WIRE "One Of Us"

Wire is playing in LA on October 14th at echoplex

What We Do Is Secret: review

REVIEW

I got to watch this film a few times. The Germs was a legendary LA band, that was more like an idea, than a reality. Los Angeles doesn't really get its fair share of punk rock credit. People still think Punk was invented in London or NYC, but by 1979, LA had its own scene and a ton of bands. The Runaways was an early punk band if anyone was. Much of the LA rock scene then was still a glam retread. It took a few years for things to get really happening here. Not that any of the club owners wanted punk to take off. They thought punk was violent, and preferred cover bands. They would book a "punk" band, maybe some lightweights like The Dickies, and a few bottles would be broken. End of experiment. It's a miracle that The Germs got to play any shows at all.

So we have this movie. Shane West is great as Darby Crash. Not that I was close to the original, but I have known Don Bolles off and on since 1980. It mostly seems accurate. Darby Crash was said to be really smart. None of this is really shown in the movie. He seems more like a moron obsessed with Sid Vicious. Luckily Darby visited London and found out that people didn't listen to Sex Pistols anymore. But I remember there were a lot of kids who were obsessives and could quote Nietzsche and turn your world upside down. You know, guys who were fans of Charles Manson, and so on. So Darby seems to have a little low self-esteem issues. If this has to do with his family or closeted homosexuality, who knows?

We get to see the beginning of The Germs and The Masque. I remember the horror of hearing the Live at the Whisky album. Besides "Sugar, Sugar" that music was a chore to listen to. Eventually The Germs got better. In 1980, they could play very fast, and with Black Flag, probably inspired the whole hardcore thing. The Germs probably played 50 gigs or less in their whole early career, and never outside of LA. Most of the shows were uneven, and sometimes Darby was on drugs. Some people pretend that Darby was some incredible showman. But it was more a mystique than actual fact. That is why Shane West is such an improvement. You get a young Darby without the bad haircuts, drugs, and Bowie Fascination.

The Germs created some excitement in the LA scene which was mostly The Screamers and The Weirdos back then. There are a few scenes in the movie with The Damned. Why they got 40-year-old men to play them was odd? You have an actor playing Rodney Bingheimer, who seemed younger than the band. Back then, Rodney was like the oldest guy you ever saw at a gig. Darby gets more into drugs. Their managers suck. A bunch of vampires and leeches surround the band and feed them drugs. Sounds like these go-nowhere bands of today? Luckily they recorded an album, and better yet, were captured on film. Because it's not like The Germs was this awesome live band. The album still rocks today and they stole the show in the Decline movie. And Darby died.

Can you imagine a 50-year-old Darby Crash? Not me. We give Darby the benefit of the doubt, like we do Kurt Cobain and Elvis. People like Ian Curtis and Jeff Buckley were always considered interesting artists in their lifetimes, but once they died, the "genius" label got thrown around. I am not sure if Darby was a genius, but he created some interesting times to mull over. The records are there. In the movie, it seems sort of dark and depressing. I think of those times as being very fun and wild. Even his death didn't change anything. Life went on, and The Germs were a thing of history. They were a flash of light.

As a young teenager experiencing this, it seemed so care-free and light. Punk Rock did create a lot of false dreams and casualties. Darby was very provocative. He went to London and saw Adam and The Ants. He came back with a mohawk. It was before all the punk clones and uniforms. And I remember seeing Black Flag at the Starwood at the time. I must have seen 100 mohawks that night. That was the power of someone like Darby Crash.

The whole LA punk scene was a quick thing. By May 1980, you had thousands lining up to see PIL at the Olympic Auditorium. There were all these clubs in the sticks, like Godzillas. The Stern Brothers put on some bigger shows. The Ramones played some big shows. But in those years 1975-1980, everything was very underground, and witnessed by very few people. I, myself, only got to see the tail end of it. And by the time you are 21, do you really want to fight bouncers and police officers?

