Hipsters meet your Godfathers: Dan Treacy & Ed Ball of the Television Personalities & Teenage Filmstars

Television Personalities playing live

So the story begins at the discount bookstore. I was flipping through records and came across the popular Teenage Filmstars album Star (1992 Creation Records).  The price was right, so I purchased it.  I’ve always been a fan of Dan Treacy’s and Ed Ball’s post-punk project, Television Personalities, but so far, the later reincarnation of the artists’ side project (Teenage Filmstars) has proved disappointing, but why??  I like loud, fuzzy, textured psychedelia as much as the next person, and the band explores such aesthetics to the point of sheer fetishization. The obsessive fetishizing of 60s culture isn’t what bothers me, however; in fact, I probably participate in this social practice.  I think the problem is I’ve listened to the Television Personalities for many years now, and I love their campy, minimalist take on post-punk rock.  And that’s what’s missing from their later project...

Here’s my favorite track on the later Teenage Filmstars album; it’s entitled “Kiss Me”:

It’s good psychedelia for sure, ahead of its time in relation to the recent, neo-psychedelic revival.  But it doesn’t have the enduring quality of their previous, more kitschy approach to Lo-Fi, garage-style post-punk.  Their more known project, Television Personalities, began releasing singles as early as 1978.  Their debut album, And Don’t the Kids Just Love It, was recorded in 1980 and released in 1981 on Rough Trade.  It’s rawness, minimalism, and irony is almost too much, and as a result, it’s an awesome album!!!  Check out the opening track, “This Angry Silence,” of their debut full length:

It’s like early Beatles-y Brit Pop mixed with the irony of post-Sex Pistols music culture.  In other words, it’s the songs of innocence and songs of experience all in one pop song formula.... Incredible!

The Television Personalities were (or are... I think they’re technically still together?....) the brainchild of Dan Treacy and Ed Ball.  They were an English group that was very much part of the emerging Punk (and later Post-Punk) music scene.  In the early years, they released singles under several varying band names: Television Personalities, Teenage Filmstars, The Times, The O Level....  By the time of their debut album, they seemed to have settled on 2 names for separate projects: TV Personalities and The Times.  Later, they re-formed under the name previously (but briefly) used, Teenage Filmstars.  I have always preferred the early material of their project, TV Personalities.  Here’s another great track, “Geoffrey Ingram,” from the 1st album:

The band continued to release more albums through the 80s, each release moving more and more away from their post-punk roots, exploring instead sounds of the previous decade: namely the psychedelic 60s.  My favorite moment in this transition of sound was captured beautifully in the following video, a clip I recently discovered when surfing the ole net.  The song is called “The Painted Word,” and it’s from their 1985 album of the same name (Whaam! Records):

Oh my God!  That video just made my day when I discovered it.  21st century hipsters eat your heart out. You can’t get more ironically pastiche or self-consciously campy than that!  Davie Crocket hats are as hip as it gets! (Ricky, you know what I’m talking about.... sorry, inside joke for a friend of the blog....)  In fact, this video (and not the aforementioned record purchase) is what really inspired this post; I had to share it with my small world; hope it warms your heart as well.

Here’s one more track from the debut TV Personalities album; it’s called “Silly Girl”:

If you like raw, Lo-Fi post-punk - like recent acts such as Let’s Wrestle or Art Brut - early TV Personalities albums are for you, especially the first one.  Check it out and feel free to comment.

Teenage Filmstars:

http://www.mediafire.com/?loemjkmzjdz

Television Personalities:

http://www.mediafire.com/?lnwmrygqss2

Selections of Shoegaze: Neil Halstead & Rachel Goswell - Slowdive and Mojave 3

After spending a week in the seclusion of nature and having opportunity to gaze at the stars of the evening’s canopy, I figured I’d come home and post on the ever-Spacey “dream pop” of Halstead & Goswell’s Slowdive & later Mojave 3.

Slowdive featuring Rachel Goswell & Neil Halstead

One of the most prolific Shoegazing careers of the music industry would be that of both Neil Halstead and Rachel Goswell.  Their continued stay in the music world is no thanks to the industry or its critics, however.  Only recently have the artists began to receive the praise and credit that their legacies deserve.  They started in England in the late 80s as the band Slowdive during a period of uncertain transition for the music world.  Very quickly they were classified with bands like My Bloody Valentine and Cocteau Twins for their use of dreamy-like vocals over loud, reverby guitars with heavy-slow, pulsing rhythms of the drums.  Despite their talent, by the time they released their debut, Just for a Day (1991 Creation Records), the critics had become impatient with the “Dream Pop” sound and were looking to the west with interest in the new Seattle scene called “grunge.”  To make it worse, British audiences were becoming more and more taken by the emerging “Britpop” sound of bands like Blur.  Consequently, their album was met with lukewarm reviews at best, which apparently affected the band deeply.  Their 2nd album, Souvlaki (1993 Creation Records), enlisted the help of coproducer and musical contributor, Brian Eno, and being an Eno fan, it’s one of my favorite albums by Halstead & Goswell.  The critics, however, reacted negatively, once again.  Here’s the video of the opening track, “Allison”:

Man, Mtv used to be cool, videos by Slowdive and such... Not the Mtv that kids know today.  The group also made a video for “When the Sun Hits”:

