Building a Great Album: Side 2

I'm calling it side 2 even though you don't have to flip over a CD or tracklist... yet somehow a lot of albums are still structured to have similar highs and lows to what you'd get on a tape or vinyl record. Because it works: it's a way to sustain listeners through an hour of music from a single artist. I'm sure their are other ways to structure it (for example, making an entire side of a record a single song)

I'll Believe in Anything - Wolf Parade. Saw this song performed live. Wow.


By the way, while I'm on the topic... http://www.music-map.com/ is a great site to visit if you like an artist, and want to find more like them.

4. Somewhere in the second half, there needs to be one (or more) song that is absolutely awesome, to hold together the second half. If the album is front-loaded, I'll lose interest. Arcade Fire's albums suffer from this: too many of their second halves (side twos) are a little undifferentiated, and the resulting effect is an impression that their albums are all about ten to fifteen minutes too long. The side two anchor can bring something a little different than the opening trio, it's a good place for a piece that sprawls (on the first half, it's better to keep things tight) ... but it has to kick ASS in its way.

Some great standout second-half anchors - you'll notice that a number of these are the emotional climax of the entire album, and others are the emotional counterpoint that contrasts the tone of the first three tracks:
Ball and Biscuit (White Stripes: Elephant)



What is the Light and Waitin' For A Superman (Flaming Lips: The Soft Bulletin)
When Doves Cry (Prince: Purple Rain) (click the link fast. Prince has a record of removing his songs from Youtube)
Runaway (Kanye West: My Beautiful Dark Twisted Fantasy)
Hallelujah and Lover, You Should Have Come Over (Jeff Buckley: Grace)
I'll Believe in Anything (Wolf Parade: Apologies to the Queen Mary: best track on the whole album)
So Come Back, I'm Waiting (Okkervil River: Black Sheep Boy)
2 Eyes 2 C: (Suckers: Wild Smile)
Maps: (Yeah Yeah Yeahs: Fever to Tell)
Ziggy Stardust (David Bowie: Ziggy Stardust)
Lonely Lonely and When I Was a Young Girl: (Feist: Let it Die)
Tracks thirteen, fourteen, fifteen: (Modest Mouse: This is a Long Drive for Someone With Nothing to Think About - only a stunning climax would have been able to balance an album with so many massive dynamic swings, but these three do it.)
Share (Cymbals Eat Guitars: Why Are There Mountains-the two songs I mentioned in this post are the only two really good songs on the album, in my opinion, but their placement shows me the band knows something about shaping an album. I'll give their next one a try.)

Scythian Empire (Andrew Bird: Armchair Apocrypha)
Broken Drum (Beck: Guero)
If You See Her, Say Hello and Shelter From the Storm [not on Youtube] (Bob Dylan: Blood on the Tracks)

5. A satisfying closing. This is one of the reasons I really hate rereleases, bonus tracks, and special editions that add tracks (especially alternative versions of songs we've already heard) to the end of the original album: because the final word of an album shouldn't be messed with. And if a track wasn't good enough to be part of the original album statement, it doesn't deserve a place on a disc with the original album.

Many bands put their most sprawling track last (Desolation Row, A Day in the Life), some sail off into the stratosphere (Purple Rain - Prince: Purple Rain; All Is Full Of Love - Bjork: Homogenic; Dragon's Lair: Sunset Rubdown - Dragonslayer; My Body is a Cage - Arcade Fire: Neon Bible), or at least somewhere (The Happy Birthday Song - Andrew Bird: Andrew Bird & The Mysterious Production Of Eggs) and others end with a gentle sigh that almost deflates (I Saw a Light - Bat For Lashes: Fur and Gold, Mothers of the Disappeared - U2: The Joshua Tree), and others are a little bow to tie off the emotional dramatics that came just before (After Hours - Velvet Underground: Self-Titled; Her Majesty - Beatles: Abbey Road; Space Travel is Boring - Modest Mouse: This is a Long Drive...) but when it finishes, you know it's finished, and the journey is complete.


Radiohead are the best at putting a final song in that drifts off and leaves the listener exactly where they want them. While the rest of their albums are so good it's not always easy to say they're the best tracks on the albums (though some are contenders) but they're all gorgeous songs, and perfect closers. Wolf At The Door and Four Minute Warning (Hail to the Thief and In Rainbows, part II) are favorites.  Tom Waits ties off his albums (which fly in every direction) with his final songs, which is very important to restore unity after switching across genres, themes and emotional tones as much as he does - "That Feel" from Bone Machine, "Anywhere I Lay My Head" from Rain Dogs, and "Come On Up To The House" from Mule Variations are three finishes that complete the arc of their albums, and "Fawn" is a perfect, sad little bowtie.

Other great closing tracks:
Bird Gehrl (Antony and the Johnsons: I am a Bird Now); Pitter Patter goes my Heart (Broken Social Scene: You Forgot it in People) Filmore Jive (Pavement: Crooked Rain, Crooked Rain)

Bird Gehrl


On the flipside, NEVER EVER put your worst song last, because that's the closing impression I'll have of your album. From Here We Go To Sublime, by The Field, has a closing track I find really languid and dull compared to the excellent rest of the album, and particularly compared to the superlative track "Silent," which is the chillest bliss-out I've ever heard. It uses a different sound vocabulary than the rest of the album, and is considerably slower, so that the album ends in an anticlimax... and not in a good way (as in Bird Gehrl, above, or "One road To Freedom" a nice bring-down at the end of Ben Harper's "Fight For Your Mind," after the stormy "God Fearing Man"

Following the template
Antony and the Johnsons - I Am A Bird Now
White Stripes - especially Elephant
U2 - The Joshua Tree
Kanye West - My Beautiful Dark Twisted Fantasy... though the closing track isn't as great as some of the others.
Rain Dogs - Tom Waits (one of the greatest songwriting albums in my collection)
Songs by Leonard Cohen (his gorgeous debut album)
Bjork - Homogenic
Built To Spill - Perfect from Now On (second half high points; Time Trap, You Were Right)
and it doesn't have to be classic, indie, or obscure, either:
Barenaked Ladies - Stunt

Filmore Jive - Pavement (a band whose sound checks none of the boxes that usually make me like a band... but which I keep coming back to again and again, because their songs are just ... great.)