I am glad that a band like The Germs gets any attention. They, like Black Flag and Redd Kross, were more my age. Maybe a few years older. Many bands who always get mentioned, like X and Fear, were in their 30s by 1980. The Germs records stand up, and the others don't. They are playing at Sunset Junction this weekend so you should check them out.

--Alexander Laurence

Downtown Artwalk playlist

Downtown Artwalk August 14th

I was at the temple, and Vee called me up. She wanted me to start at 8pm. I had to drive across town and there was traffic. I was in a rush, so couldn't pay attention to what was going on. It was the most people downtown I had seen. At 5th and Main the sidewalks were filled. I played records for almost 5 hours, so this list is going longer than usual. I saw a lot of new people in the club. It was at capacity so sorry if you couldn't get in.

Playlist August 14th, 2008

Daft Punk "Around The World"
New Order "Sub-Culture"
MGMT "Electric Feel Good"
The Ting Tings "We Started Nothing"
CSS "Pretend That We're Dead"
Crystal Castles "Crimewave"
Johnny Cash "Leave That Junk Alone" (Alabama 3 Remix)
The Jam "Beat Surrender"
Portishead "Plastic"
Sonic Youth "Silver Rocket"

Gorillaz "Clint Eastwood"
Generation X "Ready Steady Go"
Daft Punk "Technologic"
Hot Chip "Ready For The Floor'
The Rapture "Get Myself Into It"
Klaxons "It's Not Over Yet"
Annie "Chewing Gum"
Louis XIV "Finding Out True Love Is Blind"
Santogold "Creator"
Crystal Castles "Vanished"

The Duke Spirit "Send A Little Love Token"
Bowie "Golden Years"
Devo "Wiggly World"
Daft Punk "Robot Rock"
The B52s "52 Girls"
Get Get, Wear Cape Fly "D.A.N.C.E."
Jean Knight "Mr Big Stuff" (w/ Jay-Z "99 Problems")
Hot Chocolate "You Sexy Thing"
Bow Wow Wow "I Want Candy"
Soulwax "NY Lipps"

Roxy Music "Viginia Plain" (Headman remix)
LCD Soundsystem "Disco Infiltrator"
Junior Boys "In The Morning"
MIA "Paper Planes"
MGMT "Time To Pretend"
My Chemical Romance "Song 2"
Soulwax "E-Talking"
Supergrass "Diamond Hoo Ha"
Grace Jones "Pull Up To The Bumper"
Yaz "Dont Go"

Hot Chip "Over and Over"
Dandy Warhols "We Used To Be Friends" (Kenn Richards remix)
The Kills "Cheap and Cheerful"
The Ting Tings "Shut Up and Let Me Go"
Iggy and The Stooges "Shake Appeal"
Violent Femmes "Blister In The Sun"
LCD Soundsystem "Give It Up"
Interpol "Slow Hands" (Britt Daniels remix)
Raconteurs "Stone Bought Bones"
Soft Cell "Tainted Love"

Kim Wilde "Kids In America"
BRMC "Stop"
Arcade Fire "Rebellion Lies"
CSS "Alala"
Adult. "Nothing Of The Kind'
New Young Pony Club "The Bomb"
Bauhaus "Third Uncle"
Teddybears "Punkrocker"
We Are Scientists "Inaction"
Blur "Music Is My Radar"

The Strokes "Heart In A Cage"
Echo and The Bunnymen "Rescue"
Sinead O'Conner "Jerusalem"
Kasabian "Empire"
My Bloody Valentine "When You Sleep"
The Moldy Peaches "Who's Got The Crack"
Cheap Trick "Clock Strikes Ten"
Blondie "Atomic"
Gang Of Four "At Home He's A Tourist"
Lords Of The New Church "Russian Roulette"

The Black Angels "You In Color"
Wire "Outdoor Miner"
Wire "All Fours"
Burial "Ghost Hardware"
Renegade Soundwave "Transition"
Hecuba "Sir"
The Glove "Perfect Murder
Ian Dury "Hit Me With Your Rhythm Stick"
TV On The Radio "Wolf Like Me"
Singapore Sling "Song For The Spirit"

