Monday, 24 May 2010

time waits for no slave

There is nothing wrong with the serious, considered tone of The New Yorker's rock and pop reviews, but I can't help finding them well New York. From the magazine currently in the loo:
A double bill with Ladytron and the Faint, a pair of bands that both rely on the darkly mechanized Sturm and Drang of early-eighties electronic music to bolster their retro-stylised synth pop.

... an expansive local folk-rock collective led by the singer, songwriter, and guitarist Pascal Balthrop
and his sister Lauren, a vocalist and keyboardist. They grew up singing gospel and pop tunes with their family in Mobile, Alabama, and now the pair and their band play paeans to the lovelorn and the droll.

British metal gods Napalm Death return to New York armed with 'Time Waits for No Slave,'
I initially typed this as Time Waits for No Slav, which would make a good short story, or for the title of the autobiography of one of the more bookish and tortured Balkan tennis players
a stunning new instalment in their exhilarating musical oeuvre.
It's the 'musical' I love here. Not sure what the other stuff is. Maybe Napalm Death also write sitcoms?
Founded in 1982 in Birmingham, England (Black Sabbath's home town), these metal pioneers started their career in the anarchist-punk movement
Not unlike myself
before inventing grindcore
Not unlike myself, though I usually have to share my credit with Birmingham metal gods Napalm Death
, a metal subgenre that merged elements of hardcore and metal.
A rather simplistic reading of my influences
Napalm Death's innovative style, political lyrics
They're Lib Dems
, and exquisite musicianship have garnered them a wide appeal, with fans ranging from local avant-gardist John Zorn to the late British d.j. John Peel. The new album features their trademark style of short, furious songs, impossibly fast drum patterns, and growling, melodyless vocals
This is where the similarities with my work are probably most clear
comes in in all its glory

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