The other way to make an album is to make one that's strong from top to bottom -- no tracks particularly stand way out... but there also isn't a weak one in there, either. This is hard to do, because if the songs are too similar, it's boring, but they have to stay within the vibe. These consistent kinds of albums are the best for listening while you're working or driving, and they're really satisfying.
Avett Brothers: I and Love and You
Most Wilco albums, other than Yankee Hotel Foxtrot
Most albums by "The National" -- which is why they grow on you so much. High Violet is an especially good example of this, because they even manage to have some standout songs... without having standout songs.
Animal Collective: Merriweather Post Pavillion
Bob Dylan: Blood on the Tracks
Bon Iver: Self titled
David Byrne: Grown Backwards



Back to the first post.  Back to part 2.  My posts about Bliss-outs.  About K-pop. About REAL Korean Music.

Building a Great Album: Side 1

Soundtrack: Black Dog, Led Zeppelin, for your listening pleasure.


Though albums are sold as CDs or digital tracklists these days, rather than tapes or records with two sides, there are certain features of the first half of an album's playing time, and certain features of the second half, that have held true even after we stopped having to flip over our tapes and records. This post is about what works on side one of an album.

I'll try to put links up at least one of the times I mention an album or band... but google works, folks, and unless I add a qualifier, I'd say that all the songs (and albums on which they are found, obviously, given the topic) are keepers, and worth a try. Unless you really disagree with my taste in music... which is OK, too.

1. As per Nick Hornby's Mixtape Rules from High Fidelity, the first track SHOULD be a great one... but it should also be a statement of purpose about what the album will be about (this has been true since Sergeant Pepper, the first modern album), and the second song should bring things up even higher, if possible-or go somehow further in the direction the album's going. No band has ever (or at least... SHOULD ever) put their most depressing song first. Or the one offbeat song that doesn't match the rest of the album's tone. The Joshua Tree put Bullet The Blue Sky fourth (a good place for a change of pace song), not first. White Stripes' Elephant also changes pace for tracks 4 and 5. Couldn't exactly gone any higher.

Led Zeppelin (Black Dog, Whole Lotta Love, Immigrant Song) and U2 (Where the Streets Have No Name, Beautiful Day) are two bands that are very good at picking a great opener. Like or dislike the entire album, with "And the Hazy Sea," Cymbals eat Guitars tells you exactly what you're getting. On an awesomer scale, "Wanna Be Startin' Somethin'" at the beginning of Michael Jackson's "Thriller" lets you know you're in for something really, really hot.

Other albums with really great first songs, or songs that set the tone really well: Funeral, by Arcade Fire (The Suburbs is probably a better album overall, but The Arcade Fire might never top that first song off their debut full-length). Purple Rain, by Prince (Let's Go Crazy), "Fever to Tell" and "It's Blitz" by the Yeah Yeah Yeahs. Weezer's "My Name is Jonas," is an amazing opening volley. "Until the Morning Comes" by Tindersticks. Yeah Yeah Yeah Song, by The Flaming Lips (At War With the Mystics is not their best, but probably their most fun album.)

Until the Morning Comes (Tindersticks)

2. The first three tracks should set out most of the album's sonic parameters, and if you only have four or five great songs for your album, it's not a bad idea to cash in two, or even three of them, in the first triple. If the goal of your album is to rock out, the advice given in High Fidelity (I think in the book: can't find it in the movie clips) stands: start strong, but make the second song even better, to serve notice that things are going to rock out, not peter out.

Greatest opening trios in my collection:
White Stripes: Elephant (Seven Nation Army, Black Math, which somehow, almost unbelievably, kicks it up another notch from the stunning opener, and then There's no Home For You Here, which nearly made me drive off the road the first time I listened to it in a car.)
Jeff Buckley: Grace (Mojo Pin, Grace, Last Goodbye)
U2: The Joshua Tree (Where the Streets Have no Name, I Still Haven't Found What I'm Looking For, With or Without You: Incredible!)

Yeah Yeah Yeahs: Zero. Shiny!


Other stellar opening trios: David Bowie: Ziggy Stardust (track 4's not bad, either), The Flaming Lips are very good at opening songs and trios that set out the tone for the album...and also kick ass, The Yeah Yeah Yeahs albums "Fever to Tell" and "It's Blitz" also do this really well, but the masters might be The White Stripes: all of their studio albums do this in spades, bringing the thunder while setting the soundscape.

Interestingly, the Beatles - album as genre pioneers - usually don't follow to the "first three tracks" rule

3. If there isn't a tone-shift track somewhere in the first five tracks (think "Bullet The Blue Sky" on Joshua Tree, or "Exit Music For a Film" on OK Computer, or "The Beautiful Ones" on Purple Rain), I stop expecting one, and start listening for if the album is consistent all the way through (Blood on the Tracks) instead. Changes of tone aren't needed, but it's a different type of album where the songs all combine into a very unified listening experience, instead of standing out a little, one from the other.

Back to part one.  On to part three.

Building a Great Album: On The Album as a Journey

From time to time I stop prattling on about Korea, and prattle on about music or film. If you prefer my Korea prattle, hang in there. I'll get back to it soon enough.

I love music. I don't have training in music, so it's not about the chords... it's about the place the music takes me. And if a four chord song can do it, that's fine. And if you need a masters' in music theory to explain it... that's fine, too. I'm like people who drive a car, but can't explain how the engine works: I don't quite understand how, but if it gets me where I want to go, we're good. And even if engineers tell me it's built very cleverly, if it doesn't get me there in a way I like, somebody else might, I don't really care what the engine specs are.

So you're welcome to disagree with me about which music I love, but I was just listening to OK Computer, and listened to "Exit Music For a Film" followed by "Let Down" followed by "Karma Police" -- which, despite having made so many great songs, might be the best three-song run Radiohead's ever strung together on an album. Might.

Exit Music (For a Film)


I almost always listen to albums. Maybe I'm a relic because of it. I don't grumble that digital music sounds different from vinyl, I don't have a hi-fi and a set of $800 headphones, but I believe that an artist who knows what they're doing puts enough care into the songs they write, and the order they appear in, and how they fit with each other, that it's worth listening to the album, to get what the artist was going for. Skipping to your three favorite tracks instead of listening to the album in the track order it was made, if the artist knows what they're doing, is the difference between going on a road trip with someone, and looking at the five best pictures they took on their way.

