Erro---Post-Modern Icelandic Artist I Once Stumbled Upon

When I last visited Iceland, which was quite a few years ago, I wanted to visit some museums in Reykjavik. Some people go to museums to see something that they know is there, which is OK of course, but I kind of like to find out new things. And as I didn't know anything about Icelandic art, it was all virgin territory for me.

Most of what I saw in what I think was probably the national museum was nice, but nothing that really blew me away. I saw a lot of 19th century type landscapes.  I don't pretend to be an expert--I fully expect that the art scene over there is every bit as diverse and interesting as the music scene happens to be. But what I saw there that day I felt was quite conservative in style.

Then out of the corner of my eye, I see artworks that are in jarring contrast to what I had seen so far in this museum. They are wild colorful artworks, almost like collages, like 60's pop art, Roy Lichtenstein, Warhol, Dali, maybe with a bit of comic book/cartoon art in the mix. Political, satirical, comedic, erotic.

Art by some guy named Erro.

Years later I brought Erro's name up to an Icelandic artist who I had bought a painting from, a very nice abstract work, created with colors that were evocative of Iceland, even though she had resided in NYC for a long time. She didn't think too much of him. But I explained about how different he seemed to what I was had seen on my trip, and I think she understood what I was saying. I think the word they used to describe him was "provocateur". I think I kind of understood what she was saying also.

In Walks the Ghost of an Irish Band---And They Thrilled!! Whipping Boy's Third

I fell pretty fortunate that I managed to get a copy of Whipping Boy's final album back when it originally came out. Their story has to be one of the stranger sadder outcomes. As arguably the best alternative Irish band of the 90's (I think so--sorry Bono), it seems appropriate to bring them up the day after the St Patrick's day celebration. I have memory's of St Patrick's Day having attended a Catholic College. I remember walking into the dining hall and momentarily thinking I stepped out onto a golf course, the room being awash with wall-to-wall Kelly Green sweaters. And later that evening a fair amount of green vomit.

They were a Dublin band that had released a magnificent 2nd album, Heartworm on Columbia (I've blogged about that one already). Critical reviews ensued; they even had some hit songs, at least in Great Britain and Ireland. When the period rolled around to record a sequel, they were dropped by their label. Despite their inability to land another deal, the band continued onward and they ultimately put together the album that was to be their swan song, the eponymous album with the cheese grater cover. I wish that they made five more.

Who released this album? They did. In 2000 on their own Low Rent label. Unfortunately the lack of success and problems with the music industry led to their untimely demise.

I heard about this album through a glowing review in Big Takeover Magazine. In order to get a copy I was instructed to e-mail guitarist Paul Page, and he would send me the ordering details. And he did just that. After sending him a check for $17 and a wait of a few weeks, my Cd arrived as promised. And as I might have expected, it was another one of those strange musical anomalies---another great disc from a fine band--but an album that never was picked up by any labels of any size. I would imagine that today such a DIY venture would have had a much better chance of success, given the growth of e-trade on the Internet (well, aside from the problem of some people not paying for music). I would say that equaling Heartworm would have been quite a feat---this album probably falls a little short of those heights. Nonetheless, this is an excellent disc, that unfortunately is pretty scarce. Right now just one is selling on Amazon for $45. Heartworm is selling for as little as one cent used.

For a self released album, it seems some cash was sunk into this, or else they were able to get their hands on some interns. Strings are not an uncommon occurrence on this album, and the songs on the album run from beautiful ballads to fairly noisy shoe-gazey rockers. The first tune So Much For Love, is simply exquisite. Fearghal McKee writes a mean lyric--So Much For Love reminds me a bit of a contemporary rendering of The Pogues' Fairytale of New York meeting up with Echo and the Bunnymen's Sevens Seas.




All she wants is to be remembered
Every Day.
All he sees is his own reflection
Standing in the way.

