Support Jimmy Eat World:
I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.
Support Jimmy Eat World:
I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.
For an optimal experience, read through this first.
It’s been a little minute since one could stumble upon as a trial-by-fire, all-killer/no-filler, straight-as-an-arrow alternative punk rock LP from a legacy act as Bob Mould’s latest blazing studio full length project, Blue Hearts. The former Hüsker Dü and Sugar frontman’s fourteenth as a solo act, the LP dropped on 25th September and follows in the footsteps of 2019’s rather upbeat and stray light Sunshine Rock in the shape of what his indie label Merge Records dubs as “the raging-but-catchy yin to Sunshine Rock’s yang”, before adding that it was “recorded at the famed Electrical Audio in Chicago with Beau Sorenson engineering and Mould producing”, concluding that “Blue Hearts nods to Mould’s past while remaining firmly planted in the issues of the day”. Promo blurbs aside, the record cuts through like a rabid and quaint meat and potatoes uppercut at a packed and austere fourteen songs and 36 minutes of runtime, keeping comfortably on brand for an old underground hardcore scene head such as Mould.
While sporting key tunes on the album in title disguises such as “American Crisis“, “Forecast of Rain“, and “Racing to the End” might make the principal conceptual undercurrent of Mould’s latest exploit all too painfully obvious, there is so much more than meets the eye on the Malone, NY-native newest project. Mind you—all individual chapters sequenced within this thematic crusading journey are ultimately nothing more than blistering and riveting peas in a pod, but for one the semi-acoustic, stripped down, analogue frontiers on the album’s tail ends “Heart on My Sleeve” and “The Ocean” provide an equally awakening and matter-of-factly respite amidst the bulk of this body of work’s asphyxiating searing bonfires. The record’s flip in mood and sentiment compared to its predecessor is impossible to miss already on its unhinged seven-track A-side, with manic and inflammatory numbers such as “Next Generation” and “Fireball” exhuming some of Mould’s most piercing and inspiring mid-80s Hüsker Dü reference pull-ups, not without being set ajar to the kind of trademark sweet-on-the-ear sticky songwriting drowned in amp gain found in the aforementioned “Forecast” as well as “Siberian Butterfly” on that same front-end.
Perhaps even more pronouncedly than on any other body of work found within Mould’s career past the new millennium mark, Blue Hearts frequently sees the 59-year-old punk rocker flirting and fiddling with enveloping backup singing harmonies, courtesy of staple touring member and longtime band bassist Jason Narducy. Cases in point, on the less cohesive but compositionally more articulate and gnarly record’s B-side, are the groovy and infectious “Baby Needs a Cookie” at number ten, as well as album highlight “Password to My Soul” just two skips down the line, displaying revered and classic Mould playbook elements such as oceans of Fender Stratocaster distortion, sticky and tender chords progressions, lavish viscerality, and just wealth and wealth of melody. Such moments not only serve as poignant reminder for both Bob’s creative efficacy and deep influence over his 40-year-long career, but also go offset duller points on the project, found most acutely on the mutual carbon copied-snoozers of formulaic duds “When You Left” and “Little Pieces“.
What’s more, on the qualified and loaded half hour and change the former Sugar honcho packs in on his fifth consecutive album on the North Carolina indie imprint, there is even room for flavoursome sentimental detours, arguably not amongst Mould’s most recurring topical calling card. These afford listeners gratifying mundane interludes in-between the overtly explicit socio-political framework that so assertively defines the record’s overarching ethos. Take for instance “Everyth!ng to You“, a jolly and carefree tongue-in-cheek romantic declaration checking in halfway through the project, or even the raunchy blues rock of “Leather Dreams“, the latter not only casting somewhat unusual alt-garage sensibilities onto his songwriting, but also housing what might be the highest number of innuendos Bob ever lied to tape at once. With that being said, his voice is still mixed just that ounce or two too quiet to get eaten by cymbals, I mean guitars, to prompt listeners to pay a little bit extra attention.
This time though it’s as important as ever and not one bit less catchy than what we’ve come to expect from the old hardcore punk fox. Look—you don’t need to hear it from me, but in so many ways a project like Blue Hearts could only have come out in a year such as 2020. Existential and impending climate dismays, ostracising and disenfranchising societal uproars by way of ethnic reckonings, an earth-shattering public health emergency, and a menacing and breathtaking forthcoming election for the 46th President of the USA all end up crunched and parsed within the bold, earnest, and stern fourteen acts of Bob Mould’s auditory gesamtkunstwerk. This is stoic, matter-of-fact, and heart-on-sleeve zeitgeist recounting, free of virtue signalling or empty sloganeering, set to an animalistic and savage sonic score that ranks amongst the New York state-native’s most sincere and unfiltered. Don’t spend too much time scouting for soft and delicate acoustic menageries or intimate whispered affairs on this thing—those are to be found in spades across Mould’s rich and prolific back catalogue. This is the official soundtrack to going to hell in a hand basket, carrying chocolate chip cookies to tame a mean and evil orange monster…
I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.
