Music Review: Parenthetical Girls, Privilege*

By Less Lee Moore

“But hard as I’ve tried, I’m helpless to describe.”
—Parenthetical Girls, “The Pornographer”

If you’re not yet familiar with the unusual pop music of Parenthetical Girls, you’re in for an aural treat. Despite what connotations they may have intended for the title of their new album, it’s an apt descriptor for these 12 songs; experiencing them is indeed a privilege.

It’s not often that a band comes along so precisely indefinable as Parenthetical Girls, always a sure signifier of brilliance, with genius waiting in the wings. It makes categorizing their aesthetic troublesome, though no less enjoyable to attempt. “Chamber pop,” though appealing, has its origins in the mid-1960s, and Parenthetical Girls are far too modern for a term older than the average ages of its members.

“Indie rock” has its own negative connotations; despite the Girls’ decidedly independent means of releasing records (not to mention their seeming inability to serve any mistress but their own unique flights of fancy), that descriptor brings the word “twee” to mind, and Parenthetical Girls are much to daring to be considered twee.

I have chosen to dispense with such aspirations and simply review the album.

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Music Review: Lady Lamb the Beekeeper, RiPELY PINE

By Chelsea Spear

Over the past few years, singer/songwriter Aly Spaltro has beguiled New England audiences with her project Lady Lamb the Beekeeper. Her fractious, off-kilter songwriting is well-matched by a voice that seems to explode out of her. After releasing a series of demos, Lady Lamb the Beekeeper is poised to take over the indie world with her first studio album, RiPELY PINE.

While the sparely produced, independent Lady Lamb releases foregrounded Spaltro’s considerable talents, RiPELY PINE finds her experimenting with a more commercial sound. The clean production, with its new-found focus on the slow-burn dynamics of Spaltro’s songwriting, comes off like the aural equivalent of a leather-bound book with gilt-edged pages and four-color illustrations. Her minimal guitar riffs bristle with closely held emotion, as though she were denying herself a catharsis. The driving percussion and echoing violin that drive “Bird Balloons” emphasize the song’s theme of anger borne from love. The waltz-time instrumental break in “Mezzanine” pits a staccato prog-rock guitar solo against a mellifluous clarinet chart that, combined with the lyrics about ghosts and haunted houses, could break your heart. Spaltro’s dense arrangements and frequent use of odd time signatures, combined with Nadim Issa’s straightforward and pleasingly mid-range production, suggests the influence of Throwing Muses. Like Lady Lamb, songwriters Kristin Hersh and Tanya Donnelly negotiated a mid-point between their knotted, intuitive personal mythologies and the rewards of finding a wider audience, and as with Spaltro’s work, their albums had an appealing tension between these poles.

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The Redemption Of Jake “The Snake” Roberts

By Paul Casey

Jake “The Snake” Roberts, for those who do not know, was one of the greatest bad guys in wrestling. One of the most gifted talkers in the business, Jake made you believe more than most. As with other legendary heels like Ric Flair, to work with Jake meant nearly instant credibility for a good guy. He not only inspired genuine hatred, but also fear, especially from younger members of the audience. Inside the ring, Roberts was a creep, a sneak, and a cheat. Outside of the ring he wasn’t too different.

Over his shoulder, he would carry a large black bag containing his pet Damien. A gen-u-ine Python who would come into play during or after a match. Roberts also had one of the best finishers around: The DDT, as elegant a move as has ever been used in professional wrestling. Starting from a front face lock, Jake would throw his body back, planting his opponent face first into the mat. While today the move has become as common as the suplex, Jake did it with great ceremony. The opponent would not flip over as they do now. They would go straight into the mat, or concrete, if Jake was feeling particularly serpentine.

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New Single From Upcoming Album: Big Black Delta, “Side Of The Road”

By Less Lee Moore

Big Black Delta‘s Tour EP was one of my Top Ten faves of 2012, so I’m thrilled to hear news of an upcoming album. The self-titled disc will be released on April 9 on CD, digital, and vinyl via Masters Of Bates.

The first single, “Side of the Road,” is fantastic and features the same Big Black Delta hallmarks that I loved on their EP. It’s a synthy, spacey, and surprisingly emotional track that proves Bates knows how to do Autotune the right way (in part because he can actually sing).

Big Black Delta, a.k.a. Jonathan Bates, will be performing at this year’s SXSW, on Wednesday, March 13, at Cedar Street Courtyard. For details, visit the SXSW schedule page. You can also listen to another track on the SXSW website.

For more on the band, check out the Big Black Delta website.

