio, my good friend Chuck said, “This is like being strapped to the hood of a New York City taxi on a Saturday night!” Fucking A Double Plus.
The Naked City Band: John Zorn, Bill Frisell, Fred Frith, Wayne Horvitz, Joey Baron. m.eppelheimer
OK, it’s been a hairy string of days, hence the lag. Though, I knew immediately it had to be Smog to follow that last track and fit into the groove of this collection. Smog combines the surreal and earnest to great effect, and, as we’re onto hypnosis I’ve gotta answer with Bathysphere (though it’s a bit obvious and I’m shooting my Smog load early), chock full of simple repeating horns(?) and guitar lines paired with some great writing. This is a track I can set to repeat and roll with for a long time. This particular Smog album (Wild Love) contains 2 of my all time favorite songs by anyone, ever, this track and Prince Alone in the Studio (talk about haunting, surreal and ridiculous all at the same time). Get used to hearing Bill Callahan’s voice. m.eppelheimer
I can’t really feel or dream down here
Seems like our path is becoming tuneful and noisy. I only knew of Pere Ubu through reputation and Peter Murphy’s version of Final Solution (originally, a Rocket from the Tombs track). When they came through Basel in 2006 and played on a boat I thought it important to see what they were about. It was an art-noise-psych freakout, with David Thomas drinking whiskey and “singing” in front of it all. Happily blown away, I’ve been slowly picking up Pere Ubu albums ever since. Caroleen is from 2006′s Why I Hate Women.
And in the cool hours of the nite,
she kisses me and it rips my head off.
You know her name, rhymes with gasoline.
Her perfume, I think it’s turpenteen.
And I feel alive,
and I hope it’s love.
Caroleen, Caroleen, Caroleen, Caroleen.
Caroleen, Caroleen, Caroleen, Caroleen.
Listening to the Spoon song with new ears, (as a fresh faced NEIMT contributor) I immediately thought, ”Elvis Costello, This Year’s Model!” It’s good reflection on the new Spoon album. Sparse musically, the Attractions are super tight, and Costello spits tuneful anger and bile (“Sometimes I almost feel just like a human being”). Almost every track is a stand out, but, Lipstick Vogue is the tightest and most frenetic. m.eppelheimer
Every couple of days, one of the NEIMT authors will post a song that is in some way a reaction to the previous song posted by another author. Every 15 songs will be packaged up with cover art and presented for download as a complete mix. The only rule is that no artist can appear more than once in the same volume.
The best way to be informed of NEIMT posts is to subscribe in the field in the upper right. You can also follow the page on facebook. We longer maintain an email list. Email is dead to us. We'd love to hear your feedback in the comments of this blog, but if you'd like to contact the NEIMT directly, email to: robb (at) agrayspace (dot) com.
You can still see the old mixes at neimtarchive.blogspot.com. Some of the old download links might still even work.
We freely admit that this blog is probably a violation of artistic copyright law. We put together these mix "tapes" as way to share great music in a way that encourages artist support and utilizes grassroots promotion by purposefully violating those copyrights. We would like to imagine that no artist in their right mind would oppose such altruistic intentions despite its bureaucratic insubordinance.