2020, Merge Records
Considering the profound influence it has had on mainstream rock music in the new millennium, it’s ashamedly baffling how little real estate this site has dedicated to Las Vegas rock band The Killers over the course of its six-year online existence. Notwithstanding the somewhat lopsided distribution of studio projects released by the Brandon Flowers-fronted outfit during their almost twenty-year-long career—prolifically loaded in its front-end, with four LPs within eight years between 2004 and 2012 (Hot Fuss, Sam’s Town, Day & Age, and Battle Born), only to go on to release just two more in as many years since then (2017’s Wonderful Wonderful and last week’s Imploding the Mirage)—there is no denying that such a recidivistic AWOL state ought to be remedied in spades. What better occasion to right such unjust wrong than the highly anticipated, greatly acclaimed, and bizarrely delayed issuance of the American alt rockers’ sixth official full length album, out on Friday 21st August on Island Records.
American adult alternative rock stalwarts The Killers—nowadays virtually just answering roll calls as frontman Flowers and drummer Ronnie Vannucci, Jr—should not need any formal introduction to many a cultural bystanders, owing to their bragging rights awarded a mighty flexing of around a dozen modern-day indie rock classics that brought them top-of-the-charts comfort and festival crowd-pleasers alike. Announced by the group’s camp in early March alongside triumphant and life-affirming lead single “Caution“, and following up their slept-on and critically slashed Wonderful Wonderful two years prior, Imploding the Mirage mirrors its predecessor in track listing and runtime (ten songs clocking in at around 42 minutes). Unlike its forerunner though, it’s tightly packed with big, larger-than-life, loudness-war victorious arena fist throwers, collaboratively dished out with a host of unlikely co-signs, ranging from Canadian pop singer k.d. lang to The War on Drugs‘ Adam Granduciel, although the mightiest headline-inducing cameo comes courtesy of former Fleetwood Mac guitarist Lindsey Buckingham (who lends six-string wizardry to the aforementioned “Caution”).
After a second teaser to the full length following around the end of April in the shape of the hazy world-grooves encapsulated by the outstanding “Fire in Bone“, the group saw fit to unveil two more sonically eclectic and compositionally dense cuts prior to the full exploit between June and August—the ripe and wondrous album opener “My Own Soul’s Warning” and the Springsteenian synthetic horse-galloper “Dying Breed” (the former attached to two official music videos in an unconventional promo stunt). Truth be told, in retrospect such an assembly of ginormous preview tracks functioned as the perfect canary in the coal mine for the tiring full project experience, on the heels of their nearly asphyxiating sonic grandeur and pitiless climactic sound dynamics, pulling one uppercut after another to unaware listeners, found drowning in these records’ blown out mastering and fat stem layering. Don’t get it twisted though, none of these are bad songs in and of themselves—they are just a lot on the eardrum.
Regrettably, the remaining six joints on the record provide little respite from gargantuan sound compression and airwaves-stuffing fatigue. Cases in point are the album’s two synth-overdosed weaker closing moments, “When the Dreams Run Dry” and the vast, elusive, and spacious title track. Again—not the worst tunes the band has ever written, but enveloped in as much testosterone-fuelled overboard sound design that it dilutes and decoys from their redeemable compositional merits. It’s a shame that when Imploding the Mirage does take a breather and attempts to slow down the adagio a notch, such as with the piano-led mid-tempo radio ballad “Lightning Fields“, or the Weyes Blood-assisted cinematic ear worm “My God“, these plateaus actually double as outright lull snoozers of the pack, particularly when considered in the context of the full record’s songwriting valour. Meanwhile, thankfully and conversely, the Big Country-homaging sing-along stunner “Blowback” and the glorious saccharine guitar-work on “Running Towards a Place” easily make for some of The Killers’ most laudable and inspired work in a decade, significantly contributing to elevating the album’s overall lasting creative impact beyond its obese production’s dazzling fog.
In other welcome rock song craft news—that is, you know, pertaining to actual four-minute songs with inherent artistic value recorded with genuine acoustic instrumentation—New Jersey emo/folk natives The Front Bottoms chose the same late August Friday as Flowers and co. to unveil their seventh official studio album to the world, In Sickness & In Flames (out on Warner Music’s Fueled By Ramen). Standing as their most ambitious project yet, the record is a matured (?) concept journey through life’s tragicomic inertia, inevitably moulded by this year’s public health crisis impact and, as one has come to expect from the eclectic and exuberant slacker duo, growing up. In Sickness & In Flames undoubtedly ranks amongst The Front Bottom’s longest, heaviest, and sincerest exploits to date, with as many as twelve slyly-sequenced tracks, where even the snappiest ones run just short of four minutes of heart wrenched content.
Let us be honest, few other acts in the 2010s have been as consistent and accomplished in recounting late stage capitalism stream-of-consciousness cautionary tales for suburban twenty-somethings as the Woodcliff Lake-natives, not without an (un)healthy dose of self-deprecation and inconsolable incorrigibility. Their 2013 masterpiece Talon of the Hawk is pretty much a genre calling card at this point, and by some unconventional artistic twist of fate, their resilient semi-acoustic, heart-on-sleeve, spoken word open mic aesthetic has managed to do without a great deal of innovation—or even evolution—in order to retain their flavoursome and witty merits. Clearly, The Front Bottoms are still amongst the proudest torch bearers for legions of millennial simps, and their latest LP is a powerful if emotionally available and subdued budding everyday life account, casting an approaching new decade wide open as continued beacons of their stoic and earnest DIY underground milieu.
