The kids over at Coudal have a nice little “contest” going on over at their site, Booking Bands. It’s a novel (hah!) conceit – mashing up bands names with famous book titles.
Suggestions from 2006 (((withoutsound))) posts:
- Catch-22-Pistepirkko
- In Cold Blood Feathers
But I’d also like to point out that this game can just as easily be played with band names and movie titles…
- They Shoot Band of Horses, Don’t They?
- Rosemary’s Baby Dayliner
- Last Yo La Tengo in Paris
- Toto le Real Heroes
goodhodgkins uncovers live tracks that trounce the studio versions.
Here’s one from us (more to follow, I must weed).
I‘m not sure how to lead this news item: the coolest news yet about Finland? Or how badly does Rob Zombie wish he was Finnish?
Over the weekend, a band of Finnish monsters won the annual Eurovision Song Award, over protests from weird religious types, nabbing their country’s first win for this award.
Here’s the video for the song that won:
Oo, oo, how about Prepare ye the way of the Arockapylpse! That would have been better.
Earlier this year I paid a visit to Finland and returned with some great new finnoscandian music like Boomhauer, Lodger Hi-Fi, Aksu, and Tapes. But I neglected one of the truly great indie Finnish bands, 22-Pistepirkko.
It’s not exceptionally anomalous that I overlooked 22-Pistepirkko (the name refers to a 22-spotted ladybug) as I spent most of my time in Helsinki, but the band – hailing from just outside the Arctic Circle – has been so consistently good since their inception in 1980 that I feel quite embarrassed for the omission. And by consistent, I don’t mean to imply the trio hasn’t evolved, they have. When they began, their sound was focused on the roots of rock-n-roll – beat-oriented locomotive rock – and they sang in Finnish. Today, almost three decades later, their music has grown – progressing through country, pop, and even electronica along the way.
Baby Dayliner is the other artist I’ve been listening to lately who makes rap music as if restructured by whitey (see Honky Rap, Part 1). What differentiates Baby D from The Fiery Furnaces, and from the average hip-hop artist, though, is really just his taste.
When he sings, he doesn’t find enough notes to really qualify as singing, not that he’s missing any notes. He kinda talks with a bit of melody, which is why I call it rap, and yet he also kinda croons. On “Whodunit?” he concludes the bridge with whoa whoa shoobadoo-badoo/yeah yeah shoobadoo-ba hey/whu’ whu’. CD Baby refers to him as a 21st century Sinatra. But he may just as well be an early 20th century Jay-Z.