Tomorrow Big Jim's Jams February 1st 10pm.
Schedule:
1. 10:10-10:20 - Teaadora Nikolova
2. 10:20-10:30 - Torey Kaufman
3. 10:35-10:45 - Kyle Riley
4. 10:50-11:00 - The Cul-De-Sac Kids
5. 11:05-11-15 - Peter Adriel
6. 11:20-11:30 - Christopher Pond
7. 11:35-11:45 - Lynn O'Brien
Check this shit out:
http://www.wesn.org/
Sunday, January 31, 2010
Thursday, January 28, 2010
RIP J.D.
J.D. you went crazy and have basically been dead for the last 50 years. Now I get to read all those books you've been writing. This pleases me.
Wednesday, January 27, 2010
Teaadora Nikolova Mansion Show
This blog is quickly becoming the Teaadora Nikolova blog. Last Friday, I attended college radio station WESN 88.1 FM’s meet and greet, which featured a performance by Teaadora Nikolova. There was a great deal of beardos there, which pleased me. I often lament the loss of Teaadora’s epic beard but I guess it wouldn’t make since for him to have a beard. Oh well.
Attendance for this event was invitation only and strictly limited to only those with the coolest beards. The show occurred in a dead lady’s mansion, which really suited Teaador’s drone atmospherics.
Someone from the station had ironically supplied a cookie cake with balloons, knock off Doritos chips, and a jug of blue drink of questionable quality. A wise decision though I spilled some blue drink in my beard that did not want to come out.
Teaadora began to play without any introduction; he started with a new one that I had not heard before. He played probably four new songs, which in contrast with his earlier material were perhaps more accessible. Certainly not a mainstream accessibility but the songs had a lot more clean guitar and was a bit more up beat and less drone.
Granted to describe Teaadora’s music as drone is certainly a misnomer, this is nothing like SunnO))), but live it has that affect. Most of his songs build on repeated motifs that are later dissected to play with the audience’s expectations. In turn, these motifs lure the listener into a subdued state of consciousness. Friday’s show also featured Bandura Rotter/ No Mas Ahora played casio organ, which the simple notes he played helped to add to the droning qualities of Teaadora’s music and further led to the listener’s increasing altered state of consciousness.
In terms of old songs, that I can remember, he played the “What’s What This Conversation” song; he just gave me some titles so I should probably learn them, and the “Don’t Expect Perfect Love” song which I love both of. The last one in particular I find to be the one that has the most prominent effect on me. Even with such sparse lyrics, what there is along with his gentle guitar can make me think about every girl I’ve ever been with and all the sadness that has been wrenched out of those sordid relationships.
As the tears streaming down my face washed the blue out of my beard I felt overjoyed that I was with my bearded brethren and getting to see Teaadora again so soon.
Rumor has it that Teaadora Nikolova, and guests, will be appearing on something called Big Jim’s Jams Februrary 1 from 10 to midnight. Listen at http://www.wesn.org/.
Attendance for this event was invitation only and strictly limited to only those with the coolest beards. The show occurred in a dead lady’s mansion, which really suited Teaador’s drone atmospherics.
Someone from the station had ironically supplied a cookie cake with balloons, knock off Doritos chips, and a jug of blue drink of questionable quality. A wise decision though I spilled some blue drink in my beard that did not want to come out.
Teaadora began to play without any introduction; he started with a new one that I had not heard before. He played probably four new songs, which in contrast with his earlier material were perhaps more accessible. Certainly not a mainstream accessibility but the songs had a lot more clean guitar and was a bit more up beat and less drone.
Granted to describe Teaadora’s music as drone is certainly a misnomer, this is nothing like SunnO))), but live it has that affect. Most of his songs build on repeated motifs that are later dissected to play with the audience’s expectations. In turn, these motifs lure the listener into a subdued state of consciousness. Friday’s show also featured Bandura Rotter/ No Mas Ahora played casio organ, which the simple notes he played helped to add to the droning qualities of Teaadora’s music and further led to the listener’s increasing altered state of consciousness.
In terms of old songs, that I can remember, he played the “What’s What This Conversation” song; he just gave me some titles so I should probably learn them, and the “Don’t Expect Perfect Love” song which I love both of. The last one in particular I find to be the one that has the most prominent effect on me. Even with such sparse lyrics, what there is along with his gentle guitar can make me think about every girl I’ve ever been with and all the sadness that has been wrenched out of those sordid relationships.
As the tears streaming down my face washed the blue out of my beard I felt overjoyed that I was with my bearded brethren and getting to see Teaadora again so soon.
Rumor has it that Teaadora Nikolova, and guests, will be appearing on something called Big Jim’s Jams Februrary 1 from 10 to midnight. Listen at http://www.wesn.org/.