Songs-wise, less than the somewhat stale, phoned-in, and overcooked lead singles “everyone blooms” and “Fairbanks, Alaska“, it’s deeper cuts such as upbeat indie dance slapper “jerk” and the stern and austere lamenting ballad “the hard way” that both sound classic TFB and find them at their abundant best on this new project. It’s however the album’s B-side (or C and D sides, for y’all vinyl-maniac), taking off with the 90s alt rock/post-grunge firestarter “leaf pile” and wrapping up with the shivering and gorgeous piano closer “make way“, that makes for the most focused, captivating, and compelling back-to-back half hour of music that lead vocalist/guitarist Brian Sella and drummer Mat Uychich have put out to date. Accept this early and unsolicited hot Twitter take as receipt legitimising said acknowledgement. Elsewhere on the record’s side B, “new song d” at number eight on the tracklist is a most serious contender for their all time best song, period—whereas “bus beat” is ridiculously packed with hooks (“I do it like that because that’s the way my baby likes it“) and even the aforementioned “Fairbanks, Alaska” sounds righteous and well-placed amidst such songwriting delicacy.
The Killers and The Front Bottoms represent a tale of two rock and roll cities, both with their respective blistering blessing and crushing curses. One is made of a big, loud, and flashy razzmatazz, banking on glamorous superficial appearances and romanticised bella vita. It’s tempting and sensorially appealing, it sucks you in by way of its luring chassis and swaying halo effect, yet upon prolonged exposure it might render it mundanely hard to swallow all at once. The other one the brick and mortar manifestation of struggle, defiance, and acceptance—laminated by rusty copper-looking buildings and never quite succeeding in shaking off those blue-collar last smoke residuals, be it from cigarettes or a flickering pyre. These musical cities are adjacent. They neighbour one another, and go as far as exchanging forms of underbelly trade flows and unhealthy next-door syndrome. The grass might always be greener on the other side, but with Imploding the Mirage and In Sickness & In Flames the real optimum lives in the dialectic interaction of these two vivid exponents of the state of the modern rock and roll art.
2020, Island Records
THE FRONT BOTTOMS
2020, Fueled By Ramen
Support Linkin Park:
EMS has partnered with the good people over at Share PRO and is now officially accepting music submissions seeking unbiased critical appraisals—send us all your joints good and bad at this page and we will get back to you with a review in 48 hours.
Consider making a financial donation to the following organisations:
Black Lives Matter: https://secure.actblue.com/donate/ms_blm_homepage_2019
Since every March is APIT season, I figured this is as good a time as any to shine additional ethereal light on Bob Mould. Not that the 59-year-old guitarist and singer/songwriter would ever need it, but recent haphazard revisiting of his immensely prolific catalogue—spanning two major influential rock outfits and thirteen LPs worth of solo work—made it abundantly clear and poignant that the gentleman stands as one of alternative rock’s most paramount, characteristic, and genre-defining frontmen in the last forty years. I understand how filing this piece under the Preliminary Introduction To rubric might sound like an abhorrent affront to many a punk rock brothers and sisters. I hear you all and I agree—Bob needs no delirious preliminary introduction. Yet again, it’s March after all and this the ideal excuse to indulge ourselves one more time in this amply revered author’s relatable melodic distortion of harshness…
Ask any self-respecting ex-scene kid who came up in the punk, underground, hardcore, or alternative artistic milieus in the 80s what Hüsker Dü meant to them and their peers and you’ll be graced with passionate tell-alls aplenty. The Malone, NY-native fronted punk rock outfit—completed by iconic drummer/singer Grant Hart and bassist Greg Norton—almost singlehandedly steered the cultural and critique agenda of alternative music’s heavier spectrum during the better part of the legendary decade, together with a few other core projects such as The Replacements, Minutemen, and Sonic Youth. With seminal and trailblazing concept albums such as the off-the-wall Zen Arcade (1984), as well as the quick succession of near-perfect gnarly full-length catchy ankle-biters New Day Rising, Flip Your Wig (both 1985), and Candy Apple Grey (1986), the St Paul, MN-band thunderously rose to the mount Rushmore of indie underground punk within the span of twelve months (despite ending up signing with prestigious major Warner Bros for the latter record).
Their songs had the intelligent melodic tapestry of The Beatles, but were performed with the intensity, sound, and ferocity of The Ramones. The following year’s Warehouse: Songs and Stories turned out to be the trio’s final studio album and de facto fulfilment of their fat major label deal contract, with Hüsker Dü dissolving in the wake of the tour in its support, allegedly due to creative differences between Bob and Grant Hart, exacerbated by the drummer’s drug use at the time. Bob certainly didn’t rest on his laurels though, and within the span of a year from the band’s break-up saw fit to put out his first, highly-anticipated solo album in 1989, coming in the shape of the almost wholly reverb-folk acoustic affair Workbook. His return to slightly heavier soundscapes on his foreboding sophomore solo project Black Sheets of Rain provided another assertive statement of post-Hüsker intent, before foraying into bona fide early 90s alternative rock canon with his cult and critically-acclaimed band Sugar.