And these days, when the internet, and Youtube, have diminished the returns on making a full album, rather than condensing it into an EP, or releasing it as two EPs (each with their own hype buildup and lead singles), so much that an artist has no reason to make a full-length album... unless they have something to say that can't be broken into an EP. This is all the more reason to continue to listen to albums, to see if artists are worth their salt, before looking up the best songs on Youtube.

Let Down


Sgt. Pepper probably marked the beginning of the album as an artistic expression of its own, rather than just a collection of artistic expressions. The less nuanced approach was to put the most radio-friendly songs either at the beginning of side one, or the beginning of side two, or somewhere on the first side, as far as I can tell from checking the track lists of my pre-1967 albums. (this continued after Sgt. Pepper as well). Some bands still just put their most likely hits first, and pad out the rest. This is less forgivable than ever before, now that iTunes has rendered album filler obsolete, and extra annoying.

But there are still bands out there that can put together a hell of a good album, and this series, like my old bliss-out posts, is a little celebration of albums, particularly the ones that are well-built... and perhaps it's an elegy for them too, now that the album as artform is becoming less and less relevant in the face of music videos and EPs that can boast a higher hit-song to track-listing ratio (available for 99 cents on iTunes!)

Karma Police


There are a few keys to a well-constructed album, in my book. Not every well-made album has all these features, in the same way that not every relationship-driven drama involves a misunderstanding or deception in the second act... but enough do, that I'm not going to say this is why these albums work, but it's clear that this does work. I'm giving examples here from some albums I really like. Some of them are classics and all-time greats; others are middling albums where the only thing going for them might be that they were built the way they are... in fact, some of these albums are basically the equivalent of a mediocre painting with very good composition... which just makes the composition stand out more admirably.

Go to part 2 of the series.

Dan Deacon, January 28 Concert; Still Blissed Out

So I managed to get out of the house on Saturday night to see one of the most singular artists out there right now, and one of my favorites: Dan Deacon.


There's music that's good to get people dancing at parties -- I always thought The Chemical Brothers' were good for that. And there's bliss-out music -- sometimes that's the same stuff.

And there's music that's musically dull, but gets asses shaking, and because people feel good when their asses shake, it may lead to bliss-out-like states (though it's more thanks to the atmosphere than to the music itself). I always thought Black Eyed Peas' Let's Get Retarded was a good example of that. And there's simply "Jump up and down" music. All of these play well at dance parties.

But if, instead of humans gathering for a dance party, the musical instruments grew hands and feet, and gathered somewhere to have a party, and maybe got high first... Dan Deacon is how I imagine that party would sound.

source

Dan Deacon did a show last Saturday night, and I went, and boy I'm glad I did. I like writing about bliss-outs, and I don't know why, but dance and house music are some of the most bliss-out prone styles out there, when you share it with a room of two or five-hundred people. A few of the tallest joys I've experienced in shared moments (the romance between me and wifeoseyo aside) have been dancing to techno-ish music.

And Dan Deacon is a genius in that realm. He takes loops and electronic squeals and shapes them into journeys that get more fun, the louder you play them. And then suddenly the electronic squeals are singing words: my buddy Yujin (from Yujin is Huge) joined me for the show, and as I struggled to describe Dan Deacon, he said, "So it's like Fantasia had a dance party"... if memory serves. I was several beers deep by then. The first three times I listened to Dan Deacon's albums, I didn't get them. Before deleting them off my hard drive, on a whim, I cranked the volume... and I got it. Now I love it, but I have to warn you not to listen to Dan Deacon while driving: you'll speed.

But to avoid making his show just about him and the musics he can make, Dan Deacon spoke to the crowd, and worked a lot to get the crowd as involved in the music as he could. He regularly cleared a circle in the dance floor, and asked the audience to do funny games or activities that would get everyone doing the same thing.

Some were silly, some were awesome, but all of them increased the feeling of connection with the music, with the artist, and with the rest of the crowd. This was his goal, I'm sure, and it took the concert to a whole other level:
(picture from the opening act)


I've been to an Arcade Fire concert where they left the stadium through the crowd in Vancouver, and that was awesome, but this was something else, and the intimacy of sharing a bliss-out was an experience I hadn't had.

He asked the entire crowd to follow this girl in the beige jacket, who'd won the right to lead the dance in a contest on his website.


During the last song of the show -- the encore -- you can see how he and the audience are just as in tune with the music, and each other.


The last song -- a new track called "USA" ended (not seen here: sometimes I put my camera away and just enjoy stuff) with a progression of warm chords that brought the high of the night down into a mellow sharing, everyone around Dan Deacon moving together and bobbing their heads in something I can only call communion. Joy can be shared, bliss and art can be experienced together (with each other, and together with other people), in a way that an isolated dude with an MP3 player on the bus will never understand, until someone gives him a hi-five and pulls him into a tornado of dancing people.



And that's why you should go to a Dan Deacon show... and go for it. Dont' stand by the wall and watch. Jump in. Two days later, I'm still exhilarated.

This picture sums up dance parties in a couple of ways. I like it.


After the show, I thanked him for coming to Seoul, and for his music. He was a cool guy, because he wasn't trying to be cool: he was the guy who lives down the hall in your dorm, except really, really, really good at making music that makes people completely happy.

Speaking of great singers... RIP Meat Loaf 1947-2011

RIP Meat Loaf: "I Would Do Anything For Love" was my favorite song like, in the world, ever, for a good year of my life.  I had the whole, 12 minute version memorized back in the day.



Never forget you, Meat.

And Paradise by the Dashboard Light ain't so bad, either.

(Great website for keeping up on who's dead, and who's not: http://www.deadoraliveinfo.com/dead.nsf/pages-nf/main)

And yeah. this IS an april fools hoax. Meat Loaf is still alive and rocking.

Things I've Learned about Korea by doing the Radio Show

Soundtrack: Press play and start reading.

Haven't done a bliss-out in a while, and you don't know this one is going to be one, until the last minute of the song, when it keeps celebrating, and then ends with about fifteen seconds on an entirely different plane... but like other good bliss-outs, you have to listen to the whole song, or those last fifteen seconds don't have the support to actually launch you into that other place.

I've always liked Stevie Wonder, but those ten seconds at the end of this song made me love him.

