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July 26, 2010

MY SUMMER.

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SUMMER BOYS.

SUMMER BOYS.

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oh, speaking of: here

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July 24, 2010

Dunes: S/T EP.

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Even though post-punk band Dunes are from L.A., you wouldn’t guess it from listening to their debut self-titled EP (out on Mexican Summer). It’s a record that exists far far away from the warm weather and beaches that have inspired recent acts like Best Coast and Puro Instinct. Instead, the band seems to be more captivated by the dark gothic sounds of the ’80s. It’s not hard to see the attraction. Bands like Siouxsie & The Banshees and The Cure brought the concept of understatement to a decade of music that was fraught with excess and overkill.

Channeling the ’80s, however, is an admittedly tricky endeavor for bands. Your homage doesn’t want to be perceived as gimmicky or too derivative. And you also don’t want your identity as a band to be compromised (See: The Like). Thankfully, Dunes escape these common pitfalls by striking a perfect balance between past and present- their music sounds just as good now as it would then.

“Handle” is perhaps the strongest track on the record. A subtle drum beat glides the song along while guitars jangle and flourish-creating an an ethereal melody that wouldn’t be out of place on a Cocteau Twins record. Lead singer Stephanie Chan’s vocals are the lynchpin, haunting the music with a palpable sense of longing and sorrow. They’re the perfect mixture of Siouxsie Sioux and Elizabeth Fraser-soft on the surface with a punk ferociousness bubbling underneath.

On “Everything Counts”, the vocals take a backseat to the stellar drumming and guitars. Things begin on a bummer note with dark cloud vocals, a gentle guitar riff and a subdued drum beat. Halfway through, however, the drums and guitar begin working together to build a level of intensity and urgency-moving the song away from typical ’80s pessimism towards some present-day hopefulness. Even Chan’s voice joins the party, gaining confidence and an attitude.

When they’re not creating lush and ornate melodies, Dunes veer into noise-y drone territory with tracks like “Madison Boys” and “Phonetics”. The songs meander, creating a moody and sometimes stressful ambience, not unlike fellow L.A. band, Pocahaunted. But while these songs are interesting and often times beautiful, Dunes are at their best when they’re creating more concise and focused tracks.

Dunes’ willingness to delve deep into the bleakness of the ’80s is a welcome reprieve to the ray of the sunshine that’s been casted over the indie music scene. They demonstrate that life can be more of a bitch than a beach-a perfectly fine sentiment as long as you’re making good music about it.

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July 20, 2010

Okay, Real Housewives of New Jersey. That’s uh-fucking-nuff.

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Watching The Real Housewives of New Jersey is both stressful and boring-a combination I didn’t know was possible. I wonder if the Housewives ever feel like they’re experiencing Groundhog’s Day because I know I  am. Every episode unfolds in the same way. Teresa and Joe live out their misogynistic relationship while their youngest daughter, Gia, humps a baton. On the other side of the lake, Danielle talks to the walls in her dilapidated castle about the other women-even though she only sees them one episode per season.  You almost can’t blame her though. Ever since she was revealed to be an insane and scary person, she’s become a social pariah and had to seek refuge in the arms of hot convicts/murderers.

Even though the Housewives franchise has always been uncomfortably hilarious, this season has been just uncomfortable. This is due, in large part, to Danielle Staub. She’s a prime example of how reality shows can take an unstable person and make them even more nuts by giving them fame. Delusional people need fame like they need a hole in the head.  From a casting perspective, I get it. Crazy people are fun and make for great television. But at the end of the day, it’s morally irresponsible. (See: Kelly Kiloren Bensimon for more evidence.)

Dina had the right idea when she jumped ship earlier in the season. She knew that as long as she was on the show, she would be contractually-obligated  to communicate with Danielle and it wasn’t worth it . It’s frustrating and tedious that the women can’t move on to other story lines. As long as Danielle’s around, they will be forever tethered to her bullshit. Although last week’s cat fight was amusing, it was not worth the two month build-up. I had to sit through so many episodes of gossip just to witness a weave-pulling. I can watch that in the first ten minutes of Bad Girls Club.