Sugar—sculpted by Mould alongside bassist David Barbe (ex-Mercyland) and drummer Malcolm Travis (ex-Human Sexual Response)—turned out to be a relatively short-lived stint for Bob and co, albeit one of tremendous cultural resonance at the time. The band’s calculated turn towards more melodic fringes of punk, and especially its life-defining debut LP Copper Blue (1992), went on to attract both commercial and high-brow success amidst glowing reviews, most notably snapping the number one spot in the same year’s Best Albums list by at the time reputable music publication NME. Two more hollowly stark studio projects in swift timely succession (Beaster and File Under: Easy Listening) sealed Sugar’s brief yet terrific ascension spell, toothlessly completed by a handful of compilations and live recordings thrown out over the years following the trio’s disbandment.
It’s not until 1996 that Bob decides to reprise his solo project stick—notwithstanding the erratic vanity exercise of releasing bundled halves of his first two solo records as part of a Virgin-issued compilation titled Poison Years banking on Sugar’s acclaim in 1994—as he returned to the scene with his third eponymous outing, effectively re-launching his musical trajectory as a one-man show. A number of dime a dozen and partially uninspired studio LPs followed between then and 2008’s regal District Line, a robust 10-track exercise in his unique trademark sombre and sticky punk rock authorship. Distortion-drenched, capo-steered, gain-optimised Fender Stratocaster-generated sound waves had long been his superior discerned unique selling point as a popular punk rock songwriter, but nowhere are these better distilled than in his output during the 2010s. While I don’t mean to go over his 2009 preciously delicate and fragile Life and Times too thanklessly—one that incidentally provided the contextual building blocks for his heart-on-sleeve 2011 memoir See a Little Light: The Trail of Rage and Melody—the work of art released over the past ten years might be his best.
By his own admission, the 2010s saw Bob go through a whirlwind of private and public emotions, ranging from the perishing of both his parents to the socio-cultural shock of relocating his whole entire life away from utterly hip and radical chic San Francisco to the even more utterly hip and radical chic Berlin, Germany. His first record under his new deal with imperial indie label Merge Records, the outstanding Silver Age in 2012, signalled a fortified return to raw honesty and compositional poignancy, unsurprisingly so, considering the motions the New York state native was going through at the time. Truly and honestly, pick any Bob Mould record past this point and you’ll be furnished with exceptional performances, impeccable delivery, quality ideas, and watertight no-frills punk rock truth. Guaranteed. 2014’s Beauty and Ruin might just be his best—it’s hard to describe what kind of music it conduits, collectively surrendering to the fact that one can’t quite understand what happens in those songs transporting to transcendental states—although both Patch the Sky (2016) and last year’s Sunshine Rock surely give it a run for its money.
All in all, in all his artistic forms and expressions, Bob Mould stands to represent a trustworthy, prolific, and timeless underground rock minstrel who approaches his craft with scientific-like devotion and method. It will come to no surprise to most that the infamous and sublime north star that keeps on guiding him like a lighthouse when led astray is the goal to perfect the quintessential pop song. Case in point, he always sequences his stickiest track, his calling card, the one with the most powerful hook and airplay rotation potential, at number three on his tracklists. This is true for Hüsker, Sugar, and his solo material. Go back to his discog and check that for yourselves. After all though, Bob Mould remains a relatable, fallible, pedestrian, and regular gay man. By happenstance, he somehow ended up being a very important one, too.
Below listed are Bob Mould’s selected works from 1982 to 2019:
Black Sheets of Rain (1990)
Bob Mould (sometimes referred to as Hubcap) (1996)
The Last Dog and Pony Show (1998)
Body of Songs (2005)
District Line (2008)
Life and Times (2009)
Silver Age (2012)
Beauty & Ruin (2014)
Patch the Sky (2016)
Sunshine Rock (2019)
In times of slim pickings and underwhelming new music Fridays, one can often find warming inspirational comfort in looking back and digging through some blasts from the past, with no particular rhyme or reason. Such a contextual predisposition is what sparked a fairly recent nostalgic drive in yours truly that fuelled an eclectic and colourful journey into projects, gems, and scenes that had pretty inexcusably slipped through the cracks hitherto. Admittedly, it would have been a little bit of a shame not to unify these new found trips down memory lane into a solid chronicle of selected delicious picks, so we figured why not put this out in some way, shape, or form, kind of like a pamphlet-resembling primer for those who might perhaps also not be in the know of a particular cultural phenomenon. So this is what happened when we began perusing the crates of Los Angeles-based independent record label Stones Throw by way of several ancillary and adjacent jazz releases a while ago. To spare y’all the details, what we mostly ended up on was a rather mysterious and elusive US jazz collective with a surprisingly prolific catalogue that went by the name of Yesterdays New Quintet. Little did we know that behind such moniker lied Oxnard, CA-native DJ, music producer, multi-instrumentalist, and rapper Madlib, who had apparently created a parallel sonic outlet in form of a virtual band – à la Gorillaz, for those wondering – that acted as a placeholder vehicle for him to explore the multiple universes of jazz-meets-electronic music over the span of almost a decade.
