The Undead And You: 3 Zombie Movies That Surprise

There are a lot of shitty movies out there in that giant cultural zeitgeist, that black hole of filmdom. I should know this - I've watched way more than the average person. I've divided up up a lot of these "bad" movies into three categories:

•The fuck was that: Movies that are so bad that they're memorable. These are movies where there are technical errors (boom mics visible, characters switching names, visible crew members in the shot, giant logic holes and plot problems, scenes in random orders) are paramount and the serious tone is quickly tossed out the window in order for the lols to live free. A prime example? Silent Night, Deadly Night Pt. 2.

•Somewhere in the middle: Their production values are decent, their storylines and actors forgettable, there is not one intriguing stylistic choice present during the whole feature.A chore to get through, the laugh factor is low. The story's been done before, and done before. A lot of direct-to-DVD movies are of this caliber, unfortunately.

•"Holy shit, that was actually really good": This is the kind of movie that pleasantly surprises. Instead of sucking wholly (based upon knowledge gleamed from various things like the box art, summary, cast list and trailers seen), these are the rare gems, the movies that surpass expectations and genuinely are filmic treats. the following list are three of those types of films.

1. Zombi (aka Zombi 2 aka Zombie aka Zombie Flesh Eaters aka Woodoo) (1979)

Sometimes movies have an alternate name for the international market. Sometimes movies have a working title and then an actual release title. Sometimes, movies like the one listed above have a cavalcade of loosely-affiliated names that tell an intriguing tale.

Romero's Dawn Of The Dead was released in 1978 in Europe as Zombi, recut/renamed by Italian director Dario Argento to emphasize the action elements of the picture. Argento, the one who kicked Romero's butt into making a proper sequel while he was in his post-NOTLD funk (Seasons Of The Witch, anyone?), Zombi (or Zombi 2), by Lucio Fulci, was marketed as an official sequel to Dawn Of The Dead '78 in Italy and drew massive profits when it was originally released. A tale of lost relatives and a search that leads a team to a remote, zombie-filled island is the basic premise of this tale. The scenes that make this film stand out are numerous: zombie vs. shark, human eyeball vs. giant splinter, the last 20 minutes of the flick. Well worth checking out, moreso than the subsequent sequels (Zombi 5 boasted motherfuckin' DEADLY BIRDS).

2. The Dead Next Door (1988)

This late '80s shot-on-Super-8 (yeah, that's right, Super 8, the same videostock your mom used to capture your '80s-ccentric toddler adventures) gorefest has one thing that a lot of zombie movies lack: heart. A lot of these tales have a proper narrative and a cast of (somewhat empty) characters, this one manages to stretch an exceedingly small budget into a tale about a pack of government-funded zombie killers who also have to battle a cult of undead worshippers. Produced in part by Sam Raimi (back when he wasn't busy dealing with Spider-Man and loved chainsaws), this movie was shot in bits and pieces over a series of years. This is the type of movie that can be shown to budding film enthusiasts as a way of actually getting shit done with almost no money. It's kinda like Clerks, but with more guns. And zombies. And despair. A sincere love letter to the genre on a shoe-string budget.

3. Dead Alive/Braindead (1992)

Peter Jackson, he of the Hobbit boner kind, was once a lowly New Zealand filmmaker who dreamed of nothing more than gross-out gorefests and strange alien tales. I remember seeing this film when I was at the very impressionable age of 13, at the time where Jackson was merely known as that dude who was making that movie with Michael J Fox and ghosts. Pre-LOTR trilogy, Jackson was small fish, capable of crafting a gory tale. The film's mix of comedy, special effects and a story everyone can relate to made it a winner in my book. The bloodtacular ending scene (where there were literally buckets of blood utilized) is worth seeing at least once. The mix of comedic and horrific elements works exquisitely well, one of the rare instances where the outcome is positive.

Mixtape Monday #5: Hearting Rick Ross

Alright, alright. So I know I'm late. I apologize. The holidays are a crazy time where you often forget what you're doing. Also, my sister was moving and I helped her do that. So can someone hand me that late pass?

