I've been listening to the new Britney Spears album this weekend. Where should I start? How about the fact that I've never owned or listened to any of her previous albums. Not even on a guilty pleasure level.
Musically, she has always been on my shit list, mostly because her singles are usually pretty mundane, especially compared to her two main contemporaries (Timberlake and Aguilera) who seem to have a genuine interest in broadening their musical scope. I know just as much about her as every other pop culture enthusiast.
I liked the first single, "Gimme More." Despite all the shit that's reported about her, I've always wanted to give her the benefit of the doubt, mostly because of my skeptical view on entertainment news media. Even Billy Joe is backing her up! I was going to get it the week it came out, but I passed after listening to this ridiculous interview the day after it dropped.
I got it this weekend (Virgin Records, San Francisco, $12.99) after listening to a few tracks online and really enjoying what I heard.
Blackout is a very unique and pleasing electro pop album full of singles with great hooks and a sound that's thankfully not outdated. The producers, from Bloodshy & Avant to T-Pain and Nate "Danja" Hills, were rumored to have saved their hottest tracks for her and described her as being professional in the studio.
It means a lot that some of the biggest producers in pop came together to save this woman's career, and to obviously rely on her to promote their own talents. For once, it is about the music, and the songs are really outstanding.
My favorite tracks by far are "Break The Ice," "Freakshow" and "Radar" -- all of which can become huge hits for her. It took a few years to put this together and with the tight 12-track selection (and a handful of equally amazing unreleased tracks floating around), you can tell everyone gave their all, at least in the studio, to put these songs together.
Listen to "Sugarfall," an unreleased song and possible Neptunes production that was not included on Blackout. It's slightly less upbeat than everything else on the album, which is my guess why it wasn't included, but the hook is terrific. There must be dozens of studio gems like this that were ditched in favor of the 12. She was not lazy during the production of this album.
Back to the KIIS-FM interview, it's really awful that she's not promoting what could be her breakout album, an album that could attract the same Misshapes hipsters who restored Madonna's supremacy during Confessions On A Dance Floor. You got Robyn doing backup up "Piece of Me," a "Konichiwa Bitches"/"Hollaback Girl"-style rap on "Freakshow," and production not unlike The Knife's Deep Cuts.
Unfortunately, the cover art and typography is ugly. The photos inside are depressing. There are no acknowledgements or thank yous. 'B. Spears' is only on two song credits, plus an executive producer credit. Her voice is extremely processed. Her website isn't updated, which is shocking for an artist of this stature.
In some way, the album experience is a downer, like listening to Nirvana's Unplugged, only because it feels like the person singing doesn't exist anymore. The songs aren't given the momentum they deserve.
In any case, she's alive and they music really is good. Plus, she's at the age Madonna was at the start of her career. Maybe she'll be this generation's freaky Michael Jackson or troubled Judy Garland .. or ________________?
Here are a few things I bought today at Amoeba Records on Haight Street (San Francisco):
Spank Rock & Benny Blanco Bangers & Cash Price: $4.98 Yes, I know a lot of the tracks were available for free on Spank Rock's myspace about a month ago, but I'm not much of an economist. "Shake That" and "Loose" were fun 2 Live Crew interpretations and damn, it's only $4.98 for better audio and hot cover artwork. All 5 tracks are ridiculously trashy, and it'll keep me running (and giggling) at the gym.
Kanye West Can't Tell Me Nothing Price: $5.98 This is Kanye's pre-Graduation mix tape. He raps over "Young Folks" and "The Eraser" (Thom Yorke's song that I talked about last week), babbles about porn, Rolling Stone and politics. There's also Kid Sister's "Pro Nails," which I really love. It's a very engaging listen. He has another official mix tape that was released last week. You can get it free at Kanye Talk.
Clipse We Got It For Cheap Vol. 2 Price: $5.98 This came out a few years ago, but I was inspired to pick it up today since Hell Hath No Fury still gets played regularly. They put a really excellent live show in September, and definitely value and acknowledge their fans more than any artist I've seen live in a while. I'm looking forward to putting this on.