This educational rite of passage of sorts came as a blessing, not least for esteemed readers of this web property might have already noticed the scarcity revolving the reporting and critique of jazz projects, that have thus far only permeated and found their way to the surface by indirect means ferried inside of hip–hop containers. In the hope of redeeming said thin editorial substance appraisal, we are humbled and delighted to introduce to you in this article a precious and reputable wealth of new nu jazz repertoire composed and performed by gnarly cats (just so you know, most of the historical information presented in here relies heavily on Stones Throw and has been adapted for brevity). So the story goes that Otis Jackson Jr, aka Madlib, first conceived Yesterdays New Quintet in the summer of 2000, after he had already made a name for himself in the indie hip-hop pantheon as creator and producer of Lootpack and Quasimoto. Right around the turn of the new century, he took an extended break from hip-hop production and, we quote, “decided to replace the SP1200 with the Fender Rhodes”. The initial Yesterdays New Quintet fictitious line-up comprised of Joe McDuphrey on keyboards, Malik Flavors on percussion, Ahmad Miller on guitar and vibraphone, Monk Hughes on bass, and Otis Jackson Jr. on drums, with each session player drafted under Madlib’s guidance and supervision as producer, arranger and engineer (personnel metadata fetched from Discogs and Wikipedia).
Having initially released a series of singles and EPs during the year following its gestation, such as the gorgeously tight and dry Elle’s Theme as well as the defining genesis statement Uno Esta, the instrumental collective went on and played various secretive and experimental shows, cutting their live performance’s teeth and starting to make a name for themselves in the West Coast alt jazz scene. Their 19-track debut LP Angles Without Edges – which borrowed multiple rough drafts from its preceding EP Uno Esta – was released on the untimely and unfortunate date of Sept. 11, 2001 and was as result “ignored by virtually everyone, except those who listened, and loved it”. The formative and consolidating year that followed saw the up-and-coming ensemble record and release a full album of Stevie Wonder covers, including but not limited to “Superstition”, “You’ve Got It Bad Girl”, and “Golden Lady”; another project that dropped without much fanfare in 2003 on Stones Throw Records. As the collective evolved and progressed, a vision began to take form in Madlib’s head, where each of the founding band members would have gone on and branched off from the core group releasing standalone records one at the time, all the while introducing entirely new – fictional – members and groups into what he would subsequently dub Yesterdays Universe. As of today, the transitional timeline describing the original formation’s evolution from Yesterdays New Quintet into solo offspring outfits and eventually the miscellaneous multi-dimensional supergroup cluster Yesterdays Universe could be described as follow:
Phase 1: Yesterdays New Quintet – 2000
Phase 2: Joe McDuphrey Experience – 2002
Phase 3: Ahmad Miller – 2003
Phase 4: Monk Hughes & the Outer Realm – 2004
Phase 5: Malik Flavors – 2005
Phase 6: Otis Jackson Jr. Trio – 2007
Phase 7: Yesterdays Universe – 2007
Soon after the twofold sound recording manifestation outed under the standard Yesterdays New Quintet alias (Angles Without Edges and Stevie), it became evident that Madlib had envisioned something reminiscent to New York hip-hop heavyweight Wu-Tang Clan’s orbit for the project, with each of the subsequent records following Stevie announced as different phases of the group under each member’s individual name. However, quickly after finding this new spin-off purpose shining well-earned light onto individual musicians, a wealth of even more jazz and funky performers joined the wider ranks of the collective, many of whom, it turned out, were invited to feature on Madlib’s Blue Note Records remix joint Shades of Blue (2003). As previously hinted at, this growing circle of more or less staple collaborators became known under the free and loose band Yesterdays Universe. It was very much in this spirit that the self-titled all-star 2007 compilation showcase LP was released (see official compilation jacket below), announcing both old and new side-projects, such as Young Jazz Rebels, The Last Electro-Acoustic Space Jazz & Percussion Ensemble, Sound Directions, Jahari Masamba Unit, and Jackson Conti. By then, almost inevitably, what was manifested and recognised as the original Yesterdays New Quintet line-up had officially disbanded and indefinitely split up in 2007. Relatedly, home label Stones Throw had this public announcement to make when addressing various rumours coming through the grapevine at the time:
“At this point we should address the frequent claims that the five members of Yesterdays New Quintet and the entire Yesterdays Universe collective are fictional aliases, mere figment of Madlib’s hazy imagination. Unfortunately, our agreement with Yesterdays New Quintet/Yesterdays Universe prohibits us from divulging any biographical data about the group members or commenting on their physical status in space and time. We can, however, point out that there are documented live performances, and Yesterdays Universe artists who are known for their work outside of the Madlib circle – Karriem Riggins, Ivan “Mamao” Conti, Todd Simon, and Dan Ubick among them. But due to the private nature of Madlib and the members of Yesterdays Universe, we can say no more.”
