Still not watching "Archer?" Here's your chance.

Posted on February 28, 2011 | Leave a comment

Looking for the funniest show on television? Forget NBC’s resuscitation of Thursday night “Must See TV” or ABC’s ensemble gem Modern Family – turn to basic cable.

FX’s Archer, for the uninitiated, is an animated show from the mind behind cult classics Sealab 2021 and Frisky Dingo, Adam Reed. The title refers to main character Sterling Archer (the impeccable H. Jon Benjamin), a narcissistic, hedonistic secret agent at the dysfunctional spy agency ISIS.

If James Bond has been done to death, so has the spy parody (Get Smart, Austin Powers). Yet week after week, Archer manages to find new targets of ridicule, from double agents to the honeypot. And when the trappings of the spy genre aren’t in its sights, the show skewers ISIS itself for an absurd workplace comedy.

The world of Archer is intentionally anachronistic, with the style of the 60s (think Mad Men), the politics of the Cold War, and the culture and vernacular of the modern day. With Reed’s signature brand of vulgar black comedy and rapid-fire dialogue, Archer tailors Frisky Dingo into a more mainstream package.

The characters are well-drawn, both literally and figuratively. Archer’s relationship with his mother – and boss – Malory (voiced by and designed for Jessica Walter) would give Freud headaches. Complicating matters is his ex-girlfriend Lana (Aisha Tyler), another ISIS spy, and her (in)significant other Cyril (Chris Parnell), who doubles as ISIS bean counter.

Midway into its second season, Archer keeps getting stronger, building up running jokes and delving deeper into twisted secondary characters. The interplay between the inappropriate Pam and the clueless (and asphixiation-obsessed) Cheryl is a highlight, as is the show’s Q-like Dr. Krieger. In particular, Krieger gets funnier as the jokes get sicker. A brief rundown of Krieger’s antics: dosing interns, videotaping something “…darker” than bumfights, making his own breastmilk, and a brief affair with Cheryl that involved a mechanical claw and “slacking off.”

Archer is on a 30-day delay on Hulu, so the second season is just available now (the pilot will disappear in a few days). Stay tuned for the third episode this season, “Blood Test,” which is the show’s strongest offering yet. In a testament to the writing, the script weaves in references to both Of Mice and Men and William Burroughs, while Archer attempts to determine the paternity of a baby a prostitute says is his. (Spoiler alert: the baby appears in a later episode and the possibilities open up even more inappropriate humor.)

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Ready for the weekend

Posted on February 25, 2011 | Leave a comment

Maybe it was the holiday-shortened work week, maybe it was the U Hall induced bass hangover, but I need the weekend to be here now. So, what’s on deck?

The Plan

The Soundtrack

NYC by-way-of Prague DJ Ingtzi tipped me off to one of his recent sets, featuring glitchy, bass-heavy takes on crowd pleasers – everything from Radiohead to Ginuwine to the B-52s. Check it out, and don’t fear the wobble!

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Who will – and who should – win at the Oscars

Posted on February 25, 2011 | Leave a comment

As promised in my post about the value of the Oscars, here are my picks for this Sunday’s 83rd Academy Awards. I like to note both who will win, given the Academy’s stodgy, predictable tastes and formulations, and who should win, purely on merit. Also, these come with the caveat that I didn’t see every nominated film (some by choice and some by chance). So here goes:

Best Picture: 127 Hours, Black Swan, The Fighter, Inception, The Kids Are All Right, The King’s Speech, The Social Network, Toy Story 3, True Grit, Winter’s Bone.

Expanding the Best Picture category from five to ten was a transparent attempt by studios to sell more DVDs that bear the “Nominated for by Best Picture” designation. There are still basically two tiers of nominees, serious contenders and token nods. No animated film will win, ever. As I discussed previously, this looks to be a two-man race between The King’s Speech and The Social Network. Speech will win, but Network should.

Best Director: Darren Aronofsky – Black Swan, Ethan Coen and Joel Coen – True Grit, David Fincher – The Social Network, Tom Hooper – The King’s Speech, David O. Russell – The Fighter.

Here’s the cheat sheet for what the Academy really thinks about the Best Picture nominees. It’s actually one of the most talented group of directors nominated in some time (and Tom Hooper). All due respect, but he is clearly the winner of Which Of These Is Not Like The Others. I think Fincher will win, and he should. It will let the Academy split their vote between the year’s top two films.