Women In Video Games Benefit Us All

By Paul Casey

Anita Sarkeesian

John Walker, the co-editor of video game website Rock, Paper, Shotgun has written something rather good about women in video games, and the ongoing obfuscation from “male rights activists” (MRAs). You should read it, as it is one of the best recent bits on the most important issue in video games of the last year, and probably 2013, too. Walker raises some interesting points from his perspective working on Rock, Paper, Shotgun:

“What’s interesting about the nature of the MRAs is that they take this behaviour, and whether consciously or not, subvert it. So when they encounter an article describing a negative treatment or depiction of women, they adopt the agenda-driven irrational response: because you have written this you don’t care about men’s issues. Not because they believe that, but rather because it proves the fastest route to diverting attention away from, and derailing discussion of, sexism or misogyny. The real goal, of course, is to prevent the discussion of such matters.”

As Walker points out, this can be seen as a tactical move to frustrate any attempts to make progress on issues they for some reason or other can’t stomach. Over the past year there have been some shameful acts of intimidation and stupidity from various sectors of the “videogame community” towards women who dare have an opinion on their representation. It is also fairly common, though, to find deep confusion when a man takes interest in the same issues.

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Assemblog: February 15, 2013

Kiss of the Damned (full poster)

New this week on Popshifter: I reveal a behind-the-scenes video on the making of the upcoming What The Brothers Sang album by Dawn McCarthy and Bonnie “Prince” Billy and weigh in on Suede’s new single and video; Paul praises Spotify but has stern advice for Prince; Cait has the scoop on the terrific new Omnivore Recordings George Jones United Artists singles compilation; and Elizabeth reassures us we can still call television “television.”

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TV Is Dead, Long Live TV: Why We Should Still Call It Television

By Elizabeth Keathley

I think the moral lesson behind The Booth at the End is: Don’t over think things. It’s also worth noting that while neon signs still use tubes to convey messages, this is no longer true of modern TVs.

Two weeks ago I wrote a piece acknowledging Netflix as our new media overlords for the occasion of the premiere of House of Cards. The success of the first independent series produced by Netflix, along with the continued success enjoyed by web series and Hulu-produced content, has some scratching their heads about what to call this new viewing experience. I have an answer to this question: when enjoying The Booth at the End on Hulu or MyMusic on YouTube, one is watching television.

This search for another name for what we are doing while we enjoy Very Mary Kate or Husbands is pointless. That many consume this entertainment via a screen on what we now call a computer rather than on what we have traditionally called a television is immaterial.

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New Single/Video: Suede, “It Starts And Ends With You”

By Less Lee Moore

It was only last month that Suede released a track from their upcoming album Bloodsports and now the official single and video are out.

It’s Suede, all right. Monochromatic, smoky, everyone looking dour. No longer the pretty young things (except for Richard Oakes, perhaps), but that’s not only fine, it’s preferable. We always loved the music the most, anyway. The song is also very much a Suede single, and actually improves towards the end when they sort of let loose. I’m looking forward to analyzing the lyrics to this and “Barriers” when the album is released.

Now who’s going to make an animated GIF of Brett Anderson’s slow clap? Because I need that in my life. Bloodsports is out on March 18.

Prince And His Protégés

By Paul Casey

From the beginning of Prince Nelson’s career in music, he prided himself on being a one man band. With very few exceptions, he wrote, arranged, produced, and performed the music that appeared on his albums. He was famously prolific. As would be the case throughout most of his work with Warner Brothers, he quickly felt constrained by the limitations put on his recorded output. He produced more songs than he could possibly use. Prince needed a front: someone to record and perform his music the way he wanted. These protégés would be expected to follow his lead in all matters.

The tracks would be recorded by Prince, and these men and women would sing their parts. They would have no say in the kind of material they would record. They were to be an extension of Prince and nothing more. Anyone who forgot this would quickly find themselves without a job. These protégés would highlight a fatal creative and personal flaw: that Prince was ultimately driven by an ego that could not tolerate other talent. Today Prince surrounds himself with yet another group of musicians. It is worth looking at how a musician, who could have been the greatest hit producer of his generation, limited himself to those people he could dispose of.

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Music Review: George Jones—The Complete United Artists Solo Singles

By Cait Brennan

“Country music,” George Jones told music writer Holly George-Warren “is a religion to me.” Well, if country music is a religion, George Jones’s music is one of the bedrock gospels. From 1950s hillbilly hellion to elder statesman of the genre, Jones has always been one of the purest singers in country music. Jones is “just” a country singer the way Sinatra was “just” a saloon singer—both men mastered, then transcended their genres, making each song uniquely their own.

Some of Jones’s finest mid-’60s sides are collected on George Jones—The Complete United Artists Solo Singles, one of three essential country music compilations released on February 12 by those high llamas of music at Omnivore Recordings. No no-shows here; this is prime time Possum, showing the hall of fame singer on a diverse range of material penned by Jones and some of classic country’s greatest songwriters.

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