The years following alleged diatribes and chaos surrounding Madlib and his joint venture with virtual jazz cats nurtured further full length releases from additional spin-offs The Last Electro-Acoustic Space Jazz & Percussion Ensemble, Jackson Conti, and R.M.C., amongst others, while master conductor-conspirator himself Madlib saw fit to release yet another bold statement around the psych-electro-jazz experiment by dropping Madlib Medicine Show #7: High Jazz in 2010. As the title suggests, this was the seventh instalment in the Oxnard producer’s 13-album series of the same name, where a strikingly fiery number of even more outfits floating within his jazz universe got a platform to showcase their commercial works. These previously unannounced and latent names include Generation Match, The Kenny Cook Octet, The Big Black Foot Band, Russell Jenkins Jazz Express, and Poyser, Riggins & Jackson. Not that it would somehow help shed more clarity on the blurred fuzziness frame entailing the true arc and trajectory of Madlib’s electro-jazz-swing pet project, but here is a fairly comprehensive and updated discography of Yesterdays New Quintet and what became of it after its break up in 2007 (excluding unofficial releases, remixes, bootlegs, and live performances):
Yesterdays New Quintet – Elle’s Theme, 12-inch EP (2001) STONES THROW
Yesterdays New Quintet – The Bomb Shelter, 7-inch EP (2001) STONES THROW
Yesterdays New Quintet – Uno Esta, 12-inch EP (2001) STONES THROW
Yesterdays New Quintet – Rocket Love, 7-inch (2001) STONES THROW
Yesterdays New Quintet – Angles Without Edges, Album (2001) STONES THROW
Yesterdays New Quintet – Heaven Must Be Like This, from Rewind, 12-inch, Album (2002) UBIQUITY
Joe McDuphrey Experience – Experience, 12-inch EP (2002) STONES THROW
Yesterdays New Quintet – Deja Vu, from Rewind 2, Album (2002) UBIQUITY
Yesterdays New Quintet – The Meaning of Love, 7-inch (2002) STONES THROW
Ahmad Miller – Say Ah!, 12-inch EP (2003) STONES THROW
Yesterdays New Quintet – Suite for Weldon, EP (2003) STONES THROW
Yesterdays New Quintet – Nuclear War, from Dedication: The Myth Lives On, Album, 7-inch (2003) KINDRED SPIRITS
Sound Directions – Skyscrapers, 7-inch
Yesterdays New Quintet – Stevie, Album (2004) STONES THROW
Malik Flavors – Ugly Beauty, 12-inch EP (2004) STONES THROW
Monk Hughes & The Outer Realm – Tribute To Brother Weldon, (2004) STONES THROW
Joe McDuphrey Experience – Entrando pela Janela, from Keepintime, 12-inch #2 12-inch EP (2004) MOCHILLA
Sound Directions – The Horse, 12-inch (2005) STONES THROW
Sound Directions – The Funky Side of Life, Album (2005) STONES THROW
Young Jazz Rebels – Miss K, from The Sound of L.A. Vol. 2, 12-inch EP (2006) PLUG RESEARCH
Sound Directions – Wildflower, from From L.A. With Love, CD (2007) ART DONT SLEEP
Otis Jackson Jr. Trio – Jewelz, 12-inch EP (2007) STONES THROW
Various Artists – Yesterdays Universe, Album (2007) STONES THROW
The Last Electro-Acoustic Space Jazz & Percussion Ensemble – Summer Suite, CD (2007) STONES THROW
Jackson Conti – Sujinho, Album (2008) KINDRED SPIRITS
Jackson Conti – Upa Neguinho, 7-inch (2008) KINDRED SPIRITS
Sound Directions – Wanda Vidal, EP digital (2008) STONES THROW
The Last Electro-Acoustic Space Jazz & Percussion Ensemble – Fall Suite, (2009) STONES THROW
The Last Electro-Acoustic Space Jazz & Percussion Ensemble – Miles Away, Album (2010) STONES THROW
Young Jazz Rebels – Slave Riot, Album (2010) STONES THROW
R.M.C. – Space & Time, Album (2010) OROCHON
Madlib – Madlib Medicine Show #7: High Jazz, Album (2010) MADLIB INVAZION
To this day, it is not clear whether we will ever see another collection of tracks associated with Yesterdays Universe, and to be frank the quickly approaching 10-year hiatus doesn’t sound too reassuring for those in hope. One should not despair though, as during their fruitful decade of busy and dense manufacturing activity, both Yesterdays New Quintet and Yesterdays Universe including all its offspring collectives did not sit idle and delivered over thirty different exquisite, intricate, and sophisticated music products that ought to be able to whet the listeners’ appetite for quite some time. Whether that is through the more canonical jazz cuts flirting with rap production of the early Yesterdays New Quintet days, or the left field and off the beaten path latin jazz, samba/funk of duo Jackson Conti, there is certainly no shortage of auditory entertainment in this collective’s catalogue, displaying almost no artistic or genre boundaries, thus opening up a myriad of sonic ventures and new opportunities ahead, much in the spirit of Yesterdays Universe itself, really.
I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time. And no, I still haven’t completely figured out whether Yesterdays has the apostrophe or not. Pretty on brand, at least.
“In journalism, a stringer is a freelance journalist, photographer, or videographer who contributes reports, photos, or videos to a news organization on an ongoing basis but is paid individually for each piece of published or broadcast work. […]
The etymology of the word is uncertain. Newspapers once paid stringers per inch of printed text they generated. The theory given in the Oxford English Dictionary is that a stringer is a person who strings words together, while others use the term because the reporter is “strung along” by a news organization, or kept in a constant state of uncertainty. Another possibility is that using a sports analogy, the freelance journalist is seen as a “second string” whereas the staff journalist positions are more of the “first string”. (This in turn comes from music, where the first string is the premiere violin in the orchestra, the second string is the next most talented player and so on.)”
