Archive for April, 2010

Hasta la vis..errr I'll be bach

A few sounds from the Footprints’ archive.


Wallace Collection – Daydream

Clint Mansell – Memories (Someone We’ll Never Know)

Gloria Gaynor – Tainted Love

Queens Of The Stone Age – Lullaby

Saul Williams – Twice Upon A Time

Leadbelly – Black Girl (In The Pines)

Alu – Martian Rendezvous

Work has kept me away. Will soon come out and play.

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The 'James Keenan Maynard' experience

Layne Staley, Mike Patton and James Keenan Maynard were the first batch of musicians I slavishly worshipped. I played their albums till my technologically-impaired Panasonic system bled with familiarity and sang praises in their names to anyone who bothered to listen. James Keenan Maynard in particular had a major influence in shaping my musical inclination. My Gmail ID even namedrops one of Tool albums, which just about makes me a bigger loser than that dude who sold his kid on eBay to buy Bruce Dickinson’s jockstraps (stop googling, that didn’t actually happen). Fronting bands like Tool, A Perfect Circle, Puscifer and Children of the Anachronistic Dynasty, he created a niche for himself as the reclusive enigma of alternative metal who could go from a whisper to blood-curdling scream, and make it sound like provocative manuscripts without which our lives would be emptier. At times he wore blue makeup and adorned prosthetic breasts on stage, but thankfully, through several incarnations, Maynard rose above such momentary lapses in irony through his music.


Tool sounded a lot like King Crimson would have if they had still been  relevant during the Nineties. While wussies like Eddie Vedder, Bono and James Hetfield were milking dead horses by singing about dead girlfriends and bad memories with their Xeroxed vocals, these guys came along and kidnapped the collective consciousness and fed it something substantial. Not that singing about Jungian psychology and Aristotelian concepts gives any sort of credibility to the music, but when it sounds as spectacular as it does on their albums (especially Ænima and Lateralus), who in their right mind would deny themselves of such an experience. Maynard’s vocal prowess on tracks like Reflections, Prison Sex, The Pot and Forty Six & Two are yet to be surpassed by any other, but it isn’t all about Maynard. Guitarist Adam Jones, bassist Justin Chancellor and drummer Danny Carey bring with them a wall of noise that creeps up from behind you and knocks your teeth down your throat, sometimes pausing to serenade you with somber moments. I’m not one for philosophizing through music so you can read this, this and that to know about Maynard’s exploration of the consciousness through heavy metal’s most progressive sons.

A Perfect Circle

People who were turned off by Tool’s vigorous experimentation fell in love with A Perfect Circle’s debut Mer De Norms. It was a lot like Tool’s melodic side, but about four minutes shorter. What they lacked in originality by following the “verse chorus verse chorus bridge louder verse” pattern was more than made up for by their tighter-than-a-duck’s-arse arrangements that made it impossible for us to resist drooling all over them. From the masterful guitar strokes in Judith to the gorgeous crescendos in Orestes, everything felt so perfectly timed, even peaking to reach Joy Division’s level of greatness. Their next album Thirteenth Step had them momentarily breaking free of the pattern on tracks like Noose, Blue and The Nurse Who Loved Me, drawing us closer to their music with spirited string arrangements and haunting atmospheric passages. APC’s third album – Emotive – had them playing neat covers, including classics by Led Zeppelin, Marvin Gaye and screaming punksters Crucifix. The original tracks – Passive and Counting Bodies Like Sheep – are undoubtedly the cream of the lot, intense as hell and furious as the fire burning in it. A Perfect Circle’s finest moment for me however is the brilliant Acoustica, an unplugged bootleg album recorded by one of their fans. It features six songs from their debut, two from their sophomore and a cover of Tool’s love letter to religious nihilism – Eulogy. The acoustic version of Three Libras is the stuff that would have had Wes Bentley clutching his knees in fetal position and weeping, unable to stomach the beauty of it all. Also, Troy Van Leeuwen and Paz Lenchantin should never stop creating music together.


Puscifer, previously known as Umlaut, finds James Keenan Maynard fiddling around with electronica and the very ambidextrous post-industrial genre. He claims to be the only permanent member of the band and has once said “it is simply a playground for the various voices in my head, a space with no clear or discernible goals”. Possible self-gimmickry besides, he crafted a couple of gems under this outfit. Revelations 22:20, first heard on Len Wiseman’s Underworld soundtrack compiled together by Danny Loher, has him taking to electronica as hungry eyes would to expensive thighs, pacing the verses at an unfamiliar tempo, sounding more like a lounge remix of an APC’s song. Their debut V For Vagina comes off as cheesy despite its apparent esotericism; thankfully, tracks like Indigo Children and The Undertaker pull the album back from the abyss.

