The first time I popped this in I thought to myself, "Oh great, the Japanese have their own version of Bjork." After another ten minutes I was convinced this duo was constructing more than just pseudo-adolescent hysteria for fans of electronic pop.
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Ever since the recent, baffling critical legitimization of metal, agaggle of new black/death/doom metal bands, or bands coyly playing withthe same techniques and aesthetic concerns at several removes of irony,have been ushered into existence.
I can't think of any experience in the world more emotionally painfulthan a parent losing a child. No matter the circumstances (accident,disease, etc,... ), one experience is common to all survivors: the need to seek somekind of closure, which nothing can bring. A gaping emotional voidremains. Fans and friends looking for closure with the final studioalbum from Coil are not going to find it here.
The fourth effort from this side project of better-known group John Brown's Body, BassChalice is a come-down in THC talk for 10 Foot Ganja Plant, when filed next to the previous two albums titled, subtly, Hillside Airstrip and Midnight Landing.
Try as it may to convince us otherwise, rap is a silly thing. So muchso that it becomes self-defeating, too: rappers swagger and boast,strutting like peacocks as they spin fantastical yarns and spendcountless hours in comical self agrandizement so farcical you'd have tobe a suburban adolescent to swallow it all. And all this in the name ofrealness.
The title is a little strange largely for the fact that it is a
Jonathan Richman song which Galaxie 500 covered but did not pen
themselves. I would even be hesitant to say that they popularized the
tune, but perhaps the title was just too perfect for Plexifilm to
ignore (messy details of authorship be damned). Nonetheless, it makes
me want to collect a bunch of White Lion bootlegs and make a DVD
entitled Radar Love, or maybe a bunch of Great White TV appearances and
call it Once Bitten, Twice Shy.
This video documentary, produced and originally released in 1993, has a ton of great footage and interviews from all members of the band from their inception through 1993's Tabula Rasa. 
An incredibly fertile and industrious musical world is going on right beneath everyone's noses. While this or that magazine is busy trying to pin down the next 10 big bands or the next big scene, musicians like Darren Tate of Monos and Andrew Liles are busy making music, lots of music, and nearly everything they release tackles some new sonic territory.
Each song on this record illuminates a sense of loss, like leaving Chicago was akin to losing a lover whose influence was indispensable and comforting. Employing violins, guitars, trumpets, pianos, vocals, harmonicas, and a whole host of instruments I won't bother naming here, McBride has produced a symphonic record that may well suck most audiences right in and cast them into orbit.
There are a number of pieces of music that have attained mythical status. Cage’s 4’33” is the first to come to mind but Satie’s Vexations is another one of those musical legends. Consisting of an instantly forgettable piano motif that lasts about one minute, repeated 840 times, Vexations is a work of endurance for both the performer and the audience.
