2006
Kindling For The Master – Emperor Machine Remix
Kindling For The Master – Major Swellings Remix
Kindling For The Master – Hot Chip Remix
Kindling For The Master – Polmo Polpo Remix
No slur on the original – a prime slab of subversion from the collective subconscious. Most people's subconscious minds are geared to a disco beat anyway.
But, hands up, who in the Malkmus cult (presumably the target audience for this ep) would choose a set of remixes over, I don't know, new songs, covers, assorted radio sessions, demos, synth home recordings, live tracks, anything involving hands-on work by Stephen Malkmus himself, really – even Malkmus remixes of other people's songs?
Anyone?
Not me. I don't have these remixes, because, well, I'm not interested in this merchandise.
I found the Hot Chip one on YouTube, so I heard that for the first time.
It exists.
This note is just for completeness sake.
66
2007/01/10, Marquee Theatre, Tempe, Arizona
JoJo's jacket
Pencil rot
Malediction
Water and a seat
Baltimore
Walk into the mirror
It kills
Dragonfly pie
Both sides now
The hook
The first show of the Weiss era of serious rocking.
I used to think Janet joining acted as the catalyst for the new direction the Jicks's music took, but this project – going through the timeline – taught me they were well underway, and Janet Weiss was brought in to fit the new model Jicks.
I'll write more about this new musical direction further on in my review of the record 'Real emotional trash', but the keywords are mature and deliberate music.
A couple of remarks in the previous notes may have led you to believe I'm not a fan. Far from it, I just observe the changes in the artist. Stephen couldn't have stopped these changes if he tried. Neither could so many other artists who age naturally (just like real people). There's growth and loss in all changes (now I'm sounding like a 'Face the truth' lyric). But anyway, for comparison's sake, let's say I see Stephen in 2007/08 at about the point Dylan was in when he did 'Desire', and that's no disgrace.
One thing, this new direction did bring more acclaim and acceptance from the critical fraternity. That's something he could use at this point – after 'Face the truth' his stock was at its lowest (ever, I guess). They were wrong to pass over so casually what came before, they weren't wrong to acclaim this new stuff.
So this show – a showcase for the new band and the new material. It's ready! I've only kept a couple of the new songs on a highlight reel (the entire show was much longer) – 'Baltimore' for its cool jamming in these early versions, 'Walk into the mirror' cause it disappeared not too long after, and 'Dragonfly pie', just cause. That's because the sound of this tape isn't ideal, quite distant. There's a recording of the show 10 days on (up next) which is perfect, and the setlists are almost identical – so I put the scissors into it. But this performance sounds like a really great one in itself.
The first thing you notice about Janet – and I know it's a cliché – she kicks the shit out of those drums. Every song rocks harder than ever before. The drums storm trough the songs. How does the rest of the band adapt? Joanna (surprisingly I'd say) realizes what she never seemed to miss, jumping into the opportunity to be a part of a really driving engine room (and by happenstance the new record needed that engine room for its '70s underground rock grooves). Mike is adapting, his sounds are almost too frivolous in this new surrounding, they get kinda drowned out (check out 'Malediction'). He'll find his footing soon enough (for the live shows that would involve lots of guitar, which I kinda regret).
Highlights?
Two rolling versions of 'Malediction' and 'The hook' (the only songs that don't appear on the setlist 10 day later)
'Baltimore' dissolves into cool jamming.
'Both sides now' is just a tease version. 'Moons and junes and... forks and spoons / They...drink too much petroon'. Petroon? Stephen: 'Joni Mitchell's originally from Phoenix.' Joanna: 'Phoenix, Canada?'
JoJo's jacket
Pencil rot
Malediction
Water and a seat
Baltimore
Walk into the mirror
It kills
Dragonfly pie
Both sides now
The hook
The first show of the Weiss era of serious rocking.
I used to think Janet joining acted as the catalyst for the new direction the Jicks's music took, but this project – going through the timeline – taught me they were well underway, and Janet Weiss was brought in to fit the new model Jicks.
I'll write more about this new musical direction further on in my review of the record 'Real emotional trash', but the keywords are mature and deliberate music.
A couple of remarks in the previous notes may have led you to believe I'm not a fan. Far from it, I just observe the changes in the artist. Stephen couldn't have stopped these changes if he tried. Neither could so many other artists who age naturally (just like real people). There's growth and loss in all changes (now I'm sounding like a 'Face the truth' lyric). But anyway, for comparison's sake, let's say I see Stephen in 2007/08 at about the point Dylan was in when he did 'Desire', and that's no disgrace.
One thing, this new direction did bring more acclaim and acceptance from the critical fraternity. That's something he could use at this point – after 'Face the truth' his stock was at its lowest (ever, I guess). They were wrong to pass over so casually what came before, they weren't wrong to acclaim this new stuff.
So this show – a showcase for the new band and the new material. It's ready! I've only kept a couple of the new songs on a highlight reel (the entire show was much longer) – 'Baltimore' for its cool jamming in these early versions, 'Walk into the mirror' cause it disappeared not too long after, and 'Dragonfly pie', just cause. That's because the sound of this tape isn't ideal, quite distant. There's a recording of the show 10 days on (up next) which is perfect, and the setlists are almost identical – so I put the scissors into it. But this performance sounds like a really great one in itself.
The first thing you notice about Janet – and I know it's a cliché – she kicks the shit out of those drums. Every song rocks harder than ever before. The drums storm trough the songs. How does the rest of the band adapt? Joanna (surprisingly I'd say) realizes what she never seemed to miss, jumping into the opportunity to be a part of a really driving engine room (and by happenstance the new record needed that engine room for its '70s underground rock grooves). Mike is adapting, his sounds are almost too frivolous in this new surrounding, they get kinda drowned out (check out 'Malediction'). He'll find his footing soon enough (for the live shows that would involve lots of guitar, which I kinda regret).
Highlights?
Two rolling versions of 'Malediction' and 'The hook' (the only songs that don't appear on the setlist 10 day later)
'Baltimore' dissolves into cool jamming.
'Both sides now' is just a tease version. 'Moons and junes and... forks and spoons / They...drink too much petroon'. Petroon? Stephen: 'Joni Mitchell's originally from Phoenix.' Joanna: 'Phoenix, Canada?'
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