It is arguably no debatable issue that journalism nowadays – dwelling within a fully digitised, grassroots bottom-up social media era – is pretty much dead. Or perhaps, it is reborn and come back to life by way of a previously unrecognisable shape, depending on which side of the fence you’re on. This holds true at least as far as its modern conceptualisation as enlightened classic fourth-estate goes, residing alongside centuries-long bred societal pillars and acting as a watchdog of sorts against disenfranchisement and corruption. Yet somehow, as per their crowdsourced definition above, it is probably not so far-fetched to view stringers as the true first scattered networked social media contributors, vastly predating Facebook, Twitter and co (the irony of it coming from the most famous crowdsourced knowledge platform is not lost on me…). Stringers were, in other words, the OGs of citizen journalism, ostracised to the outskirts of corporative newsroom boundaries yet ever so critical and paramount for that sensational breaking news story-piece every news director is constantly chasing. Bear with me here.
Enter Louis Bloom, a character stemming from the mind and pen of American screenwriter and director extraordinaire Dan Gilroy. Lou is the lead protagonist in Nightcrawler, an outstanding 2014 motion picture film written and directed by Gilroy himself, chronicling the rapid and exponential rise and parallel moral downfall of an aspiring DYI stringer hustling through the nocturnal streets of an irresistibly sensual Los Angeles. Now the thing is that, after devouring the movie for the umpteenth time, the penny dropped for me. That is, I was very surprised to come to realise that there was in fact a hidden, secret, and decisively revealing narrative carved in-between the fatty lines rounding up the edges of the official acted script. A script within a script. Deep down. A story we weren’t supposed to fetch and grasp at a first superficial glance, but one that in reality unveiled so much more beneath the surface about modern neoliberal markets, philosophy, and existential musings. Dub it whatever suits you best, I just went ahead and took the official movie screenplay apart, unpacking anything I could find while looking for that mysterious feeling that the film as a whole was somehow able to convey. Seeing is believing.
Luckily for us, I think I was able to catch it. I got it out. Extracting selected excerpts from the full script – incidentally all Louis Bloom lines – helped revealing a whole entire new storyline stuffed with elevated teachings about life and beyond. Camouflaged and packaged within a Hollywood blockbuster, there is perhaps one of the most daring and radical educational deliveries that contemporary mainstream mass cultural production has ever seen. Enjoy and consume it responsibly:
Sir, excuse me, I’m looking for a job. In fact, I’ve made up mind to find a career I can learn and grow into. Who am I? I’m a hard-worker, I set high goals and I’ve been told I’m persistent. Now I’m not fooling myself, sir. Having been raised with the self-esteem movement so popular in schools, I used to expect my needs to be considered. But I know that today’s work culture no longer caters to the job loyalty that could be promised to earlier generations. What I believe, sir, is that good things come to those who work their asses off, and that people such as yourself who reach the top of the mountain didn’t just fall there. My motto is if you want to win the lottery you have to make the money to buy a ticket. Did I say I worked in a garage? Sir, I think you and I could work well together. So how about it? I can start tomorrow or even why not tonight?
This is a custom racing bicycle, sir, designed for competitive road cycling. This bike has a lightweight, space-age carbon frame and handlebars positioned to put the rider in a more aerodynamic posture. It also has micro-shifters and 37 gears and weighs under six pounds. I won the Tour de Mexico on this bike.
Well, I’m selling this particular piece for ten thousand. I think at that price there’s a lot of value in it for you.
Thank you. I’m just beginning so praise from someone such as yourself, well you can imagine it means quite a lot.
It’s a fine opportunity for some lucky someone. I’d like to know about your prior employment and hear in your own words what you learned from each position.
I’m giving you the chance to explore career options and gain insight into my organization. It’s not at all unusual for me to make full-time job offers to my interns.
Don’t rush you. Okay. Good, I can use that … You see, Rick, they’ve done studies, and they found that in any system that relies on cooperation, from a school of fish or say even a professional hockey team for example, these experts have identified communication as the number one single key to success.
I liked how you handled Frank. You didn’t soften the truth or dilute it. I think being clear with your objectives is more important than trying to present ideas in a non-confrontational manner.
Well, all sorts of things, actually. I’m on my computer all day. I haven’t had what you’d call much formal education but you can find most anything if you look hard enough. Last year I took an on-line business course, for example. I learned you have to have a business plan before starting a business, and that why you pursue something is as important as what you pursue. The site advised you to answer the following question before deciding where to focus your abilities. The question was ‘What do I love to do?’ The site suggested making a list of my strengths and weaknesses. What are you good at? And what are you not that good at? Maybe you want to strengthen and develop knowledge about the things you’re already good at. Or maybe you might want to strengthen your weaknesses. I recently remade my list and I’m thinking now that television news might just be something that I love as well as something that I happen to be good at.
Rick, I’m really pleased with how you’ve progressed and you’re doing a great job. However you just spilled gasoline on my car, which will eat the paint. I’d like you to tighten up a bit on this, because if you fill it like that again I’m gonna terminate you immediately, I promise you.
I’m focusing on framing. A proper frame not only draws the eye into a picture but keeps it there longer, dissolving the barrier between the subject and the outside of the shot.
Cabanita has been called an authentic taste of Mexico City. Most evenings there’s live music, but on Saturdays classic Mexican films are shown. Do you want to go with me? I think it would be fun if we went together.
Thanks for offering me the position but working for myself is more in line with my skills and career goals.
