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Ponytail, "Themes For Cops"

Samuli Tanner has a suspicious and inscrutable way of doing things.  Most notably, the band name, album title, and cover art here are all suggestive of ugly, misanthropic scuzz rock (definitely not oddball hip-hop influenced experimentalism from Finland).  Then the album opens fairly straightforwardly (for about 30 seconds anyway), before quickly plunging down a rabbit hole of splintered surrealism.  Also, this album is only one very long track, unless you buy it from him on tour, in which case it is 27 extremely short ones.  Many of the tracks have police-themed titles, but I'll be damned if I can decipher any sort of thematic relation to the music.  I am decidedly flummoxed.

 

NB Research Digest

Ponytail is the solo project of one-half of Helsinki dubstep team Clouds (I thought I had never heard of them, but then I recognized their track from the most recent DJ/Rupture album).  Clouds are cleanly produced, structured, melodic, and heavily indebted to Jamaican music.  Ponytail is conspicuously none of those things.  This is likely due to Tanner's singularly eclectic inspirations: Charles Mingus, punk, and proto-industrial provocateur Pekka Airaksinen.  And, of course, Finnish agrarian folk music (which Tanner's family has been involved with for many generations).  Being a particularly ingenious and creative fellow, Tanner does not overtly borrow anything from the aforementioned artists; he merely plunders their aesthetic philosophies and applies them to his own ideas.

Themes For Cops is a pleasing and compellingly strange album, but it is very difficult to describe a constantly shifting and fragmented 34-minute song.  The only consistency is deep bass and dubstep/downtempo hip-hop drums.  Only the fact that they are there, of course. The actual rhythm/bass line tends to segue into something new every minute or so.  Sometimes it is danceable and locks into extremely ephemeral groove, but more often it sounds like I am listening to a dubstep tape that has been through a washing machine.  Fuzziness, odd wavering, warping, and off-kilter lurching abounds.  Not in a bad way though- more in a Boards of Canada/William Basinski kind of way.  

Tanner's musical palette is, to make a gross understatement, rather varied.  Electronic glitchery coexists with violins, accordions, lounge-y farfisa, neo-classical piano, and pop song snippets.  Making experimental music with a wide array of source material is not especially unique at this point, but Tanner does it in a particularly unclumsy fashion and largely avoids self-indulgence (and conclusively avoids pandering to listeners).  As alluded to earlier, nothing sticks around long enough to achieve any sort of lasting beauty or funkiness—Themes is more like fever dream in which a torrent of striking moments (ranging from sublime to crazy to unsettling) deluges the listener.  It is unlikely that anyone will ever say that this is their favorite album or anything, but Ponytail certainly will elicit much more inner commentary like "Hmm. that sounds cool.," "Was that snippet from a freaking Ladyhawke song?!?!!," or "Woah- what the hell is going on here?!?" than his contemporaries.

Themes For Cops compellingly makes the argument that you can get away with just about anything if you throw in some drums.  Many of the ruined and corrupted sounds here would be perfectly at home on a much more listener-hostile and uncompromisingly harsh album, but are rendered strangely palatable in this context.  Tanner has made a surprising and engrossing album- I vastly prefer this to his parent band.

Samples:

 

 

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28 Days Later
There has been alot of buzz about this movie redefining or reinvigorating the zombie genre. Sometimes, critics go as far as saying that this movie has breathed new life into the entire horror genre. I am going to go even further and say that in this year of stale sequels, rehashed plots, and indie documentaries, "28 Days Later" has reinvigorated my interest in the cinema. Director Danny Boyle ("Trainspotting", "Shallow Grave") and writer Alex Garland, while obviously drawing from many sources in both direction and script, have created a film which really sinks its teeth into the minds of the audience.

A group of animal rights hippies break into the Cambridge Primate Research Facility trying to save some monkeys. In the process they let loose Rage, which within 10 to 20 seconds after infecting a human turns them into a zombie-like maniac out for blood. Fast-forward 28 days and we find our protagonist, Jim (Cillian Murphy) waking up from a coma in a deserted hospital. Jim meets up with a handful of other survivors of the disease in an otherwise abandoned London.

Does this film derive from other work? Certainly. Is, at it's heart, this movie still just a zombie flick? Yes, but it's a damn good one. Every time you think you expect a horror movie cliche to pop out of the woodwork Boyle surprises you and has the characters do the expected believable thing. The reason critics are amazed is because this movie is intelligent, which seperates it from its peers. But that handicapped judging doesn't change the fact that this is a wonderful film.
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