If Bravo wants RHOFNJ to be any good, they need to re-vamp the cast and focus their attention on something other than Danielle Staub versus the three other cast members. Bravo, if you want to discuss this further with me, don’t hesitate to contact me at ryan.ohh@gmail.com. I’m a hardworking Virgo who knows to have fun and is dedicated to the cause of bringing bad television to good people.

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July 17, 2010

The Like- Release Me

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The Like burst on to the L.A. music scene in 2004, riding a wave of major privilege. Vocalist Z Berg, bassist Charlotte Froom and drummer Tennessee Thomas were all spawns of music industry veterans and the girls weren’t shy about wearing their connections on their sleeveless vintage dresses. In 2005, they released their debut album, Are You Thinking What I’m Thinking?- a record about bummer weather and bad boys- to tepid enthusiasm. The general consensus was that their music was a bit boring.  Even though Z Berg channeled The Sundays’ Harriet Wheeler to good effect, their songs were stuck in half-baked hooks and drab ‘90s melancholy.

After already finishing their follow-up, the band scrapped everything and decided to go back to the drawing board. They enlisted the help of mega-producer Mark Ronson and underwent a Destiny’s Child-esque line-up change to create an entirely new sound and aesthetic. The end result is Release Me- an unabashed love letter to the girl groups of the ‘60’s. Replacing the jangly guitars and the wistful vocals of their debut are organ-layered Shangri-La’s-style pop songs about deception, narcissism and fatal attractions. Although it sometimes crackles and pops, Release Me is proof that by changing a band’s packaging, you don’t necessarily fix their shortcomings.

The album starts off strong with “Wishing He Was Dead”- a threatening kiss-off to a crappy ex-lover. Berg sings with a playful menace, “If I could kick his head in, fickle little boyfriend, I’d be satisfied.” “Release Me” and “He’s Not A Boy” are clever pop confections that continue the album’s bratty and brazen attitude.  The organ is used especially well here, giving the sweetest notes a bit of a rotten core.

As is the case with most pop music, the songs are performed with a constrained energy-most clocking in at three minutes. But as was the problem with their first record, most of them refuse to stick. Melodies get swallowed up in overblown retro production and songs begin to sound alike. “Catch Me if You Can”, for example, has an almost identical opener to “Release Me.” At times, you wonder if the girls are merely playing dress up in clothes that don’t quite fit.

The strongest tracks are the most subdued. “Narcissus in a Red Dress” finds Berg musing about The Like’s rapid ascent to hipster fame. She croons, “High school skinny fades away and you’re just left with Polaroids, capturing your 15 minutes. Ain’t it great?” For a brief moment, we get a peek of The Like beyond their  new mod haircuts and it’s more compelling than any costume change. The album’s closer, “Don’t Make A Sound”, similarly strips away the “oohs” and “ahhs” for some old-fashioned honesty. Building with a palpable intensity, the song explodes into a mash of vulnerability and anger as Berg sings with a forcefulness, “Life is never what you want unless you plan it from the start. Now wouldn’t that be smart?”

What would be smart is for the band to find its own identity. After paying homage to the ‘90s and now playing with 60’s nostalgia, you wish The Like would spend more time in the present. Maybe then they could start making the kind of music that will allow us to to love-not like- them.

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July 7, 2010

A Ryanohh.com exclusive.