I feel like grabbing you by your ears and screaming in your face I’m not fucking interested. Instead I’m going to drive home and do some accounting.
Not me. I want to be the guy who owns the station that owns the camera. The business is doing well but I’m ready to grow to the next level. To do that I need to stay one step ahead of my competition and take risks. I also need financial support to implement expansion. Would you like another margarita?
I recently learned, for instance, that most Americans watch local news to stay informed. I also learned that an average half-hour of Los Angeles television news packs all its local government coverage — including budget, law enforcement, education, transportation and immigration — into 22 seconds. Local crime stories, however, not only usually led the news but filled 14 times the broadcast, averaging 5 minutes 7 seconds. And K.W.L.A. relies heavily on such stories. With Los Angeles crime rates going down I think that makes items like mine particularly valuable, like rare animals. I imagine your needs will only increase during next week’s rating sweeps period.
There’s certain good things in being alone. You have time to do the things you want to do, like study and plan. But you can’t have dinners like this. Or be physical with a person, I mean beyond a flirtationship.
You’re the news director on the vampire shift at the lowest rated station in L.A. I have to think you’re invested in this transaction.
You’re not listening, Nina. I happen to know you haven’t stayed at one station for more than two years at a time, and you’re coming up on two years soon. So I can imagine you have a contract for that length of time and that ratings during the next week will directly affect that.
Actually that’s not true, Nina. Because as I’m sure you know … a friend is a gift you give yourself.
It’s half-dozen of one, six of the other. What I’d like is for you to admit that you didn’t read what you said you did. I think you know that I’m a reasonable person, but no one likes to be lied to.
Rick. Trying to leverage your salary in this economic environment is near impossible. Most firms have set starting wages. Ideally, you could leverage with other offers but that is just not the case in your situation right now.
I thought you’d worked in other factors. If I didn’t think you could do better I wouldn’t ride you about routes. You have to know that, Rick. I think it’s just possible that I have a higher opinion of you than you have of yourself.
You should have walked in and looked, Rick. If you were half-curious. That’s what I’m paying you to do. You need to show initiative. There’s no better way to achieve job security than by making yourself an indispensable employee.
All the more reason. You might have helped me. You might have learned a new skill that made you more useful and put us on a track toward growth.
I’m not going to list the many benefits of this piece. I think it’s best that you probably just watch it for yourself.
Those were poor Mexican people in a roach coach. Two of them were illegals. These are three wealthy white people shot and killed inside their mansion, including a suburban wife shotgunned in her bed. I know you, Nina. I know your interest and excitement in this product is greater than the amount you’re offering.
What if the story’s not over? The people who did this escaped. They’re still out there, walking around with the rest of us. If I had a family and I lived in a home that might make me nervous. I would want updates on what was going on. With this footage people will turn to your channel for the story. Now I like you, Nina, I look forward to our time together, but you have to understand that 15,000 isn’t all that I want. From here on, starting now, I want my work to be credited by the anchors and on a burn. The name of my company is Video News Productions, a professional news gathering service. That’s how it should read and that’s how it should be said. I also want to go to the next rung and meet your team and the anchors and the director and the station manager, to begin developing my own personal relationships. I’d like to start meeting them this morning. You’ll take me around and you’ll introduce me as the owner and president of Video News and remind them of some of my many other stories. I’m not done. I also want to stop our discussions over prices. This will save time. So when I say a particular number is my lowest price, that is my lowest price and you can be sure I’ve arrived at whatever that number is very carefully. Now when I say I want these things I mean that I want them and I don’t want to have to ask again. And the last thing that I want, Nina, is for you to do the things I ask you to do when we’re alone together at your apartment, not like the last time.
I don’t usually share my business plan with you, but a moment has arrived that could allow the company to make enough money to expand to the next level. We could call this the critical moment. I’m inviting you, Rick, to be part of the team that pounces on this opportunity.
You’ve been asking a lot about your performance review. Well, for starters I’m seeing a great improvement with regards to your overall focus and order following. Given complex problems you’re developing a real ability to find clear, simple solutions. I’m also aware of your increased enthusiasm. It’s great to see how your eyes light up when you’re working on new ideas. I hope you’ll be inspiring us with your innovative thinking for years to come.
What makes a job desirable isn’t just the dollar amount attached to it, Rick. You’re on the ground floor of a growing business. Your reward is a career.
We can reopen negotiations, Rick, but remember that when it comes to your work reputation you can’t un-ring the bell.
What if my problem wasn’t that I don’t understand people but that I don’t like them? What if I was the kind of person who was obliged to hurt you for this? I mean physically. I think you’d have to believe afterward, if you could, that agreeing to participate and then backing out at the critical moment was a mistake. Because that’s what I’m telling you, as clearly as I can.
I can’t jeopardize the company’s success to retain an untrustworthy employee.
That’s my job, that’s what I do. I like to say if you’re seeing me you’re having the worst day of your life.
Congratulations. Your selection by Video News Productions is evidence of the hiring committee’s recognition of your employment history and unique personal qualities. It is my hope that through hard work and commitment you will move through the intern program and continue to pursue your career goals as full-time employees of Video News. I can tell you from experience that the surest way up the ladder is to listen carefully and follow my orders. You may be confused at times and other times unsure but remember that I will never ask you to do anything that I wouldn’t do myself.