Anyways, this week's installment of MM focuses on a controversial rap figure – one Richard Ross. In honour of his forthcoming show here in Montreal in mid-January

1. T.I. - Pledge Allegiance To The Swag (feat. Rick Ross)
This marathon-length track serves as a proper introduction to the rapper known as the husky-voiced Richard Ross. Released as a promo single to T.I.'s recent outing No Mercy, the song's infectious chorus as well as Ross's verse make it a mandatory repeat play entry.

2. DJ Khaled - Fed Up (feat. Usher, Young Jeezy, Rick Ross and Drake)
Usher on the hook, Jeezy, Drizzy and Ricky doing their thing. Solid contributions all-around, even though Khaled grates on my nerves in a way others wish they could. What's funny about this one is that 6 months after this track dropped (so just around last summer), Jeezy and Ross ended up beefin' over perceived shots fired on Ross' Teflon Don's "B.M.F. (Blowin' Money Fast)". Joke's on Jeezy, though, as Ross saw Teflon Don go gold while Jeezy's Thug Motivation 103 album has been stuck in limbo as Jeezy's recent string of flop singles have forced him to rethink things out.

3. Chris Brown - Deuces (remix) (feat. Drake, T.I., Kanye West, Fabulous, Rick Ross and Andre 3000)
This Grammy-nominated hit (from Brown and Tyga's Fan Of A Fan mixtape) gets the extended treatment, as well as an all-too-rare verse from 3 Stacks and a solid contribution from both Ross and Kanye West, who's punchline-heavy delivery is a winner. Ross also means business. If they'd drop Fabulous off of this track then it'd be one of the best collabos in recent history.

4. Drake - Find Your Love (remix) (feat. Rick Ross)
Drake. Rick Ross. Rapping about designer bags and finding your heart. Beat is hot. So are the verses. The video for the original? Not so hot.

5. Bugatti Boyz (Diddy and Rick Ross) - Another One
The collaboration inbetween P. Diddy The Third and Correctional Officer Ricky that begun on the Teflon Don track "No. 1" is going to be turned into an EP sometime in 2011 under the Bugatti Boyz moniker (which has inspired me to start a rap outfit called The Yugo-Lada Menz), and this banging track serves as a proper introduction. It's too bad they shot a video for this and it looks so terrible.

6. Kanye West - Devil In A New Dress (feat. Rick Ross)
Magic happens when Yeezy and Ross hang out. They managed to bang out one of the best tracks off of this year's Teflon Don (the sublime "Live Fast, Die Young") as well as this slow-burning highlight from Kanye's MBDTF album. Originally released as a solo track as part of Kanye's G.O.O.D. Friday series, The Bink!-produced beat has a great cinematic quality to it, complete with record scratches and (artificial) degradation. The addition of Offier Rick to the album version completes this track and his voice matches the mood created by the instrumentation perfectly.

7. Diddy-Dirty Money - Angels (remix) (feat. Rick Ross)
Forget the autotune Diddy on the chorus, this is all about Ross and his blazing hot first verse ("Rick the ruler/my moolah produce the carats" etc.). The beat screams late-night chill-out and the Notorious BIG-less version of the song (Diddy continues to milk his dead best friend a decade-and-a-half later with this recycled verse from BIG's "My Downfall") is the superior version.

8. Rick Ross - B.M.F. (Blowin' Money Fast) (feat. Styles P)
Through a series of strange decisions, I ended up in NYC this summer for a week, and this track (along with Drake's "Miss Me") was blaring from every single car stereo near the Harlem hostel I was staying at. A true banger (with production from new-kid-on-the-block Lex Luger, who also produced WACKA FLACKA "I'm Not In The Booth Trying To Goddamn Rap Big Words" FLAME's "Hard In Da Paint"), Ross tries to distance himself from his correctional officer past by claiming allegiance to the incarcerated scarfaces in the chorus. Ross subsequently claimed that people were misunderstanding the meaning of the song and it was a cautionary tale, but eh. I don't even think he knows what he's talking about. Go ahead, I dare you to listen and not feel propelled to bob your head.

