Galaxie 500

Galaxie 500 was an American alternative rock band that formed in 1987 and split up in 1991 after releasing three albums.[4]

For the Canadian band formerly also known as Galaxie 500, see Galaxie (band). For the Ford automobile, see Ford Galaxie. For the album by Fetchin Bones, see Galaxy 500 (album).
Galaxie 500
Galaxie 500
Background information
OriginCambridge, Massachusetts, United States
Genres
Years active1987–1991
Labels
Associated acts
Past members

History

Guitarist Dean Wareham, drummer Damon Krukowski and bassist Naomi Yang had met at the Dalton School in New York City in 1981, but began playing together during their time as students at Harvard University.[4][5][6][7] Wareham and Krukowski had formed a series of punk-influenced student bands, before Wareham returned to New York.[7] When he returned in 1987 he and Krukowski formed a new band, with Yang joining the group on bass guitar, the new group deciding on the name Galaxie 500, after a friend's car, a Ford Galaxie 500.

The band began playing gigs in Boston and New York City, and recorded a demo which they sent to Shimmy Disc label boss and producer Mark Kramer, who agreed to produce the band.[4] With Kramer at the controls, the band recorded the "Tugboat" single in February 1988, and the "Oblivious" flexi-disc, and moved on to record their debut album, Today, which was released on the small Aurora label.[5] The band toured the United Kingdom in late 1988 and in 1989, then signed to Rough Trade and released their second album, On Fire, which has been described as "lo-fi psychedelia reminiscent of Jonathan Richman being backed by The Velvet Underground",[5] and is considered the band's defining moment.[4] On Fire reached number 7 in the UK Indie Chart, and met with much critical acclaim in the United Kingdom, but was less well received by the US music press, who cited Wareham's 'vocal limitations' as a weakness.[8][9]

Galaxie 500 recorded two sessions for John Peel's BBC Radio 1 programme, these later released on the Peel Sessions album. Their cover of Jonathan Richman's "Don't Let Our Youth Go To Waste" was also voted into number 41 in 1989's Festive 50 by listeners to the show.[10]

The band split up in the spring of 1991 after the release of their third album, This Is Our Music. Wareham, who had already moved back to New York, quit the band after a lengthy American tour.[5][6]

Galaxie 500's records were released in the US and UK on the independent Rough Trade label. When Rough Trade went bankrupt in 1991, Krukowski and Yang purchased the masters at auction, reissuing them on Rykodisc in 1996 as a box set containing all three albums and another disc of rarities.[11]

Musical style and influences

Galaxie 500 used fairly simple instrumental techniques enhanced with an atmospheric production style. The Velvet Underground and Jonathan Richman have been identified as key influences.[5][8] In interviews on the Galaxie 500 DVD Don't Let Our Youth Go to Waste, Wareham cites Spacemen 3 as another key inspiration.

Post-Galaxie 500 activities

After leaving Galaxie 500, Wareham tried his hand at production, working with Mercury Rev. He released a solo single, "Anesthesia," in February 1992, and formed a new band, Luna. Krukowski and Yang continued to record under the moniker Pierre Etoile (French for "Rock Star"), and then Damon and Naomi (whose first two releases were also produced by Kramer), and as members of Magic Hour.[5] They also began the avant-garde press Exact Change.[12]

In June 2010 Dean Wareham announced on his website that he would be going on an autumn tour under the moniker "Dean Wareham plays Galaxie 500," where he would, as the moniker suggests, only play Galaxie 500 songs.[13]

Influence

Galaxie 500's music had an influence on many later indie music groups, including Low.[8] Their music has been covered and referenced by several well known artists. In Liz Phair's song "Stratford-on-Guy", she sings, "And I was pretending that I was in a Galaxie 500 video." In Xiu Xiu's song "Dr. Troll", Jamie Stewart sings, "Listen to On Fire and pretend someone could love you." On Neutral Milk Hotel's debut album, On Avery Island, the song "Naomi" is believed to be about Naomi Yang, and includes the line "There is no Naomi in view/She walks through Cambridge stocks and strolls"; in 2011, Yang created a music video for the song.[14] The Brian Jonestown Massacre's And This Is Our Music was titled in reference to the group's album This Is Our Music (which itself was titled after Ornette Coleman's album This Is Our Music).[8] Sonic Youth frontman Thurston Moore has cited Galaxie 500's album Today as "the guitar record of 1988".[15]

"Tugboat" has been covered by many artists, including The Submarines, who recorded it with indie rock producer Adam Lasus for their iTunes Live Session EP, British Sea Power, on Rough Trade compilation Stop Me If You Think You've Heard This One Before..., Welsh lo-fi band Joanna Gruesome, and Portastatic. In 2010 the bands Cloudland Canyon and Citay, appeared on a 7" EP together wherein they both covered Galaxie 500, the former taking on "Temperature's Rising" and the latter doing a version of "Tugboat". English artist World Of Fox covered "Flowers" in his 2011 release on Where It's At Is Where You Are Records.

In 2012 the song "Tugboat" was featured in the film The Perks of Being a Wallflower, directed by Stephen Chbosky and based on his book of the same name.[16]

Discography

Studio albums

Compilations

Post-split releases

Singles
  • "Tugboat"/"King of Spain" (1988) Aurora
  • "Oblivious" included on a hard-vinyl compilation 7" free with Chemical Imbalance magazine
  • "Blue Thunder"/"Hail" (split w/ Straitjacket Fits) (1989)
  • "Blue Thunder EP" (1990) Rough Trade
  • "Rain"/"Don't Let Our Youth Go to Waste" (1990) Caff
  • "Fourth of July"/"Here She Comes Now" (1990) Rough Trade
  • "Snowstorm" (live)/"Pictures" (live) (2004)

Promotional videos
  • "Tugboat" (1988)
  • "Blue Thunder" (1989)
  • "When Will You Come Home" (1989)
  • "Fourth of July" (1990)

DVDs
  • Don't Let Our Youth Go to Waste (2004)

Further reading
  • McGonigal, Mike. Temperature's Rising: An Oral and Visual History of Galaxie 500. Oregon: Yeti Publishing, 2013
  • Wareham, Dean. Black Postcards: A Rock & Roll Romance. New York: Penguin, 2008.
gollark: I can come up with a thing to transmit ubqmachine™ details to osmarks.net or whatever which people can embed in their code.
gollark: It's an x86-64 system using debian or something.
gollark: > `import hashlib`Hashlib is still important!> `for entry, ubq323 in {**globals(), **__builtins__, **sys.__dict__, **locals(), CONSTANT: Entry()}.items():`Iterate over a bunch of things. I think only the builtins and globals are actually used.The stuff under here using `blake2s` stuff is actually written to be ridiculously unportable, to hinder analysis. This caused issues when trying to run it, so I had to hackily patch in the `/local` thing a few minutes before the deadline.> `for PyObject in gc.get_objects():`When I found out that you could iterate over all objects ever, this had to be incorporated somehow. This actually just looks for some random `os` function, and when it finds it loads the obfuscated code.> `F, G, H, I = typing(lookup[7]), typing(lookup[8]), __import__("functools"), lambda h, i, *a: F(G(h, i))`This is just a convoluted way to define `enumerate(range))` in one nice function.> `print(len(lookup), lookup[3], typing(lookup[3])) #`This is what actually loads the obfuscated stuff. I think.> `class iｎt(typing(lookup[0])):`Here we subclass `complex`. `complex` is used for 2D coordinates within the thing, so I added some helper methods, such as `__iter__`, allowing unpacking of complex numbers into real and imaginary parts, `abs`, which generates a complex number a+ai, and `ℝ`, which provvides the floored real parts of two things.> `class Mаtrix:`This is where the magic happens. It actually uses unicode homoglyphs again, for purposes.> `self = typing("dab7d4733079c8be454e64192ce9d20a91571da25fc443249fc0be859b227e5d")`> `rows = gc`I forgot what exactly the `typing` call is looking up, but these aren't used for anything but making the fake type annotations work.> `def __init__(rows: self, self: rows):`This slightly nonidiomatic function simply initializes the matrix's internals from the 2D array used for inputs.> `if 1 > (typing(lookup[1]) in dir(self)):`A convoluted way to get whether something has `__iter__` or not.
gollark: If you guess randomly the chance of getting none right is 35%ish.
gollark: Anyway, going through #12 in order:> `import math, collections, random, gc, hashlib, sys, hashlib, smtplib, importlib, os.path, itertools, hashlib`> `import hashlib`We need some libraries to work with. Hashlib is very important, so to be sure we have hashlib we make sure to keep importing it.> `ℤ = int`> `ℝ = float`> `Row = "__iter__"`Create some aliases for int and float to make it mildly more obfuscated. `Row` is not used directly in anywhere significant.> `lookup = [...]`These are a bunch of hashes used to look up globals/objects. Some of them are not actually used. There is deliberately a comma missing, because of weird python string concattey things.```pythondef aes256(x, X): import hashlib A = bytearray() for Α, Ҙ in zip(x, hashlib.shake_128(X).digest(x.__len__())): A.append(Α ^ Ҙ) import zlib, marshal, hashlib exec(marshal.loads(zlib.decompress(A)))```Obviously, this is not actual AES-256. It is abusing SHAKE-128's variable length digests to implement what is almost certainly an awful stream cipher. The arbitrary-length hash of our key, X, is XORed with the data. Finally, the result of this is decompressed, loaded (as a marshalled function, which is extremely unportable bytecode I believe), and executed. This is only used to load one piece of obfuscated code, which I may explain later.> `class Entry(ℝ):`This is also only used once, in `typing` below. Its `__init__` function implements Rule 110 in a weird and vaguely golfy way involving some sets and bit manipulation. It inherits from float, but I don't think this does much.> `#raise SystemExit(0)`I did this while debugging the rule 110 but I thought it would be fun to leave it in.> `def typing(CONSTANT: __import__("urllib3")):`This is an obfuscated way to look up objects and load our obfuscated code.> `return getattr(Entry, CONSTANT)`I had significant performance problems, so this incorporates a cache. This was cooler™️ than dicts.

