It makes listening to Mercury and Idea for a Story so much easier to listen to. Oh well, I promise I’ll lay off the Bloc Party writing for a while (but it won’t stop me from listening).

But aside from the ordinary, there were a few notable differences. For one, as some of you may or may not know, Bloc Party’s bass player, Gordon Moakes, and his wife, are having (actually they’ve had) a baby. So they brought in a replacement until the end of the U.S. tour this year. He wasn’t bad. From what I could tell, he didn’t screw up once. The vocals were, noticably “un-Moakes-y,” but apart from that I had no qualms. He did his job as a temperary replacement.

Unless you’ve been living in a cave for the longest time, I’m sure you’ve heard by now Bloc Party’s newest hit, Mercury. Mercury is an insanely different approach to what the boys from London are known for. I was dying to know how this would sound live. Well, now I know. It wasn’t that bad. Err, until Matt Tong and that other guy started their background vocals. It sounded awful. It was like a cat getting continually run over (“From Silver Lake to Williamsburg/ a-a-voice crack-a”). But towards the second half of the song, they turned it around, and it didn’t seem so bad (that is, if you were a fan of the song prior to). Final verdict: Mercury live… no more.

Finally, a few posts below you’ll see the whole Kele Okereke vs John Lydon thing. Looking at Kele on stage, he really didn’t seem as “fucked up” as I would have expect. I don’t know if he’s healed by now, or if it’s a you-can-only-see-it-in-person kind of a deal, but he looked fine (now) from what I saw.

Video: “Mercury” – Bloc Party (Live at 2008 Lollapalooza)
Video: The rest of the performance – Bloc Party (Live at 2008 Lollapalooza)

UPDATE!: Matt Tong has bitchin’ shorts!

Saturday night in Barcelona, Kele Okereke, post-punk kiddie, and John Lydon (a.k.a. Johnny Rotten), punk granddaddy, had a spat that turned physical. Any Bloc Party news is enough to get me excited. Any Bloc Party news that involves a physical fight, even more so. Any Bloc Party news that involves a 3-on-1 fist fight, sparked by unjustified racial comments, that ends with severe facial bruising and a split lip… well you can imagine.

Guardian reports:

In an official statement released by the Okereke, who is of Nigerian descent, the singer says he approached Lydon backstage and asked him about the possibility of a reunion for Public Image Ltd, the band Lydon formed following the Sex Pistols demise in 1978. In Okereke’s words, Lydon became “intimidating and aggressive while his entourage responded with a racist tirade, including the statement, ‘your problem is your black attitude’.” An assault allegedly ensued in which three people attacked Okereke.

Several other bands witnessed the incident, with Foals’ singer Yannis Philippakis and Kaiser Chiefs singer Ricky Wilson intervening on the Bloc Party singer’s behalf. “It’s not an issue of the physical assault, even though it was an unprovoked attack,” said Okereke. “It is the fact that race was brought into the matter so readily. Someone as respected and as intelligent as Lydon should know better than to bring race into the equation, or socialise with and encourage those who hold such narrow-minded attitudes.” He added: “I am disappointed that someone I held with such high regard turns out to be such a bigot.”

Here’s a portion of Bag of Douche Lydon’s statement in response (also via Guardian):

I feel very sorry for a man that needs to lie about what was a perfect evening … trouble was brought us, resulting in those causing the trouble being physically removed by festival security … If they need publicity so badly this is the allegation universe they run into.

After the show John Rotten and management remained behind to sign autographs, which we did for four solid hours without incident and had a great time talking to other Spanish bands, this seems to have sparked jealousy in certain bands.

We are in the middle of a wonderful tour, after 30 years we are achieving a true unity in our audience. They are multi-varied, all ages, all races, creeds and colours. When you are at a festival with bands who are jealous fools, lies and confusion usually follow…. Grow up and learn to be a true man … It’s a shame that the wonderful world of the media is riddled with nonsense like this.

