Stop Awful Covers 15

I'm pretty sure this is the worst Awful Covers Series ever. Nine covers so disgusting that will make you run and hide from the music behind it... which is something absolutely regrettable. Please musicians, respect your music! 

ARTWORK ATROCITIES

Cut Copy: Free Your Mind

Yeah, free your mind from.....  utter awfulness & lazyness (but probably the best of this lot)

Blood Orange: Cupid Deluxe

Umm well... the album title its probably ironic...

The Flaming Lips and Tame Impala: Peace and Paranoia Tour 2013 EP
I'll see the paranoia (tones & tones of it), but where's the peace?

Black Flag: What The...

Haven't seen a more appropiate title in my entire life 

M. I. A. : Matangi

A melting pot of awfulness: picture, colour, and typography

Missing Monuments: Missing Monuments
If you find the monument please let me know. I'll keep looking but I can't it

Gogol Bordello: Pura Vida Conspiracy
Guess that's what happens when you go "too literal": disaster     

 The Dismemberment Plan: Uncanney Valley
Don't really get the title of the album, not to mention THE head

Sky Ferreira: Night Time, My Time

Not my time. How to make a nude picture ugly

Discoverer 75: new indie findings

The first Sunday of November arrives with three great new indie proposals, enjoy !

Minor Alps. A new collaborative project with an undeniable indie rock pedigree. Bostonian Juliana Hatfield (Blake Babies, The Juliana Hatfield Three, Some Girls, and solo) and Newyorker Nada Surf frontman Matthew Caws met in early 90s at a Nada Surf show). They forged a friendship that has been flirting with the idea of working together (aside some contributing vocals on each other's songs) until the timing fitted this year, and the result is "Get There", out since past week. A couple of stunning rockier numbers recalling their solid individual careers along with moody and experimental tracks on a mature, intense, rich and inviting record where lead vocals, writing credit and emotional weight are equally shared. 

Post Modern Team. Found thanks to the unmissable reference that is Indie Pop Saved My Life, I believe this is the first time we feature a band from Osaka, Japan, on this series. With little info available out there, all we know is that the group was formed in 2012, and they have released two EPs, "Never Let You Down", and "By the Sea", including some covers of The Go-Betweens, My Bloody Valentine and The Smiths last year, before Ano(t)raks compiled their tunes on a self-titled debut album, out right now. Extremely catchy and urgent music, between jangle and dream pop, a delicious, stirring discovery from the land of the rising sun.
 
Shady Elders. Back to the US with this Denver quartet. Although initially a duo in 2011, soon they became a full band that is also something of a local supergroup with members of former groups like Spires, Tulip Wars and Don'ts and Be Carefuls. Their only release to date arrived in April of 2013 with "No Favors" EP (name your price at their bandcamp), five tunes where everything fits: dream pop, shoegaze, vintage doo-wop, some darker vibes, crisply guitars and the sounding vocals of Britt Rodemich. What a surprising, peculiar, exciting band.

"Greenwich Village", Generation Folk

Greenwich Village: Music that Defined a Generation
Beefeater In-Edit 2013, Chapter II

Very few places have the mythical qualities of Greenwich Village. The Beats, CBGBs, Dylan, Woody Allen... Literature, music, cinema... these streets are sacred ground for me. I've been lucky to wander around the area, and despite the hipster-posh-pricey-style, full of Starbucks (that's heresy!) and organic stores, the neighborhood still has a special vibe. So watching this film at In-Edit Festival was an obvious choice.

As its perhaps too evident full title announces, "Greenwich Village" aims to be an in-depth take of what it meant to be there on the 60s-early 70s, and how the music scene fuelled, or at least was an intrinsic part of the political, social and cultural changes of American society. Director's Laura Archibald approach is a coral one, full of interviews mixed with some striking performance clips, which, on paper, makes absolute sense. After all, the Greenwich Village in the 60s was a collective, a community that became the voice for many. Right?

That's the question. And I'm afraid it remains unanswered after watching the documentary. Don't get me wrong, the film is excellently structured (the comic animations are pretty cool too) and the division in several "chapters" gives cohesion to the different remarks of the artists interviewed. But it is not as revelatory as it could haven been, in my opinion because the quick interventions from the speakers are so short the whole majority of them are just flashy or superficial statements that makes you think there's a bit of indulgence and self-importance. Won't add a lot to the ones who, like me, are already "converted" to the cause. But I don't want to criticise the film, as I believe it's a fantastic work, that can really grab the attention of the casual spectator or only big-names folk/protest songs fans, showing a glimpse of a simpler but probably more human way of understanding life, and a sense of commitment and unity that would be very much welcomed and needed today.