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Yesterday, troubled actress Lindsay Lohan announced her latest role in the upcoming film,  Locked Up & Pissed About It. Produced by L.A. County Jail, the film also stars her friends: Denial, Addiction, and Self-Loathing. Lohan will stretch her acting chops by playing a washed-up starlet who’s sentenced to three months in jail and must come to terms with her new life behind bars. With no access to her Twitter or close friend Kim Kardashian, the actress is forced to look inward for happiness- a process that involves close readings of The Secret, musical collaborations with Matchbox Twenty’s Rob Thomas and the occasional love affair with an auto-mechanic/convicted felon named Mitsy. Sources say a sequel is already in the works. It will follow her life after jail, which includes a 60-day stint at Broken Promises, a rehab clinic that bases its practices on the fundamentals of reverse psychology. According to its website, an addict receives a 90-minute massage and a gold pony every time he or she relapses. Although such techniques boast a 0% recovery rate, the clinic has a four-star rating on Yelp because of the  ”killer sushi and hot therapists.” Looks to be a blockbuster. Good luck, Lindsay.

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July 1, 2010

# 1 Teenage Brat: Part Deux.

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I’ve mentioned before that I suffered from severe cystic acne as a teenager.  Although I tried my best to conceal it with my shaggy hair, it only exasperated the problem and I eventually had to seek professional help. For a year, this meant enduring weekly extractions at the hands of a sadist who loved to regale me with stories of her post-divorce sex life almost as much as she loved to see me squirm/bleed. After an hour of being poked with a needle that I was told could only be used legally in the state of Texas,  I would lick my wounds and wander over to Coffee Bean & Tea Leaf, get an iced mocha, take sad pictures of myself on my camera phone and cry.  The photo above appeared on my Livejournal with the caption: “Keep going. I can’t.” L O L.

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As I said before, it took me a long time to actually get wasted in high school. It wasn’t so much a moral issue (I never had those) as it was a matter of taste- I thought booze was disgusting. My perception changed, however, when I met Cook’s brut champagne. Cook’s is a white trash champagne that retails for a terrifying four dollars. At eighteen, however, I thought it tasted like a million bucks and one night, I was struck with the brilliant idea of drinking an entire bottle of it and going to a local show. My plans turned out to be too ambitious when, after I arrived, I realized I was only capable of having a drunk photo shoot in front of the venue. After about ten polaroids, the ground started to wobble and I high-tailed it back to Mom’s house where I immediately passed out in my cowboy boots. The next morning, I woke up with the gnarliest hangover and I wore that shit like a badge of honor. After all, people were supposed to feel like hell and eat greasy foods and commiserate with their friends the morning after, right? And it’s fun, right? I continued this cruel champagne cycle all year, waking up each morning feeling like I had been shot in the head and it was only until my freshman year of college when I switched to whiskey that I realized that champagne is a particularly unkind alcohol-an alcohol that often puts the “ass” in class- and that it didn’t have to be this way. Oh well. You live and you drink.

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The house I grew up in had a detached workshed that was originally intended as a place for storage. Things quickly changed, however, when my siblings and I reached our teens and decided we needed to have a den of sin. My sister lived there first, under the vague excuse of needing more privacy. Since my bedroom window faced the workshed, I understood why. At 19, she needed a safe space to get drunk and pee freely on the lawn, entertain mysterious visitors at all hours of the night and the option to recreate every Cheech & Chong movie with her pot habit. When she eventually moved out, my brother took over the room and used it as a place to film his amateur porn. I once had the misfortune of walking in on a “scene” and nearly died choking on a Milano.

Somewhere between the porn, the booze and the one-night stands, my friends and I managed to use the room as a space for our drunk dance parties. Compared to my siblings’ debauchery, these nights were tame. They invariably involved drinking Mike’s Hard lemonade, declaring our love for one another and replaying the Moving Units EP 4,000 times.

The room also has the distinction of being the place where I lost my virginity. In my defense, I was seventeen and really horny. Spiderwebs, the potential for catching scabies and empty bottles of alcohol did little to abate my sexual appetite.

You’re probably wondering where my mother was during all of this insanity. She was holed up in her own den of sin- drinking vodka-tonics, drunk-dialing old boyfriends and blasting Keith Sweat records. She was the true queen of the teenage brats.

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