You know what, fuck unbias!

You’re right Johnny, the media is riddled with nonsense like this. Nonsense that YOU created. And Kele’s just a jealous fool? Sorry mate, but you had nothing on the Clash. You’re self-proclaimed “glory days” are over. And I use “glory days” loosely. You’re just a bitter old man who refuses to let go. I’m sorry but it seems YOU’RE the “jealous fool.” Johnny, act your age not your shoe size!

His comments are pretty funny too:

“When you have achieved as much as I have, come back and talk to me,” he added.

Someone should tell him that Bloc Party has released TWO good albums, so in a sense, they’ve achieved twice as much as the Pistols ever did. Lydon is seriously in love with his self… and he stands alone. He needs to do us a favor and quit.

Also, why would it be a publicity stunt. Kele has constantly confessed that he hates media and public attention and is very shy. Don’t forget about his song “Vision of Heaven.” It’s all about wanting to be alone. And we wonder why?

Wow that felt good to get off my chest! Anyway, considering the number of bands that witnessed the incident (well over, 50 people), I imagine the truth of Kele’s claims (for or against) will surface at some point. I’ll keep you posted.

Do you remember the short lived Test Icicles, of which Dev was member? A lot of hype surrounded the band, but I just couldn’t see it. Neither could Dev, and thankfully for us, Hynes’ new moniker has taken a different direction for 2007. Lightspeed Champion—evidently, the name comes from a series of comic strips he did as a teenager in his school math books—is a radically different sound to Hynes’ previous band. In fact, he’s ditched his bright pink guitar and searing riffs for a new acoustic, folk-pop approach. Backing vocals on many songs were provided by (but not limited to) Emmy the Great and Florence (of Florence and the Machine). The result was Falling Off the Lavender Bridge, which was released on January 21st of this year.

I could cover two pages writing about why I love each individual song, but I’ll try and limit it to a paragraph. First up we have “Midnight Surprise”. This was the song that started it for me, and for being just shy of ten minutes long, it says a lot that I never lost interest in it (on first listen, mind you). That’s even without with the video, which is a must see by the way. And after listening to that, it feels like his other songs are too short, even at the typical three minutes. Emmy the Great proved to be just the icing on the cake on “Tell Me What It’s Worth” which is credited with 20 listens in 3 days. Hell yeah! And the B-side “Waiting Game” never should’ve been a B-side in the first place. “Galaxy of the Lost”, though not his greatest work, is much better than most songs coming out these days. Anyway, to prevent my needless rambling, if you were going to buy only one new album this year, consider Lightspeed Champion’s, Falling Off the Lavender Bridge as a contender.

MP3: “Tell Me What It’s Worth” – Lightspeed Champion
MP3: “Waiting Game” – Lightspeed Champion
Video: “Midnight Surprise” – Lightspeed Champion

We’ll start it off simply. How have you been recently?
Well, the past few months have been very trying, I’ve had a tremendous loss this year and I’m sort of just now starting to get a grasp on things, it’s come at a time when lots of good things are starting to happen which has made it very difficult to really appreciate those things. There’s been pressures from lots of different sources coming down all at once, all great productive things that need to be done, but all of them have just sort of sprouted at the same time. Slowly things are settling.

You were born in Havana, Cuba until moving recently to Baltimore. What have you found to be the biggest difference between the two areas?
Well I moved to Miami with my family in 1990 where I was raised from the age of 8 to 18 when I moved up to Baltimore for school. I’ve actually been living in Baltimore for about 6 or 7 years now. Baltimore can sometimes seem like a third world country, but I’d have trouble comparing them to each other. I was too young to really see any of the socio-political issues but I guess the difference is in Cuba you lived simply out of necessity and here in Baltimore I live simply by choice.