Children of the Anachronistic Dynasty

Now on to some of his earlier and more obscure stuff. A long-haired blonde Maynard led the way for the lo-fi Children of the Anachronistic Dynasty (CAD) by handling vocals, bass, and the drum machine while some dude called Kevin Horning played guitar. They even released independent cassette tape in 1986 called Fingernails, with evidence of Maynard’s obsession with transcendence in tracks like the sparsely-woven dub track 25 Hours in which he asks, “Give me 25 hours a day, one more hour to ask why”. Vaguely interesting only for those who with official membership access to the cult of Maynard.


A year later in 1987 CAD metamorphosed into a fully-fledged band called the TexA.N.S. when Chris Horning brought on-board his brother Todd Horning to handle rhythm guitar duties, Stan Henderson to slap some bass, and Tom Geluso to keep a steady beat going. Their Dog House EP sounds more polished than the Fingernails tape, with the perversely entertaining Suburban Death Trip and premonitory tribute to Queens of the Stone Age in the form of Social Declination. Weirdly though, Maynard sounds like Lemmy Kilmister without the badass growl, but the Horning brothers pack enough punch in their rhythm sections to make this sort of work.

Shandi’s Addiction

Shandi’s Addiction was formed to contribute to Mercury Records’ Kiss My Ass: Classic Kiss Regrooved album, a collection of songs, in my opinion, better than any of the originals. Check it out if fancy bands Nineties’ lost rockers like Dinosaur Jr, The Lemonheads and Gin Blossoms. Anyway the band comprised Maynard, Tom Morello and Brad Wilk from RATM and uber-bass guru Billy Gould from Faith No More. Their contribution to the album, a solid version of Calling Dr. Love, is not the highlight of the lot but certainly not the worst, thanks to Lenny Kravitz and Garth Brookes doing what they do best – sing with the intensity of Dalai Lama on Ritalin.

Axis Of Justice Concert Series

Axis Of Justice, a non-profit organization co-founded by musicians Serj Tankian and Tom Morello, ran a concert series, hoping more people would listen to their cause and make this world a better place or whatever. Maynard opened the show with a rousing version of U2’s Where The Streets Have No Name. Not fantastic or anything, but considering Bono sang the original, even David Hasselhoff could have done a better job.

(with) The Deftones

The Deftones’ White Pony album featured them in their most expansive mood. On the track Changes (In The House Of Flies), Chino Moreno’s dueling vocals with Maynard gives shoegazing a well-deserved spot in alternative metal. The track also features guitarist Stephen Carpenter showing both technical mastery and passion, something that cannot be taken for granted, considering musicians like Satriani and Malmsteen have made a career out of being blind to one of them.

(with) Green Jelly

Heh. I didn’t know it was him singing the “not by the hair of my chinny chin chin” falsetto line in the hilariously metal anthem – Three Little Pigs. Kickass song by the Grammy-winning (gulp) Green Jelly too!

(with) Tori Amos

Apparently Tori Amos and James Keenan Maynard came up with the arrangement to their version of Muhammad My Friend an hour before performing it. Even more unfortunate is that the guys recording the video act like they snorted a wicked mix of coke and wood shavings before recording it. I cannot determine the extent of awesomeness with such poor clarity now, can I?

(with) David Bowie

Bring Me The Head Of The Disco King, undoubtedly the best song on the Underworld soundtrack, has Maynard collaborating with the artist previously known as Ziggy Stardust. A little theatrical at times, but immensely fun to listen to, with the two great vocalists trading lines of each other in style. Plus, John Frusciante shows up and dazzles during the bridge.


A Perfect Circle – Three Libras (Acoustica version)

James Keenan Maynard – Where The Streets Have No Name


Tool – Prison Sex, 46 & 2, Reflections, Sober, Rosetta Stoned

A Perfect Circle – Orestes, Passive, Counting Bodies Like Sheep, Nurse Who Loved Me, Noose (DVD version)

Children of the Anachronistic Dynasty – 25 Hours

TexA.N.S. – Suburban Death Trip, Social Declination

Shandi’s Addiction – Calling Dr Love

The Deftones & Maynard – Changes (In The House Of Flies)

Green Jelly & Maynard – Three Little Pigs

Tori Amos & Maynard – Muhammad, My Friend

David Bowie, John Frusciante & Maynard – Bring Me The Head Of The Disco King


Tool’s discography

A Perfect Circle’s discography

Axis Of Justice Concert Series 1

The Deftones’ White Pony

Underworld Soundtrack

Green Jelly’s Cereal Killer Soundtrack

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Don’t panic if Box.net, Limelinx or YouTube tells you that the file has been removed.