So yeah, I've been doing a section of The Evening Show for TBS eFM: the show's hosted by a fella named Mike, whom you can find here @MikeOnTBS.  You can also keep up with what The Evening Show's doing at @TheEveningShow.  Or follow me on twitter @Roboseyo (didn't see that coming, did you?) or friend me on facebook (facebook.com/roboseyo).  I'm a facebook friend whore: I'll totally accept.

The show's been hella fun so far, mostly due to the awesome callers we've had call into the show.  (and you can be one of those callers, readers!)

Anyway, before I turn into a pure pimp, one of the fun things about the show, to me, is this:

Every day I get a new Korea-related topic, and I have to become a fifteen-minute expert in it.  Fifteen-minute expert means not that I spend fifteen minutes researching, and bluff, but that I have to learn enough about a topic to talk about it in an informed way for fifteen minutes.  Every day the topic's different, which means I've learned about all sorts of things since I started the show three weeks ago.

So, here are ten things I've learned about Korea by doing The Evening Show's call-in segment:

1. Korea's actually doing quite well in trying to improve its environmental standing.

Given that Korea has very few energy resources of its own, it's important for Korea to use the oil it imports, or the nuclear energy it generates, as efficiently as possible; Korea's currently the world's fifth largest oil importer.  That's bad news.  The good news: Korea's actually put a LOT of energy and money into environmental initiatives.  Natural gas buses, public transit, bus lanes, Samsung's lithium batteries, smart, efficient buildings (which, I learned, burn more fuel than cars): Korea's working hard.

Now if only the country also took care of its wetlands...

The four rivers' project has become too politically embroiled to get a straight story about it from either side.

2. Korea's traditions of gift-giving for marriage are really interesting... and the richer you were back in the day, the more ridiculously extravagant the gift-giving became.

Chests full of silk, carried by the bride's family, bribed into the groom's house, watches, clothes, three keys (car, office and house) and more: the gift-giving expectations for Korean weddings are mad lengthy, and the higher your position you'd attained, the more your family demanded from your spouse-to-be's family.

3. In recent years, the largest demographic decline in Korea's smoking rate was in middle-aged men.  Young men (20s and 30s) has remained about the same.  Meanwhile, the smoking rate for women is probably waaay under-reported.

4. The secretary general of the Korea smokers' association doesn't like people using the term "smokers" - he prefers "cigarette consumers" because it's less stigmatized.

5. The experts we spoke to think the black market (where food is traded and distributed in North Korea, when the centralized food-distribution system falls short) is good for North Korea, for two different reasons: one because that's where North Koreans learn about how life is in the South - that's where Korean wave illegal DVDs are bought and traded - and the other because a mini-free enterprise system will help North Koreans adjust to living in a free market system, in the event of reunification.

6. North Korea has its own international economic zone, called Rajin-Sonbong.  So far, the main investor there is China.

7. There's a movie called Bangga Bangga about a Korean who pretends to be from Bhutan in order to get a job in a factory.  Sounds super-interesting: I heard about it from Paul Ajosshi, and I hope he has a chance to write about it sometime on his blog.  On that same topic, another reader commented that a farmer he knows started hiring migrant workers not because they were cheaper, but because the Koreans she employed kept stealing from her.

8. I already kind of knew this, but covering it from different angles really brought it home: long working hours, women's workplace rights, the low birthrate, lack of government support for parents, the aging population and the approaching welfare crisis, and the need to give migrant workers a more recognized place in Korean society, all connect to each other in a big, ugly bundle.

9. Pay day loan companies in Korea are very, badly under-regulated, and though it's illegal, some of them charge interest as high as 3000% per annum on their loans.  Yep.  All those zeros are supposed to be there.  The payday loan companies are supposed to be regulated by their gu office, but those offices are too under-staffed to be properly vigilant.

10. Standard versions of language are a kind of expression of cultural hegemony, and the degree of connection between language, culture, identity, and power, are quite inextricable.

More later, readers.

And all the best...

Roboseyo

Do Make Say Think in Seoul

Do Make Say Think is one of my favorite bands, and they played in Seoul a couple Sundays ago. They play what is often labeled "Post-rock instrumental" - longer compositions, usually without vocals (save a few la la choruses), almost like Jazz, but with more of the dynamic contrast you hear in some kinds of rock music -- lots of loud/soft, and atmospherics. It's the perfect band for me, because I'm all about the bliss-out, wherever it can be found... and dear readers, it can be found here.



So after a bit of searching to find the exact location of the venue, my buddy Evan and I headed down about twelve flights of stairs to the concert space, which was a big ol' cavernous room in the basement of a building not far from Hongik University's main gate. Evan and I grabbed seats on the risers at the back of the room, and watched On Sparrow Hills - an expat band, who reminded me of Frightened Rabbit, and did a good job of warming up the crowd, and then Vidulgi Ooyoo, a Korean bliss-out/shoegaze band with a female lead singer who didn't sing often enough, and who sounded, as Evan said, "Like the Cranberries got as high as f$*#" - especially when the singer was singing. I concur.

Here's a little of what the first two bands sounded like.

a picture of vidulgi ooyoo

Then, after very long break between sets, Do Make Say Think came on. They didn't talk to the crowd much, other than a few "I see a lot of English teachers here today" kinds of cracks. Here's a bit of their sound -- note the loud/soft shifts, and sudden changes in arrangement - from their patented everybodyplaysatonce to a soloist and back, etc..

But the problem, as always, is that live music is like nothing else. So watch this clip, but if you want to get a feel for what the show was really like, then play it as loud as possible, and project it life-size against a wall in your house, and then turn the projected life-size people into real people. That's what it was actually like to see.


I'm happy I went. I had a great time, and I'm thrilled that some of my favorite bands are finally coming to Korea: most of my favorite bands are not the arena-filling-type bands, so while Guns'n'Roses might will stop in here, Seoul is often skipped by smaller bands. It's not really my place to theorize why, but there you have it.

But great show! It was also my goodbye hang-out with my man Evan, who's gone back to Canada now. More on him later.

Problem: beyond a certain point, unless it's Lady Gaga or something, concert photos look the same for pretty much every band.

They have horns.

The crowd was really into it. Most of them seemed to be very familiar with DMST, particularly the girl who was next to us on the bleachers, who nearly exploded in her seat once the headliners came on.