The Last Shadow Puppets "My Mistakes Were Made For You"
Dirty Pretty Things "Tired Of England"
Wire "Mekon Headman"
1990s "See You At The Lights"

+ more

ALESSI

Alessi is a magical creature that lives in West London. I think of her as this unique eighteen-year-old girl who is very excited, very alert, and very open to the world of the imagination. The imagination is often associated with those strange dimensions created in childhood. For a young child, fantasy and reality seem to co-exist without contradiction, and shed light on each other. As we grow up we seem to leave this world behind, only to revisit it occasionally in song. Alessi's songs like "Constellations" and "The Horse" open up the door again to this beautiful world. Her songs are a new take on psychedelic folk music, very British, and a little like Syd Barrett, who was very childlike in his own way.


Alessi has taken a myriad of influences from art and music, and her own life, and formed something very original. In a very short time, Alessi has created her own signature sound. Her voice is very sensual and her idiosyncratic guitar playing is very simple. On writing her songs, Alessi says: "Usually words are born first. I try to remember them as much as possible and sometimes write a few things down. I leave the words to just exist for a little while and then I'll see if I can find anything on the guitar to help it grow."


Alessi has studied music for a while, playing several instruments. For many years playing drums. As for her own songs she settled on guitar: "I like playing the guitar, we're becoming better friends all the time. Apple and I." In no short time, Alessi has created a magical set of songs, from her bedroom. Her visual and sonic presentation is both innocent and worldly.


Alessi played about one hundred shows in the past two years. Several of these shows were at bookstores and unconventional places. She said of these early shows: "Listeners had to be quiet. I didn't have a pickup on my guitar then so I'd just hope a microphone or two would do the trick."


The reaction to her music has always been always positive. Alessi has definitely turned heads around. She has created fans with every show. Alessi gave a handmade CD with original artwork. At some point it was time to create a full album and expand her sound from those homemade demos. Alessi traveled to ARC studio in Omaha, Nebraska to work on her album with Mike Mogis who has worked with many bands on Saddle Creek. She said: "We started working on the record last August (2007) and with intervals here and there we've just finished it." That is good news.


Alessi has spent almost a year perfecting her album. There is a lot of down time in the studio. I often wondered about her hobbies. She offered: "Drawing and embroidering are two things that keep my hands busy and very happy." Alessi's mom, Lauren, has been knitting herself. She created knitted purses to put her CDs in. People are very lucky to have received one of these creations.


Sometimes Alessi seems to be living in some ancient world, from another time. I found out that she does use a computer and a cell phone. She told me: "Yes, I watch television. Not very often but when I do, it's with my family. We love laughing."


I can imagine her reading books in some old library. Alessi explained her reading habits: "Reading comes in waves. I've been reading quite a bit recently. Gig by Simon Armitage and A New Earth by Eckhart.... I've forgotten his last name. And new issues of The Curse. Your book too. Five Fingers Make A Fist by Alexander Laurence.


What is an average day like for Alessi? She is brief about the subject: "Sleep. Music. Hugs. Walking. 3 meals. Sometimes swimming." She leaves a lot to the imagination, which is good.


Alessi is someone you could see being a teacher or an artist. What does her family think about her decision to play music: "My family is beautiful and supportive. I think they like the songs'', she tells me.


After another month in Omaha to complete the record, Alessi plans to play several shows: "I'll be playing End of The Road in September 2008 and then a few shows around the UK with Peter and the Wolf" she adds. Hopefully we will see the release of her album later this year, or in early in 2009? This will be one the most anticipated albums, and we all look forward to it.


