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June 28, 2004

Stick it up your jaxxy.

Glorious Noise was attacked by binary ninjas last week, preventing an update. But Old Man Brown regulated, getting things under control before GloNo - and, in turn, this mini-site - became hosts for insidious pop-ups, MIDI interpretations of Mariah Carey singles, or the fan site for Remo Williams: The Nonstarter Returns. Judo chop!

Check out the shiny new layout over at Pitchfork. As for me, I talked a little bit about For Ocatavio Paz, an all-acoustic Fahey-ish thing from Ben Chasny's Six Organs of Admittance project. Though Six Organs has had its bouts with batshit crazy sounds, Paz finds it largely at rest, with gentle waves of acoustic guitar expertly conjuring both warmth and melancholy. A mood record if there ever was one. There was also a record from this NYC band called Asobi Seksu. They've listened to a lot of shoegaze; their singer is a tiny Japanese girl who plays keyboards. The self-titled effort has its share of filler, but fans of dream-pop/shoegaze are notoriously easy to please - just add feedback! - so in all likelihood Asobi'll find a niche.

Donovon Frankenreiter - you'll find peace in his mustache.

Did you know that Ministry has a new album out? For that matter, did you know the ministers issued an LP in 2003, too? Sure enough, and Al Jourgenson (now spelling his first name as 'Alien') is still angry as fuck. "[The guv-hater] is back, and he's siphoned the gas from Jesus' hotrod for a new squadron of industro-thrash devil machines." Houses of the Molé is built around "No W," a thematic and sonic update of the 1992 classic "N.W.O." Its embittered industrial grooves are even less imaginative than the same beats were in the late 1980s and early '90s, when at least they were considered vital even if they weren't. But you have to admire a group that'll release something so blatantly incendiary.

On the other side of velvet rope from rabble-rousing and pessimism are the Fun Lovin' Criminals. Their music can be as one-dimensional as Ministry's, and their message of hedonism and transposed good life just as limited. But their spotty catalog of irresistible New York groove hits makes them perfect for a greatest hits comp. They realize this - there's been at least two since the turn of the century. But the recent import A's, B's and Rarities might be the once-and-for-all set. Though it repeats itself sometimes and, at three discs, begins to seem needlessly extravagant after awhile, it's all about the "singles, the high points, those nights you never forget."

And then there's Gretchen Wilson, who doesn't care about anything other than beer, shots, lookin' hot, and getting her way. "Redneck Woman" has absolutley screamed up the country charts, and fueled Here for the Party, Wilson's debut LP, to number 2 on the Billboard country charts. It's not surprising in the least. "Wake up call? [The album]'s a lawn chair through Nashville's plate glass window." The adult contempor-izing of country radio ends when Wilson gets to the party, promptly getting the hostess drunk on Pucker.

Bond - faux-classical pap played by four women with great gams. What the hell is it? Who knows. But Classified's cover shot is some hot stuff.

And finally there's Burning Brides, the Philly trio who a few years ago turned white-hot stoner rock rhythms into "Arctic Snow." They're back with another effort for V2, this one called Leave No Ashes, and, though it suffers a little from the roteness that damaged Fall of the Plastic Empire, the album does expand the sound admirably, and rock quite considerably.

Oh, and The Streets' A Grand Don't Come For Free' continues to rule.


Posted by Johnny Loftus at June 28, 2004 9:51 AM