Please enter the text in the image above here:
The Buffalo Beast has published its annual list of the 50 most loathsome people in America; the 2008 list, whilst undoubtedly going over the heads of many non-Americans in places (I didn't get some of the references), has nuggets of righteous vitriol:
20. Joe the Plumber
Charges: The Che Guevara of bald, pissed off white men. In a lot of ways, Samuel Wurzelbacher really does represent the average American—basing economic opinions on unrealistic expectations of personal future success, blaming his failure to meet those expectations on minorities and old people, complaining about deadbeats getting his taxes when he isn’t actually paying his taxes, and advertising his own rudimentary historical and mathematical ignorance by warning of creeping socialism in a country whose highest income tax rate has dropped by half in thirty years. “Joe” indeed symbolizes the true American dream—to become undeservedly rich and famous through a dizzyingly improbable stroke of luck. As American folk heroes go, Wurzelbacher ranks somewhere between Hulk Hogan and Bernie Goetz.
10. Bernard Madoff
Charges: Normally, the idea of a bunch of billionaires getting robbed blind for believing in a free lunch would amuse the hell out of us, but Bernie Madoff stole a lot of money from charity endowments, and is responsible for two suicides so far. Here’s a tip, Bernie: If you’re running the biggest scam since the Catholic church, handling billions of dollars, and all it takes to get busted is that some of your marks ask for their money back, you really should take some of that money and set up an escape plan. Still, he gets some credit for making Mort Zuckerman look like a jackass. The real villains here are Christopher Cox and the SEC, who investigated Madoff eight times, the last time specifically on suspicion of running a Ponzi scheme, each time “finding” no wrongdoing, which begs the all-too-familiar question of the last eight years: Satanically corrupt or grossly incompetent? Either way, Madoff was finally brought to justice… by his kids.
1. Sarah Palin
Charges: If you want to know why the rest of the world is scared of Americans, consider the fact that after two terms of disastrous rule by a small-minded ignoramus, 46% of us apparently thought the problem was that he wasn’t quite stupid enough. Palin’s unending emissions of baffling, evasive incoherence should have disqualified her for any position that involved a desk, let alone placing her one erratic heartbeat from the presidency. The press strained mightily to feign respect for her, praising a debate performance that involved no debate, calling her a “great speaker” when her only speech was primarily a litany of insults to city-dwellers, echoing bogus sexism charges when a male Palin would have been boiled alive for the Couric interview alone, and lionizing her as she used her baby as a Pro-life stage prop before crowds who cooed when they should have been hurling polonium-tipped javelins. In the end, Palin had the beneficial effect of splitting her party between her admirers and people who can read.
And here are my gig highlights of 2008:
I happened to be in the Bay Area at the time, and went along, with some friends, to the Tenori-On launch. At the San Francisco one, they had a number of North American artists, the most memorable of whom was I Am Robot And Proud. Formerly one half of Girls Are Short, he now makes ambient electronica under this name, and, given a Tenori-On, integrated it into his performance alongside a piano, to great effect. I still didn't spend US$1200 on a Tenori-On, though.
The first ATP festival I've been to, and it was great. Highlights were probably Glass Candy's deadpan Italo-disco, Los Campesinos' on-stage mayhem, Of Montreal's psychedelic psychodrama (which keeps getting more elaborate with each show), and krautrock veterans Harmonia playing an hour and a half of ambient electronica to a hushed room.
I went to see Jefrey Lewis play, having only heard the Williamsburg Will Oldham Horror song of his, and not knowing what to expect. I was pleasantly surprised; rather than just playing guitar and singing, he did things like present short stories in sequences of drawings as he sang, and towards the end, his band threw off the folk moniker and rocked out like Mogwai or someone. Also, he had some of his comics for sale at the merch stall, and they were quite good.
The Deirdres' possibly last-ever gig, before three of their members went travelling abroad; how could I not go? I caught the train to Derby after work and made it to the venue at about 8:30, and I wasn't disappointed. They went on stage, costumed as animals which hibernate, and played with their usual raucous yet deceptively tight musicianship, and a great time was had all round.
The gig was a memorial for the frontman of Earl Brutus, hence the high-profile lineup at short notice, and the giant tinsel British Rail logo behind the stage. Black Box Recorder played mostly songs from England Made Me (i.e., their best album), and the Mary Chain gave a great performance, on a par with their recordings. British Sea Power also played, but they didn't grab me.
A stripped-down rendition of Entanglements, but while it may have lacked orchestral instruments, it didn't lack dynamism from Zach, who kept going in and out of the audience. The cover of OMD's Maid Of Orleans was pretty good too.
Two gigs, one after the other. I'm From Barcelona was the usual euphoric experience, with balloons and confetti (this time fired into the air by a confetti Gatling gun), though now only 12 band members on stage. SoKo, however, stole the show, with her quirky songs and multi-instrumentalism. She's definitely one to watch.
And now, here come the lists of things of the year. Starting with the top 10 records of 2008 (in alphabetical order of artist's name, as usual):
The futurefolk combo's follow-up to last year's Strawberry Jam, a 4-track EP further building on their textured yet organic sound. Highlight: Cobwebs, which sounds a little like something Björk might well have done.