--Alexander Laurence

www.portable-infinite.blogspot.com

Downtown DJ night

Playlist July 21st, 2008

Generation X "Wild Dub"
The Prodigy "Breathe"
New Order "Subculture"
Cheap Trick "Southern Girls"
MGMT "Kids"
The Duke Spirit "My Sunken Treasure"
Death In Vegas "Soul Auctioneer"
Renegade Soundwave "Transworld Siren"
Hecuba "Tom And Jerry"
Portishead "We Carry On"

Santogold "Creator"
Spiritualized "Soul On Fire"
Dirty Pretty Things "Tired Of England"
Duffy "Mercy"
Suede "We Are The Pigs"
Gang Of Four "What We All Want"
Darker My Love "Talking Words"
Mystery Jets "You Cant Fool Me Dennis" Remix
LCD Soundsystem "Disco Infiltrator"
Art Brut "Direct Hit"

Tokyo Police Club "Nature of The Experiment"
Butthole Surfers "Hurdy Gurdy Man"
The Dandy Warhols "We Used To Be Friends" remix
Iggy and The Stooges "Shake Appeal"
The Ting Tings "We Walk"
MIA "Paper Planes"
Wall of Voodoo "Mexican Radio"
Wire "Another The Letter"
The Vibrators "London Girls"
My Bloody Valentine "When You Sleep"

Crystal Castles "Crimewave"
The Kills "URA Fever"
Roxy Music "Virginia Plain" Headman remix
The Last Shadow Puppets "My Mistakes Were Made For You"
Foals "Cassius"
The Velvet Underground "Waiting For The Man"
Patti Smith "Rock and Roll Nigger"
Joy Division "Heart and Soul"
The Circle Jerks "Wild In The Streets"
Devo "Wiggly World"

Brian Jonestown Massacre "Going To Hell"
The Doors "The Alabama Song"
Marianne Faithfull "Broken English"
Bob Dylan "I Want You"
Devendra Banhart "The Charles C. Leary"
The Raconteurs "You Dont Understand Me"
Garland Jefferys "Eggs"
Transvision Vamp "Tell That Girl To Shut Up"
Broadcast "American Boy"
The Raveonettes "Dead Sound"

Kate Nash "Foundations"
Blood Red Shoes "Say Something, Say Anything"
Goldfrapp "A & E"
We Are Scientists "This Scene Is Dead"
The Black Keys "Your Touch"
TV On The Radio "Wolf Like Me"
Siouxsie and The Banshees "Hong Kong Garden"
Lily Allen "Smile"
The Hives "Tick Tick Boom"
Interpol "Slow Hands"

Alternative TV "Action Time Vision"
plus more punk stuff

COLDER "Wrong Baby"

READ the groundbreaking COLDER interview here: http://portable-infinite.blogspot.com/2005/01/colder-interview.html

Ladytron Interview 2008

LADYTRON interview 2008
By alexander laurence

I did one of the first interviews with Ladytron in 2000. They had an EP out
then. I spoke to Daniel Hunt before they had played any live shows. I met
Daniel in New York City during one of his first visits there. Since then they have
released four albums and have toured the world. Recently they have released a
new album called Velocifero (2008).

The members are Daniel Hunt, Reuben Wu, Mira Arroyo, and Helen Marnie. The
band started in Liverpool in 1999. Their albums include 604 (2001), Light &
Magic (2002), and Witching Hour (2005). They have become famous DJs and remixers
over the years. I spoke to Reuben Wu in May 2008, during their recent American
tour.

AL: I did an interview with Daniel Hunt back in November 2000. I had heard
the first single and a version of the first album. What do you remember about
that time, and how is the band different now?

Reuben: It’s very different when we first started. Everything happened very
slowly. Things worked very differently back then. We have learned how to be a
band. When we first started it was a part-time thing. Danny and me still had
jobs. Helen and Mira were still students. It was a very slow process getting
known and getting airplay. It was strictly a studio project at first.

AL: Did Danny write most of the first album?

Reuben: Danny had already been in a few bands before Ladytron. He had built
up a collection of tracks. He had written much of the first album over a few
years. Most of it had been in different stages of being finished. When we
started working on the music, most of the demos for the first album were already
done. In that way, it wasn’t written as an album, but more a collection of
songs. The next album, Light & Magic, was more like an album. As we go along,
the albums are more coherent.

AL: When I first heard Ladytron, I was thinking of techno bands like
Kraftwerk and Gary Numan, and some John Foxx. But when I listen to it now, it sounds
more like indie rock bands of the time.