Best Actor: Javier Bardem – Biutiful, Jeff Bridges – True Grit, Jesse Eisenberg – The Social Network, Colin Firth – The King’s Speech, James Franco – 127 Hours.

In an interesting reversal of last year’s category, Colin Firth will probably rob Jeff Bridges this time around (after Bridges’ Crazy Heart beat Firth’s A Single Man). Firth gets his vaunted payback award for playing someone with a capital D Disability. Sorry, Jeff: to quote Rooster Cogburn, “I can do nothing for you, son.”

Best Actress: Annette Bening – The Kids Are All Right, Nicole Kidman – Rabbit Hole, Jennifer Lawrence – Winter’s Bone, Natalie Portman – Black Swan, Michelle Williams – Blue Valentine.

It must be latent sexism: another year goes by and I missed most of the films with strong female leads. I’ll abstain on who should win, but Natalie Portman probably will. I’m willing to catch up on these films later – just don’t make me watch a heavily-Botoxed Kidman try to emote in a movie about dead children.

Best Supporting Actor: Christian Bale – The Fighter, John Hawkes – Winter’s Bone, Jeremy Renner – The Town, Mark Ruffalo – The Kids Are All Right, Geoffrey Rush – The King’s Speech.

Typically awarded early, this statuette will be an indicator of what kind of night Speech is going to have. If Geoffrey Rush gets it for a characteristically strong but otherwise unremarkable performance, the film is going to do very well. I still think Christian Bale will win it, though, as he should; he’s done the Method weight loss before, but never has he embodied a role quite like this.

Best Supporting Actress: Amy Adams – The Fighter, Helena Bonham Carter – The King’s Speech, Melissa Leo – The Fighter, Hailee Steinfeld – True Grit, Jacki Weaver – Animal Kingdom

If I’m a bit sexist for missing out on most Best Actress films, the Academy is sexist AND ageist for putting Hailee Steinfeld in this category. True Grit is her movie; how can the main character be a ‘supporting’ one!? A Steinfeld loss will be this year’s Crash, but I think it’s her’s in a landslide. Also, will the Academy stop nominating two performers from the same film?

Best Writing – Original Screenplay: Another Year – Mike Leigh, The Fighter – Scott Silver, Paul Tamasy, and Eric Johnson, Inception – Christopher Nolan, The Kids Are All Right – Lisa Cholodenko and Stuart Blumberg, The King’s Speech – David Seidler.

Christopher Nolan’s Inception was one of the most original Hollywood concepts in years, and the screenplay is a tribute to complex plotting that is still enjoyable and comprehensible. If the Academy doesn’t award him for it, I’m not sure what will win.

Best Writing – Adapted Screenplay: 127 Hours – Danny Boyle and Simon Beaufoy from “Between a Rock and a Hard Place” by Aron Ralston, The Social Network – Aaron Sorkin from “The Accidental Billionaires” by Ben Mezrich, Toy Story 3 – Michael Arndt, John Lasseter, Andrew Stanton, and Lee Unkrich, True Grit – Ethan Coen and Joel Coen from “True Grit” by Charles Portis, Winter’s Bone – Debra Granik and Anne Rosellini from Winter’s Bone by Daniel Woodrell.

Judging adapted screenplay without reading the source material is a bit like judging editing without seeing what was left on the cutting room floor. And as you can imagine, if I didn’t even watch every nominated performance, I sure as hell didn’t read all these books. Still, turning a couple of depositions into a compelling movie (with stylized dialogue) should get Sorkin his first Oscar. But, the Academy has a soft spot for “Important Novels,” so I think Winter’s Bone is a possible dark horse.

Watch the Oscars on ABC, Sunday at 8. Or don’t, and read Twitter instead.

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The Verge: Esben and the Witch

Posted on February 24, 2011 | Leave a comment

Esben and the Witch takes its name from a Danish fairy tale. In the story, Esben is the runt of twelve brothers that set out to seek their fortunes. Though neglected and abused, Esben manages to outsmart a witch and a king, saving his brothers’ lives; he becomes a hero in the process. Like most pre-Disney fairy tales, there is a darkness that taints the seemingly innocent children’s story. In the case of Esben and the Witch, there is enough throat-slitting, child-roasting, and king-hanging to keep kids up at night.

