A new series has arrived in the form of Grab Bag, a fun monthly list that finds me listening and reacting to ten random songs from the depths of music's annals. There's no prerequisites, no regulations self-imposed. Anything can make this list if the site I'm using to discover these songs, RateYourMusic's random release generator, spits them out. This is a great way to discover new music with no attachment to something in your catalogue. Or, a dark reminder that truly horrid music exists in droves.
The positioning is based on the order in which I discovered them. The rating system similar to what DoD already enforces, in that 5 / 10 is average, not bad.
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There's likely not a genre of music I'm less familiar with, less connected to, than Reggae. Apart from the handful of one-hit wonders, most recently Omi's 'Cheerleader' - which I adored for pure kitschy value - Reggae's always been something I've heard in passing without giving the Jamaican-bred genre much thought. Perhaps Inner Circle, a Pop-flavored Reggae outfit, isn't the best place to pass first judgement, but alas, here we are. Inner Circle waste no time adhering to tropes, with their accents and love of ladies playing a critical role in 'Da Bomb,' as I suspect it does for much of their discography. Underneath the typical percussion lies some minor synths and keyboards, which reek of mid-1990's panache, especially those you'd hear - montage style - in those dated, crime-driven blockbuster films. There's little artistry that interests me here, and the catchy factor's not my cup of tea either.
2 / 10
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Truth be told, I had no idea what to expect with Halcali, a female Hip-Hop duo from Japan making music during what's arguably the genre's weakest era. However, I've learned not to question Japan aesthetic as they're always ahead of the curve, as is the case with the adorable and gushingly-lovable 'Strawberry Chips.' Only negative to be upfront about; it's too long, clocking in at over six minutes. This, due to the endearing jamboree by which Halcali flaunts their stuff. They're very reminiscent of The Go! Team, down to the music video which finds the duo dancing in unison whilst wearing cheap Christmas tree costumes, and the psychedelic combination of 60's and 90's nostalgia. It's tough to deduce, even with translations at the bottom of the screen, what exactly Halcali raps about (which they do very well mid-track, by the way), other than having a good time. Ain't nothing wrong with that.
8 / 10
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I've crossed paths with Soft Cell's Minimal Synth on numerous occasions, never fully spending time with the West Yorkshire duo on account of the cheesiness their visual appearance let off. With 'Bedsitter' as evidence A, it seems as though that assumption was correct. There's perhaps no trend or era more dated than the tacky, neon-lit, post-Kraftwerk Synthpop of the early 80's. AOR is in the competition, early 2000's Emo likely will be too. Not a single aspect of 'Bedsitter' has aged well, especially Marc Almond's feminine touch and the abhorrent synthesizers deafening the background. That said, the chorus is moderately redeemable, even if it's in the 'same bad it's good' sense.
3.5 / 10
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Entertainment levels on Fujiya & Miyagi's 'Knickerbocker' seesawed greater than an actual seesaw. One moment it's a head-scratcher, the next it's a head-bopper. Awfully repetitive, clearly on purpose, 'Knickerbocker' borrows from two separate eras of Krautrock; Can's infamous origin and Stereolab's computerized loops, all while dead set in the peak of late 2000's Indietronica. David Best's vocals draw from Damo Suzuki of Can, what with his casual reiteration of a total triviality ("vanilla, strawberry, knickerbocker glory"). It's here that 'Knickerbocker' teeters dangerously close to awkward obsolescence. However, the progressive percussion that Best skips over has an excellent kick that'll make even the most passive listener tap their feet.
6.5 / 10
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Right from the get-go, it's clear where New Model Army's primary influence lies; The Smiths. This is most evident in Justin Sullivan's presence, both his vocals and lyrical prose, which emit a strong familiarity to Morrissey. Considering the year, 1990, that romanticized element feels a fair bit dated, even if New Model Army's accentuation of such a style works. 'Purity' does incorporate some blasé early Alternative Rock flavor, what with its standardized structuring and reliance on uptempo guitars. This finds the band sandwiched between The Smiths and far more prevalent American Alt Rock doyen's in REM and Smashing Pumpkins. Still, 'Purity's' a decent strong from competent musicians. Just nothing that stands out.
