Yoko Absorbing - Kruchenykh-125 (2011)



Release date: 2011-01-25
Label: Kruchenykh Records
Catalog#: Kr-file003
Quality: MP3, 320 kbps 44Hz, stereo
Size: 161 mb

1. Aus Sperrholz (5:38)
2. Jack (5:27)
3. Der Shaumgummi (5:43)
4. Polyrhythmica-2011 (9:10)
5. Der Teer (2:54)
6. Yoko Droning (7:31)
7. Personal Life (3:28)
8. Who Are You, Mr. Fandorin? (6:16)
9. Noise Oil Money (4:26)
10. Line Of Winter (6:12)
11. Prya Rai (9:46)
12. Dolphins In An Interstellar Dust (8:12)

Альбом посвящается 125-летию со дня рождения
великого русского футуриста Алексея Елисеевича КРУЧЁНЫХ (1886-1968).


Keywords: glitch; avant-garde; idm; post-rock;
ambient; drone; free improvisation; noise-pop;

DL: http://www.archive.org/details/kr-file003

Yoko Absorbing:
http://yokoabsorbing.blogspot.com/

Kruchenykh Records:
http://kruchenykh-records.blogspot.com/

Everything Is an Afterthought

I recently sold my first book. In conjunction, I've established another LiveJournal to report on the project's progress, occasionally provide links about, and writings by, its subject, Paul Nelson (famous for signing the New York Dolls to their first record label, as well as his Rolling Stone reviews of Bob Dylan, Ian Hunter and Mott the Hoople, Jackson Browne, the Sex Pistols, Neil Young, Leonard Cohen, and the Ramones -- to say nothing of his cover story about Warren Zevon's battle with alcoholism), and share snippets of information or parts of interviews that may or may not be covered further in the final product.

In addition to being a critic and screenwriter, Nelson co-wrote the fine book: 701 Toughest Movie Trivia Questions of All Time (about which Martin Scorsese said, "Some of the sections were so tough I could only guess at the answers, but the book taught me a lot I was happy to learn").

The new journal shares the book's working title, Everything Is an Afterthought: The Life and Writings of Paul Nelson. Just follow the link.

Anybody interested in learning more about this brilliant critic, whose own life proved just as mysterious and fascinating as the artists' about whom he wrote, is welcome to join. As well, tracking the process of how a book goes from sale to publication should prove interesting. I'm rather curious about that part myself...

Playing with Dolls


In the early Seventies, the New York Dolls were the reigning rock & roll band in New York City, the darlings of David Bowie and the avant-garde intelligentsia, Bruce Springsteen and Patti Smith rolled into one, and America's principal purveyors of such newfound concepts as deliberate musical primitivism and the punk rock of futuristic, haute-couture street children. A cult band, they were passionately loved or hated, and more than a few critics (myself included) saw in them this country's best chance to develop a home-grown Rolling Stones. The Dolls were talented, and, more importantly, they had poisonality! Both of their albums made the charts, but a series of stormy misunderstandings among their record company, their management and themselves eventually extinguished the green light of hope, and the group disbanded... Like all good romantics, they had destroyed everything they touched. 

-- Paul Nelson, Rolling Stone, May 18, 1978



The argument could be made that we have the Mormon Church to thank for One Day It Will Please Us to Remember Even This, the first studio album in 32 years by the New York Dolls. It may not be a particularly good argument, but all the components are there for a not even half-baked conspiracy theory: 

As depicted in Greg Whiteley's fine documentary New York Doll, original Dolls bassist Arthur "Killer" Kane, who, following an an act of self-defenestration, had converted to the Church of Jesus Christ of Latter Day Saints, was working in the church's Family History Center Library when he discovered that an almost 30-year dream, something he had prayed for again and again, was about to come true: the remaining Dolls (David Johansen and Sylvain Sylvain) wanted to reunite. Not only are his Mormon coworkers and bishop supportive of their friend, whose life of drinking and drugs had gone out the window with him, they help fund the retrieval of his guitar from a local pawnshop so that he can start practicing for the reunion gig. Had they not and had Kane not rejoined the band, and had New York Doll never been made, you could argue that there would not have been the press and acclaim and subsequent momentum to get the Dolls back into the studio, back on the radio, back on TV, and back in the stores. 

If New York Doll isn't the best piece of pro-LDS propaganda the Mormon Church has ever had at its behest, it's at least some damn funny and insightful off-the-cuff filmmaking. (Has ever a movie come into being so accidentally?) The movie's wacky elements and plot twists -- a faded, jealous rock star, his bitter wife, a quart of peppermint schnapps, a handy piece of cat furniture, an open kitchen window, and an unexpected demise -- tell a tale of decadence and redemption worthy of Raymond Chandler.

But in the midst of all this craziness there beats a heart, and it's a sweet one. Such as when Kane, "the only living statue in rock & roll" and, in Johansen's words, "the miracle of God's creation," leads the group in prayer before they take the stage for the first time in almost 30 years. Or earlier, back at the library, when Kane explains the responsibilities of being a rock & roll bassist to the two little old ladies with whom he works. Or when he confesses to his Mormon bishop his apprehensions about getting back together with Johansen (who, when he finally arrives in the studio, looks like a haggard Allison Janney). 