More on DMST, Vidulgi Ooyoo, et al, here.

Bits and Pieces

I put up a links post at Hub of Sparkle. But some of the stuff I discovered was too random for that site, and too entertaining to let it slip by.

So here you go:

photo source


I posted once before on "what does English sound like to non-English speakers"?

today at Collegehumor.com they had this fantastic video of what English DOES sound like to non-Englishers.

Plus, there's sweet dancing. And a guy who reminds me of the "I Kiss You" guy... who, according to an article I read, may have been the inspiration for Borat.

See more funny videos and funny pictures at CollegeHumor.

awesome.

And musicwise... Radiohead's latest album, "In Rainbows" has grown on me slower than any of their albums so far... but I'm finally coming around to it. I got a hold of their special edition second disc, and there's a song on there that's the prettiest song Radiohead's made since "How to Disappear Completely" - the last track on the second disc, in keeping with Radiohead's habit of saving one of the best tracks on the album for last. Wolf at the Door was the best song on "Hail to the Thief" "Life in a Glass House" might have been the best song on all of Amnesiac...really, OK computer was the only album that didn't save the last track for something gobsmackingly magical. but anyway, here's a lovely, lovely song.


I've talked a lot about Bliss-outs lately, but the thing I love about Radiohead is that (other than on The Bends) they're not so much about the bliss-out, the unbridled thing -- but instead they approach slower, and give a longer-lasting sort of elevated feeling, almost a sensitization rather than a mere bliss-out, like the way your scalp feels cold for a day after getting your hair cut short. So, the song is gorgeous.

And while we're squeeing about Radiohead, this is a good song, and a super-cool video, too. Love the rain when the music changes.

Now that Dan Gray has been put in his place... a celebration. bliss-out by proxy

Yes, we can move on, now that Dan Gray is a heap of shame and dirty clothes, and I'd like to point out to you a blog(ger) of which(whom) I am a fan: after running another blog for a while, and bumping into awkwardnesses when her adult students found it, and started reading it, she moved to a new address and has continued posting all kinds of excellent music.

Here is her bliss-out post, of music in which (or maybe by which) light is victorious over darkness.

Bliss-out of the week: Two Irresistably Happy Songs about Nookie

Dunno why sex would be the subject of so many bliss-out. (actually, on second thought, I do) but two absolute glee-freak-outs that always bring me joy: Art Brut's "Good Weekend," which I've written about before, and now "I Like You So Much Better When You're Naked" - neither is very sophisticated, either lyrically or musically, the songwriting is pretty by-the-numbers, open chords and major keys, but absolutely joyous vocalists and totally silly lyrics, in both cases.

Ida Maria: I Like You So Much Better When You're Naked reminds me of early No Doubt at its most joyous, except a voice with a little more gut rather than a wobbly shiny thing like Gwen Stefani's -- more Janis Joplin than Laura Branigan. Fun fun fun. As always with bliss-outs, the louder you play it, the more you'll like it.

I kinda blogged myself out with that Music post, so sorry about the light posting this week. Kinda sorry. That music post was a good one, so go read it again before you hold this against me. And if you're still upset, write me a letter and I'll send you a refund for your reading fee.

Only You Can Save Roboseyo from Hating Korean Music!

Lovefool, by The Cardigans: a foreign band made a Korean pop-song, without even knowing it.

So, in a comment, Samedi (who runs a great blog which you should be reading) challenged my flip dismissal of the Brown Eyed Gulls and their uber-sexy-but-possibly-trying-too-hard and not-actually-different-enough-from-the-other-all-girl-k-pop-bands-for-me-to-give-too-much-of-a-rip "Abracadabra" video, which I'd only posted anyway because a bunch of K-pop boys then sent it up hilariously, and asked whether the only Korean music I hear is what I come across when I walk into, or past, ABC Mart and girly accessory stores.

Well, first of all, I have to differentiate between Korean music, and K-pop: I may not have made it clear in that post that I consider K-pop only one subcategory of Korean music... probably the most profitable one, certainly the most ubiquitous one, but only one. In the same way that there are a lot of music lovers who never listen to top-40 radio in N. America, I'm sure there are lots of Korean music fans who loathe the Gee Gee Generation of K-pop.

And secondly, Samedi asked whether I actively seek out good Korean music, or whether I just passively wait for recommendations.

Well... since you asked... I don't talk about music too often here, because it wouldn't take much for me to geek out about my favorite albums and turn this into a music blog, but I'll take a moment and tell you how I get my hands on new music.

A few things about Korean music in general -- obstacles to me going native on the tunes front, if you will:

1. Why would I limit myself to one country, when right now I'm listening to music from about a dozen countries? Sweden's Jens Lekman, Canada's Do Make Say Think, England's Radiohead, USA's Tom Waits, Iceland's Mugison, Japan's Shiina Ringo, and Tibet's Tuvan Throat Singers are all rocking my world; if Korea produces artists who can run with those cats, I'll listen to them. (Jang Sa-ik holds his own in that crowd: no doubt)

2. Why would I listen to "Korea's Justin Timberlake" when I can listen to Justin Timberlake's Justin Timberlake? Sometimes it seems like we're dealing with an equivalency chart ("If you like R.E.M., you might like ---" - which I had a lot of experience with back when I listened to more Christian rock music [and Jars Of Clay would be the band you should try if you like REM, according to the chart]. And some of those Jesus tunes are pretty good, in fact,) but if a band doesn't have its own voice, I'm honestly not too interested, and if you are at risk of appearing on an equivalency chart, you'd better friggin' wow me when I DO give you that cautious, hesitant listen. I'd just rather listen to Take That! than to the Female Christian Take That!

2.5 Here's the other, probably biggest thing I dislike about KMTV K-pop (particularly the hip-hop) - See, when a woman with a Korean figure tries to be sexy the way J-Lo or Beyonce can be sexy -- you know, with the boom! pop! pow! that they bring to the table, it doesn't work, (Beyonce does it better) and they shouldn't try. Korean females have plenty of ways they can be super-hot without using dance-moves more suitable for people with different body-types. As a matter of fact, the cutesy stuff in your average SNSD video, as candy-floss as it is, works better. Hyori pops it better than anyone else though: she's just got the charisma. Korean male rappers can be cool...but they can't be cool in the same way that 50 Cent is cool. I just don't buy it seeing some skinny Korean guy in a pink shirt wearing mad gold chains and rings. I'd buy it more if he were wearing geeky horn-rimmed glasses, and didn't take himself quite so seriously. MC Mong wins on this count. He's actually starting to grow on me. YG Family doesn't quite make it. Epik High isn't trying to be from South Central LA, and it works for them: the video's cute and goofy.