FILES REMOVED DUE TO DMCA TAKEDOWN NOTIFICATION
Ah ha ha ha.

warmth

Mixtape Monday #4: Songs Under 2 Minutes

I was inspired to do this week's MM after listening to this week's #5 and realizing how many songs I loved are under 2 minutes long. Short, sweet, to the point. I could have gone on (I wanted to add at least 4 Misfits tracks on here) but felt like 10 was a good number, and I tried to keep it varied. Apologies to Pig Destroyer, their absence from this list is largely due to me being angry that they still haven't released a proper follow-up to Phantom Limb. GET IT TOGETHER, GUYS.

1. The Theme Song From "Homicide: Life On The Street"
When I used to DJ events on a regular basis, I always used to open up sets using this theme song. Cinematic, with a decent amount of bass to please the kids, this is what I think a good theme song should be – it stands apart from the television show as a fine piece of cinematic music, driving yet thoughtful. Pensive yet it carries a slight sense of urgency (thanks in no small part to the

2. Agoraphobic Nosebleed - Dick To Mouth Resuscitation
When compiling this list, I tried not to pick grindcore songs that sounded like they were recorded in someone's asshole (sry old Napalm Death), and this track, from last year's excellent Agorapocalypse, fit the bill. I tried not to go into the jokey side of grindcore (a la Anal Cunt/some SOD), but the opening lines of "I don't want to fuck your face / I want to wrap my dick / Around your throat and choke you" are simply absurd and make me laugh. Truly great musical performances from Scott Hull and co. too, so you can't beat this track. Or else it might try to rape you.

3. Brutal Truth - Fist In Mouth
Much in the same vein as AN, Brutal Truth's 2009 comeback album Evolution Through Revolution had amazing guitar tones, clean-sounding drums and even had tons of Kevin Sharp's guttural utterings to boot. A great track from a fantastic album that I resivisit often. I even enjoy that weird breakdown that happens in the middle, complete with broken glass samples.

4. Blacklisted - Tourist
I could probably devote the entire post to my love of this Philadelphia hardcore band, whose last few records have strayed from the path of the tough-guy hardcore they set up with their earlier releases. The lead-off track to 2005's The Beat Goes On (a tour-de-force when it comes to angry white dudes) might be the most complex minute of blast-beated mayhem you ever hear. The breakdown, which includes the lyrics "I put my on a shelf while everyone around me found happiness and wealth", displays vocalist George Hirsch's anguish at the touring lifestyle his band has undertaken, as well as hinting at the idea of missed opportunities. An attractive musical package: muscly music, with heartfelt lyrics, conveniently wrapped up in a one-minute timeframe.... Can't be beat.

5. Graf Orlock - Father Maggot
This track, culled from their excellent '04 EP, showcases what the Orlock are all about – metallic hardcore that borders on grindcore intensity, with barked vocals. Their prominent use of samples (such as the one located at the end of this song) has given them the joking tag of "Cinemagrind", which has apparently become a legit subgenre. Either way, the band's new EP Doombox slays and the gang continues to roll around and trounce their contemporaries without even being sued for uncleared sample. A+ work, guys.

6. System Of A Down - Shimmy
I remember the summer that Toxicity leaked online, months ahead of its street date. After hearing an advanced sampler (that contained 'Needles', 'Deer Dance' and the title track), my appetite was whetted. Sure, their first album was something special, but could they reclaim some of the magic from their original album? The answer was a very blunt yes. 'Shimmy', one of the many stand-out tracks from one of my favourite albums of the decade, definitely kept the frenetic energy up during its 1:51 runtime. And just listen to the way the bass bounces in during the intro! Goddamn. I'm just a sucker for interesting musical directions, methinks.

7. The Notorious BIG - Who Shot Ya? (Demo)
Shortened demo version of a track from BIG's debut Life After Death, contains the prerequisite Puff Daddy laff ('hah HAH'). The mix on this is a bit rough but that's part of the attraction. Peace to Christopher Wallace.