Saturday, January 23, 2010
Solaris (1972)
Andrei Tarkovsky is not an easy director to watch. Having seen only one of his later films, Stalker, I knew what I was getting into with Solaris: long tracking shots, sparse, mainly philosophical dialogue, and an extremely slow, meditative pace. I had mixed feelings about Stalker, but now I realize that was probably due to the fact that my roommates were talking in the background for much of the film, and I was distracted. To fully appreciate Tarkovsky’s films, one must be completely immersed as much of the beauty extends from the minimalist music and hypnotic camerawork.
Solaris is often called the Soviet answer to 2001: A Space Odyssey and it is easy to see why. Both films concern themselves with the future of mankind and the logical extension of man into the cosmos, and are stylistically similar. However, while 2001 is mostly about technological advancement and the idea of humans conquering space, Solaris is much more personal, focusing on the human psyche.
The plot concerns a psychologist, Kris, who is departing for a space station orbiting a planet called Solaris to investigate the inhabitant’s supposed madness. Before departing, he is shown a video of man who has become deeply disturbed by what he saw when his ship descended into the planet’s ocean. Upon arriving at the station, he finds it to be eerily desolate and deserted. He discovers that one of the three inhabitants has committed suicide for unknown reasons. One of the strongest aspects of the film was the depiction of the events inside the space station. There is a mysterious, creepy aura as the plot slowly unfolds, and a constant feeling of anxiety as the true nature of Solaris is revealed.
The ocean of Solaris is a consciousness of its own that has the ability to read the inhabitant’s minds and build a physical being based on the images. The shots of the pulsating ocean itself look incredibly advanced for their time, and are really unnerving. Eventually, Solaris causes Kris’s dead wife to reappear on the ship, and he attempts to kill her twice to no avail. One of the other inhabitants remarks that Kris should be glad that someone significant from his past has appeared, rather than something that is just a figment of his imagination, which would be pretty terrifying. Kris came to the station to investigate the others, but eventually he is overtaken by his own emotions as he deals with his wife, who in reality is just composed of neutrinos. Tarkovsky is excellent at depicting Kris’s psychological trauma and Bach’s minimalist score is perfect. The final shot of the film is incredibly thought provoking and shocking.
Some may accuse Solaris of being a boring film, and it is true that you need to be a patient person or in the right mood to watch it, but it is incredibly rewarding in the end. It addresses big themes such as loneliness, isolation, and man’s place in the Universe (best summed up by the quote “We have no ambition to conquer any cosmos. We just want to extend Earth up to the Cosmos's borders. We don't want any more worlds. Only a mirror to see our own in. We try so hard to make contact, but we're doomed to failure. We look ridiculous pursuing a goal we fear and that we really don't need. Man needs man!”).
9/10
Beach House-Teen Dream
Beach House singer Victoria Legrand’s notable guest appearances with Grizzly Bear last year have pushed Beach House into the indie rock limelight. Beach House was certainly not an obscure band but with the backing of Grizzly bear anticipation for Teen Dream had become just as feverish as Animal Collective’s Merriweather Post Pavilion.
Much like Grizzly Bear, whose music hinges on brilliant vocal harmonies, Beach House revolves around Legrand’s voice. Often compared to Nico, Legrand’s voice is quite deep but has a very soulful quality to it. Victoria Legrand certainly has much more control and range than Nico as heard in lead single “Norway” where Legrand sings against a backing of her own lushly recorded voice. Moments like these recall Elizabeth Fraser of the Cocteau Twins. While other member, Beach House is a duo, Alex Scally’s guitar also seems inherited from the Cocteau Twins the way in which Beach House utilize dream pop is unlike anything associated with the genre.
The album operates mostly through repetition. Organs and keyboards successfully interlock with dream pop guitars, “Walk in the Park” is the best example, all backed by pulsating electronic drums. The programmed drums, at their best, recall krautrock pioneers Neu! and like Neu! propel the music forward to satisfying emotional climaxes.
Beach House repeat choruses far more often than most artists, Legrand uses rather minimal lyrics, yet on songs like “Silver Soul” or the aforementioned “Norway” the propulsion of the music assists Legrand who adds more emotional weight each time she repeats a phrase.
Teen Dream necessitates listening to the whole album to completely appreciate the work. While there are definitely songs that can easily be pulled from it the album acts as a lovelorn journey; there is a definite sense of heartache echoing from the songs that, like the songs themselves, builds over time.
