I went to see Pentatonix last night and had no idea what I was in for. I thought they were just some a cappella group that had a moderate following, but it turns out they are some reality TV show thing. The crowd was full of screaming teenagers. I was so confused. They’d just start screaming at the top of their lungs at random points - halfway through one line of a song, when someone hit a high note, when someone hit a low note, when someone looked at the audience, when someone spoke. Bizarre.
As for the show itself, it was lame as fuck for the first half. It was all four-piece harmonies with a beatboxer, doing covers/medleys - Beyonce, Daft Punk and an “evolution of music” thing - all with highly choreographed dancing. I imagine this is what the kids these days are into. Why bother writing an actual song when you can just sing one line of every other song they already like?
Halfway through they had an interlude where their bass vocalist did some overtone singing. Weird. I get that it’s difficult, but I don’t understand how it’s something you hang your hat on. It’d be like being really really good at lighting your own farts. Sure, show off to your mates, but not to a crowd of a few thousand strangers… The other part of the interlude was when their beatboxer pulled out a cello and beatboxed over himself playing cello. That was very impressive.
The rest of the set was better than the start. They actually sang some original songs which were heaps better than the shit medleys they did.
David Byrne - How Music Works
As someone who is deeply passionate about music, but has no connection to the music industry, this was a fascinating read.
He states early on that it isn’t intended to be a memoir, but the middle third of the book is a personal recount of his connection to performance - how music was performed/heard in the early days of cinema through to how he borrowed ideas from Eastern theater for Talking Heads shows.
Early on it’s about how the history of performance halls and later, recording methods, changed the type of music being played - essentially saying that the environment has had more of a say in creative influences than anything internal or passed on from other music.
There’s also a detailed section about the finances of the music industry - how record deals differ now to when he first started out, and a breakdown of the pros/cons of distribution throughout the scale of 100% label-driven to 100% independent.
Worth a read if you are at all interested in any of the above.
NGV did good.
- Sun 6 Jul Bob Evans
- Sun 13 Jul New Gods
- Sun 20 Jul MT WARNING
- Sun 27 Jul Melody Pool
- Sun 3 Aug Adalita
- Sun 10 Aug Georgia Fair
- Sun 17 Aug Glenn Richards
- Sun 24 Aug Jae Laffer
- Sun 31 Aug Paul Dempsey
- Sun 7 Sep Missy Higgins
Reminder for myself.
MoonRabbit - Let It Roll
Check this out!
Some fucker stole my bike out of my garage overnight.
If you see someone riding a black reid bike covered in Pearl Jam / Sydney Roosters stickers, stab them in the gut and give me a call.
How many industries show no faith in their readership? No trust that they are willing and able to digest complex theories or a desire to know more than just the basics?
In the AFL industry there is a building frustration that the general public have little to no access to advanced statistics. We try, we try very hard, to provide these numbers to our clients but we rely on them as a proxy to the outside world. As a commercial wholesaler of analysis we can’t have our own broadcast method, since that would be in direct competition to our clients.
Unfortunately, the media dismiss a lot of what we provide as “too hard” to explain so they never give their audience a chance. It’s frustrating to unjustly cop criticism for being guarded or for outright denying the public an opportunity to gain some insight into what clubs are using to measure performance.
By all accounts, Brown was One Of The Good Ones. But laying all this out, explaining all the ways in which he didn’t deserve to die like a dog in the street, is in itself disgraceful. Arguing whether Brown was a good kid or not is functionally arguing over whether he specifically deserved to die, a way of acknowledging that some black men ought to be executed.
To even acknowledge this line of debate is to start a larger argument about the worth, the very personhood, of a black man in America. It’s to engage in a cost-benefit analysis, weigh probabilities, and gauge the precise odds that Brown’s life was worth nothing against the threat he posed to the life of the man who killed him. It’s to deny that there are structural reasons why Brown was shot dead while James Eagan Holmes—who on July 20, 2012, walked into a movie theater and fired rounds into an audience, killing 12 and wounding 70 more—was taken alive.
Metronomy - Love Letters
Genre-hopping isn’t a sufficient description. Across different tracks this sounds like completely different bands. There’s huge variety in their sound so it’s an interesting listen at the very least. Opening track The Upsetter gets you into it early and the title track is a fitting representation of the weirdness that’s on the album.
Mum got the all-clear from the specialist earlier this week, meaning the brain tumour hasn’t returned. A full recovery.
When they removed it they had to sever the ear canal so she’s completely deaf on the right side. Apparently she can get a set of hearing aids where the one in the right ear is essentially a microphone that transmits sound back to the left ear.
Her sister had exactly the same operation about four years ago and has since developed chronic neck pain from constantly turning her head to hear people. Mum wants to find a fix before it gets to that stage so they’re going to see a specialist together and might get matching hearing aids at the same time!