8. DMX - ATF
This track is a textbook example of being able to fool the listener through intro misdirection - it opens with some shitty generic synth lines but then as soon as X starts, the track picks up steam and makes itself distinctive. DMX barks his way through a paranoid tale (complete with church bells!) about snitches and the cops chasing him without relenting (and without a proper chorus, too). 2 minutes of cinematic rap. Too bad X is living the jail life a little too often.

9. Bruce Haack - Electric To Me Turn
Early electronic innovator Haack has albums full of quirky little numbers such as 'Electric To Me Turn'. This otherwordly track, involving some bleeps and bloops as well as a strange vocal line aided by a proto-vocoder, appears on the album The Electric Lucifer, which strangely enough appeared on Columbia Records in the late '60s. It remains his only album to make an appearance on a major label, and certainly one of the odder offerings from this time period. Haack's work is intriguing to those wishing to learn a bit about electronic music's history, as well as get some insight into a strange genius at work.

10. Terrance And Phillip - Uncle Fucka
True story: After watching 1999's South Park: Bigger, Longer and Uncut in theaters, I ran right next door to Future Shop and promptly picked up the soundtrack. My friend Evan and I learned every nuance to each track and eventually wrote out all of the lyrics in a Notepad file that's now located on some destroyed hard drive in my basement. This track is the epitome of annoying but goddamn, still mildly entertaining.

Zip file of all of the tracks

RedBlue.

Contemporary Vampire Movies Ain't Got Shit On...

...One of the most slept-on movies of the late '80s. Near Dark, the second feature from director Kathryn Bigelow (she of subsequent Point Break and Hurt Locker fame), is a modern vampire tale that distances itself from the transluscent love-fests we're used to seeing on TV screens and within the confines of movie theaters.

I mean, what other film can boast the badass pairing of Bill Paxton and Lance Henriksen as the villains? (Answer: None, though both actors were in Aliens... But that doesn't count. I mean Henriksen was a goddamn android in that flick!) This tale of an American teen who reluctantly becomes part of a roving gang of vampires who ride America's highways in the same way hobos used to run railroad tracks is everything that's missing from the current crop of neck-biting capers: the film is bloody, action-packed and the word 'vampire' is never actually uttered during the movie.

The film acts like an operatic take on the classic Western, mixing elements of horror mythology to make an original tale full of anti-heroes and tough decisions. Unlike 1987's other take on vampire lore (The Lost Boys, a film that seems more fondly remembered in the minds of nostalgic adults everywhere), Near Dark operates on a much more mature level than Joel Schumacher's glossy production. Whereas The Lost Boys' marquee, which included '80s dreamteam Corey Haim, Kiefer Sutherland and Jason Patric, was filled with a certain boyish angst about the problem of becoming a vampire, Near Dark is a nihilistic in tone. The course is set, the tone bleak and the performances outstanding, suggesting much more than a simple movie about people with fangs.

The finale, an ingenious take on the classic movie gunfight, caps off a difficult film that at times finds the viewer rooting for the villains simply because they are afflicted with a condition that they cannot rid themselves of, and one that makes them make tough choices.

The biggest subsequent downside is since this explosion of "lovely vampires", the kinds of posters they've been using to promote the movie (an original theatrical poster, for example) have been changed to fit the current fad (peep the BluRay box art) and it may unfortunately turn away many of the horror hopefuls. Still, don't let the packaging turn you away from an awesome film.

Fred.

There IS A God Out There

#6.

Thankfully, I was wrong.

xholidayx

A million miles from it all

Mixtape Monday #3: 2010 Hipster Dance Party (Bonus Edition!)

Working at a student radio station has allowed me to immerse myself in a lot of music that I would otherwise dismiss. Although at the very core of my being I don't particularly care about 90% of the indie hipster crap I hear, this list of 10 (yeah that's right, I got into the holiday spirit) songs have been major exceptions to the rule. DANCE AWAY, EVERYONE.

1. LCD Soundsystem - Dance Yrself Clean
James Murphy and co. crafted the most epic of opening tracks, an eight-and-a-half minute journey that forces you to strap in and wait it out. It starts out quiet, and builds, and then when the massive synths hit your feet give up the ghost and you find yourself unable to control your feelings and soon you're kicking your chair down and demanding that everyone around you respects your dance authority.