While a very good album the song “10 Mile Stereo” poses a problem and not because of something wrong with but rather just how fantastic “10 Mile Stereo is”. In the song, Beach House crank up the tempo and volume (in general it is best to listen to Teen Dream with the volume cranked up or listened to very late at night) and deliver the best chorus on the album. The chorus is monolithic and hugely powerful. The Antler’s Hospice, released last year had a similar problem. The song “Sylvia” popped up and the question arose “Couldn’t everything be just as loud and awesome?”
The same question applies to Teen Dream. The album is quite good yet being able to question something that affects the entire album is what separates Teen Dream from getting four stars instead of a higher rating. Despite such a qualm Teen Dream is fantastic and sure to be an early frontrunner in the best album of 2010 race.
4/5
Wednesday, January 13, 2010
Teaadora Nikolova Sampler Night
Sunday January 10 2010 initiated the first of a proposed series of sampler shows of mostly central Illinois based artists. The event occurred somewhere behind the Beer Nuts factory. A Facebook invitation labeled the even as being on McClun but use of both Google Maps and Mapquest claimed no such address existed. However, there inevitably was a McClun and there was a show there.
The event was organized by Teaadora Nikolva a mysterious Russian (Bulgarian?) refugee/transient.
Teeadora has been moving around the country as of late, he does live in Boston and New York from time to time (possibly), when he does not reside in BloNo. I’ve been acquainted with him for a few years now and it is always quite the delight to see him.
After bracing myself against the below zero weather, my frail body was still deeply conquered by the cold. After some struggle to find the house on McClun, it was found. After knocking on the door and ringing the bell, we entered. After entering the house it was noted that there was no heating. After asking someone if the show was there we passed by typical transgressive art probably made by someone that lived in the rundown duplex or by some Illinois State art student.
I still envied such works of art and the hipster chic appearance of the place. Eventually, a fine fellow directed me to a small upstairs room where the show occurred. Teaadora opened the show uncharacteristically with an electric guitar. He only played one song, the event was a “sampler” after all, which was a shame. I’ve witnessed the spectacle that is Teaadora maybe five or so times now and each is more thrilling than the last. I think he played the “What’s with this Conversation” song; I’ve never known the titles so that is the best I can do. Most of Teaadora’s work is developed so it flows into each other. This song was no different and started to segue into something else before he quit to let someone else play. I enjoyed seeing him play again but this was nothing if not a cock tease. My hope is that he will play a full show whilst still in Bloomington.
Torey Kaufman and band followed. This consisted of female vocals, bassist with death metal bass, guitarist, drummer, and keyboardist. Apparently Torey used to play keyboards live but that practice was given up in favor of her sashaying to her songs. She was fairly attractive. Songs were of a country rock variety. Guitarist was pretty good. The decision to have a five piece band play in a very small room was perhaps unwise. Last song Torey proclaimed to the seated audience that they should dance. No one did.
The order is a bit hazy to me. I apologize.
Kyle Riley, sporting a nice beard, was initially very nonchalant. He produced wave after wave of hypnotic post-rock guitar riffs. He proceeded to loop these riffs into something monolithic. He then crouched down. I eagerly rose up, anxious to see what his next move would be. Kyle began to sing into the mic. The whole thing was chillwave/ glo fiesque but taken to an epic new level. The emotion he poured out was apparent. The muscles in his neck appeared they would burst at any second. They, fortunately, did not. Very good. Usually watching people make loops is incredibly boring (that’s right Bradford Cox) but this was fantastic.
Adam Pressley, of Ohtis fame, made some sarcastic comment about Kyle Riley’s fantastic performance. I did not appreciate. There was some white hair in his beard. I wonder how old he is. Ohtis’s brand of Nerd Folk/Americana is all the rage in Central Illinois right now. I tend to prefer the album Ohtis made when they were in high school rather than the newer one. Anyway he played a few songs that were enjoyable and in that similar style. Of note he began to play Gold Soundz and then segued into Range Life at the chorus. I found this particularly inspired.
After came Morgan Orion, from Chambana, who pretty much plays in that same Nerd Folk/ Americana style though he did seem a bit more earnest than Adam Pressley and took things more seriously. He did seem fairly awkward. His songs were what you would expect: cute and charming. When he managed to get the crowd involved, the group sing along in the tiny room was magical. Morgan had brought up a keytar but did not use it. This was yet another cock tease. He alluded to using Casio beats in some new songs but was just a tease. Evidenced by other groups like Seaby and the Rules, there seems to be a new breed of Post-Nerd Folk/Americana evolving that uses shitty Casio beats and keyboards found at garage sales. I support this wholeheartedly.
Lynn O’Brien played a ukulele. I do not support this.