Australia's Modular label have been the toast of the electrofashionista elite of London and New York, and the core of a mass youth movement in Australia (one now hears disparaging descriptions of vast hordes of "mogans", unsophisticated fluoro-shirted teenage party kids from all over the suburbs and provinces of Australia, sharing musical tastes with the hippest of Shoreditch and Williamsburg's hipsters; how funny is that?), but they do release some good stuff from time to time. Case in point: Cut Copy's second album, which combines the vogue for 1980s New Wave stylings (cribbed both from international sources (listen out for the Peter Hook-esque melody lines) and Australian 80s top-40 sounds) with electro/house the way Australians like it (i.e., muscular, body-conscious and not too chi-chi or pretentious), and manages to make something quite listenable out of it, a collection of well-formed pop songs driven by coruscating synths, 4/4 dance beats, melodic vocals and the odd jangly guitar and glockenspiel. Highlight: the opening cut, Feel The Love, is a good start, starting as pop and morphing into something more clubby like a disco Transformers robot.
The Deirdres, a young unsigned band consisting of seven kids from Derby, are, in my opinion, one of the most exciting indiepop bands in the UK now. This self-released CD-R (the first versions had handmade photo-collage covers, and buyers got a raffle ticket to decide which one they got) shows that they're as good in the studio as they are at live shows, sounding in places like a more melodic Los Campesinos! or a much more compact I'm From Barcelona. These kids deserve to go a long way (and three of them are currently in Australia, gigging with The Motifs and Summer Cats). Highlights: Milk Is Politics is more typical of the exuberant pop mayhem of their live shows, and Rise And Fall is just sublime.
Another Modular release, this time from an American artist lovingly taking off the more electronic end of krautrock (think Harmonia, Tangerine Dream and such). With titles like Feuerprobe, Bardolator and Götterdämmerung, this album wears its inspirations on its sleeve, but it does what it does well. Highlights: perhaps the penultimate track, Das Regenecho.
Influenced by Afrobeat, Tropicália and 1970s Canary Islands psychedelic rock, this record is a collection of loop-based Latin party music, assembled by a hipster from Barcelona. Imagine Panda Bear making party-rocking grooves, and you'll have some idea of what this sounds like. Highlights: Antillas perhaps?
What you get when some people from the DIY hardcore punk scene decide that Italo-disco is where it's at. As much influenced by cult 1970s Italian horror movies as 1980s Italian disco anthems, this brings a somewhat askew take to the genre. Highlights: Their cooler-than-ice take on Kraftwerk's Computer Love, followed by the Goblin-esque eerieness of Last Nite I Met A Costume.
A collaboration with Glaswegian glitchcore mentalist Joe Howe (Germlin/Gay Against You), Momus' latest album sees a combination of influences; perhaps conscious of the youthful cutting-edge electronica Howe brings to the party, Momus digs into the past somewhat, covering a Cliff Richard teenage heartbreak anthem and a Ryuichi Sakamoto piece (the lovely Thatness and Thereness). This was somewhat overshadowed this year by Momus' decision to post the MP3s of his Creation-era albums online in his blog, but is still worth a listen. Highlights: Fade To White
The grey days of 1980s Britain, with their anomie and internal alienation, have become a golden age of indiepop to some; certainly, to Moscow Olympics, a group of kids from Manila, the Philippines, who plant their flag halfway between the Glasgow of Orange Juice, the Manchester of Factory Records and the Bristol of Sarah Records, with perhaps a slight lean towards Gothenburg. Cut The World, their debut EP on Swedish (where else?) indiepop label Lavender, sound for all the world as if they emerged from beneath the leaden skies of mid-Thatcher-era northern Britain with a defiantly optimistic song in their hearts, sounding like the Bodines with Peter Hook on bass and Keith Girdler (of Blueboy) on vocals. The EP continues in this vein for seven tracks, before shimmering away in a Slowdive-esque crescendo; this is as perfect a slice of C86-esque indiepop as one could hope for. Highlights: the opening track, What Is Left Unsaid is a good one.
A lavish piece of 1960s-style symphonic pop splendour. The music is exquisitely orchestrated, wrapped sumptuously around finely-crafted words which, through baroque circumlocutions, tell a story of a torrid romantic tragedy, somewhere between Romeo and Juliet and Lolita, filtered through a sort of gauzy Technicolor impressionism. Highlights: the tango-infused cover of Windmills Of Your Mind is one.
Yes, it has been hyped to death. Yes, they're a bunch of privileged urban haute-bourgeoisie taking the music of the global downtrodden and crafting from it songs about the lives of the wealthy ("lobsters' claws are as sharp as knives"; see, a UHB's life is not without its hazards). But at the end of it, they do what they do quite well, combining Afrobeat influences, chamber-music strings, clever lyrics and good songs. Which doesn't mean you can't laugh at some of the toffishness. But who outside of a posh university would write a song titled Oxford Comma? Highlights: start anywhere on the album; the opener, Mansard Roof, is a good a point as any.
If I were to choose a record of the year, 2008's would be Moscow Olympics' Cut The World.
The New York Times has published its annual Year In Ideas for 2008; unsurprisingly, perhaps, there is a lot more rethinking of economics and the foundations of capitalism there ("Guaranteed Retirement Account", "Rising Tide Tax System", and a "Stock Transfer Tax", which months ago would have been seen as unwarranted interference in the majestic free market). Other ideas tackle the energy crisis ("biomechanical energy harvester", "gallons per mile", "smart grids"), environmental issues in general ("carbon penance", "the climate-change defense", and "eat kangaroos to fight global warming"), new findings from psychology (such as "scrupulosity disorder", research into why social exclusion feels cold, or the finding that chauvinistic men earn more than egalitarian men), and random inventions (airbags for the elderly, spray-on condoms) and trends (wine from China, zoning prohibitions on fast-food restaurants).
Meanwhile, LogoLounge has posted its annual roundup of trends in logo design. It seems that organic flourishes and wrapping things around spheres are still big, with bright colours making a comeback, while more corporate clients are going for the instant sincerity of hand-sketched logos.
Please enter the text in the image above here: