Here’s the original from 1992. This is the earliest incarnation of South Park in which Jesus anilhilates an Evil Frosty! The Kenny killed looks just like Cartman haha.
and here’s the second version made a few years later. In this one the characters appear (in terms of animation and character) as they would in the future series, it just looks crappier. Instead of Frosty, we witness Jesus v. Santa! Who will win this epic showdown for the bragging rights of Father Christmas?
I’m afraid that if you look at a thing long enough, it loses all of its meaning. Andy Warhol
Lowcountry is a work of art born from spontaneous action. It is a common misconception that spontaneity (especially in music) derives from laziness, carelessness, or too much pot. This my friends is entirely wrong. After all, there is no such thing as too much pot! In a Youtube interview with lead vocalist, Ryan Hunter explained the band’s approach to recording their final album. There was no thinking involved while playing. Clearly a lot of thought went into this approach. It’s something that only experience can explain. By forbidding any form of processing during the recording stages, the members of EOTC relied solely on their subconscious and musical relationship. This daring approach truly allows the music to take control and grow its natural roots. Most well-known musicians concern themselves with radio standards, mass appeal, and easily digested song structures. Often times these concerns can sacrifice originality. Kiddos…let me introduce Lowcountry; an organic musical masterpiece.
I highly recommend this album to anyone who is looking for that fresh rock album that becomes your best friend. No matter what type of music you enjoy, a few key ingredients are crucial. The music needs to be catchy, relatable, real, and obtain some form of original substance to it. If an artist lacks these ingredients then they ain’t gonna stick for long! Luckily, Lowcountry has each of these substances cram packed into each song. It’s a frenzied, emotional journey from start to finish.
An enjoyable album is difficult to find. An album where an artist has created their own unique sound, and maintains that vibe throughout is nearly impossible. Lowcountry is the pearl for 2010. You have never heard anything like this. Vocalist, Ryan Hunter also recorded the drum tracks for the album. There is a lot to be said for this. The drums are all about pocket time, groove, and punch. Bassist, Jeremy Velardi adds tremendous depth to this powerful pulse. I’ll say it again (and you will understand when you listen) this album is all about groove! Much of todays rock music contains overbearing drum, and guitar parts. Often times I find myself listening to a band and the song will sound like a group of musicians competing for lead role. The instrumentals on Lowcountry are noninvasive to the lyrical value on the album. In between catchy vocal hooks you will be swept away by the blend of spacey, experimental guitar hooks and kick ass Southern leads.
There also lies a wonderful strangeness to this record. It’s the little things like a track of voicemail messages leading into the mesmerizing song “Like I Do.” It’s the Twilight Zone narration that kicks off “Southern Comfort.” It’s the sound of toe tapping in “Made of Stone.” I always frowned upon bands that tried creating a “dark edge” to their album by putting satanic pictures on the album cover, playing triplet double bass drum patterns, or adding an endless amount of pinch harmonics to each song. Lowcountry is dark and heavy as hell for none of the above reasons. Listening, I can’t help but get the vibe that these guys simply don’t give a fuck. The album is painfully real. It’s alien. The band plays with rests and space like never before. Listen to “The Devil’s Tongue.” Rather than take away from the mystery of EOTC, I will leave the rest up to you.
Unfortunately, Envy called it quits this year. All the members are involved in new projects. A friend once told me he believes most brilliant bands have serious inner struggles. I believe that very thing.
Recently I voiced my displeasure at Peter Hook concert I attended, apparently I am not the only one as in a recent article “Peter Hook Denies Being a ‘Robbing Bastard’ Over Joy Division Tour” by Spinner he voiced is rebuttal, here is the exact transcript of the article plus a video of Peter Hook performing the song “Transmission” so you can judge for yourself. Also for the record I asked for my money back, didn’t get it.