There were two other acts. One was some blues act. I enjoyed the swampy feel of the accordion but it dragged on forever. There was some other guy that could not sing nor play his guitar. Despues de these two acts, there might have been some other guy too, Adam Pressley came back and played some Bob Dylan covers with Morgan Orion. The bearded hipsters I traveled with had grown cold and lonely and we left. The concert could still be going on for all I know.
The event was organized by Teaadora Nikolva a mysterious Russian (Bulgarian?) refugee/transient.
Teeadora has been moving around the country as of late, he does live in Boston and New York from time to time (possibly), when he does not reside in BloNo. I’ve been acquainted with him for a few years now and it is always quite the delight to see him.
After bracing myself against the below zero weather, my frail body was still deeply conquered by the cold. After some struggle to find the house on McClun, it was found. After knocking on the door and ringing the bell, we entered. After entering the house it was noted that there was no heating. After asking someone if the show was there we passed by typical transgressive art probably made by someone that lived in the rundown duplex or by some Illinois State art student.
I still envied such works of art and the hipster chic appearance of the place. Eventually, a fine fellow directed me to a small upstairs room where the show occurred. Teaadora opened the show uncharacteristically with an electric guitar. He only played one song, the event was a “sampler” after all, which was a shame. I’ve witnessed the spectacle that is Teaadora maybe five or so times now and each is more thrilling than the last. I think he played the “What’s with this Conversation” song; I’ve never known the titles so that is the best I can do. Most of Teaadora’s work is developed so it flows into each other. This song was no different and started to segue into something else before he quit to let someone else play. I enjoyed seeing him play again but this was nothing if not a cock tease. My hope is that he will play a full show whilst still in Bloomington.
Torey Kaufman and band followed. This consisted of female vocals, bassist with death metal bass, guitarist, drummer, and keyboardist. Apparently Torey used to play keyboards live but that practice was given up in favor of her sashaying to her songs. She was fairly attractive. Songs were of a country rock variety. Guitarist was pretty good. The decision to have a five piece band play in a very small room was perhaps unwise. Last song Torey proclaimed to the seated audience that they should dance. No one did.
The order is a bit hazy to me. I apologize.
Kyle Riley, sporting a nice beard, was initially very nonchalant. He produced wave after wave of hypnotic post-rock guitar riffs. He proceeded to loop these riffs into something monolithic. He then crouched down. I eagerly rose up, anxious to see what his next move would be. Kyle began to sing into the mic. The whole thing was chillwave/ glo fiesque but taken to an epic new level. The emotion he poured out was apparent. The muscles in his neck appeared they would burst at any second. They, fortunately, did not. Very good. Usually watching people make loops is incredibly boring (that’s right Bradford Cox) but this was fantastic.
Adam Pressley, of Ohtis fame, made some sarcastic comment about Kyle Riley’s fantastic performance. I did not appreciate. There was some white hair in his beard. I wonder how old he is. Ohtis’s brand of Nerd Folk/Americana is all the rage in Central Illinois right now. I tend to prefer the album Ohtis made when they were in high school rather than the newer one. Anyway he played a few songs that were enjoyable and in that similar style. Of note he began to play Gold Soundz and then segued into Range Life at the chorus. I found this particularly inspired.
After came Morgan Orion, from Chambana, who pretty much plays in that same Nerd Folk/ Americana style though he did seem a bit more earnest than Adam Pressley and took things more seriously. He did seem fairly awkward. His songs were what you would expect: cute and charming. When he managed to get the crowd involved, the group sing along in the tiny room was magical. Morgan had brought up a keytar but did not use it. This was yet another cock tease. He alluded to using Casio beats in some new songs but was just a tease. Evidenced by other groups like Seaby and the Rules, there seems to be a new breed of Post-Nerd Folk/Americana evolving that uses shitty Casio beats and keyboards found at garage sales. I support this wholeheartedly.
Lynn O’Brien played a ukulele. I do not support this.
There were two other acts. One was some blues act. I enjoyed the swampy feel of the accordion but it dragged on forever. There was some other guy that could not sing nor play his guitar. Despues de these two acts, there might have been some other guy too, Adam Pressley came back and played some Bob Dylan covers with Morgan Orion. The bearded hipsters I traveled with had grown cold and lonely and we left. The concert could still be going on for all I know.
Tuesday, January 12, 2010
Welcome to the Disdainful Hipster Media Blog. Our goal is to bring you scathing criticism of all of today's best music so that you can form prejudiced, antagonistic opinions based on a compulsive and futile quest for independence through opinion repetition and beard growing. We hope you will visit the blog regularly in order to find out what you really think about music, and we really hope to make a positive difference in the world. This is a green blog, so please do read it in the dark and do not read it while eating unseasonal fruit or red meat. Thank you.
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