Fittingly, the style of the Brighton three-piece, which draws from post-punk and shoegaze, has been described as “nightmare pop.” Esben and the Witch give a Gothic feel to the nuanced pop stylings of contemporaries The XX; the band’s aesthetic and two-guys-and-a-girl composition will no doubt lead to comparisons, as well. On the strength of their 33 EP and single “Lucia, At The Precipice,” (along with early love from the UK music media) the band landed a deal with indie powerhouse Matador Records.

“Lucia, At The Precipe” is a harbinger of the music on their Matador debut, Violet Cries. Rachel Davies’ breathy vocals are the focal point, as Daniel Copeman and Thomas Fisher build walls of shadows with their creepy instrumentals (Davies also contributes, on bass and percussion).

Many songs on the album follow the same pattern: Davies’ restrained singing over an ethereal soundscape of swirling piano and guitar, before cascading drums crash overhead. Songs like “Swans,” “Marine Fields Glow” and “Eumenides” are more ambient and spaced-out than the electronic-tinged “Hexagon IV,” “Chorea,” and “Warpath.” Standout track “Light Streams” sounds like a lo-fi, down-tempo song by Florence and the Machine. But whether pensive or chaotic, the band nails their sound tighter than a lid on a coffin.

A simple, repetitive drum beat is the engine that drives “Marching Song,” the lead single on Violet Cries. The lyrics are like a Gothic take on the “Charge of the Light Brigade,” and the video capitalizes on the brutal, visceral imagery contained within.

Grave rave looks to be the sound of 2011, as Verge featurees like Creep and True Womanhood flirt with darkness. The nightmare pop of Esben and the Witch is a welcome addition to the genre at-large.

Esben and the Witch, Wise Blood, and Last Tide play DC’s Red Palace next Thursday, March 3.

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Future Grooves: Flinch

Posted on February 23, 2011 | Leave a comment

The dubstep genre is always evolving. On one end of the spectrum is the emotional, mellow sounds identified by Flufftronix and Dirty South Joe on their Luvstep mixes. On the other end is the preponderance of heavy, aggressive sounds known dismissively as “brostep.”

Brostep is a derisive nod to the bro-heavy audience that yearns for non-stop, facemelting, power-tool beats. Rusko, whose popularity and dalliance with harder sounds contributed to its development, has even apologized for brostep. To put it crudely, the pissing contest of producers and DJs crafting the most brutal beats possible cannot hold.

But what of the wobble? Who can carry the torch of hard-edged dubstep without falling into the silliness of brostep? Enter Flinch.

Adam “Flinch” Glassco is an electronic music veteran, crafting bass heavy music for over a decade. Like many of his peers, he started in the drum-and-bass world before slowing things down with dubstep.

The Trouble and Bass associate (who headlines U Hall’s monthly T&B party tomorrow night) is a master of dubstep that is as melodic as it is aggressive. The label’s eleventh edition of its Heavy Bass Champions of the World series featured one of the hottest bass bangers in recent memory, “Hiero.” I once described the track as “throwback jungle breaks [and] a bass blast that hits like an 18-wheeler;” I stand by that.

[wpaudio url=”/wp-content/uploads/2011/02/Hiero.mp3″ text=”Flinch – Hiero” dl=”0″]

Flinch and frequent collaborator 12th Planet have found remarkable success on remixes like Jinder’s “Youth Blood” and Dave Nada’s “Apocalypse Theme,” tracks that sit at opposite ends of the dubstep spectrum. The latter is especially notable for finding a way to make the Apocalypse even more foreboding than Nada did on the original.

There is a fight for the soul of dubstep. Luckily, there is a way for bass to survive without being reduced to the demands of the lowest common denominator. For fans of the occasional fist-pumping wobble, Flinch ably answers the call of “Hiero” to “take me higher and higher.”

Bonus: stream Flinch’s Smashcast mix for Trouble and Bass.

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Gaga, Rihanna, and Kanye: Homages or rip-offs?