She said, "I wish we could kiss
like we used to.
I wish we could be.
I wish we could just make time
Stand still for me.....

Mutton is a another great pop tune, with loud guitars and cynical lyrics seemingly attacking the vapidness of modern society.

All I want is to Spend, Spend, Spend...
All I want is to Shop till I drop....

Throughout this record you will find a real mastery of dynamics. Another good example of this is the dark ballad One to Call My Own, that alternates between loud and quiet, and incorporates strings once again to great effect.

Pat the Almighty is a superb character portrait of a hypocritical legendary impresario on the local scene. I wonder whether this is a composite of people the band rubbed shoulders with, or an actual person? Either way, it's a memorably damning biography of self centered behavior.

The album finishes strong, though I am less familiar with the end because I have the unfortunate habit of going back and listening to the first half of the album again. But after the aforementioned One to Call My Own,  you get the great orchestrated tune Puppets, which sounds like it could have been an extra song from Heartworm. After this comes Who Am I?, which is probably my second favorite tune on this album, sounding like Trash Can Sinatras collaborating My Bloody Valentine.



The Ghost of Elvis is another excellent tune, sounding like an allegory on the vicissitudes of the music business and the public's changing tastes--easy come, easy go, as they sing. The album ends huge with the epic 5:17 of No Place to Go; anthemic chorus, pianos, strings, white noise. All you might want in a closing song. Whipping Boy's Third---Probably one of best albums you could have bought in 2000, all in all, if you only knew where to look.
But that was it for Fearghal McKee, Paul Page, Myles McDonnel and Colin Hassett. The band has reformed and done shows, as recently as last year, but I don't believe the complete original lineup participated.

Well happy post-St Pat's to everyone. Hopefully I have given some credit to one of the most undeservedly underrated bands of recent years.

Bosphorific!! Turkish Star Ersen compiled on Finder Keepers!

If you are somebody on the lookout for new things to hear, Andy Votel's Finders Keepers label never fails to come through. Whether it be obscure movie soundtracks, or psychedelic folk or pop music from around the world, these guys do the work of digging through the music bins so we can be conveniently introduced to exciting sounds that most of us would never run across on our own.

Ersen Dinleten is a perfect example. A popular performer in his native Turkey, but probably not too well known in the U.S., maybe a handful of songs found on Turkish Psychedelic compilations, maybe some beats sampled by rappers/Djs. Though there is some great musicianship to be found on this album, funky beats, psychedelic breaks, this is for the most part a collection of pop songs. Most of the songs are under 4 minutes. Just as many Western psychedelic bands have been influenced by music from the Mid-East, there is Western rock influence to be found here, most notably in the fuzz guitar incorporated in some of the songs. But to a great degree I hear traditional Middle Eastern pop informed by rock music. Sometimes it is amazing how quickly cultural trends can spread. I did a post a while back on Dara Puspita an Indonesian rock group inspired by The Beatles. They were putting out music in the mid-Sixties! I guess I shouldn't be that surprised, judging by the number of punk bands that suddenly sprang up in the wake of the Sex Pistols.



Ersen is a bit of a crooner. I don't know why but in his delivery, he reminds me a little of Colin Blunstone of the Zombies. His voice does not resemble his in any way, but he has a certain style that reminds me of latter period Zombies. Actually some of the songs even have some of that "Time of the Season" vocal effects. There is a definite sad sensitivity to his vocals. Guzan Mubarek Olsun is a particularly soulful example here. One of the nice things is that the songs aren't samey sounding at all---there is a lot of diversity to be found in this collection. From funky organ, to acoustic jamming, to more harder rocking tunes, the music doesn't get boring. And the tunes are originals as far as I can tell.
No versions of "Get Back" or "Get Off of My Cloud" in Turkish here.



Ersen is definitely an entertaining album, ideal for people who get tired of repetition in their music.
Probably not a bad place to start for anybody interested in Turkish rock music. Once you hear this you will probably want to get your paws on more.