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VARIOUS ARTISTS
United Kingdom of Punk 2
Music Club
WONDERING WHAT THE hell happened to rock and roll rebellion?
Is it Green Day doing an acoustic ballad complete with strings
(earning them a slot opening for Poison in hell)? Is it the tired
machismo of cock-rockers who've just stumbled on sideburns, '65
Mustangs and their old man's porn collection? Or is it the laconic
malevolence of the gangsta rap that ended up turning the gun on
itself, lyrically and literally? With anger ringing hollow and
bands fighting to get into the stadium rather than burn it down,
there's something wrong here. United Kingdom of Punk 2 is
a big, sloppy "fuck you" to all that and more. The sequel
to last year's first volume, number two collects 16 more tracks
from the heyday of British punk in the late '70s--and like the
scene it documents, it's a glorious mess. The only thing getting
most of these songs through to the end is an exuberant "us
against them" attitude and momentum. Lager, piss and vinegar
are the fuel of choice. Forget dismal reunion tours and mass-produced
anarchy t-shirts: United Kingdom of Punk 2 offers a far-better
snapshot of a great, productive time when the aesthetic was D.I.Y.,
not A&R.
--Sean Murphy
ARTO LINDSAY
Noon Chill
Bar/None Records
EX-DNA/LOUNGE Lizard/Ambitious Lovers member Arto Lindsay
has previously bounced schizophrenically between albums of skronk
guitar cacophony and gorgeous Brazilian bossa nova. Here he frequently
steals the ominous instrumentation of the former to support the
tropical rhythms of the latter, all of it presenting obtuse lyrics
sung in Lindsay's eerie, unmistakable voice. Musicians from both
sides of his personality--including Melvin Gibbs and Peter Scherer
on the NYC side; Vincius Cantuaria and Nana Vasconcelos on the
Rio side--work together to make Lindsay's still-developing style
more than the sum of its parts.
--Dave McElfresh
VARIOUS ARTISTS
The Jewish Alternative Movement: A Guide For the Perplexed
Knitting Factory
IF JEWS COULD apply their customs to radically different
cultures--from Ethiopia to Siberia, say--how hard could it be
to mix with New York's downtown music scene? The idea of "radical
Jewish culture," conceived by groups like John Zorn's Masada
as a subset of the larger avant garde scene, has now blossomed
into a "Jewish Alternative Movement" big enough to warrant
its own label. To kickoff the Knitting Factory's J.A.M.
imprint, 15 acts representing the wide spectrum of modern Jewish
music--including better-knowns like the Klezmatics (doing psychedelic
klezmer) and Hasidic New Wave (with a skronky Yiddish drinking
song) alongside relative outsiders such as Wally Brill and Neshama
Carlebach--were assembled onto A Guide for the Perplexed.
J.A.M. pioneers like Zorn and guitarist Marc Ribot are
noticeably absent, though their influence is felt in the music
of groups such as Paradox Trio and Naftule's Dream. This "guide"
forgoes cohesion in the interests of maximum breadth and lumps
together bebop "Hava Nagila," cantorial ambient, Jewish-themed
spoken word, wanky Middle Eastern jazz fusion, and droney prayer
adaptations into a postmodern cholent of appropriation. You'd
be right to brand the concept of Jewish alternative music as something
of a gimmick, but thankfully, the music itself rarely sounds forced.
And anyway, requirements of authenticity are largely beside the
point.
--Roni Sarig
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