Posted on February 23, 2011 | Leave a comment

Three of the biggest names in pop music have recently caught flak for releasing work that borrows heavily from other sources. Also known as homage, reference, or to anyone familiar with Vanilla Ice’s “dun dun dun, dun-dun-dun duh,” sampling. But instead of appraising the value of these cultural nods, the artists are being vilified (or sued) as rip-off artists.

Lady Gaga’s record-breaking single “Born This Way,” Rihanna’s video for “S&M,” and Kanye West’s video for “All of the Lights” all borrow heavily from other sources, way past the point of accidental, spontaneous creation. So what’s the big deal?

“Born This Way” is an update of Madonna’s 1989 hit “Express Yourself,” both musically and lyrically. Lady Gaga admitted the similarity, and claimed support from Madge, in an interview with Jay Leno (which I won’t link to, because it’s Leno). It’s not surprising in the least: Madonna is Gaga’s inspiration, from her confrontational sexuality to her dance pop sensibilities. Refreshing “Express Yourself,” for an audience born after the original was released, in the age of It Gets Better, harms no one. Pop music is nothing if not cyclical; this is just a little on the nose. From the woman who gave us “Disco Stick,” we have come to expect nothing less: guilty pleasure that flaunts the obvious.

Obvious in a different way is Rihanna’s “S&M” video, which has been banned in 11 countries (and counting!) for its sexually suggestive content.

The case for rip-off is presented by photographer David LaChapelle in the form of a lawsuit. Oh No They Didn’t provides the case visually. Whatever happened to fair use? Clearly, Rihanna (or more specifically, the team behind the video) were inspired by LaChapelle’s work. Much like LaChapelle borrowed from Maplethorpe, ad infinitum. It’s not like Rihanna commissioned LaChapelle for video concepts, dismissed him, and used his work anyway. She borrowed imagery, set it to her music, and released it as video. Copyright law is supposed to encourage creativity, not stifle it. If anything, get on Rihanna’s case about the songs lyrics – but leave the video alone.

Kanye’s case is the latest to cause an uproar. The cultural curator of our time is being accused of stealing the style of credits used in Gaspar Noe’s Enter the Void. Yes, it’s come to this: stolen credit sequences! Once again, the appropriation is obvious. But where is the harm? Kanye’s latest record received perfect scores from Pitchfork and Rolling Stone. Enter the Void was an art-house thriller crafted by an indie provocateur. At the very least, the (online) furor will result in a few more Netflix hits for Enter the Void and a few more fans for Noe.

In all of these examples, the work is clearly intended as homage: reverence to a respected artist. Yet most of the coverage of these cases takes the tone of “gotcha” journalism, as if Gaga, Rihanna, and Kanye were trying to pull a fast one over an unwitting public, building a profit on the backs of unknown artists. From the artists that referenced “Don’t Turn Around,” Numa Numa, and Daft Punk, respectively and notably, this seems unlikely. As the last three decades of hip hop infused culture have proven, sampling furthers the creative conversation. It doesn’t end it. And with that, I’m off to listen to “Under Pressure.”

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"I'm New Here" versus "We're New Here"

Posted on February 22, 2011 | Leave a comment

Gil Scott-Heron and Jamie XX couldn’t be any more different, as artists and as people. Scott-Heron is an iconoclastic poet, considered by many to be the Godfather of Rap. The 61-year old is well-worn after a life plagued by drug use, jail time, and HIV. Still, the man who gave us “The Revolution Will Not Be Televised” and the “Message to the Messengers” looms large, even after a 16 year absence from music (and life as we know it). Jamie XX (nee Smith), on the other hand, is the unlikely breakout star from an unlikely breakout group, The XX. The MPC manipulator is emerging as an artist to watch on the electronic music landscape: a man with his whole life and career ahead of him.

Last year, Scott-Heron returned to music with I’m New Here, produced by XL Records head Richard Russell. This week sees the release of We’re New Here, a remixed and re-imagined version of that album with Jamie XX behind the boards. The two artists collaborated by way of handwritten notes, not in the studio – an illustration of the metaphorical distance between the two. While the two albums are not a one-to-one translation (some songs on We’re New Here are based on outtakes from the original), the majority lines up nicely. So, how do they compare?

