When in doubt, blame capitalism.

I just want to proudly present a new Flyer News article to you. I think it's pretty good. It should be getting some hilarious responses, too.

It might not be up right now, but it should be up soon at www.flyernews.com. The headline should involve "capitalism" and "human rights," so look around for that.

Enjoy.

Love,

Steve

America has lost its mind.

Okay, I know this might not seem like a huge deal. But somehow it really bothers me.

Today CNN columnist Keith Oppenheim tells me that Muslim immigrant cab drivers in Minnesota are refusing fares carrying alcohol. According to a fatwa from "local Muslim leaders," transporting alcohol is forbidden.

Okay, whatever. I can understand that. But then the story says cabbies who refuse a fare have to go to the end of an hour-long line, and may face harsher punishments. For declining riders.

Then there's the story's poll. "Should cab drivers be able to refuse passengers on religious grounds?" A distressing 86% say "No."

NO! No? What the fuck is that?? You think if the story was about Christian cabdrivers refusing to transport people committing a Christian sin, the numbers would be 86%-14%? And what, we think cabbies are our servants, just waiting to take us around no matter what their personal opinions are? They should do their job even if they believe it's wrong??

God, it's a sad day when I am one of the few people who understands religious freedom.

Will the revolution be televised? Discuss.

Hi friends. I just wanted to pop in real quick and tell you I found a song I like.

Back in high school, so, so long ago, I watched a video (in Voices of American Culture class) about the late 60s/early 70s that featured a song that fucking rocked. And I wanted to find it ever since. I would think of it sometimes and wonder, and I finally did something about it.

I actually used all three lame-ass search sites: Google, Wikipedia and YouTube. And here it is.

http://www.youtube.com/watch?v=uTCQSk2l8bc

http://www.gilscottheron.com/lyrevol.html

http://en.wikipedia.org/wiki/The_Revolution_Will_Not_Be_Televised

"The Revolution Will Not Be Televised," by Gil Scott Heron. It is cool.

Enjoy.

Love,

Steve

MtB defeats TMV in nearly every way.

Artist: Minus the Bear

Album: Menos el Oso

Label: Suicide Squeeze Records

Okay. Minus the Bear. I first heard of them from a girl who worked at Stuart Hall housekeeping--the one who came to be known as Crackhead Molly. She gave me a few of their old songs--"Absinthe Party at the Fly Honey Warehouse" and "Monkey!!!!! Knife!!!!! Fight!!!!!" are the ones I remember best. And i thought they were cool, I guess.

Then Joe Weishampel gave me another of their songs ("Get Me Naked 2: Electric Bugaloo") and I got hooked.

So I bought Menos el Oso, a 2005 release with no songs I recognized.

AND IT ROCKS!

Minus the Bear is hard to describe beyond: they are a rock band. They have a slightly jam band quality, especially in thier Phish-like guitar tones, but their songs are really easy to handle. Every single song is really catchy. Sometimes I think they're a more indie version of Incubus, but about 20 times better. They have a similar sense of rhythm, though.

Each song is badass in its own way. The first, "The Game Needed Me," has a sort of guitar-based hip-hop rhythm through the verses. Guitar and bass drum thump through eighth notes to start and end the verses. The chorus shows off the quick changes of chords that Minus the Bear uses quite a bit.

Then there's "Memphis & 53rd," which has a nice verse that bumps along with the guitars dancing up and down the fretboard in the usual way. The drummer spices up the interludes nicely. And I just like the lines "I could barely sleep / I had this dream. / There was a man in a black car / With a man in the back seat." Somehow the repetition of "man" is funny to me. And you have to love when they bring the chorus back toward the end with more intensity.

My favorite might be #3, "Drilling." I'm not sure why. It might be the insistent eighth note muted strumming and snare drum. It's just funny that they can get away with it.

I could do the whole album, but the point is that every song is a winner. I would recommend it to anybody. Just try one of the songs--maybe "Hooray," "Pachuca Sunrise" (which has a chorus that reminds me of a Europop dance song) or the bouncy "The Fix." I'd say "Hooray" is best because I just love the chorus: "And I can feel my hands again / We're almost home." Simple, I know, but pretty awesome. The song with the best payoff is probably the last, "This Ain't a Surfin' Movie."

Just try it. I can't speak for their other albums, of which they appear to have three (and an EP with a song called "Drop It Like It's Hot," mysteriously). But Menos el Oso is definitely a winner.

Grade: A

Advantages: catchy, accessible rock; vocals you won't hate; complex songs that sound natural and fun.

Disadvantages: maybe just a little uncreative lyrically.

Okay that's all. Be back soon, I hope.

Love,

Steve

The Mars Volta: let us remember them as they were.

I bought my brother a CD for Christmas, but he already owns it. So I kept it. I'm writing a review of it now. I dedicate the review to Scott "Hoffy" Hoffmann, since I suspect nobody else will be interested.

Enjoy!






Artist: The Mars Volta

Album: Amputechture

Label: Universal Records







The Mars Volta. Oh, how the name used the thrill me. The possibilities! The complexities! They stood apart from everyone. They were untouchable. They were...a lot better than Amputechture.

This is their third album, following De-loused in the Comatorium and Frances the Mute. And, I am very sorry to report, I think it continues their downward slide.

As you know, TMV is the product of one half of At the Drive-In: singer Cedric Bixler-Zavala and guitarist Omar Rodriguez-Lopez. Omar writes the music, Cedric writes the vocals, and off they go. The group also features badass Jon Theodore on drums, Isaiah Ikey Owens on keyboard, someone awesome on bass, and (for some reason) John Frusciante of the Red Hot Chili Peppers. But basically it's Cedric and Omar's show.

As for the lyrics on this album: I don't know what they're about. It's a little sad, but the whole Cedric crazy lyrics thing is getting tired. All of it feels old and played-out already. Just the usual creepy techno-babble and body parts strewn around. Probably the worst example is "Day of the Baphomets," one of my favorite songs, because it just reuses words from the B-side "Plague Upon Your Hissing." Cedric receives a C for this album.

The music fares just a little better. Again, the slow, quiet verses and guitar-riff choruses: we've heard them before. When they take a new direction, it's often very bad. Take the first and last tracks, "Vicarious Atonement" and "El Ciervo Vulnerado": they try something different. They try staying quiet, slow and whispery all the way through.

Let me pause here to share Tony Storti's criticism of TMV: often the rocking moments are not worth it when compared to the non-rocking. All we want here is for you to rock. Do not stop and mutter. Do not stop and mellow. Do not stop. Do not give us songs like these. We do not want them.

This brings me to the good parts of the album: "Day of the Baphomets," parts of "Meccamputechture," "Viscera Eyes," a little bit of "Vermicide," and most of "Tetragrammaton." When TMV cuts loose and just rocks, man, it is really cool. I mean, "Day of the Baphomets" is essential 12 minutes of rocking out. It's great. For that reason, I'll give Omar a B on this album. When they want to, they can still bring the rocking. If only they'd make a whole album of it, straight through. Enough with the mellowing out.

So I guess overall the album gets a B-/C+. It's better than most stuff out there, but don't lose your copy of De-loused in the Comatorium.

Coming soon: a review of a superior album that I got for Christmas.

In other news: class has started. This semester looks so, so painfully easy. And I need to write about 1 1/2 monologues by tomorrow, or soon, for UD Monologues. We'll see how that goes.

Love,

Steve