Every now and again, I get super obsessed with a record, and this week belongs to Chandra. I first heard Chandra years ago, when I was writing for a website that reviews bizarre, hip, and unique vinyl finds called Waxidermy. Someone had happened upon a copy of this long out-of-print (circa 1980) gem of an EP, Transportation, and shared some MP3s. When I heard the tracks, I was totally floored.
Why, you ask?
Because Chandra Oppenheim is (well, was) a 12-year-old girl dynamically and powerfully fronting a no-wave/experimental disco band (think early Talking Heads or B-52's, only weirder) that sounds as confrontational, dissonant, beautiful, and odd as any of the work out of the active NYC no wave/noise scene of the day. Beyond that, these were her own compositions, with subjects ranging from the city's confusing subway system, to a girl named Kate "who thinks she's really great, but she's not." (Ever since my first exposure to this song, every time I meet someone named Kate, these are the first words that come to my mind.) Hearing these well-written, exceptional tracks was, as they say on Waxidermy, "face-melting."
Is this children's music? Electronic? Post-punk? Experimental? Pop? The answer is yes.
Somehow, I missed the re-issue of the Transportation EP late last year, but I'm sure glad I discovered it now, even if a few months late! Now with four additional tracks (from a 14-year-old Chandra) tacked on, the EP sounds better than ever. The newer tracks are more accessible, and she's accompanied by an all-teen backing band to boot. Although Chandra abandoned her band to focus on school before these bonus tracks could be released, it's a thrill to get to hear them now.
Oh, how I wish I lived in a world where the Chandras of world replaced the Miley Cyruses, Selena Gomezes and Demi Lovatos.
It would sure be a lot different.
Check out some tracks below, and let me know what you think.
I've figured out why I'm transfixed by Chickenfoot. There is no difference between this brand of hard rock and one of my true loves, Grand Opera. Stay with me on this one.
Both have a long established tradition of terrible lyrics.
Both, at their best, are often unoriginal. They recycle clichés we've heard before and fans are in awe of the ornamentation around those clichés and the way they're linked together.
Both are best practiced by performers that are somehow larger and louder than life.
Experiencing both (if you're into this stuff) you know what's coming next and it only makes it better.
I could go on - hair, costumes, make-up - all over the top. Is anyone still reading?
Chickenfoot, lyrically and in many other ways, is a mess, but an exquisite one. Hagar, at the age of 61, while he doesn't attempt an F above high C, anymore, still has mind-boggling tone, phrasing, and diction. Satriani, steps back from the July 4th pyrotechnics he's known for and becomes an ensemble player with almost no equal. If you have the privilege to catch these guys live, you'll get to appreciate how he summarizes all that is multi-tracked on the album in his live performance. Michael Anthony provides an omnipresent depth, pumping out classic hard rock bass lines, and Chad Smith steps away from his signature inner syncopations of RHCP, to this cast-iron back of the beat, pedal work, and sharp, precise upper register stuff. Ensemble work doesn't get much better than this.
Other reasons I might like this album are that I can't hear any Auto-Tune, and there isn't an iPod app' that makes it any better. -- Hugo Munday
The term “Indie Rock” is undeniably tricky. We challenge anyone to
definitively define what is and what is not indie rock--you will fail.
For the purposes of compiling this list we’ve decided to use a
combination of hard and fast rules and gut instinct. Our hard and fast
rules are listed below, but as for gut instinct—you just kind of have
to know. For example: John Oates put out a rock record called Phunk Shui on an indie label, however, in no way should Phunk Shui
be mistaken for indie rock. Likewise, Black Flag put out many seminal
punk albums on SST, but we’re not talking about punk or grunge or
classic post-kraut-rock, we’re talking about indie rock. Are Black Flag
really indie rock? Not to our ears.
With that in mind, we squeezed the minds of our music editors (who
fought and screamed at each other over omissions, inclusions, and
rankings) to deliver you this, our list. If you’ve got complaints (and
we know you will), bring it to our comments below. You can argue
about whether Sub Pop is really an indie label, about why we should make an exception for Weezer, or about why we chose Unrest’s Imperial f.f.r.r. instead of Perfect Teeth—whatever you want. We’d love to hear what you think.
Here are the hard and fast rules:
• One album per artist.
• No EPs or singles, this list is about albums.
• No greatest hits collections or compilations of previously released tracks.
• Nominations must have been originally released on an independent
label. Albums released on indies which were later acquired and/or
re-released by majors are allowed (like Sonic Youth’s Daydream Nation, originally released by a pre-1989 major label merger Enigma Records).
