Vinyl Cut Prose: “Pneumatose”

Soundtrek, TK:LA, Vinyl Cut Prose, Vinyl Mind Flow

sc-pop-i

I date many things… cities, sounds, dreams. These things happen. When I date sounds, it is a full-stop courtship: get to know their interests, their background, their dreams, with whom they engage, do they have siblings, where do they post up to get down – can they read. These things. Eventually, the dalliance fades and something worthwhile is made. Eventually, we mix a master, and reverberate rhythms of the most loyal low-fidelity.

All of this is to say, I mingle with sonic musings. I’m a made match for muses. What does a first date sound like? Like the first take. It’s slow on the uptake, but fairly deliberate. It finds a track it grooves with, and explores it from myriad angles, pitches, and plays. We talk about life, shared experiences, we find lyrical camaraderie and beat-driven commonality. We find freedom in the music. There’s liberation in improvisation. You take an understood foundation and say: “I know you, you know you – here’s how I hear you, here’s how you appear to my ears… Here’s how the finished product unravels into the unknown.”

It gets weird. It remains inspired. It leaves few scores unsettled. It’s somewhat manic. It’s experimental. It is not interested in how you move, more so in the guarantee that you move and what compels you to move at all. It, takes, its, time.

Night in the Sweype: Little Boots “Shake” Launch Party – London

Live, Soundtrek, TK:LDN

The Siren: Victoria “Little Boots” Hesketh

The Sound: Neo-Disco Electro-synth Brit-Pop

The Scene: Black and Gold, Blue-eyed synth soul… Lights, Camera, Passion in an East London Secret Warehouse… Half rave cave, half Factory foyer… Shake it ’til you make it, then make it shake… While you’re at it: shake it ’til your heart breaks and deluges limitless sonic sublime across the scape…

Unforgettable, Vol. 21: Lady Gaga – The Fame

Soundtrek, TK:NYC

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Pop: grab your old girl with her new tricks; if this were Gaga’s first and last album, it would be just as complete as it is in context as a dynasty starter.

The Fame is nothing more and nothing less than a perfect Pop debut through and through. Visceral, catchy, panoramic, reflective, progressive, chock full of hit singles, formidable filler, and fun; foreshadowing or foreboding depending on how you look at it – and yet, so very simple. The Fame is merely a skeleton, and the beats are nothing more than an atmosphere. In Britney’s wake we saw a sea change: where Spears’ genesis was plot-driven – a tale of a singer at the whim of heavy production, and a girl at the whim of a weighty world – Gaga’s voice is the fuel behind The Fame. She gives life to the beats, as much as she injected the joie de vivre back into Pop’s consciousness.

The sound is underground and mainstream, simultaneously past and present. “Just Dance” couldn’t be more straightforward as it rips the disco skeleton from the past, fleshes it out with simple synth layers, and slaps an electro-futuristic veneer on for 21st Century tech propulsion. The beat is a night out: airy synth, simple percussion, minimal layers, basic four-count – nothing crazy, nothing coercive, just dance music. The lyrics are universal: just dance, gonna be okay – and repete after moi.

Gaga is “that girl” from the club. This is the first step of the journey through a tumultuously memorable relationship between lovers, the celebrity and the scene, the artist and the industry, the author and the audience. It all starts with “Just Dance.” You just dance to get to know their name, you just dance to get on Page Six, you just dance to get that record deal, you just dance for reassurance that it’s going to be okay – and this is The Fame.

Beyond that, at first listen, “Just Dance” is any other Pop track, a brilliantly choreographed debut. It couldn’t be more literal, and at a time where the world is a collective skeptic for good reason – the truthiness behind WMDs – that clear transparency was a trailblazing mindfreak in and of itself. Everything the track is not makes it everything it is. It is not new, it is not groundbreaking, it is not particularly deep or profound – and yet, coming from a world of life under-rug-swept it was that very transparency that broke America out of its shell. Just. Dance. No more, no less, no hidden agenda. Before auto-tune and vocoders, before ice and chains, there was lighthearted, carefree disco – the most basic, infinite, constant, life stream of music by method.

Music Monday Melange: February 1, 2009

Soundtrek

Post-Grammy “What I’m Digging That They Didn’t” Playlist – aka “Welcome to Hipster Heartbreak”

Today we’ve got some monsters, some mavens, some Basement Jaxx, some MGMT, some “Kids,” some Cudi, some Jeezy, some Common, some Lily, and some of her womanizing problems…

Has anybody seen my disco stick?

So, LoveGame… doesn’t play

Its remixes though… go harder than Baltimore: dig it, dug it, done