I haven't yet seen 3 From Hell, but one thing I love between House of 1000 Corpses and Devil's Rejects is that the story line continues, but with a massive tone shift. The audience (or at least me) goes from "fuck these psychopaths" for the duration of HOATC and most of DR to -- by the end of DR -- having some level of sympathy and almost rooting for the villains turned anti-villain (I think I got that distinction right).
Excited to give this new record a listen, as well.
Long live Rob!
From the Bandcamp page:
"With "Afrique Victime" the prodigious Tuareg guitarist and songwriter rips a new hole in the sky – boldly reforging contemporary Saharan music and “rock music” by melding guitar pyrotechnics, full-blast noise, and field recordings with poetic meditations on love, religion, women's rights, inequality, and Western Africa’s exploitation at the hands of colonial powers."
Good Lord inject this into my veins.
A contemporary definition of bourgeoisie is probably tough to pin down, especially in this particular instance, but how would you categorize making millions selling $300 concert tickets singing about working class America?
I'm not here to hate on the Boss or say he's disingenuous (though, likely out of touch at this point), but the dude definitely made a killing off of working class struggles well after he had to worry about checking his bank account.
Listening to Yolk in the Fur it would be a minute or two after a transition and I'd think "oh this is a completely different song."
This record gonna be Grade A.
"People feel bound by democratic elections only when they share a basic bond with most other voters. If the experience of other voters is alien to me, and if I believe they don’t understand my feelings and don’t care about my vital interests, then even if I am outvoted by a hundred to one, I have absolutely no reason to accept the verdict. Democratic elections usually work only within populations that have some prior common bind, such as shared religious beliefs and national myths. They are a method to settle disagreements between people who already agree on the basics."
- Yuval Noah Harari from 'Homo Deus'
This is an article about Uncle Neil though, so I'mma throw on Zuma, jam to Cortez and recalibrate my focus on the real enemy here.
I'd give creedence to The Band popularizing Americana, particularly in their ability to cross-cut American styles with such ease. You get the Dixieland tinged soul of "Ophelia" in contrast with "Rag Mama Rag," which feels like rock 'n' roll ragtime Louis Armstrong.
Hell, the album Stage Fright is almost like the first American monogenre (not saying this negatively). So even if The Band isn't the starting point for the genre, nobody before them (that I'm presently aware of) was able to draw on so many influences and make great, objectively simple and genre-distilled tunes* that don't feel like a novelty.
*I've seen The Last Waltz enough times to understand Garth Hudson's high level of proficiency, even in regards to his own bandmates.
That was the first thing I thought as well. Who walks into a small venue to "Greetings, sir. May I take your coat or offer you a beverage? Compliments of the house, of course."?
It'll be amazing if they could keep the Slave Ambient --> A Deeper Understanding run of classic-status records going (which is reminiscent of Summerteeth --> A Ghost is Born), but I have full confidence anything these guys put out will sound great. That said, I could totally go for this being their Sky Blue Sky.
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