References
  1. McGonigal, Mike. "Temperature's Rising: Galaxie 500, An Oral History". Pitchfork. May 3, 2010.
  2. Richardson, Mark (March 30, 2010). "Galaxie 500: Today / On Fire / This Is Our Music". Pitchfork Media. Retrieved December 28, 2015.
  3. "Galaxie 500: Uncollected | Album Reviews". Pitchfork. 2004-08-02. Retrieved 2016-03-12.
  4. Ankeny, Jason. "Galaxie 500 Biography". AllMusic. Retrieved 25 March 2008.
  5. Strong, Martin C. (1999). The Great Alternative & Indie Discography. Canongate. ISBN 0-86241-913-1.
  6. Larkin, Colin (1992). The Guinness Who's Who of Indie and New Wave Music. Guinness Publishing. ISBN 0-85112-579-4.
  7. Thompson, Dave (2000) Alternative Rock, Miller Freeman Books, ISBN 0-87930-607-6, p.380-381
  8. Buckley, Peter (2003). The Rough Guide to Rock. Rough Guides. pp. 408–409. ISBN 1-84353-105-4.
  9. Lazell, Barry (1997). Indie Hits 1980-1999. Cherry Red Books. ISBN 0-9517206-9-4.
  10. "Keeping It Peel : Galaxie 500". Keeping It Peel. BBC. Retrieved 25 March 2008.
  11. Rosen, Craig. (October 5, 1996). "Galaxie 500 Catalog Rises again with Rykodisc Box." Billboard, pp. 14, 15, 19, volume 108, number 40.
  12. "Wayback Machine". January 15, 2010. Archived from the original on January 15, 2010.
  13. "Dean & Britta » Blog Archive » D&B band plays Galaxie 500 shows". September 10, 2010. Archived from the original on September 10, 2010.
  14. "Watch: Galaxie 500's Naomi Yang Makes a Video for Neutral Milk Hotel's "Naomi" | News". Pitchfork. 2011-11-15. Retrieved 2016-03-11.
  15. Bollig, Ben (October 2004). "Galaxie 500 "Uncollected" (review)". No Ripcord. Retrieved 25 March 2008.
  16. Jagernauth, Kevin (August 2012). "'Perks Of Being A Wallflower' Soundtrack Features Sonic Youth, Galaxie 500, David Bowie, The Smiths & More". IndieWire. Retrieved 21 January 2019.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.