Three decades after his suicide, Joy Division frontman Ian Curtis remains one of rock’s most emulated vocalists. Interpol’s Paul Banks, National frontman Matt Berninger and bedroom-punk auteur Mark Sniper, aka Blank Dogs, are among his many descendents, and while some have nailed the sound — a plaintive baritone that requires little range or technical skill — few, if any, match the gravity Curtis brought to his music.
No one understands this better than Peter Hook, Joy Division’s founding bassist. Hook has spent much of this year staging top-down performances of the group’s 1979 debut, ‘Unknown Pleasures,’ and while his first thought was to enlist guest vocalists — folks more capable than himself — he ultimately changed his mind. Now, Hook is front and center, singing songs too dear to delegate.
“I felt I couldn’t really hand it over to another singer,” Hook tells Spinner. “It didn’t feel right, and I must admit I’ve been really flattered by the response, because people are saying the spirit and the passion comes across and I don’t think you can ask for anything more.”
Hook has dabbled in singing over the years, but he’s best known for his bass playing. In both Joy Division and its more pop-oriented offshoot, New Order, he pioneered a simple, highly melodic style, approaching his instrument as one might a lead guitar. Hook’s influence can be heard in many of today’s indie bands, including the Drums, Beach Fossils and Wild Nothing, and while he rates himself a passable singer, he admits he’s no Curtis.
“It’s certainly not a vocation,” Hook says. “My vocation is bass player, but I can sing, and the people that matter to me are the people that tell me it’s OK. As long as my wife tells me it’s OK, then I’m quite happy to get on with it. I know how to sing, and I can pull it off. It took me a long time to get to the point I can enjoy it. There were a lot of nerves on my part. I felt I was picking up one of the world’s most important records, so I was very wary of it. But I’m getting to the point where I’m enjoying it. We just did a wonderful tour of Australia and New Zealand — it went down an absolute storm. I wish I’d done it 30 years sooner, but in my life now it felt like the right time to do it. It has to feel like the right time.”
As one might expect, the ‘Unknown Pleasures’ shows have proved emotional — partially because they remind Hook of Curtis, and partially because Hook’s son Jack, a bass player in his own right, is part of the band.
“He’s 20,” Hook says. “He’s the exact same age I was [in Joy Division]. It freaks me out.”
“Because I’m singing, because I don’t trust anyone else to do it justice, there’s a lot of feeling and passion involved in what we’re doing, and the band is great,” he adds, defending the project against those who would accuse him of profiting on Curtis’ memory. “They’re great friends of mine. If anyone comes to the show and wants their money back because I’m a robbing bastard, they can have their money back.”
Two choices. Pick one. There are dozens, definitely hundreds, and for God’s sake (literally) maybe even a few thousand published cover versions of this song. I narrowed it down, though. You can mention another version you like, but these are the only two you are going to get from me. I just heard the Andrew W.K. version a few minutes ago. I thought it be a worthy challenger to Bright Eyes.
Comments: I recently rekindled my interest in a band called New Order. Coincidentally and whether they know it or not, Somerville’s own Bedfellows sound like a modern New Order with strong pop hooks, electronic drums and other effects, etc. These songs are immaculate sounding, which is pretty essential for music of this variety.
Grade: B+ (87)
Bedfellows play at P.A’s Lounge on Saturday Night [December 11] with Busy Arms, The Juvenals, and The Sounds That Machines Make.
1. “Recklessness” – A
2. “I Am The Father Of Myself” – B
Comment: Radical Dads, an ancestor to Clap Your Hands Say Yeah and Uninhabitable Mansions, has just put out this 7″ for the masses. Though the only connection to those aforementioned bands is drummer Robbie Guertin, it’s not hard to sense a similarity between all three bands. If I had to say, though, Radical Dads may be more susceptible to playing a kind of “stripped down” form of rock and roll music that always seem to feature an “epic” moment. On “Recklessness,” this moment starts from 0:01 and ends two minutes and twelve seconds later. “I Am The Father of Myself” might fool you. It’s a near 360 from “Recklessness” in that it is filled with noise and heavy guitar shredding. Vocals would have been nice! That’s just me, though.