3. I've always been verbally oriented. (hence writing hundreds of pages for free on a blog) - journaling, writing, reading - I respond strongly to a good turn of phrase. I adore Leonard Cohen and Tom Waits and Joni Mitchell and artists who can wow you with a literary verse and a poetic bridge. This is an area where the language gap means I can only respond to Korean music the way I respond to instrumentals -- emotionally and intuitively, to the soundscape and the atmosphere, where a voice is just another instrument, which is legitimate, to be sure: that's how I respond to Eminem music, even though he uses my native language -- but let's just say one of the major avenues by which I enjoy music is currently closed, and all the Korean artists who focus on that part of the art of songcraft (who, if my English music tastes are any indication, are probably the ones I'd appreciate the most) are either partially or totally closed to me. And yeah, it's my fault they're closed to me. I could be studying the language hard enough to grapple with their lyrics... but I listen to music for diversion, not for language study or my own edification, and I sure don't listen to it for my blog readers' edification (as much as I love you all: don't get me wrong -- I pull out my camera three times more often than I normally would for your benefit, [sometimes to the annoyance of girlfriendoseyo] so kindly don't ask me to ALSO change my music listening habits, unless you start sending me presents. An external hard drive, Rosetta Stone Korean, or a nice leather portfolio would be nice, for starters). So I'm not listening to music in order to blog about it, or I WOULD listen to more Korean music, this being a Korea blog.

So those are the obstacles... now what's the upside?

Well, K-pop at its best is cute. There's not a lot wrong with that, as long as you don't mind sugar-highs. The non-bubble-gum stuff is still mostly gentle, and cute as well, but not in that "lollipops in my hair" way, but in that "charming kid next door with a devilish grin" way: there's a charming style to it that's not as gripping as a lot of other music I listen to, but is very accessible. A lot of it would fit in at a folk rock festival, or at Lilith Fair, on a festivals' second stage, though not always the headliner, and that's not a bad thing by ANY measure. Here's one of the videos Samedi linked, which I liked quite a lot. It's fun and winsome. Enjoy it. Mostly harmless, but certainly worthy of a closer look. Plus, the English phrase in the chorus is "Rocket Punch Generation!" I mean, how cool is that?


If you ARE into candy floss, and you don't mind asian poses, The WonderGirls and SNSD and Hyori and them are fun as heck! K-pop is a veritable bubble-gum pop goldmine, so dig in! It's like Hanson and The Mickey Mouse Club got stuck in a blender with a bunch of jelly-bellies (and some really short skirts)! On the other hand, if BSB, N-Sync, Britney X-tina and Avril weren't your bag back home, you probably won't like these cats and kittens much either.

But I've never been a music snob: Hanson's Mmm-bop is a bliss-out, just as surely as the Buck Futtons track I posted a week ago. Abba's Dancing Queen is pure joy, as is Thunder Road and Lazy Line Painter Jane and Avril's Girlfriend. I'll take my bliss-outs wherever I can find them. I'll also take music that has a unique voice, a cool style, a fun feeling, wherever it comes at me. I don't discriminate too much anymore: there's just too much good stuff out there.

So where is the good Korean stuff? Well, its' out there to be found, if you pay attention. It's certainly not on the charts, and the guy at Hot Tracks in Kyobo bookstore is more likely to point you to the Top Ten rack than to know what I mean when I ask them about, say, Singer/Songwriter Twee pop, or stripped-down acoustic roots folk, even less if I ask her, "Do you have any bands like Broken Social Scene in Korean?" ("Broken Social Scene? Are they more like Pushiket Dorrs, or Breck Eyet Peejuh?" [somehow Korea always goes for the cheesiest of OUR music, too]) And record shop owners I met in Hongdae who were really passionate about great music...well, I got a few good Korean underground bands from them before the shop went under itself, but if I just came in and said "what's good?" he'd slip me Aphex Twin, rather than leaning hard on the Korean sounds. (though he DID slide me some Kim Doo Soo, who is linked in the comments)

And, again, like with Christian music (sorry if I offend any CCM fans out there) I've had my hopes disappointed by enough of the popular/acclaimed/promising bands out there that, while there ARE some good ones, "Hansel: he's so hot right now!" isn't enough to win me over anymore. But if you tell me I ought to listen to someone... hey, I'm all ears.


With non-Korean bands, the process of finding a new one's pretty intuitive. I look stuff up, give it a listen, get rid of it, or sit on it for a while, keep my feelers out, ask friends, "Who's that singer on that cool TV commercial?" (it's happened) see if the same names come up again and again... THEN I listen a bit more closely, and by relying on the word of a few people and a few sources I trust, I can skip most of the music that wouldn't get through my filter anyway, and go straight to the stuff that'll make me glee.

And there IS Korean music I like. Not all, and certainly not what's popular, though I'll go to any live show I can find, and enjoy Bobby Kim and Kim Geon Mo (who are both fine entertainers, though neither are my first choice when I'm picking the tunes). But here are a few I like.

The two kings:
Kim Kwang Seok
Jang Sa-ik

Other strong contenders
Yozoh
Park HyeGyung 박혜경 (her album Seraphim is a solid one), and so far what I've seen on Youtube has her knocking on the pantheon's door.
자전거 탄 풍경 is also pretty great: best known for this song: 너에게 난, 나에게 넌, but the rest of their album doesn't sound like Fastball. (My best friend's wife got me into those two.)
I've mentioned Jang Gi Ha
Jaurim
And what's not to love about Cherry Filter (or Chaeli Pilto, depending who you ask...but dang, can that woman sing!)

The genre to love: I love the stuff from the '70s and the '80s: the singer-songwriter acoustic stuff. If you can ever get your hands on some 통기타 music, this is where Korean music really shines. Park Sangmin Sori Sae - Keudae, Keurigo Na - you can get this kind of music at rest stops on highway roadsides, in fact, that might be the BEST place to get it. I bough my set from a peddler who came by on the subway, and I wish I'd bought the double instead of the single (6cds for 10 000 instead of 3 for 6000). Man that stuff is great.