And it does has many points of interest and remarkable situations. Archibald goes way beyond Dylan (maybe the weakest chapter, despite Jose Feliciano's hilarious impersonation), and shows many others artists, rather unknown, doing justice/paying an unexpected tribute to a few of them. She also features some mesmerizing performances by the likes of Phil Ochs, Odette, Richie Havens or Joni Mitchell. And she's not shy to bring (although I would have loved a richer insight) a not-so-happy issue to the table: the blacklisting and persecution from the House Committee on Un-American Activities, and the perennially ridiculous fear of Communism.      

Finally, and it's such a big plus it deserves a separate comment: it does have PETE SEEGER (yeah, in big capital letters). Every remark he offers in the film is full of wisdom and joyous eloquence (don't miss the final credits where he reveals what happened on the über-famous Newport Folk Festival where Dylan "turned electric"), and brought me near tears a couple of times.“What in the world is an un-American activity?” Not singing songs about people, that's for sure...  

SCORE: 6,75/10

“Big Star: Nothing Can Hurt Me”, the Cursed Band

Big Star: Nothing Can Hurt Me
Beefeater In-Edit 2013, Chapter I

Before June 1st of 2011, Big Star was a band always pending to discover because R.E.M., my heroes, were always praising them. But on that date two years ago, the Big Star's Third tribute concert at Primavera Sound 2012 in Barcelona was an unforgettable moment for me, simply being one of the most touching music experiences of my life. Truth be told, the main reason I went to the show was Mike Mills' playing among the guest starts, but the night was so memorable I still got goosebumps when I remember. Since then I've been trying to get into Big Star's music, so no question I was eager to watch this documentary.

Having said that, I don't consider myself a fan yet, and that might explain why, although "Nothing Can Hurt Me" is a highly recommendable rockumentary, I would say it's only a must for hardcore fans. There's an undeniable feeling you are in front of a very peculiar group and a unique story... but not exactly thanks to the film achievements. Allow me to explain.

The film is a caring chronicle of the Memphis' group ill-fated path and its recurrent struggle with success or popularity in the early 70s. Big Star's tale is the epitome of the cult band: loved by critics and fellow musicians, but remaining out of focus from popularity. Sure, it makes no sense, Ardent and Stax Records are sure to blame... but it's not surprising or extremely meaningful. The band's bad luck with his three records, distribution issues and lack of air playing is not that interesting for the occasional listener or the non-fan.

Being honest, I don't how co-directors Drew DeNicola and Olivia Mori could have solved the obvious obstacles they faced doing this film. The factor of the "absence" of the two band leaders on the film is crucial. There's no Chris Bell and no Alex Chilton on camera. All their story, within the band, after the first left, and finally after the combo disbanded in 1974 is reconstructed. The band's tragedy, crystallised on its two key members, can only be recreated by the filmmakers. Add another issue, which is, of course, the fact there's almost no footage of the band performing live. That makes the movie absolutely dependable on cool but a bit tiring visual compositions and a vast amount of opinions from the many people interviewed, harming the overall rhythm of a considerably lengthy film (close to two hours).

Not to criticise the opinions and remarks of the people interacting on the film. On the contrary, that's what makes "Nothing Can Hurt Me" worth watching, and at times, unforgettable. They are the best example of how deeply the songs of Big Star have touched many hearts and souls, in a way that to me (I've seen a lot of documentaries) is hard to compare. As the film develops you'll see an spectacular constellation of musicians, critics and industry-related folks showing a genuine love, even devotion (Mitch Easter, for example) for the cursed band. Some will get close to tears, impossible to hide how affected they still are by the tunes. Others are just striking for the viewer (family, close friends) with lone surviving band member Jody Stephens topping my "personal list". So human and compelling. That's why Big Star is a mythical band. Heartfelt rockumentary, despite the shortcomings. It couldn't be any other way with Big Star.

SCORE: 6,5/10

"The Da Vinci Code", Silly Childish Games

The Da Vinci Code- Dan Brown

I was forced to read this book. I had to because I’m enrolled on a Professional Reading course and it was part of our homework. And I was quite scared to start reading…Terrified. Let’s just say (being extremely polite) my expectations were quite low from the very beginning. I was so right, what an atrocious shame “The Da Vinci Code” is.

Dan Brown is a disastrous writer. It’s hard for me to think on a worse pen than his. Surprisingly lame and empty, with a never ending amount of Wikipedia descriptions (places, historic sites, and pieces of art abound) and the WEAKEST effort on the characters I have ever seen (read) in my entire life. Robert Langdon and Sophie Neveu could had been easily replaced by character X and character Y, and the result would have been exactly the same. Secondary roles include an albino troubled villain, a mysterious butler, an eccentric millionaire devoted to find the Holy Grail, some high members of the church and the police. Yeah, you're right. It looks like "Clue", the traditional game, mixed with a bit of "Carmen Sandiego" and "Where’s Waldo". As a matter of fact, it looks too much like them. Childish games.