Send an email and I’ll show you where to find it.


The popularity of IPL befuddles me like a salad bar would a rabid pack of wolverines, but that still doesn’t make this guy’s running commentary about it any less funnier.

In a curious case of self-referential behavior, the commentators are repeatedly referring to the “unbelievable noise out there

His mauling of the loathsome ads shown during the live coverage is even more hilarious.

Nice going, LG. Gay incest innuendo totally works to sell air conditioners to middle class indians.”

Check out his commentary @  http://twitter.com/eyepeeyell

…and again, don’t panic.

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Civil Twilight is a three-piece band from Cape Town that has alternative rock muffling tears in space. They translate melancholy into music, with sparsely ethereal melodies shivering like sick puppies licking open wounds on a wintry morning, waiting to hitchhike their way out of the cold. Sometimes the pace quickens, as Civil Twilight unabashedly borrows from bands like Television and Pavement to kickstart a groove or two, but never sounding as intense as their spacey dirges. The piano-driven title song of their 2008 Human album had me aching for a familiar face, interplanetary or otherwise, especially when vocalist/bassist/pianist Steven McKellar croons like a dejected waif, “It’s all the things you can’t explain…that make us human.“ Fantastically feel-bad.


When Blu met producer Exile, unbridled greatness crawled out of the studio and surrounded itself with dazzling beats and cleverly-crafted verses. If you haven’t already heard their Below the Heavens album, I suggest you go do that, starting with So(ul) Amazing, a hip hop anthem yet to be topped since 2007. Sometime in 2008 he teamed up with producer Mainframe and under the moniker of Johnson & Jonson released another underground classic. While not as spectacular as the Blu and Exile album, their self-titled collection of laidback vibes certainly made it easier for hip hop to deal with J Dilla’s passing two years prior. On “A Perfect Picture”, Mainframe provides a ten-second intro that sounds like that badass bass riff from Dazed and Confused gassed up on amphetamines, as Blu spits rhymes that flow like the sins of our forefathers or like a summer breeze, whatever, take your pick…this is good stuff.


Look beyond The Moody Blues’ famed ballad “Nights In White Satin” and you might get a taste of some fantastic progressive music. Their brand of schizophrenic psychedelic riffs splattered against soaring vocals, tight percussions and sprawling orchestral arrangements makes me want to burn all my King Crimson albums. Like Extreme never got credit for keeping alternative music alive during the Nineties despite Cobain’s best efforts, The Moody Blues never got recognition for breathing life into classical rock during the Sixties. Some of their finest sounds can be found in their sophomoric Days Of Future Passed album that had them inviting the London Festival Orchestra for one hell of a party and in the 1969 album To Our Children’s Children’s Children, which matched anything Pink Floyd had put out by then for sheer exuberance towards experimentation. Check out their 1997 Greatest Hits or something like that collection, a decent start to uncovering The Moody Blues.


Downtempo music has a delayed seductive quality that very few art forms (perhaps Italian film noir or Gabriel Marquez’s short stories) have replicated. Even comedian/performance artist Andy Kaufman once opined that time and patience constituted to great humour. Downtempo musicians too rely on delayed aural responses to their sound. A few ethereal reverberations here and there, some soulful piano notes and enough breathing space for us to fully appreciate its sultriness. For instance, take Destroying Angels by German quartet Bohren & Der Club of Gore. If you dig that jazz-electronica crossover sound, I’ll bet you thirty virgins you’ll like it much more the third time around.


Next up, a James Keenan Maynard edition.


Civil Twilight – Human

Blu & Exile – So(ul) Amazin

Johnson & Jonson – A Perfect Picture

The Moody Blues – Question

The Moody Blues – Tuesday Afternoons (Live)

The Moody Blues – Higher & Higher

Bohren & Der Club of Gore – Destroying Angels


Civil Twilight’s Human

Blu & Exile’s Below The Heavens

Johnson & Jonson’s Self-Titled

The Moody Blues’ Days Of Future Passed

The Moody Blues’ To Our Children’s Children’s Children

The Best of the Moody Blues

Bohren & Der Club of Gore’s Black Earth

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