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+ Donato Wharton - Body Isolations
+ Svalastog - Woodwork
+ Tim Hecker - Harmony In Ultraviolet
+ Rosy Parlane - Jessamine
+ Jarvis Cocker - The Jarvis Cocker Record
+ Múm - Peel Session
+ Deloris - Ten Lives
+ Minimum Chips - Lady Grey
+ Badly Drawn Boy - Born In The U.K.
+ The Hold Steady - Boys And Girls Together
+ The Blood Brothers - Young Machetes
+ The Places - Songs For Creeps
+ Camille - Le Fil
+ Wolf Eyes - Human Animal
+ Christina Carter - Electrice
+ The Decemberists - The Crane Wife
+ Junior Boys - So This Is Goodbye
+ Various Artists - Musics In The Margin
+ Rafael Toral - Space
+ Bob Dylan - Modern Times
+ Excepter - Alternation
+ Chris Thile - How To Grow A Woman From The Ground
+ Brad Mehldau - Live in Japan
+ M Ward - Post-War
+ Various Artists - Touch 25
+ The Mountain Goats - Get Lonely
+ The White Birch - Come Up For Air
+ Camera Obscura - Let's Get Out of This Country
+ Coachwhips - Double Death
+ Various Artists - Tibetan And Bhutanese Instrumental And Folk Music, Volume 2
+ Giuseppe Ielasi - Giuseppe Ielasi
+ Cex - Actual Fucking
+ Sufjan Stevens - The Avalanche
+ Leafcutter John - The Forest And The Sea
+ Carla Bozulich - Evangelista
+ Barbara Morgenstern - The Grass Is Always Greener
+ Robin Guthrie - Continental
+ Peaches - Impeach My Bush
+ Oakley Hall - Second Guessing
+ Klee - Honeysuckle
+ The Court & Spark - Hearts
+ TV On The Radio - Return To Cookie Mountain
+ Awesome Color - Awesome Color
+ Jenny Wilson - Love And Youth
+ Asobi Seksu - Citrus
+ Marsen Jules - Les Fleurs
+ The Moore Brothers - Murdered By The Moore Brothers
+ Regina Spektor - Begin To Hope
+ The 1900s - Plume Delivery EP
+ Alejandro Escovedo - The Boxing Mirror
+ Function - The Secret Miracle Fountain
+ Sonic Youth - Rather Ripped
+ Loscil - Plume
+ Boris - Pink
+ Deadboy And The Elephantmen - We Are Night Sky
+ Glissandro 70 - Glissandro 70
+ Calexico - Garden Ruin (Review #2)
+ Calexico - Garden Ruin (Review #1)
+ The Flaming Lips - At War With The Mystics
+ The Glass Family - Sleep Inside This Wheel
+ Various Artists - Songs For Sixty Five Roses
+ The Fiery Furnaces - Bitter Tea
+ Motorpsycho - Black Hole/Blank Canvas
+ The Red Krayola - Introduction
+ Metal Hearts - Socialize
+ American Princes - Less And Less
+ Sondre Lerche And The Faces Down Quartet - Duper Sessions
+ Supersilent - 7
+ Band Of Horses - Everything All The Time
+ Dudley Perkins - Expressions
+ Growing - Color Wheel
+ Red Carpet - The Noise Of Red Carpet
+ The Essex Green - Cannibal Sea
+ Espers - II
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44.1 kHz Archive

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Saul Williams
Saul Williams

Here stands the poet. Standing alone, standing under his own name, reciting the verse that will make his name: "Telegram to Hip Hop: Dear Hip Hop. Stop. This shit has gone too far. Stop." Only he doesn't stop, he don't stop, and he don't stop, noting that neither cash nor murder are in the genre's tenets, remembering that MCs were once slaves (and now they're slaves once more), wishing for a discontinuing of the lyrical line of unbroken braggadocio. Unlike 50 Cent, whom he dares to do a deadpan depiction of in humble mumbles faking masculinity, Saul Stacey — the boy they called Black Stacey in school — knows that he ain't bulletproof; he forsakes myth-making to dare speak about reality without the obnoxious posturing of "realness," fearing not, because "you can take your aim, but you can't kill the truth." Truth-seeking and truth-speaking, Saul's second longplayer finds him returning from the outer-space orbit of his first record, Amethyst Rock Star, this go-round — razed of guitars, stripped of strings, clipped of florid imagery, its fierce words set to blunt beats and throbbing bass — obsessed with the realities that the poet once forsook for surrealities, less about the wild-eyed purple-hazed planetaries plotted by his early poetry, and more about finally finding that spot where truth echoes. And now he's found it, he's not about to stop. He says: "I was watching BET, like: What the fuck? Son, this is foul." Then says: "I gave Hip Hop to whiteboys when nobody was looking/ Found it locked in a basement when they gentrified Brooklyn." Then says: "Hip Hop takes its last breath/ The cop scrawls vernacular 'manslaughter' onto a yellow pad." Hitting this lyrical nail on its head over and over, Saul hammers nails into the coffin of hip-hop, reading out its eulogy with the backing of The Fader, no less, who see their nascent label as the place for Saul to hammer home lyrical realities. His voice and its words call these thoughts into reality, the album truthful and personal so many times over; his first love and hip-hop's last rites are placed side-by-side, track-by-track on an album that's been conceived as whole work, as thematic whole. His first album found Williams "discovering" music, uncovering some sort of drug-rock/ art-rap sound with Rick Rubin by his side, setting so many of his previously performed and published poems to peculiar music. This album is the album, his album, with his name on the front; he's standing by it, standing strong, standing alone, on his own frontline, behind the line he's drawn in the sand. He calls it: Enough. Stop.

by Anthony Carew

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