2. Surfer Blood - Swim
It's really a shame that the rest of Surfer Blood's debut album isn't as great as this ode to carefree attitudes. The shimmering echoes of John Paul Pitts' vocals hit you like the warm sun and suddenly you're somewhere with the sand under your feet as you stare down massive waves winking at you. Ahh, summer. (Note: Although this single was released in '09, it was rerelased early on this year so I'm still counting it as a '10 single)

3. Sleigh Bells - Infinity Guitars
Over-driven production, a 4-on-the-floor beat and a catchy guitar lick are no match for anyone's ears. I've argued that this duo is better in a singles format than on their first full-length (the aptly-named Treats) as their music should be digested in tiny bits and pieces in order to be fully enjoyed, and this song is exhibit A.

4. M.I.A. - XXXO
Harkening back to the best parts of her first two albums, M.I.A. brings the backbeat and ultra-catchy chorus back to the yard where the boys are so she can offer up her sonic milkshake for all to enjoy.

5. Crystal Castles - Celestica
This Canadian duo may try to look like it's all Black Sabbath's self-titled record on their new cover but the contents of said album (and lead-off single "Celestica") suggests an affinity for darker Britpop (think Pet Shop Boys) that's way beyond whatever stylistic images they're aiming for.

6. Hot Chip - I Feel Better
The haunting synth lines make it feel all Depeche Mode-y in the intro, and then the vocals kick in and it's like listening to Mae being backed by an army of digital instruments. delicious.

7. Kele - Tenderoni
It's like Bloc Party met mid-'90s Faithless at a swap meet. "Tenderoni" is an ode to nihilistic dance music that's partly an extension of Bloc Party's more techno-orientated efforts (like the excellent non-album "Flux" single that I obsessively listened to for weeks). Check it out at your own discretion.

8. Chromeo - Night By Night
This Montreal duo has once again knocked shit out of the park with their third album, the awesomely-titled Business Casual. This track, which was given a month and a half ahead of the album's release, showcased more of the same dancey throwback that they displayed on their prior efforts. This song is no reinvention of the wheel, but goddamn it feels good to move to.

9. Vampire Weekend - Giving Up The Gun
Even though I often deride this band for sounding like Lion King: The Hipster Collective, they still manage to crank out twee-ish anthems for the young at heart. This song is no different, and although it runs a bit long at almost 5 minutes, the time passes infinitely quickly as the guitar line and percussion invade the senses.

10. Caribou - Odessa
Break-ups and scornful lyrics never sounded so otherworldly. It's as if The Creature From The Black Lagoon was throwing a Friday night bong party and everyone was invited. Except Frankenstein, 'cause that motherfucker just ruins door frames.

Zip file with all of the tracks

Note: Next week's MM is going to be a bit more br00tal in nature, that much is for sure.

Paper Birds

SNOW!

Mixtape Monday #2: 4 Songs I've Seen Live (And A Bonus)

I've been quite busy on the concert front this week, managed to squeeze in 4 shows in 6 nights, something I hadn't done since Pop Montreal (one of my favourite experiences of the year). And so I've compiled some studio versions of songs that I've heard over the past week that I've enjoyed in some way.

1. The Acacia Strain – Beast
Night one of Despised Icon's two-night farewell stand at Club Soda held a great line-up –
ABACABB (who themselves are soon to be no more), mychilden mybride, Montreal techgrind maestros Beneath The Massacre and direct support The Acacia Strain set the tone for the Montreal sextet's exit. The opening song from the TAC's set (and also the first track off of their 2010 release Wormwood) got the crowd moving like no one had done prior, and the refrains of "my life... is a shooting range" reverberated off of the venue's walls with a guttural desire that demanded attention, as if the band had tried to hypnotize the crowd into two-stepping like it was the last thing they'd ever do on earth. The Mass. band did well.

2. Despised Icon – All For Nothing
Montreal. Deathcore. Nothing more to be said about a band I've seen live more times than I can count. Sad to see them go, but they went out in style. Cameras were there Sunday night which definitely means they were shooting for a DVD. They opened their set up with this song (and closed with Guitar Hero anthem "MVP" too) and the stage-dives demonstrated their style. Thanks, guys.