5 / 10
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Now this is some early 80's synth I can get behind. Likely because it's in a similar vein to one of my favorite artists Laurie Anderson, a master of linking early Electronica with Avant-Garde poetry. Anne Clark's 'Sleeper In Metropolis' essentially tackles this approach by making that duality more accessible, leading with her tactile Minimal Synth rather than the spoken word that's typically left field-leaning (think Anderson's outstanding 'O Superman'). Clark's presence is one that's both confident and alluring, with a beseeching British accent (unlike Anderson's harsh NYC dialect) that slides through the palpitating synths with ease. There's really not much to dislike here, 'Sleeper In Metropolis' accomplishes exactly what Clark sets out to achieve. Not to mention, the high energy synthesizers at work prophesize early 90's Rave culture a decade before it existed.
8.5 / 10
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There's likely meaning behind it, but man if that isn't a terrible artist name. It's not sellable, nor appealing to stand before as a fan. However, I wouldn't doubt someone from doing so as 'This Is Hardcore' does an excellent job transitioning Techno to the modern era. As troves of Electronica artists enhance repetition as their careers dwindle, 2562 accomplishes the genre's primary selling point; transformation. 'This Is Hardcore' begins in one place, travels through many, and ends in another. Not to mention, despite being nearly entirely drum kit based, 2562 brings life to the instrumental affair by impacting the drums (a la Burial) and incorporating a terrorish sci-fi atmosphere with screeching synths. Solid work.
7.5 / 10
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80's music was cheesy as hell, huh? That seems to be the predominant theme of this month's Grab Bag. While not necessarily a bad thing, heavily-glamorized music like Marillion's 'Warm Wet Circles' makes it hard to appreciate an era from before I was born. Initially curious in Neo-Prog - a genre I was previously not familiar with - the intrigue quickly subsided upon realization that Marillion's brand is essentially Progressive Rock repackaged with 'modern' synthesizers in mind. If 'Warm Wet Circles' is any indication, that pairing is severely imprudent, as that uncomfortable romance previously heard in Soft Cell floats gracefully in with Fish's (that's the lead singer's name) performance. It's yucky up until the final scaling bridge, one that supplements Fish with anthemic guitars that showcase the fire and brimstone the 80's were capable of.
3 / 10
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Curious it is that A Certain Ratio's 'Knife Slits Water' fell into my Grab Bag this month, as last month their debut LP The Graveyard & The Ballroom entered my library. Because of this, interest towards 'Knife Slits Water' waned, as I wasn't convinced of funky Joy Division, which is essentially what ACR was when Simon Topping controlled the vocals. However, consider me aghast. Enter Martha Tilson, a curious singer whose macabre vocals counters the synthetic Trance of 'Knife Slits Water.' It's really an unusual song, with future-proof Dance methods, crackling vocal malfunctions, and an uneasy atmosphere permeating the entire record. Really seems like a primitive mixture of The Knife and Exploded View, which is quite awesome.
8.5 / 10
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Of course I stumble upon Bob Marley, ambassador of Reggae for the world, moments after suffering through Inner Circle's radio-friendly mockery. Like most, Marley's popular efforts are well-known to me. However, his deeper material, like 'Them Belly Full (But We Hungry)' isn't. Released in 1974 on Natty Dread, a few years prior to his breakout Exodus, 'Them Belly Full' explores Marley as a meek and unassuming character, one whose fully embraced the customs of Jamaica without a care to the outside world. The slow-paced percussion which, along with the background vocals and Marley's own, represent the bulk of 'Them Belly Full,' owns a sedative quality, one that's both a pleasure to listen to and easy to forget. Dancing to forget society's woes, that's at the heart of 'Them Belly Full.' It doesn't go much deeper than that.
5 / 10
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