Devendra Banhart Smokey Rolls Down Thunder Canyon Price: $13.98 I'm still an avid folk music listener. I wasn't totally looking forward to a new release by Devendra, mostly because his albums are very long and take time to digest (time that I was saving for a later date). Still, I will always buy anything he releases, mostly because he's charming, a great musician and unlike any other artist around right now. Oddly enough, I was reminded of him when I saw his Annie Leibovitz photo in this month's Vanity Fair. It was either this album, or the Jens Lekman's Night Falls Over Kortedala, but I decided I could wait on the Lekman album.
I was one of the millions of people that downloaded Radiohead's In Rainbows last Wednesday. I paid around $7 for it with the reasoning that I'd probably buy a copy with artwork when it gets a physical release.
The first thing I did was burn it on a CD and play it in my stereo. The first few songs were very familiar from the Berkeley Greek Theater gig I saw in 2006.
It's not necessarily a rock or electronic album. It feels more like a cozy winter album and reminded me of Beck's Sea Change (also a Nigel Godrich production). It's calmer and complicated, with few abrasive moments. The band is even more emotive than usual -- can you imagine? An acoustic set of this album would be perfect.
My favorite songs are "15 Step," "Nude," "All I Need" and especially "Reckoner." What a beautiful song. Thom Yorke's falsetto vocals are amazing. The percussion is eerily distant and everything comes together so beautifully with the guitars and strings. Since Joy Division saturation is in full effect, it feels like "Decades."
"House of Cards" is also fantastic. I think the band borrows the melody of The Jam's "That's Entertainment" for the intro and end of the song. It caught me by surprise.
I think it's a great record, but it's definitely a grower. As of this moment, Hail To The Thief is still my favorite Radiohead album, mostly because of "Scatterbrain."
In Rainbows makes Thom Yorke's The Eraser sound like an electro pop record, which I never really thought about. I liked it when it came out, but I was underwhelmed. Strangely enough, the melodies for "Harrowdown Hill" and "The Eraser" have been stuck in my head all week, and I've been replaying them regularly.
I didn't want to get into their business model of suggesting a price for the music, since few people have been talking about the actual music. But overall, I think it's an admirable idea. It can work for a band this big, with a higher ratio of good output over mediocre shit. It won't work for the indie nobodies.
I wonder if Justin Timberlake is going to be one of those instantly recognizable voices in American pop music that will make fans purchase anything he sings on.
What was once a voice that was so deliberately borrowed from Michael Jackson is now the superlative for white boy soul.
There's no doubt Jackson's music will live forever. But even if he's appreciated in new hip-hop and soul (i.e., Rihanna's "Don't Stop The Music", Kanye West's "Good Life"), it's a faded memory of greatness, which makes us grasp Timerblake even tighter for being so young, prolific, alive and talented.
I like Timberlake a lot, and FutureSex/LoveSounds was an addictive surprise for me last year. He's working with everyone right now: Madonna, Duran Duran, and most recently, 50 Cent.
When you hear Timberlake's voice come in on 50 Cent's "Ayo Technology," you get a little bit of the goosebumps you would get hearing Michael Jackson on Diana Ross's "Eaten Alive."
The trouble with the "Ayo Technology" video, however, is Timberlake looks like a freakin' dwarf compared to the masculine man meat that is 50 Cent. Timberlake, who can often walk on air in music videos, looks uncomfortable bouncing in the background. I can't put my finger on it, but even 50 Cent looks a bit self-conscious -- maybe because it's his big pop song and he has only 1/3 of the rapping duties?
Timberland, wise as always, was able to keep his guest appearance outside from these two with a neat Minority Report scene. JT should have kept the collaboration in the studio and away from the music video.
The song itself is pretty good. It's trashy and familiar ("My Love," anyone?), and no big surprise why it doesn't stand a chance against Kanye's "Stronger."