My '80s obsession is prettywelldocumented--I find myself falling further and further down the rabbit hole of (hopefully) endless '80s obscurities, and I'm loving every minute of it. In this post, I've chosen to focus on some of the ladies of the '80s. I'm not talking about Madonna, or Cyndi, or Cher, though I'm tempted to go there (hey that rhymed!), I'm gonna take you some places you may have never been before. Follow me...
Bardeux, "When We Kiss" I'm putting this one first because you have to watch it. Now, I know I've posted a Bardeux video before ("Magic Carpet Ride"), but that was before I re-discovered/remembered this gem, and I would be remiss if I didn't share it with you. "When We Kiss" makes "Magic Carpet Ride," both from the magnificent but totally out-of-print album Bold As Love, seem kitschy and quaint by comparison, not that there's anything wrong with that. "Kiss" is a straight up slow jam with some cheesy-ish raps and a vibe that someone needs to resurrect, because this track is on fire. I would totally cruise down the street with this blasting out of my stereo anytime, any day. Make special note of the use of what may be the cheesiest fake sax/trumpet/trombone synth sound in the whole wide world. It's very presence in this song elevates it to a higher plain. Plus, I want to live in the fantastical soap opera world where this video was shot--a world where these girls are my best friends and I can borrow those sunglasses.
Kim Wilde, "The Touch"
You may know Ms. Wilde for her hits "Kids In America" and her truly stellar remake of the Supremes' '60s hit "You Keep Me Hangin' On," but today I'll shine the spotlight on a lesser-known track--"The Touch" from her all-but-forgotten and totally out-of-print '84 album Teases and Dares. Not only is the song totally great in that way that only the '80s can conjure, but the video is a complete WTF mashup of Cinderella and the frog prince, complete with scary drag queen evil step-sisters. Don't miss the incredible dance she does with her arms at the end, which begs to be replicated on dance floors and in bedroom mirrors across the world.
Frida, "I Know There's Something Going On"
Oh Frida, you were always the overlooked lady in ABBA, but once you went solo, you kind of completely totally ruled. In this Phil Collins produced track (and album--his signature drums are all over this one), Frida reveals a side of herself absent from any of her previous musical efforts, the side of her that rocks. She teases with her verses, then eventually lets loose into a paranoid robo-chorus for the ages. I think the whole album is about her split from former husband and bandmate Benny Andersson--it has a real jilted lover vibe to it, and this song is pure magic.
Jane Weidlin, "Rush Hour"
Before she was the hot/cute/sweet dominatrix lady on that one VH1 show, Jane Weidlin was a member of and main songwriter for '80s staples the Go-Go's, but in the years between the two, she was a pretty rad solo artist. If I were ever to make a list of the greatest songs to drive to, "Rush Hour" would have to take my number one spot--it's loads of fun, but really kicks in with it's catchier-than-a-cold chorus. Here's proof of its greatness in video form (bowties! everywhere! dolphins!):
Jane Child, "Don't Wanna Fall In Love"
From one lady named Jane, to another. This Jane, Jane Child, is a lot different from the last one. In this era of "Don't Wanna Fall In Love," she has what may be the most extreme mullet ever worn by a human, or any other form of life (or is it some sort of hair cape?), not to mention her, at the time, totally frightening earring-connected-to-nosering-chain-thing, that just seems kind of dated and cute now. Note the fantastic scene near the end where she rocks out facing the wall of a surprisingly well-lit NYC street.
Pebbles, "Girlfriend"
While this a great pre-pills Paula Abdul knockoff, fast forward to around 2:20 and again around 2:50 for the really good part--one of the greatest shout bits in an '80s pop song ever: "To believe, or not to believe, that is the qwes-tee-yawn. It just takes a street degree. You've lied your last lie, and I've cried my last cry, I'm out the door baaaby! There's other fish in the sea." Do they think pronouncing the word "question" like that makes it more high class? Perhaps in a world where one earns a street degree, it does.
Did I miss your favorite super obscure '80s lady? Got any other ideas for nooks and crannies of '80s music I can uncover? Let me know in the comments. See you next time!
It's been a busy week in music. On December 18, classical music fans across the globe celebrated the would 150th birthday of Giacomo Puccini, a church organist before he embarked on a stunning stretch of composition that yielded his many operas. Puccini's sesquicentennial might best be celebrated with good headphones and the superlative Tosca. [Tosca quiz included here, at no extra charge]. If it's your first foray into this peak experience, the time-tested favorite is the remastered 1953 recording with Maria Callas. Please drop word if you can find it vinyl.
For some ungodly reason, Integrity Toys has decided to craft a tiny vinyl likeness of Katy Perry, which you can purchase for the low, low price of $49.95. This is notable not only because you can now add a touch of faux lesbianism to your next shindig at the Barbie Dream House, but also because the words "Katy Perry" and "integrity" have finally been used together in a sentence. Congratulations to everyone!
Finally, to piggyback on 
