Dear RTH, I’m writing to ask for your help. After my trip to the Experience Music Project, where I was able to see and hear lots of beautiful guitars, I’m still confused about this concept of “wet” vs “dry” sound. I’ve been trying to understand the differences, especially in light of Mr. Moderator’s musical preferences, and just when I think I have it sorted out, some track completely throws me into the spin cycle.
Could you please post your favorite “wet” and “dry” tracks so that I can better understand these sonic labels?
I recently spent on a few days up in Seattle enjoying the uncharacteristic sun, and the characteristic strong coffee, cold beer, and heavily blue and green landscapes that that city offers. And while I strongly associate Seattle with music, during my 5 days there, I noticed other ways that music is closely entwined with the visual art culture.
As a bridge between 2 weeks’ threads, may I offer a little butter? And not in the Marlon Brando/Maria Schneider way, although I’m sure the band was referencing that classic film.
This week’s Mystery Date was performed by Butter 08, a New York band who released one self-titled album in 1996 on the Beastie Boy’s Grand Royal label. Members included Miho Hatori and Yuka Honda of Cibo Matto, Russell Simins of the Jon Spencer Blues Explosion, Rick Lee of Skeleton Key, and Mike Mills, graphic designer of album covers and later, a director of film (Thumbsucker and Beginners). But the mystery guest on the Mystery Date track, “It’s the Rage,” was Sean Lennon performing the keyboard solo. He was dating Yuka Honda at the time, and when Cibo Matto toured, played the bass.
I couldn’t find any Butter 08 live performances, but here is their one and only music video (sans Sean):
Following the current Rock Town Hall questions and poll about my alleged knowledge of “illegal choreography,” I had a surprise visit from an interesting duo. A man and a woman appeared at my door. At first, I thought they may be solicitors, but upon closer look, I noticed some unusual things. They were dressed in black, although the woman also wore a touch of light pink. The man wore a tailored short jacket, but instead of pants had on very tight, lightweight leggings and soft leather boots. The woman wore a wrap sweater, a long chiffon skirt and slippers. It was when I noticed that she had her hair in a tight bun, and that both had darkly drawn eyebrows, false eyelashes and rouged cheeks that I realized that something was very, very wrong… These people were not visiting members of Roxy Music but instead had come to tell me that I had inadvertently broken one of the Ten Commandments of Dance.
Following is a copy of document that they shared with me. I am permitted to share it with you so that you don’t make the same mistake as I.
I tend to do most of my music listening while driving to and from work. This nice half hour drive gives me a chance to get through most of an album or a collection of singles. Today, I was listening to a mix of recent music that Mr. Royale had compiled for me, and it included a song from St. Vincent‘s most recent album, Strange Mercy. The song is “Surgeon” and features David Cronenberg/JG Ballard-like lyrics, some Yes-style guitar work, and a grand Prince finale. Despite this odd assortment of styles, I sort of like this song. On my second listen this evening, it dawned on me: Annie Clark is today’s Kate Bush. Both reveal a great deal of emotionality through somewhat breathy singing, and their music is lushly produced.
So tonight, I looked up a video for the song:
Now I’m confused. First I had to suspend the image of doe-eyed, guitar-strumming folk singer whom I saw open for Stephen Malkmus a few years ago. Then came her next album, Actor, which included a couple of good songs but was ultimately too complicated for me to really embrace. And now in this video, young Annie appears to be getting in touch with her inner and outer PJ Harvey.
I don’t have a firm grasp on St. Vincent. Rewind even further and there she is in the identical choir robe worn by all the members of The Polyphonic Spree. Is she now making up for lost (wardrobe and makeup) time by adopting a series of Bowie-like personae? What’s your take on St. Vincent?
In a recent New Yorker music review of Dangermau5, Sasha Frere-Jones references a music production style that I wasn’t aware of:
The core and tempo of the music are provided by the kick drums and snare drums of disco, often without the high hat. Some producers call it the “Kate Bush” beat: kate (kick) bush (snare), kate (kick) bush (snare).
A drum style named after that English chanteuse? Are there other drum beats or production effects out there that are named after other musicians? Is there an Ig (floor tom) gy (floor tom) Pop (crash)? What would a “Paul Weller” sound like?
I’m just curious and hope that those of you in the know can help us out.
We here at RTH are interested in an in-depth understanding of music and all the minutiae that goes with it, including the musicians (David Bowie!, Paul Weller!), the culture (Hippies!), the way in which we listen to music (Headphones!), the ranking of the output of a band or artist (Top 10 Lists!)…and The Look (Sideburns!). So when Mr. Mod recently made this comment in regards to Paul Weller and the 1980s UK fashions, it made my blood go cold:
I don’t need anything beyond a couple of ABC, Orange Juice, Haircut 100, New Order, and Human League-type singles from that v-neck sweater/pouffy hair scene.
We at Rock Town Hall can not stand for this egregious misunderstanding of the fashion of an era! Just as we focus and comment on the subtle differences in a musician’s use of a Les Paul vs Fender, it is crucial to discern an artist’s or era’s fashion trends and the possible meaning behind those trends. And it is of utmost importance that when we include descriptors such as “v-neck sweater, pouffy hair scene” we know exactly whom we are talking about.
While the UK music scene of the early ’80s could be a swirling tea of fashion over function, each band worked very hard to craft a particular “Look” that acted as a signifier to other musicians and the music press.
Orange Juice: In love with VU, the Byrds, and Andy Warhol Pop Art, they adopted Ray-Ban glasses, nautical striped tees, fringed suede jackets, raccoon hats, plaid shirts, and jellies.
ABC: To reflect his love for disco and Roxie Music, Martin Frye et al adopted a slick, tailored look, which included gold lame suits.
New Order: Although the band members went on to disclaim the Third Reich references of their name, their early look was very similar to fellow Factory Records band, A Certain Ratio, and included military references such as tailored white shirts and shorts. Bernard Sumner appeared to have watched “The Tin Drum” too many times.
Haircut 100: I’ll give this one to Mod: when I think of Haircut 100, even I imagine those pretty blond boys with their sweaters and nicely-coiffed hair. And Nick Heyward’s smile was just so sparkly.
Perhaps Mod (and others?) are reacting to the way that these bands were promoted and adopted in the United States, and how they spawned such evil fashion offspring as Wham and Kajagoogoo. But to lump them all together would be a crime that we at RTH should not stand for!