You’re credited with starting the short-lived band Cache Cache, which unfortunately disbanded weeks before playing SXSW in 2007, leaving you to virtually create a band weeks before the show with friend and bandmate Jared Paolini. How hard was that to do? I can’t image the pressure.
Well In that week me and Jared came up with an entirely new set based on snippets of songs I had started to compose and ideas we had had for a while, and Cache Cache always moved pretty slowly before then, I think when it became just the two of us we just sort of flew through the whole thing, we were hungry to compose new stuff, it took a couple of all nighters but it got done.

You currently have two music projects: The Tall Grass, and your self-titled, solo project. Which one do you spend the most time with, and “take care of” so to speak, the most?
Well The Tall Grass is Me, Jared Paolini, Yutaka Houlette, and Geoff Grace. Grace does the songwriting while we all sort of compose them into fuller pieces together. The chemistry between all of our playing styles is really exciting, we tend to just sit down and start playing and almost always come up with interesting little bits here and there to use for his songs. It’s a really naturally moving band, Cache Cache took alot of coaxing, but when I sit down and play in the Tall Grass it all just sort of happens, which is wonderful. We haven’t played much lately because of other things demanding our attention, and I’m definitely fearful of having to focus on my solo work to the point where I cant play in the Tall Grass as much as I’d like. I think I enjoy both equally, my friends are a big source of inspiration as musicians and people and part of my work comes from being able to bounce ideas off of them and listen to their work, etc..

You’re album entitled “Why Is Bear Billowing?” is scheduled for release on Carpark Records, August 19th. I assume you must be very excited.
I am excited about it, I’m particularly excited about starting to play some of my newer stuff that isnt on the record, this first one is sort of just a simple collection of songs I’d written, to have for myself, and to give to friends, I put it together using borrowed equipment mostly as a document of where I was at the time.

When I heard your song “Mostly A Friend” for the first time, I couldn’t stop until midnight. That of course picked up again on the bright the next morning. Have you ever made a song and thought, “Wow, this is golden! I really nailed this one!” ?
I’m always pretty critical of my own work, be it drawings or songs, so I never tend to think a song is finished until pretty late, if at all. Sometimes I do come up with a melody or a chord progression that really strikes me as interesting and I’ll stick with it, but it’s difficult for me to step out of myself and listen to it as a first-time listener does, as it’s happening it’s a pretty blind situation.

On the contrary, have you ever grown fustrated with a song?
All the time, I’ve got a couple of songs I’m starting to write now that I just want to completely scrap, it’s just me being overly-critical and sometimes I just have to go ahead and record it or finish it as best I can, to use as a stepping stone towards the next one. Some take alot more hammering out then others.

You’ve also produced music for The Ruby Stallion Ensemble. It’s a very different sound than your own music projects. Was it a challenging experience?
I spent alot of time at roller-rinks in Miami when I was younger, so in a way that stuff is an extension of me as well, everything I do I think seems to come from my infatuation with the surreal or space or something, I wouldn’t say it was challenging, it was definitely fun, but it wasn’t as fulfilling.

Lesser Gonzalez Alvarez
“Mostly A Friend”
Why Is Bear Billowing?
Carpark Records
Released 08.19.08
Listen/Download

I’ve been reading up on your background and resume listed on your website. You seem to be quite the jack-of-all-trades. Your work ranges from paintings, to photography, to video animations, to of course, being a musician. Have you achieved all you’ve wanted to or are there more goals on the horizon?
Living creatively is very important to me, you have to make your entire life your work, and always debunk any notions you might get too comfortable with along the way. I don’t think medium matters very much to me, as long as it’s creative work. I’ve done a bit of theatre and that was exciting, I was the Lawyer in Wham City’s production of Jurassic Park which was an incredible experience. I’d like to give acting for films a try, I’m very inspired by the sort of naturalistic acting happening in a lot of classic seventies films like Dog Day Afternoon. I’m also a huge early Tom Hanks and Chevy Chase fan.