3. The Sainte Catherines – We Used To Be In Love
It's Friday night/Saturday morning. The bar is packed, it's nearing one a.m. My trusty punk punter friend Alex Manley and I give the doorman our 5 bucks and get into the low-ceiling venue, anxiously awaiting the band of the hour. The Sainte Catherines had announced the last-minute show on Twitter and spread the word to friends, and it was by a stroke of luck that I read that shit on the internet and promptly got dressed and headed out, but not before calling Manley up for some good ol' Montreal punk action. The dancing was furious, the walls of L'Esco (on Saint-Denis) were covered in steam, so much so that Sainte Cats/Dig It Up! drummer Andrea Silver was drawing shit in the windows near her stool in-between songs. The band was tight, the mood was light, singer Hugo Mudie was talkative and the music was sublime: gang vocals, hoarse plaintive remarks from Mudie and even a surprise vocals from Mike of Dig It Up! (as it was also his birthday, natch). Their 45-minute set was a perfect kick-off to a great weekend.

4. P.O.S. – Low Light Low Life (feat. Dessa / Cecil Otter/ Sims)
I could spend all day talking about my love of Doomtree Records. The Minneapolis collective has been putting out quality productive for the last half-decade and turned a growing number of ears and eyes their way with their brand of heart-on-sleeve rap music that also boasts great production. Their Tuesday night marathon at Il Motore proved that the collective's got it going on – it's the first time they've toured nationally and the road warriors showed up. DJs Paper Tiger and Lazerbeak set the tone early on (with Tiger opening the night with a DJ set, kicking things off with LCD Soundsystem's "Dance Yrself Clean", one of my favourite tracks of the year) and then 2 1/2 hours later it was all said and done. Members Dessa, Cecil Otter, P.O.S. and Sims held down the fort while an absent Mike Mictlan remained stationed in the States, presumably unable to enter the country due to... past transgressions. "Low Light Low Life" closed the group's set off and had everyone chiming in. After that there was no encore bullshit, just a straight-up thank you from the group to the audience, and vice-versa. A class act until the end.

5. Beck – Debra (Live On West 54th)
I picked this bonus cut because of the fact that I wish I could have seen this live. Recorded in September 1997 during his Odelay tour, Beck was at his James Brown-esque finest: an undeniable bandleader who gathered an amazing menagerie of musicians in order to create the dirtiest of funk. The hour-long set starts off with an updated re-envisioning of Keith Mansfield's "Soul Thing" (complete with some tasteful DJ scratches) and from there we're off to the races. Although Beck went on to release the stripped-down, bossa nova and tropicalia-tinged Mutations a year later, he was clearly already prepping 1999's Midnite Vultures with the inclusion of show-stopper "Debra" (labelled as "I Wanna Get With You" on the bootleg). Check out the intro adlibs to see why this piece is godly. It's been a decade since I first heard it and I still scream out "YEAH YA'LL LIKE THE SLOW JAMS" with frightening regularity.


Zip file with all of the tracks.

The Black Eyed Peas Hurt My Soul

With their inevitable hulking sales monster The Beginning hitting shelves on November 30th, the Black Eyed Peas once again positioned themselves to be winners in the numbers game known as first-week sales. The pop stars' last record (last year's The E.N.D.) sold amazingly well and unleashed a pair of singles that annoyed anyone with good taste for the better part of the rest of the year: "I Gotta Feeling" and "Boom Boom Pow" (not to be confused, of course, with "Bang Bang Boom"). The subsequent two singles ("Imma Be" and "Rock That Body") thankfully didn't put as big of a dent into popular culture, but their Transformers-aping videos were once again pandering to the collective unconscious of the record-buying buying public, and also made me cry due to the clips' budget, but that's more of a strange aside.

At this point, I do not know anyone who willingly listens to "I Gotta Feeling". The song has been so played out that to acknowledge its existence is to conjure up the demons of hollowed-out popular music that it is a part of. Even radio DJs make fun of it when it shows up on the playlist.