One can tell immediately that Souvlaki is the most commercial effort of the Slowdive discography, and many argue that is is their best musically. They went on to record one more full length album, Pygmalion (1995 Creation Records/EMI), which departed dramatically from their previous efforts.  It was more minimal, quieter, sparser in its distribution of sound.  At times, I find myself claiming Pygmalion to be my favorite Slowdive release, depending on my mood it seems.  It kind of reminds me of the recently posted work of Mark Hollis.  Check out the opening track, “Retti”:

Here’s one of the later songs on the album, “Blue Skied an’ Clear”:

Much like the late work of Hollis, critics have labelled (in hindsight) Pygmalion as an early example of Post-Rock.  Ironically, critics dismissed the work of Slowdive as regressive and “a product of a previous decade,” but perhaps time has proved the opposite.  More and more, bands have cited Slowdive as an influence and inspiration, especially with the popular explosion of Post-Rock acts. Halstead and Goswell did not stop here, however.  After much commercial frustration, Slowdive split, and in its ashes, Halstead and Goswell formed the spacey alt-country act, Mojave 3.  What happens when Shoegazers take up the tradition of country songwriting?  Something akin to the sounds of a group like Cowboy Junkies; or at least that’s what I thought of when I first heard Mojave 3’s debut full-length, Ask Me Tomorrow (1996 4AD).  Here’s the video for the opening track of the album, “Love Songs on the Radio”:

Much of the album follows the same vibe of the above song.  Like stated before, if you like the mellow, dreamy take on country explored by acts like Cowboy Junkies, this entire release is a must listen.  It will not disappoint.  Later albums of Mojave 3, however, have moved towards more general indie rock.  The influence of country is still there, but it does not seem to be the primary focus.  I really like the later song, “She’s All Up Above,” from the album Spoon and Rafter (2003 4AD):

Overall, Mojave 3 has released 5 albums, all on 4 AD between the years 1996-2006, and they are currently on hiatus.  Both Neil Halstead and Rachel Goswell have continued to pursue solo careers as songwriters, and both are worth a listen.  I believe Goswell has released one solo full-length, Waves are Universal (2004 4AD), and Halstead has now put out two solo albums, Sleeping on Roads (2002 4AD) and Oh! Mighty Engine (2008 Brushfire).

Check em’ out and enjoy the music!!

Slowdive - Just For a Day - http://www.mediafire.com/?mmvmj1wzztm

Slowdive - Souvlaki - http://www.mediafire.com/?xxjkznotyyl

Slowdive - Pygmalion - http://www.mediafire.com/?gzyknf2nmjy

Mojave 3 - Ask Me Tomorrow - http://www.mediafire.com/?lnjkemdpzok

Mojave 3 - Spoon and Rafter - http://www.mediafire.com/?2zlxewm4gw0

Selections of Shoegaze: First Stop, Dallas Tx’s True Widow

True Widow

I want to do some posts on favorite selections of Shoegaze Rock, and I thought I’d start local and post on the emerging Dallas act, True Widow. A friend turned me on to the group when I moved to the Dallas area, and recently, music critics like the loath-able fascists of rich dorks, excuse me, pitch fork.com, have been sounding praises of the band’s latest album, As High As the Highest Heavens and From the Center to the Circumference of the Earth (Kemado Records 2011). The group is composed of 3 players (drums, bass, guitar), and the sound is as full and thick as any multi-membered heavy metal band. That’s right; they’re some real heavy Shoegaze. Some have called it “Stonergaze;” others have pointed out the overlap of dreamy space pop and sludged-out doom metal. Someone in the blogosphere described the act as a heavy version of Low, and I would agree with that description. As just stated, the band has released two full-length records, their first being a self-titled release on End Sounds in 2008. The two albums demonstrate a natural growth with a distinct, focused style that one can always expect. It fulfills one’s expectations in good way because one quickly senses an assurance or confidence of artistic vision in their constant, heavy-mellow sound. Pitchfork complimented their 2nd release as being a “complete mastery of control,” and I think the critic is expressing a similar insight there. Check out the track, “Skull Eyes”, from their latest full-length; here’s the “official video”:

Album covers of As High As the Highest Heavens and From the Center to the Circumference of the Earth & their self-titled release.

I recently saw the group perform with Kurt Vile in Dallas... Great show. I would say that some of the texture and contrast in their sound was lost in the fuzz when watching them live. The records are amazing, however. Here’s the opening track, "Jackyl," of the latest release:

The music is thick, heavy, and real crunchy, but it mellows one’s soul as well. It kind of reminds me of an independent, Christian act of the 90s called Starflyer 59. I don’t know how many people remember that band; I saw them play in a church once when around the age of 15. Check out the track “Blue Collar Love”:

Or here’s an “official video” of the Starflyer track “Housewife Love Song”:

Starflyer 59 recorded some great fuzzy drone rock much like that of True Widow, so check their early albums, Silver (1994 Tooth & Nail Records) & Gold (1995 Tooth & Nail Records). Definitely check out the first, self-titled True Widow as well. I’ll leave with a great tune from T. Widow’s first release, the song “AKA”:

Self Titled:

http://www.mediafire.com/?nmmmm4yizkn

As High as the Heavens:

http://www.mediafire.com/?jqx471yamyfve7z

Feel free to comment, and enjoy!!