Song Breakdown Verdict
I’m New Here The blues-folk guitar on the titular record better captures the redemptive nature of the Smog original. On his effort, Smith pitchshifts Gloria Gaynor, replacing GSH’s sweetly sung chorus. We’re…
Your Soul and Mine The grimy, pulsing tones of the original better match the darkness of the lyrics. Smith’s version reduces “wilderness of heartbreak and a desert of despair” to a ghostly sample behind a wall of UK funky. I’m…
I’ll Take Care of You The original, a jazzy, piano-driven cover of Van Morrison, is fueled by Scott-Heron, broken voice and all. It’s a song that exists at the confluence of pain, love and devotion. The new version is a deep house jam with guitar riffs right out of an XX song, which gets points for its originality. We’re…
New York is Killing Me The much-hyped version from Jamie XX utilizes surging dubstep beats and broken vocal samples as a backdrop for the pleas of the forlorn narrator. The original relied on a Neptunesque click-clack-track, crafting a modern spirtual about North-South migration. We’re…
Running Jamie’s take upgrades the original’s minimal beat with the full-on, Hudson Mohawke-like aqua crunk treatment. We’re…
The Crutch The new version is overwhelmed by glitchy beats and synths that – while fine on their own – distract from the vocals. Ironically, the additional elements act as a crutch for a song that doesn’t need one. I’m…
Home / Coming from a broken home This is bit of Apples v. Oranges, but the “Flashing Lights”-sampling songs that bookend I’m New Here are the most poignant and personal of the album. Rather than attack those, Smith revisits “Home is where the hatred is,” turf mined more successfully on Kanye’s Late Registration. I’m…

While We’re New Here may win on points, it’s a split decision in the end. The records are symbiotic: at this point, there could not be one without the other. The first was an ironic statement from a prodigal giant; the second a clarion call from a bright new talent. Either way, this much is certain: while one is returning from exile and the other is insurgent, these are both artists with revolution in mind.

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Ready for the weekend

Posted on February 18, 2011 | 1 comment

Here in DC, it’s 70 degrees outside, and the good weather looks to continue through the three day weekend. It might not be spring yet (it could still snow next week), but you might as well enjoy it while you can.

The plan

  • Tonight, celebrate 50 local artists, 20 local designers and the opening of the garmentDISTRICT Temporium. A $10 donation gets you in, including a party at Lux featuring DJs Stereofaith, Keenan Orr, Trevor Martin, Ratt Moze, and Chris Nitti.
  • Don’t miss Klever, the Luvstep DJs and Obeyah at U Hall on Saturday for a serious night of bass.
  • Stop by Velvet Lounge on Sunday for the preeminent night in cold music as Denman and Sean Gray present No Love Lost.

The soundtrack

Grahmzilla, formerly of Thunderheist and currently of Bassanova, just unleashed an appropriately titled mix: F*ck Winter 2011. The mix is a nonstop hour of for-the-moment tropical bass. There’s plenty of Nada, Munchi, and Mele to go around, along with brand new heat in the form of French Fries “Laquisha” and Julio Bashmore’s “Battle for Middle You.”

Tracklist
munchi – gracias
dave nada – ruffcut
benga – night (sabo moombahton edit)
cassie – long way to go (mele canoa mix)
roska & jamie george – wonderful day (dave nada moombahton edit
bassanovva – chicken lover (munchi remix)
jam city – magic drops
brenmar – boy u got me
richelle – bendin’ (lolboys remix)
french fries ft. taiwan – laquisha
mele – trappin
slap in the bass – egypt (grahmzilla 3ball remix)
untold and roska – long range
sbtrkt and sinden – seekwal
julio bashmore – battle for middle you
gyptian – hold yuh (toddla t remix)
savage skulls and douster ft. robyn – bad gal
boy 8-bit – tropical heat
schalachtofbronx ft. timberlee – the bassdrum
optimum – ds10
vado – hands down

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Album Review: Radiohead – The King of Limbs

Posted on February 18, 2011 | Leave a comment

Commentary about Radiohead’s unique distribution model has surpassed discussion of their music for some time now. After the pay-what-you-want (followed by pay-a-lot-for-extras) model they utilized on 2007’s In Rainbows, the band again surprised the music world by going from announcement to release in just five days on their their newest record, The King of Limbs. Today, it debuted digitally (a day early), while the physical and deluxe “newspaper album” versions will follow in March and May, respectively. But enough about that.

