Tag Archives: Music 4 TNGRS

My-Fi: Chester French – Music 4 TNGRS

So… if nothing else, 2012 proved that by George the Mayans had it all kinds of right: the year proved a renaissance of apocalyptic proportions – a year when the culturally amnesiac cynics failed to recognize a sea change over the screams of their own skeptic scoffs… alas, even in the midst of privately-backed Super-PAC pocketed media, bindered women, NRA publicity stunts, mass school shootings, a deluge of false formations and knowledge starvation, the spectacle’s continued triumph over literacy shrugged – and oh, Sandy; even in the midst of all that, there was music – glorious music – because after all, to mark the fall, the birth of tragedy is forever conceived in the spirit of music.

Somewhere along the 365 steps on the road to perdition where those albums that in their own way, reminded me of what “those” Mayans might play had they lived to see this day…

Music 4 TNGRS – Chester French

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Beyond the prominent production, the ever-enveloping electronic environment, it is the enduring lyrics that take us back to the playground. Some songs are like long-lost love notes, retrieved from a time capsule beneath the sandbox, or somewhere under a tree in the quad. Other songs take it back to the cyber sandbox of whichever social network was your shelter, reading along like a comment your present-day self would leave your former self. That’s what I dig most about the album. It doesn’t try to be anything it’s not. It is a 2012 LP of the mixtape you would have made for your Post-9/11-But-Pre-Katrina-So-There’s-Still-Hope self, about yourself, now. I also like it because … I’m a TNGR and it’s my kind of music.

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The Prophiles: … a Girl Named Sally TNGR

This is the story… of a girl named Sally. Uh-oh, D.A. didn’t take you to prom… Max left you alone at the football field underneath the bleachers… The world has gone topsy-turvy. You’re any kid from Everytown, USA. You remember when you were a teen and the internet was awesome. You lived outside; it was boring, but it was okay – because you had a place where you were your projection: Xanga, LiveJournal, and MySpace were your digital protection. You “got” the net before the net got you. You were the future – the digital Magellan. You beat Y2K. You found some bootstraps and pulled yourself up. Maybe you blogged and grassrooted your way to Harvard. It was 2005 and you were on the fast track to the American Dream. You were going to be the next Elle Woods. You hung with guys that had the spirit of the Winklevosses and the style of a young Zuckerberg. You Photshopped and ProToolsed your way into the creative world. You became “somebody” on YouTube. You were going to be the one. Then, you realized – so was everybody else.

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Keep Calm and Kari On … with Chester French

Skin… is a many layered thing; it is artistic, it is cultural, it is biological, it rests on the fragile fringe of one’s inner and outer space… not to be melodramatic, but we consider it an overlooked focus – an abstract opus – of cultural connective tissue.

So, for Art Nouveau’s Skin issue, we chose a duo who connected all of those elements in a most masterful manner: Chester French – black tears, faced fears, a pair so open-minded about the lovable future that their well-endowed brains have descended upon every listener’s ears. We had a chat with Max and D.A. to get an inside look at how they view those elements that make the epidermis so oddly endearing.

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When we come into this world, our skin is supple and soft, that unhindered remnant of divine design. For artists like Chester French, the first album is of that same fresh design. The label signs you because of that new-new you bring to this world. Musicians wear that skin like a manifestation of the self. Unlike the child though, an artist can craft their own primary skin; now more than ever though, it is getting harder to make that sonic aesthetic a signature different than all others.

KE: How important is it to build your own sonic aesthetic through your music, and what do you think your skin is in the industry?

CF: I think – to answer the first part of the question – I think for us it’s kind of important to try and carve out what is our territory creatively in terms of what we want to make and how we want it to sound. I think there’s so much music and so many people in music feel like they have to constantly be following, either super-new trends or really established ideas about how music should sound at a given moment. For us it’s way more important to find a sound that’s unique to us, than it is to “fit in” to any group, necessarily…

KE: Basically, my thing is this: skin is functional and fashionable. It is the first line of defense, but musically it is that very foundation of artistic identity which requires the greatest defense of all.

It’s one thing to look good, a freshman feat that Love the Future achieved, but it’s another entirely to make that good look last: enter Music 4 TNGRS.

KE: What is a TNGR, and what is this music you’re making for them from this standpoint?

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