Reuben: We have never been embraced by the techno world because we are too
song based. We have always been by ourselves and not comparable to other bands.
When we play these festivals that are almost like raves, we stick out because
we are too rock and roll. And when we play with indie rock bands, we don’t fit
in either.

AL: When did the band start playing live?

Reuben: It was some time after the second album. Our earliest shows were not
live at all. We had a playback tape. We were just miming back then. We didn’t
start out as a live band. We couldn’t go out on the road because we all had
jobs. We could only do one show at a time. That has pretty much changed over the
years. We are pretty much a live band now.

AL: Now bands have to tour if they want to survive.

Reuben: Exactly. I realize more and more that an album is like a yardstick,
or merely a blueprint, for the live show. We have played all over the world. We
have toured consistently for three years.

AL: When you first started playing, everyone one was calling this music
Electroclash. All these bands like you, Adult, Fisherspooner, Peaches, and others
didn’t really have anything to do with each other. What did you think of all
that?

Reuben: Exactly. That was more about a group of bands that came out of
Williamsburg at that time. But it seemed to embrace a bunch of bands from all over
the world. We had never known about that area and about those bands. They
seemed to be more about doing music with keyboards. We were never a band that
talked about instrumentation. We were always about songs. There are bands now that
electronic bands and have keyboards, and they are not called Electroclash.
Although these labels were frustrating at the time, it all brought that music
more into the mainstream a bit. There are bands now like Soulwax Nite Versions
and LCD Soundsystem who would have been called Electroclash back in 2001. They
have seemed to have leapfrogged the whole thing.

AL: Many of these Electroclash bands are not around anymore.

Reuben: We were doing our own thing. When we were in Los Angeles doing our
second record, we were oblivious to all that. We were more concerned with being
ourselves and not reflecting anything going on. It was such a relief when the
second album came out. We wanted to distance ourselves from all that. The
second album was like a bookend to the whole Electroclash thing.

AL: Has the last few albums been more collaborative?

Reuben: Yes. They have been. Each record has been different. But it’s good to
have all members contributing to the band when you have four members in the
band. Things have evolved over the years. I think that the next record will be
way different. Over the years I think each record gets better and better.
Velocifero is the most diverse and most cohesive record we have done.

AL: You don’t worry about the singles?

Reuben: We do identify which songs are potential singles, but, to be honest,
I think we are much more an album band. I like to think of us as making a
collection. It’s a package without any filler.

AL: What new influences shaped the making of the new record?

Reuben: For Witching Hour: we were happy with the sound of it. But we wanted
to work more on the bass end of things. We wanted a harder drum sound. On this
new record we worked on the production. We are all big fans of the prog-rock
band Goblin. They were an Italian band in the mid-1970s that did a bunch of
horror soundtracks. I was listening to Goblin when I did the track “Black Cat.”
I feel like the album is more psychedelic as well. We started to do some of
this on Witching Hour. Those songs worked better at this time.

AL: I heard that you already have another album ready to go?

Reuben: We were on tour for so long, that we wrote thirty songs. We had to
select songs to be on this album, and that left fifteen songs. I am not sure
what it is going to be yet. It is just a collection of demos at the moment. It is
more downtempo. It’s more like a soundtrack. We haven’t been able to work
on it, but the songs are there. We hope to release it in the next six months.

AL: These are songs that didn’t fit in the album, but had a cohesion in
themselves?

Reuben: There was a different energy. It’s just a bunch of demos at the
moment. Hopefully we have some down time in the next few months to work on these
songs some more.

AL: What is the live show like? You still play with six people?

Reuben: It’s always been six people. There is the four of us with a live
drummer and a person who plays bass guitar and keyboards. I think that we have
become tighter as a band over the years. We incorporate much more sounds from the
album in our live show.

AL: What was going on before?

Reuben: Before any electronic sounds were triggered by drum samples. We still
have triggered drum samples and other sounds that can’t be created live. We
are such a complicated band and we have so many layers of sound. It’s very
tricky to reproduce those sounds onstage, especially live.