I DJed a wedding this spring and all of the drunken attendants kept demanding that I play I Gotta Feeling/"That song with the Jew words"/"L'CHAIM TIME IS NOW" (did I neglect to mention it was a Jewish wedding?) and a certain other overplayed song over and over again, and I happily obliged because hey, it's their dime, but the very disposability of the music involved left me feeling dirty, and my mouth tasting like I'd had too much whiskey the night before. I also just wanted an excuse to play more Ace Of Base and less Black Eyed Peas... Which might be a problem onto itself.

Now, onto The Beginning. The first question that one may ask me would be, "if you hate them so much, why put yourself through it?" The simple answer to that is that you have to know your enemy. I'd much rather shit-talk something I know instead of backtalking something I know almost nothing about. In this manner I am prepared and can say with a sense of certainty that this record is all-around dirty pool.

All of the tracks contain some aspect of popular music from the last four decades, but re-tooled and utilized in a plastic, crass effort to get the listener to enjoy by osmosis. The opening track "The Time (Dirty Bit)" (which re-interprets the chorus of 1987's "(I've Had) The Time of My Life"), is a Big Bass-cum-dubstep-lite track that samples heavily from the Dirty Dancing track.

Now, sampling and re-interpolations are nothing new, that much is true. But it's all a question of intent - why is the work being used? In certain cases its very obscurity ensures that a new generation may enjoy a song that first missed the limelight. In other times the borrower grabs the track and re-engineers it to fit a new context. A lot of Gregg Gillis' work focuses on this recontextualization, a marriage of old and new, of genre-fucking so intriguing that its recombined genre's power cannot be denied. In this case, though, the group has decided to grab the vocal line in an effort to win over a larger crowd segment, a grab designed to

The next track "Light Up The Night", which has a prominent, sped-up sample of Montell Jordan's "This Is How We Do It", will.i.am is treating pop music as a practice in scientific exactitude. What elements will win the masses over? How much "creative" re-interpretation does this constitute versus robotic recall meant to trigger nostalgic memories inside of a listener's brain?

Now, detractors will come at me and say "isn't that the point of popular music? To create a commodity to feed the masses, something to turn your brain off to?" And to that I say: Sure, but this is eons beyond turning aural pleasure into dollars in pockets. This is worse than software that can measure hit potential - BEP maestro will.i.am flipped the script and broke the code on the software in order to make this music. Crass commercial aspirations don't come close to suggesting what's going on with this music, this calculated attempt at winning the buying public over... And it's working.

People by and large do not like to be confronted with the challenge of having to think. That's why popular music IS popular - its simple themes and recurring motifs soothe the listener. That's why bands like Between The Buried And Me and Fugazi will never see monster sales - a large portion of the listening audience doesn't feel like they should be forced to learn while listening, or at the very least forced to ponder certain things. We don't want to be told things, we want to dance and mouth the words that comfort us like a giant blanket, but even then certain sets of lyrics could

Whereas the Black Eyed Peas were aiming for hope with The E.N.D. and using language in a manner that elicited positive sentiments beyond dance instructions, they now inhabit a space so utterly hollow and devoid of meaning that to acknowledge its existence is to realize that art as commerce is alive and well... and thriving. The ying and yang in-between The Beginning and Kanye West's My Beautiful Dark Twisted Fantasy is stark - West builds his art in such a manner that it transcends commerce, it frees itself of the shackles of calculated hits. Songs generally clock in at 5+ minutes and over nimble wordplay and interesting sonic treats. MBDTF is constructed as a multi-layered journey that demands repeated listens with many nuances and cleverly-constructed bits, although I could do without the Chris Rock-led interlude towards the end of the album.

With that in mind, though, the inevitable is true - the Black Eyed Peas will sell a lot... But in truth, the group sold out a long time ago. Good on them for hitting a worldwide stage with sonic hooks and little substance. And hey, if Rolling Stone calls them "the saviours of rock" (even though I was convinced most rock music needed a guitar-like instrument, ugh), then we should all fall in line too, right?


...Right?

Bonzai.