If character development and author’s prose are pathetic, at least the story development has to be amazing and absorbing, one might think. Well, I guess that’s debatable and personal. Did you enjoy series like "X-Files" or "Friday the 13th"? Then you will probably enjoy "The Da Vinci Code". The whole book is structured in the same way. Take notes, here's the recipe for a best-seller. Chapter begins, main characters are in front of “something relevant” that turns out to be a sudoku, a puzzle. They think about it, they speculate. Then someone has the illumination and finds the answer. But, while there’s an enigma that’s resolved, another one is created. Repeat the structure for more than a hundred chapters. Add a glimpse of a thriller so there’s a menace pressing the resolution of the detectivesque mysteries, plus a completely unbelievable plot, a worldwide conspiracy, that involves Opus Dei and the Catholic Church. And you got it. Don't forget to sell the rights to Hollywood as soon as you can.

I’m so puzzled this book was such a huge phenomenon, one that was the main reason of the spreading fever of this sort of pseudo-religious-historic novels, because to me is just silly and pointless. As I assume you have read the book and/or seen the movie (something that I will try to avoid at all costs) I guess I’m not spoiling much. You built the biggest of plot against humanity ever put in paper just to retreat at the very end? Was Brown too scared about the Church reaction? Did he realise the whole plot is absurd? The haunt of the Grail, the use of the Knights Templar and the art of Da Vinci might provide a morbid curiosity for many, but it all converges on a happy ending that is absolutely ridiculous. Maybe reading the book helps people to be more interested about history and art, or perhaps contributes on people giving a thought on the “official history” and its construction. I don’t know, I’m just trying to figure out arguments on why the book was such a success. To me it was just a waste of time.

SCORE: 1/10

Satellite's Gone: Bye Lou Reed

BYE LOU, TAKE CARE UP THERE!

Satellite's gone up to the skies
Thing like that drive me out of my mind 
I watched it for a little while 
I like to watch things on TV 

Satellite of love satellite of love Satellite of love satellite of 

Satellite's gone way up to Mars 
Soon it will be filled with parking cars 
I watch it for a little while 
I love to watch things on TV 

Satellite of love satellite of love Satellite of love satellite of 

I've been told that you've been bold 
with Harry, Mark and John 
Monday, Tuesday, Wednesday to Thursday 
with Harry, Mark and John 

Satellite's gone up to the skies 
Thing like that drive me out of my mind 
I watched it for a little while 
I love to watch things on TV 

Satellite of love satellite of love Satellite of love satellite of Satellite of love Satellite of love Satellite of love Satellite of love Satellite of love Satellite of love

Discoverer 74: new indie findings

Another Sunday full of amazing new indie proposals for you ears only, enjoy !

The Julie Ruin. We start with a NYC quintet formed in 2010 and leaded by Kathleen Hanna, riot grrrl myth, feminist activist and former lead singer of the seminal bands of like Bikini Kill and Le Tigre. As a matter of fact, Hanna released a solo album entitled the Julie Ruin in 1998, but until 2010 the project didn't acquire its final, full band incarnation, with a first performance arriving that December. In 2012, they released the song "Girls Like Us, and the debut album, "Run Fast" is out since September. As expected, the album is fire and fun, vital and tough. The B-52 fuelled by the punk sharpness and wisdom of a 20 years spanning and honest career. Welcome back, Kathleen, we needed you!


The Meaning of Life. Still in NYC to meet a Brooklyn-based trio, born through an ad in 2012 and creating their only release to date, "Play Fuego" EP, during that summer, preceded by the advance single "Laura V.". The release, that you can still grab (name your price) at their bandcamp is an exciting blend of dream pop with the more melodic version of shoegaze, where the layers of reverb and noise doesn't attempt to bury the thrilling vocals of Marta DeLeon, which imo recalls to my beloved Beth Orton, but instead propelling her to wide, cinematic, and haunting spaces.

Trick Mammoth. Only two songs, but I already know I have found a band to love (thanks to the great Just Music that I Like blog for the recommendation). Hailing from Dunedin, New Zealand, they formed in 2012, and after some late-year demos, the trio of Adrian Ng, Millie Lovelock and Sam Valentine recorded their first full album in mid July of 2013, which is entitled "Floristry" and will be out in late November via Fishrider Records but... only in NZ! We Europeans will have to wait until February 2014 through Occultation Recordings! That's unfair, that's a tragedy! Judging by the mind blowing first single "Delphine (With a Purpose)/Pinker Sea" available at their bandcamp the wait is going to be excruciating... Immediate but intriguing indiepop, delicate (Millie's voice is disarming) and uplifting. Love at first hear. Want the record now!