Which brings us to the Dolls' third album, One Day It Will Please Us to Remember Even This, which arrived in stores on Tuesday and which, like Bettie Page adorned in leather, is hard and soft at the same time. Lots of ricocheting guitar lines and anthemic pounding housed within four Phil Spectorish walls of sound; middle-aged men acting tough, vamping and posturing while sounding melodic as all hell. A reminder of how rock & roll ought to be. How it used to be. 

Combining clever wordplay ("Evolution is so obsolete/Stomp your hands and clap your feet," from the pro-simian/anti-creationist single, "Dance Like a Monkey") and wordy cleverness ("Ain't gonna anthropomorphize ya/Or perversely polymorphousize ya"), Johansen, whose vocalizing and songwriting have both aged magnificently, proves that, despite his Buster Poindexter detour, he remains one of rock's savviest practitioners. He leads the Dolls through a variety of subjects and styles while spewing his trash poetry lyrics ("All light shines in darkness/Where else could it shine?") with his heart on his sleeve and his tongue firmly in cheek -- often at the same time:

Yeah, I've been to the doctor
He said there ain't much he could do
"You've got the human condition
Boy, I feel sorry for you"


Funny is one thing, smart is another; but funny and smart at the same time, that's tough. Ask Woody Allen.

Listening to the new album, I couldn't help but think of critic Paul Nelson, whose words opened this piece and who, back in the early Seventies, was the A&R guy who put his job with Mercury Records on the line when he signed the Dolls to their first record deal ("I knew they were going to have to be a big success or I would lose my job, and I did"). What would Nelson, whose body was found alone in his New York apartment earlier this month, have made of the Dolls' new effort and return to the spotlight? And would he have seen anything of himself in the song "I Ain't Got Nothing"?

This is not how the end should have come
Who could imagine this when I was young?
Where is everybody?
It's not the way I wanted it to be

With One Day It Will Please Us to Remember Even This, the New York Dolls pick up right where they left off over 30 years ago, as if no time at all has passed. Which begs the question (especially with all the dancing like a monkey going on): shouldn't there have been some kind of evolution musically? If the Dolls remain just as smart and funny as before, and rock just as hard -- if just plain surviving isn't enough -- what have they gained? 

Wisdom perhaps?

We all should be so lucky.

  • Current Music
    "Prove My Love" by the Violent Femmes
back in black

If nobody wants this place I'm burning it to the ground.

Hey this community is no longer active and I'm a really lazy ass of a creator so who wants this place? If I don't hear anything in a week I'm deleting this joint. I haven't really done shit with this place and normally I'm out too late on Sundays to even bother tuning in. It happens every now and then, mostly because it's the only place to hear The Ramones on the airwaves in this radio wasteland we call "Delaware". I'm pretty sure radio sucks ass everywhere, but it seems to suck ass especially here. The DJs talk way too much and play more Journey and Genesis than The Who and The Rolling Stones.
  • Current Music
    The Kinks
peace jim

HOLY SHIT

who just heard little steven's speech at the beginning of the underground garage tonight. dear god that was the gretest thing ive ever heard. maybe thats kinda sad but oh well. if anyone could get like a written version of that, it'd be ... really really awesome.
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    Santa Got Run Over by My Chevy

Little Stevens radio show is not very good

He also got that nick name because of his small whiener size.

Exploiting 60's garage rock should be a crime. It needs to stay in the underground where only coolies can dig it like me. Also Little Stevens likes that one really shitty band that I forget the name of I just remember seeing them live and thinking these guys fucking blow and they were the band that won his huge Battle of the garage bands. Whatever, little Stevens needs to shut his stinking gay pirate looking pie hole.
necro

the underground garage NOT a very cool place to be

the first time i heard stuff like the ramones, davie allen and the stooges on the radio i have to admit it was pretty cool. However the novelty quickly wore off especially when i saw what this wolf man jack wannabee looked like. Little steven dresses like the lamest most homoerotic pirate in the world. If you actually listen to his lame radio show all he does is say "u2's new rock album is cool" and junk like "kelly osbournes new album has a lot of punk roots" NOw that was pretty lame but i had the very unfortinute experience of attending his christmas show in rochester. IT WAS LEGALIZED HUMAN TORTURE!!!! I was stuck there for like 5 hours Every band that little steven brought to our town was worse than ANY band in our town. I basicaly paid 30 dollars to see the chesterfield kings...which made up for all the junk i went thru that evening. YEA when i got there they charged a extra 5 bucks at the door probably because they didnt want people having enough money to buy something heavey to throw at little steven. The whole night we had to listen to all his lame jokes and his even lamer bands that were equal to tearing your toe nails off witha ice pick. or maybe getting a stomach tape worm. For some extra lame reason during the last chesterfield king song he came out with a guitar and jammed with the band. The kings threw garbage into the audience earlier and wanted people to throw it back. So i took garbage and threw it at little steven who probably wasnt expecting it and made a very big frown... poor guy hahhaha oh yea little steven is also responsible for the "christmas with the cranks" soundtrack yea real cool what do you do hang out with tim allen...lamest actor in america... while you eat a dunkin doughnut from iran


....real cool id rather get cancer!