The King of Limbs builds on the atmospheric ambiance of Kid A and In Rainbows, putting the band’s early grunge sound even further in the rear view. There’s not even anything approaching the rough-edged rock of In Rainbow’s “Bodysnatchers.” Instead, Radiohead embraces Thom Yorke’s solo work and collaboration with beatmaker Flying Lotus, crafting an album that is sober and melancholy. It’s their most cerebral work yet.

Like a flower in spring, the album opens with “Bloom.” The cascading garage beat gives way to a jazz feel: muted bass, echoing guitar and orchestral strings that swell as if they’re an extension of Yorke’s voice. After “Bloom,” the album reveals a trifecta of twitchy, cacophonous bliss. On “Morning Mr Magpie,” Yorke coos “you’ve got some nerve / coming here / you stole it all / give it back” as the instrumental loops double back on themselves. The title of “Little By Little” describes how it progresses, as the electronic sharpness of programmed drums juxtaposes Yorke’s falsetto: “I’m such a tease and you’re such a flirt.” “Feral” is the most experimental of the three, surging but never quite breaking through.

The first single, “Lotus Flower,” harks back to the immediacy of “Reckoner.” The lyrics seem to describe the mood of the album and the band’s own subversive approach to music: “I will sneak myself into your pocket… We will sink and be quiet as mice / While the cat is away and do what we want.” Once again, Yorke’s lilting falsetto provides a romantic edge to an otherwise cold tune. In a new turn, the video features him doing an impression of Marcel Marceau during a seizure.

Except for a heartbeat bass drum, “Codex” is exceedingly simple, driven only by piano chords and vocals, until mournful horns enter, dueting with Yorke. The lyrics focus on innocence, while the line “jump off the edge / into a clear lake” make this the 21st century version of the band’s suicide-anthem “Creep.” “Give up the ghost” is an adjoiner to both “Bloom” and “Codex,” with it’s nature’s symphony sound effects and hollow-body acoustic guitar.

The album closes with “Separator,” which features Phil Selway’s punchiest drum line and guitar trills and fills right out of the Zeppelin song book. Its “wake me up” refrain is an appropriate close for a dreamy album that never gets out of bed. On The King of Limbs, Radiohead retreats under the covers and into half-dream, half-real world. Won’t you join them?

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Future Grooves: Girl Unit

Posted on February 17, 2011 | Leave a comment

Once in a blue moon, a track will come along and capture the zeitgeist perfectly. For electronic music, the most recent example is “Wut” by London’s Girl Unit, which dropped last October on Night Slugs. The futuristic laser beam synths, tweaked out siren song sample, and massive 808 club rhythm of “Wut” are fast becoming the high watermark for dubstep-garage-funky hybrids.

The man behind “Wut,” Girl Unit, is 25-year old Phil Gamble. Like many of his peers, he started making beats as a teenager armed with Fruity Loops. He went by the name Girl U No It’s True, a tongue-in-cheek Milli Vanilli reference that he eventually shortened to his current moniker.

Starting with last April’s IRL EP, Girl Unit’s star has been steadily rising. “IRL” is a nasty little banger, combining the no-frills dubstep of Benga with the UK funky sound of his Night Slugs contemporaries. “Shade On” and “Temple Keys” were further dalliances with this hybrid sound; the jazzy keys on the latter a unique touch.

Following up IRL with the Wut EP, Girl Unit amped up the hip-hop and R&B influences considerably. “Every Time,” like “Wut,” relies on an unrecognizable diva loop, while “Showstoppa” has the big bass sweeps of a Rick Ross tune. The mid-tempo songs rock with a sexy swagger that is unrelenting and unforgiving. Throughout the EP, rat-a-tat drums evoke gangsterish drive-bys more than dancing in clubs.

In addition to his EPs, Girl Unit has remixed a few tunes with the same twisted approach he uses on his own material. His vinyl-only remix of Katy B’s “Lights On” is the best take on the track yet. His remix of C.R.S.T.’s “The Bells” strips away the funky house beat and feeds it syrup until it no longer resembles the original.

The usual suspects are onto Girl Unit, and you can’t blame them. His mixes for XLR8R, Fader, and Numbers show just how tight his control over his sound is.

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