// Category Archive for: Music

Für Immer: Deutsch-Amerikanische Freundschaft and Neue Deutsche Welle

By Emily Carney

In the late 1970s, post-punk music in Düsseldorf, Germany began to mutate into sounds which were original, energetic, and exciting. Fired up by the music coming from England (and somewhat inspired by more electronic sounds, like Düsseldorf’s own Kraftwerk), one band called Deutsch-Amerikanische Freundschaft (DAF) began to synthesize a sound which wasn’t quite rock, wasn’t quite disco, but was innovative and unusual enough to earn them the future sobriquet as the “fathers of EBM” (electronic body music). DAF were the central figures in the musical Neue Deutsche Welle movement (German New Wave, or simply abbreviated as NDW).
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The Sepia Tint of Doom: Worst Ideas for Rock Photography

By Emily C.

5. The band wearing way too much leather

Whenever a vulnerable, slightly introverted band wants you to KNOW that they, in fact, mean business and are hardcore as all hell, they are encouraged to bust out the leather jackets and surly looks. The worst offender of this trend is one of my favorite bands, Depeche Mode. In the early 1980s they wore a little bit of leather, but generally their image was that of sensitive synth-poppers who did sweet songs like “See You” and “Just Can’t Get Enough.” Around 1984, their music took a darker turn into the world of bondage and domination (while still remaining its optimistic poppiness—see “Master and Servant”), and all this leather began to appear in their press photographs. By 1990, when Violator exploded into mass popularity, the band really wanted people to know that yes, they were actually total badasses, and would cut you up with a switchblade outside of whatever local Goth club you were hanging out at. Above is one example of Depeche Mode’s leather-induced surliness.

Notice the one member who is not wearing leather, and who therefore was NOT a team player.
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Shiny Around the Edges, Holy Roller

By J Howell

Denton, Texas’ Shiny Around the Edges, a band described by the Dallas Observer as “somewhere between Low and Swans,” are a little hard to explain.
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The Sweet, Action: The Sweet Anthology

Disc One: By Hanna

Glam Rock fans can be divided into two groups: the ones who think The Sweet were not actually glam because glam is an intelligent genre, and the ones who think The Sweet were the best Glam Rock band because they seemed to be in it for the money only.
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Weep, Never Ever

By Less Lee Moore

5. Weep is completely without marketing savvy and has no idea how to “make-it”. Therefore: your love of Weep will never be sullied. You can always enjoy your hip status of loving an underground band.
—From the Weep Manifesto

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Peter Project, S/T

By Megashaun

His MySpace page may label him as “Disney-core” but don’t think this means he’s as whack as the Fresh Prince. Peter Project’s compositions are the closest thing to old-school hip hop without jumping into a DeLorean and going back to the early 80s.
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1 Top Class Manager—The Notebooks of Rob Gretton: Q & A With Lesley Gilbert

By Emily Carney

A review of 1 Top Class Manager can be found here.

“[Journalist] Paul Morley’s line of questioning was about a new underground forming outside the system – how do you see the role of the band? . . . Personally I would rather adopt a different role with regards to everything. . . ”
An excerpt from Rob Gretton’s notebooks, circa 1978

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Sebastien Grainger & The Mountains, S/T

By Less Lee Moore

Listening to these songs on Sebastien Grainger’s MySpace page and hearing them on CD is like the difference between reading about eating a crème caramel and actually eating one. Granted, the MySpace music player doesn’t have the greatest sound quality, but that does not adequately explain it. There’s something more, something that makes this album better than the sum of its parts.
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Bands, Posters, Lights, Money: The Notebooks of Rob Gretton

By Emily Carney

A Q & A with Lesley Gilbert, Rob’s widow, can be found here.

Rob Gretton, Joy Division’s manager, has attained legendary status due to his massive presence in Manchester’s musical history, and due to his various depictions in cinema. He’s been portrayed in two major films: 24 Hour Party People (directed by Michael Winterbottom, 2002) and Control (directed by Anton Corbijn, 2007). He has been depicted as being brusque and pint-loving-yet-sympathetic by actor Paddy Considine in 24 Hour Party People; he is rendered as being somewhat harsh and expletive-using by actor Toby Kebbell in Control. A new book, entitled 1 Top Class Manager (referring to Rob referring, well, to himself), consists of Rob’s journals and notebooks from the period between 1978 and 1980, when Joy Division began to make their mark upon the world of popular music. These notebooks set out to “humanize” the myth of Joy Division while underscoring the enormous work it took to make the band successful.
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Nothing Wrong With Liking A Flashy Man: An Interview With Dick Valentine

Interviewed by Christian Lipski

From the bouncy warning “Danger! High Voltage!”, through the metallic invitation to a “Gay Bar,” to the recent clarinet-laden declaration, “It’s Showtime,” Electric Six has been a band you can count on for high-energy music in a patchwork quilt of styles. Their new album, Flashy, is more of the same only in the sense that it’s utterly rocking. Lead singer Dick Valentine and band have put together a new collection of songs that span the gamut from the upstroke ska of “Your Heat Is Rising” to the electronic vocoder of “Making Progress.” Valentine took time out from the recording of E6’s new CD to talk with Popshifter‘s Christan Lipski about carbon footprints, the music industry, and the worst places in America.
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