I must add, 50, Timberlake and Timberland look like they're having a blast performing it live at the VMA's.
There is really only one messiah in my world .. and that is Morrissey. Yes, I can go on and on about my fandom (I made the Manchester pilgrimage in 2001!), but it's really the same story for any fan of the most polarizing, talented and legendary singer alive.
I am very fortunate to live in one of the 3 locations where he's having a multi-night stand, especially after seeing him a few months ago at Oakland's Paramount Theater. That show was pretty awesome, but seeing him at The Fillmore will be tremendous. Out of the 4 shows he's doing, I'm planning on getting tickets for the last two nights (Sept. 26-27).
I love what he has to say about this current tour:
"Thanks to those of you who have bought tickets, and thanks to those even considering coming along. With so many US concerts this year your loyalty has already been over-stretched, so if you decide to pass, that's OK." (Source)
Any morsel of self-deprecation from The Man will make my week.
Also, here are a few "bootleg" t-shirt designs that are somewhat pricey or no longer available:
I've been very busy with work lately. I've mostly been trying to unwind as best as I can in the evenings, which usually means messing around with drums or catching up on some reading.
This weekend, I saw Ala Ebtekar's exhibit at Gallery Paule Anglim. He's an Iranian-American painter who does whimsical illustrations over pages from prayer books he gathered on a visit to Tehran.
Besides the obvious depiction of war bloodbaths in his "Morning Breeze" series (left), I really liked how I was able to come up with my own story on how the lives of the illustrations unfolded. The beautiful calligraphy on the book pages lends itself to endless amount of imagination.
Ebtekar's "Ascension" paintings are also really unique. This powerful horsewoman (above) has ambivalent Iranian eyes when she's surrounded by bombs or body-less angels. I can see how she feels.
The show runs until Saturday. Check it out. You can also see his artist profile video on SPARK.
* * *
My sister was the one that gave me the heads-up about the Ebtekar show. She's back from a trip to Iran with my mom. She brought back some amazing photos, which is a huge feat -- she's definitely not considered the creative one in the family.
This building is outside my auntie's apartment. I have no clue as to what neighborhood in Tehran this is, but the architecture is gorgeous. I love the step-ladder feel and the very precise window patterns on the buildings surrounding the area. I am not an architecture nut, but seeing how people live and work is something I enjoy.
It was a beautiful weekend in San Francisco. I took care of some odds and ends, went out to see The Invasion with a friend, and visited the family in the East Bay.
While The Invasion was entertaining (and somewhat ho-hum), I saw a more engaging Greencine film the following day: Jane Campion's Holy Smoke!
I love the hilarious IMDB tag lines for this film: "Sex captive in desert hideaway...young beauty seduced by macho American twice her age"; "He had only one thing on his mind... but so did she!" This makes me think ... is Harvey Keitel the reigning king of pulp?
It's really the story of a young woman (Kate Winslet) who goes to India for a spiritual awakening, but is forced back to her home in Australia by her parents who think she's joined a cult. They hire a cult exit counselor (Harvey Keitel) to bring her back to "reality." It ends up becoming a story about sexual awakenings, gender politics and control.
My absolute favorite part is when Keitel (dressed in drag, face smeared with red lipstick, lying helpless in the desert) hallucinates and envisions Kate Winslet as Shiva or some other supreme Hindu deity. All this is happening while The Shirelle's "Baby It's You" is playing. I loved it!
Jane Campion makes thoughtful, stylish, beautiful films. Holy Smoke! is fairly ridiculous, but it's also incredibly mesmerizing. She followed this up with In The Cut, which had a lot of noir/pulp elements. Holy Smoke! came out in 1999 .. check it out!
I've been listening to the new Britney Spears album this weekend. Where should I start? How about the fact that I've never owned or listened to any of her previous albums. Not even on a guilty pleasure level.
I think it's a great record, but it's definitely a grower. As of this moment, 
Timberland, wise as always, was able to keep his guest appearance outside from these two with a neat 
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