You’re works have appeared around the world—locally in Baltimore, as well as the Netherlands and Brazil—is your footprint as big as you want it to be?
For a while in college I never showed anyone any of my work, I was stuck making things and keeping them to myself until I came to a realization. A really important part of making work is having it be digested afterwards, critiqued, and I got used to that going to art school so I started doing that with my music as well. I’m skeptical of having too big a footprint, it sounds counterproductive somehow, but I think I’d enjoy having the sense that my work is being digested.

Has there ever been a song you’ve heard and wished you wrote it?
Wow, to some extent yeah. I’ve experienced that with musicians I’m close friends with mostly. I think the interesting thing is that you hear a melody you’d never think to come up with and it sounds so new and taps into some part of your mind that you didn’t even know existed, and to them it came naturally because that’s their body chemistry almost.

Who, or what then, would you say is the main influence on your music, illustrations, and other works?
Anything otherworldly I think. I tend to make very escapist work and I’m fine with that, I somehow need to make work that pulls me out of nihilism and functionality. I like putting together words and images that don’t normally appear together for the sake of generating an unusual spark in your brain. I have this weird association that combines Doo-wop music and deep space; When I was young I would stay up late to listen to this radio show called the “Doo-wop shop”, it always came on at about 2 or 3 in the morning and they played great doo-wop stuff that had this really vast emptiness to it, it seemed to wrap right around the dense silence outside and in my bedroom in a way that I’ll never forget. I’d always picture these old doo-wop groups singing from some remote satellite just echoing out through space, I think that’s a pretty big influence.

As busy as you are, it would appear you have little down time. When you do get it, what helps you unwind and relax?
Swimming, and old movies.

1. If you haven’t noticed yet, on the sidebar is a new section called, “On Heavy Rotation.” Evertime I come back and post from an extended hiatus I always mention how I plan to “do more posts” and “return to form”, etc. The fact is, sometimes, I simply don’t have the time. Or if I do, there’s nothing to write. I may not always have something to write, but I’ll always have something to listen to. Therefore, my new feature is an atonement of sorts for this problem. I’ll update it ever week, listing, what I’ve listened to the most for that week (there’s no ranking, just top five). It’s really simple: just click the pictures and listen (or in some cases watch).

2. It seems like only a short while ago (um, probably because it was) I conducted my first interview. I’m pleased to announce, I’m at it again! But with whom? Well, just wait a little while. It shouldn’t be long.

As always, take care my dear M.I.A. Googlers.
-David Hudson

Anyway, today I was looking at my feet (I promise you, this is going somewhere) and I realized my shoes suck! And so, I began my search for that new shoe worthy of my foot. As what usually happens on the internet, one link lead to another, until I arrived on this site with music in the background… and damn did it rock! Now I share with you my new obssessions:

Pitchtuner – Raindrops. Holy shit this song rocks! It’s so catchy and I just can’t help but sing along. The problem is, I have no idea what the hell she’s saying. But can you blame me? It’s not everyday I’m learning Japanese on Dora the Explorer or anything. But I guess that makes this song that much more fun. I mean, what’s not to love about making up your own words? Sure, everyone in the audience at the concert will look at you like your some freak of nature, but dammit, they’re just jealous because they can’t speak imaginary Japanese. But if that’s not your cup of tea, you can always suffice for the just-as-catchy “ba-ba-ba-ba-ba,” prominent in the background. Either way, you’ll be singing this until midnight.

MP3: “Raindrops” – Pitchtuner [Alternate Link]

Diplo – California Soul (Marlena Shaw). Diplo, by far and away, is one of, if not the best DJ in the music industry today. Everything this guy touches is golden. My iTunes is loaded with almost all of his remixes and jams. That’s right, almost. I don’t know how it happened, but I seemed to’ve skipped over his remix of California Soul (by Marlena Shaw). In fact, this has been out since will into April. It appears as though I’ve missed the bus completely on this one. Regardless here it is. It’s going to grab a hold of you.

MP3: “California Soul (Marlena Shaw)” – Diplo