While I might well have posted something from her in the past, I wanted to post this because I’ve been listening to Debut, her first significant US release, and it’s still pretty interesting on its own merits, outside of time period and context. The video is really weird, as you can see, but I find it interesting that Debut as a record is probably one of her tamer efforts. It’s also her least popular one as well; despite the fact that Bjork basically needed Debut as a record to get traction in the US market, it was the lowest ranked, chart-wise, in the US of all her records. Considering how hard it can be for some acts to keep themselves in the public eye, the fact that Bjork has managed to chart consistently for over two decades in the US is kind of impressive, even if she’s never been the kind of artist who generates multi-platinum records with but a touch.
On the other hand, one of her records, Volta, features her dressed up in a multi-colored soda bottle with feet on the cover, so really, why wouldn’t you buy that, if only because of perverse curiosity?
Because I mentioned it yesterday, here’s the song in case you were curious.
Fun fact: this is not only uploaded to the band’s VEVO channel, it’s the only thing uploaded to their VEVO. It’s still an acceptable enough song, though I would note that time hasn’t been kind to it and it sounds kind of hokey in this day and age.
Admittedly, this came up while I was searching for an Eisbrecher song, and damned if it isn’t a surprisingly solid piece of work. I like the composition here; the progression from verse to chorus is surprisingly lively for what is a fairly simple track (structurally anyway), and the beat’s lively. It’s a song that makes you feel pretty good, honestly, and I like it quite a bit.
Eisbrecher – Antikorper Review (I’m all out of music columns, save for half of a column on Free Dominguez that I’m mostly certain I never completed and, since she’s back with Kidney Thieves, don’t feel the need to, so let’s just run through my old CD reviews for shits and giggles for a while. I’m pretty sure I picked this as my first review for Beyond the Threshold because Summer asked me to do it, since she liked Eisbrecher, and I’d bought it anyway, so she wanted to know how it was. Say what you will about writing for free, but it’s fun being told, “Hey, can you write a review on that? I want to know how it is.”)
Following their surprisingly infectious and fun self-titled release in 2004, Eisbrecher is back with Antikorper, an effort that shows some mild changing of the format, but not entirely in the right direction. (They would rectify that with Sunde two years later, and every record since has basically sounded, I think, pretty damn good overall. They’re one of the few consistent industrial acts I can rely on, alongside Oomph!, to churn out a solid record whenever they get into the studio. Which is funny, since I mostly only know about them because of Rammstein, and HOO BOY was that a band that went to hell in record time.)
Today, Georgio Moroder:
I went with this song for two reasons.
First off, if you’re a fan of David Guetta and/or Daft Punk, it’s a good thing to see where those sounds came from, if you haven’t already. While the more devoted music fan out there will probably have heard this already, for the rest of you, Giorgio was a huge disco creator in the 70’s, and he inspired and created a significant amount of music, including much of the electronic music we love today. As such, it’s worth listening to if you haven’t, because you can see the influences in popular music of today, and you can see why Daft Punk respected the man enough to write an entire song about him, because he’s very talented, if nothing else.
Second off, if you’re a wrestling fan who doesn’t like Daft Punk or David Guetta, I wanted to post this to point out that you probably like Georgio Moroder, since this is the theme song of the Midnight Express and all, so maybe you should go back and give those acts another shot. Just a thought.
Review: The Bible Game (PS2, XBX)
Tagline: Bad Bible games make the baby Jesus cry. (Oh, for the days when truly terrible games came out every other month. These days you either get Ride to Hell once every year or you get nothing unless you peruse all of the replicated asset-fests on Steam, and any game made by one person using assets they bought elsewhere almost feels like it’s cheating to be bad.)
The Bible Game
Genre: Party game
Developer: Mass Media Inc/Crave Entertainment (In keeping with the theme we established last game, Crave Entertainment was a low-budget developer/publisher who’d basically push out anything cheap they could find, but ended up being sold off to a company called Fillipoint LLC in 2009 to shore up their development plans… only for Fillipoint LLC to declare bankruptcy in 2012, with no further information on them past that, so it’s safe to say Crave is dead and gone. Mass Media Inc, on the other hand, is still alive and well, and seems to exist these days as a company that helps other companies create ports of games to other consoles. Oh, and the series of games dubbed The Midway, which I can honestly say I’m only barely aware of.)
Publisher: Crave Entertainment
Release Date: 10/25/05
Today, David Guetta:
David Guetta is, logically speaking, the evolutionary next step in music from Daft Punk, so it’s not hard for me to understand why I like what he’s been doing with music for the past few years. Our favorite bands eventually fall into their patterns because mental plasticity eventually fades and artists stop growing, but new artists who’ve learned from those favorites growing up will take away lessons (good and bad) from those acts and bring them into new music to do something evolved, but familiar. Alice Cooper inspired Marilyn Manson, Madonna inspired Lady Gaga, and so on, and it’s not hard to trace the lines and see how the things we loved inspired the things that exist now. Georgio Moroder inspired Daft Punk, and Daft Punk inspired David Guetta, and as I appreciate one, so do I appreciate the next.
Also, when Guetta works with Nikki Minaj he manages to keep her focused in a way she rarely is in her own music, and I respect the hell out of that.