So yeah. Once I start looking around at my collection, there's a TON of Korean pop music I like. Just not packaged boy-bands or girl-bands. And hopefully you can find something in there to get into as well. There are others I haven't even mentioned, but seriously, don't write K-pop off after watching a few overplayed videos, all the sarcasm in my previous post aside.

How's that, Gomushin Girl? Samedi?

So I've given a start, and as per the post title, here's your chance to stop me from hating Korean music: Who are the other Korean bands I should be listening to, to restore my faith that Korean music is NOT just a bunch of bubble-gum jailbait bands going through the paces their managers told them to?

ps: just in case you think Korea's the only country with cheesy bubble-gum pop...

Been a while since we had a bliss-out

Bright Tomorrow, by Buck Futtons.
I like the way it builds, not to a towering payoff, but still, on a steady incline.

and the video and the sound are a really remarkable match

Photo Dump: Gyeongju Hi Seoul Festival, And More

On buddha's birthday I went to Gyeongju. It seems like a long time ago, because the ATEK stuff has pretty much hijacked all my free time, and might continue to, until I am satisfied that what's been needed to be said has been said, and them who needs to find out about it, can. I'm actually OK with that, because this is something that actually MATTERS to people: blogging is finally something more than me writing words and flattering myself that somebody might want to read them, and can actually be a way for people to connect, communicate, and try to understand each other...because that's what life is about, and that's what community is about, isn't it?

Anyway, I took a ton of pictures, but haven't put them up yet, as well as some video.

But first: 'Seyo's Bliss-out of the week, as soundtrack for the post.

Hit play and start reading...but here's the background. Dan Deacon is "freak electronic" artist. His music, rather than being "party music" like, say, The Chemical Brothers, which plays great AT a party, Dan Deacon's music sounds like he's taken a bunch of instruments and sounds, thrown them in a room together, and the INSTRUMENTS are having a party together. And you get to listen.

This song is long -- it's actually in two parts -- but it's also one of the giddiest songs I've heard, with the singalong chant at the beginning, and reprised at the end. He's apparently a wizard live, so I'm glad to have live video footage, and you can see and hear people dancing and singing along, and it's awesome. One of my new friends, Robyn from New York, just went to a Dan Deacon show that was webcast on NPR (recommended listen), and I'm seething with envy. Then again, I get to eat the world's most delicious Korean food every time I leave my house, and she's stuck with the crappy Korean food that you can dredge up in New York, so it evens out a bit. (I showed her around one Saturday, so she plugged my blog, too. But she called me strange. Next time she comes to Seoul, she's only getting SECOND TIER locations out of me. Take that, lady! Nah. I'm just kidding. I don't hold grudges. Or so she'll think right up until the other shoe drops.)

So The Hi Seoul Festival happened. These cool streamers were up in the night sky.Two white girls were dancing, and eight Korean guys were taking their pictures, and wishing they could join in, and occasionally doing so awkwardly for spurts of about eight second per.
The Korean bands No Brain and Cherry Filter, both awesome, were there. The show was set up with two stages, so people kept moving from one corner of City Hall Plaza to the other, which wasn't a bad way to do it. The mass migration was fun to watch.


I love all-ages shows. The three foreign girls dancing were funny, too.


Time to scandalize all my fellow k-bloggers (it was a big K-blog weekend last weekend. Don't know just why, but by some strange convergence, suddenly I managed to meet Seoul Eats, Kiss My Kimchi, Fatman Seoul, Zenkimchi, Kimchi Ice Cream, Expatriate Games, and Studio UR, not to mention some other, real human beings, all in the span of two days. And all that was along with flaking out and (I think) forgetting to follow up with Foreign/er Joy (sorry about that, Joy. Totally unintentional.)

I met Terry at a Buddhist Vegetarian restaurant. She was a pretty cool cat. But the real selling point in this picture is something all you ladies have been waiting for: look along the far right, and you get to see Dan Gray's crotch! (sweet! My blog is totally taking over the number one google hit rankings for searches with the keywords "Dan Gray's Buddhist crotch"! [warning: avoid the image search]) So, uh, just in case you'd been wondering.
There are other things I know about Dan Gray, after a night of drinking with him, which I WON'T share...but this picture was too much to resist. I actually like the guy. You should hang out with him sometime. I'll give you his private phone number if you send me a message. (again... just kidding, eh?)

Sorry buddy. You're allowed to publish any dumb photo you have of me, too.

In other embarrassing K-blog photos...Joe likes Mexican Beer.
(actually he was holding everyone's beer while they all took pictures of each other. What a nice guy. He's also free to publish any embarrassing picture he has of me...and I'm sure he has some. Of me making the Yanni face, or pretending to orgasm as I eat well-being pickled vegetables [stole that joke] or something.) Anyway, now that I've made enemies of two super-cool blog pals...

I went to Gyeongju with Girlfriendoseyo. We rented bikes and found some really lovely trees and things.
Anapji pond was one of the prettier things I've ever seen in Korea.

All around Gyeongju are spots like this, where rocks are laid out in formation: remains of former temples, palaces, tombs or other such structures, weather-worn, often catalogued, but not yet restored. If you get up close, you can still see some really nice stonework on some of these, too. Must have made impressive palaces. Maybe later they'll get restored. Maybe.
One of the biggest ancient astronomy observatories in Asia.
More of the cool trees at the park behind the tombs.
The coolest old guy I've ever seen outside of the wacky wildness of Jongmyo park, standing around outside Dong Daegu Station, where we stopped on the way to Gyeongju.


A lake on the way in to Bulguksa Temple:


These clamps held up the strings of lamps:

Eaves at Bulguksa.
This was another view of Seokguram temple. The cave is up at the top of the hill.

Back from Gyeongju: there's a photo shop at the corner of Itaewon station that always had this picture of a baby boy with its little baby dong featured prominently, as was the tradition a generation ago, when having a son was very important, so photographers intentionally took baby pictures with the little man-child's equipment fully on display. Well, somebody finally convinced them that this would not attract all the foreigners who visit Itaewon into their shop, so they fixed the problem.

With a post-it note.Too funny.

Here's another one of my superduper cute former-student Cecilia.

And when I met Kimchi Ice Cream last weekend, we went to an incredible Japanese style ramen place. Ooch, I'm STILL thinking about it. (there's my buddy Evan's nice, pointy western nose. Evan's quality.)

Broth boiled so long it was milky and rich with flavour. Lovely. A thousand ways lovely.
Behind the Seoul Art Center in Gwanghwamun:

OK. Now here's the second half of the Dan Deacon song. It's good. Listen to it. The climax/final chorus is wild, even more so with the live crowd just giving it.

Did I mention? The song's name is "Wham City" from Dan Deacon's album, "Spiderman Of The Rings"

Roboseyo's Bliss-out of the Week: Belle and Sebastian

Wow! Totally overwhelmed by all the commenting after my rant...not that I didn't expect it, but...

I would like to thank everyone posting for remaining respectful and presenting arguments rather than personal comments. Keep it up!

Here's your reward:

Lazy Line Painter Jane, by Belle and Sebastian. Love the guest-vocalist's voice. it's not the most all-out chained-to-the-ceiling fan bliss-out, but when the dude and the lady start singing together on the last chorus, it makes me happy.

My favorite B&S song.

Roboseyo's Bliss-Out Of The Week: Modest Mouse

'seyo likes fire.
and cozy pubs in Daehangno.

OK, so I've been listening to a lot of really cool music lately:

One friend put me onto Spiritualized, another recommended Space Hog's Chinese Album, and yet another got me onto a group called Nouvelle Vague, which will probably be the subject of a post of its own.

Anyway, your bliss-out of the day is from Modest Mouse's first album: before they started broadening their appeal (though I personally still think they sound great, even as the snobs declare them sell-outs -- indie music has been so completely co-opted by now, and the internet spreads word so quickly, that the idea of selling out doesn't mean much anymore anyway, and if you've even heard of a band at all, chances are you'll hear them on an i-pod ad next week, because (damn them) the guys who choose music for commercials have pretty bloody great taste in music...so much so that I used to laugh at the way the commercials' music upstaged the quality of the music in the videos on MTV.

Back on target: I used to be fond of saying that if you took an ordinary rock band, and stuck them in a pencil sharpener, the result would be Modest Mouse. Their first few albums and LPs especially, and even now, a few tracks per album, have a ragged intensity that will drag you along. The style isn't for everyone: the vocals can be rough-hewn, and the lead singer manages to wail and bark through some of the songs, though the lyrics are durn worthwhile if you listen to some of them. Their debut, "This is a Long Drive for Someone With Nothing To Think About" is loaded and laced with clever and inventive musical moments and turns of phrase. Listen to the first forty seconds of this track for just one example of how they build momentum. Well, the entire last third of the album, also builds momentum, along a thirty-minute arc, of fast-song/slow-song alternations, increasing in intensity, to this, the final bliss-out on the album there's one more track: a kind of coda, but this song is the climax to which the whole things builds, this is what all the other wail-outs, bliss-downs and stomp-drives have led up to, and dear readers, it is worthy. This is one of the best songs I know to listen loud: in fact, this whole album is probably best listened to in the car, out on the open road.

The way it builds in the first half, starting very slow, and then gaining speed before the screeching bliss-out at the end, flipping between sounding like a siren or a kid squeaking two balloons together, to the mechanical birds of the track title soaring in wild patterns, the song only makes sense really loud, and played loud, it never fails.

(the video is from the fireworks festival in Andong)


The song is also a textbook example of the way a bliss-out needs, NEEDS a build-up. Not always a long one: U2's Beautiful Day only spends about a minute leading up to the bliss-out chorus, but a dynamic shift really helps startle the listener into that other place the band is reaching for. Now really, this bliss-out starts six songs earlier, as the album gains momentum during the last half, with most of the best songs coming during the lead up. Then, on this track, too, the band builds for about half the song, before it finally leaps into bliss-out territory, and then in the last thirty seconds or so, it even has the courtesy to slow down a bit and ease us out of the bliss zone. If you don't enjoy the sounds, that's OK, but you can at least appreciate the mechanics of the song dynamics, can't you? I love Modest Mouse, partly for that. I'm a sucker for dynamics. I'm not that sophisticated a music listener, but a good shift in tone or tempo keeps me listening.

Don't like it? That's OK. I know Modest Mouse ain't for everybody. But don't write it off until you've listened to it as loud as you can, and preferably in a situation where you can experience some kind of motion (walking on a sidewalk, doing yoga, driving) -- that might help.

Meanwhile, I took these fun pictures at ATEK's book release party for their extremely useful English Teacher's Guide to Korea, and while there, we noticed that Tony's jacket coincidentally matched the bench on which he sat.

We almost lost him a few times. Fortunately, his voice carries.

Roboseyo's Bliss-Out Of The Week: Lover's Day, TV On The Radio

TV On The Radio has so far not let me down once. That's pretty unprecedented, as I have a pretty high bar to clear, when it comes to bands I really, really like.

The album of theirs I heard, "Return to Cookie Mountain" was superduper cool, with a handful of tracks that approached bliss-out territory. While the album was extremely strong, song-for-song, none of them quite made The Leap into bliss-out territory. However, they sing with authority, with charisma, and with depth.

Their new album is called "Dear Science," which was just as good, maybe even better.

This song is the last track: of all places, I love albums that put a strong track last on the playlist -- give you something serious to walk away with. Too many albums are front-loaded, putting all the best songs on the beginning of the album, counting on short attention spans not to notice the suckiness at the end, but then a roboseyo who DOES listen to the end doesn't want to listen to it again. I like albums that give quality content right through. Radiohead has a few really really good last tracks on their albums: especially Kid-A, Amnesiac, and Hail To The Thief. Dear Science, is one of the strongest albums I've heard, top to bottom, in a long time. Here's another song I really like from that album. The rhythmic complexity and shifts in pace and force make the film a really interesting dynamic experience.

TV on The Radio: Dear Science,: one of the best albums of 2008, sez Roboseyo.

Shout Me Out: my second favorite song on the album. If I put a third one on, I'll have to post the whole album, though. It's just that solid.


Here's a super-cool video of one of their coolest earlier songs, performed live, a capella ('cept with bass), with hand clapping beatboxing. I've posted it here before.

Seriously, make a point of watching it.