Scott Alexander | Scott Alexander Makes Mistakes

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Rock: Punk Folk: Power-folk
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Scott Alexander Makes Mistakes

by Scott Alexander

What else would you expect from a disgruntled classically trained bassoonist and ethnomusicologist?
Genre: Rock: Punk
Release Date: 

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  Song Share Time Download
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1. Anthem
4:03 $0.90
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2. Wonderful Wednesday
2:22 $0.90
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3. Make a Difference
2:38 $0.90
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4. My Little Pony
3:17 $0.90
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5. My Way Out
5:05 $0.90
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6. The Dust that CLouds the View
2:34 $0.90
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7. Oo II
4:00 $0.90
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8. Ethical Pervert
3:18 $0.90
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9. Border Town
3:11 $0.90
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10. The Quo
2:26 $0.90
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11. All Over Me
4:30 $0.90
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Originally from the tough streets of Mendota Heights, Minnesota, Scott studied bassoon and lute at the Peabody Conservatory before going to UCLA. There he earned a degree in ethnomusicology studying musical function, aesthetics, and performance contexts in various societies. Still his focus remained primarily in his own culture, which is often overlooked as a culture altogether, yielding control and change to a manipulative industry. Scott Alexander’s music recognizes the power and meaning of American musical traditions by maintaining an intelligible pop-sensibility, but offers a new aesthetic and structure that celebrates everyday wandering thought processes: embracing mistakes, imperfection, and instability. The result is consonant and playful, but seldom repeats a single riff or verse. Scott Alexander’s songwriting demands the listener’s full attention by rarely settling into a sense of “groove”, which has saturated most of the music of the past 400 years.

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Reviews


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Kevin R. Elder

No mistakes here.
Scott Alexander Makes Mistakes is one of the most interesting albums I have heard in recent years. "My Way Out" is possibly the best song on the album. Its clever and insightful lyrics are backed up by tireless and constantly changing guitar riffs. This song and this album will not be forgotten.
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Anynmous

Am I stupid?
This really isn't a review, but more of a question? Does it mean anything? I'm not hip, and apparently I'm not very intelligent, so I was wondering if you could give me the answers. What the hell are you talking about? It don't make a difference? What don't make a difference? I like the sound of your music, but I don't want to be vain. Ya know? Is this going to be posted publicly? I hope not, but I guess it doesn't matter since my name is... Anonymous. hahaha. Anyways. I guess I should listen to the songs at least twice before I kick myself in the arse. Peace.
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Anynmous

Am I stupid?
This really isn't a review, but more of a question? Does it mean anything? I'm not hip, and apparently I'm not very intelligent, so I was wondering if you could give me the answers. What the hell are you talking about? It don't make a difference? What don't make a difference? I like the sound of your music, but I don't want to be vain. Ya know? Is this going to be posted publicly? I hope not, but I guess it doesn't matter since my name is... Anonymous. hahaha. Anyways. I guess I should listen to the songs at least twice before I kick myself in the arse. Peace.
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Scott Alexander

Nobody is stupid for asking a question.
Dear friend,
Thanks for writing. First off, I'm not hip either. Instead I am Scott Alexander. Anyhoom I can see why the song, "Make a Difference" stands out to you on the album. Everything else lyrically is a lot more blunt and blatant. This song, however was a stream of consciousness composition. So I've actually had to ask myself the same question.

I think the song really just captures a feeling of smallness with a tiny hint of "everything is going to be ok-ness." Thats why I titled the song "MAKE a Difference" instead of "Don't make a Difference"

There is are a lot more detailed song notes on my website, www.scottalexandermusic.com if you would like to know more. Or you can always email me until I get too famous to care. Thanks
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John Brauer

Scott Alexander Makes Mistakes
Musically, Scott and I have shared many experiences: thrash-sax driven basement garage rock, offbeat experimental boom box recordings, drop-the-needle-style listening contests, and strolling madrigals. Through all of this, I criticized Scott for his inconsistency, his unwillingness to stray from his own track to earn wider appeal. My frustration peaked after days of pulling teeth in the recording studio resulted in 15 recorded songs (only one made the cut for this album) all of which I hated for months, if not years after the session. Our friendship continued and after numerous conversations about his work with street musicians in LA, his study of ethnomusicology, as well as his conservatory training in classical bassoon and renaissance lute, I found myself unwittingly singing his tunes. I had overcome my neat-freak obsession of stabilizing Scott's sound to find myself embracing all that I had previously found so offensive. He hasn't attempted to capture the spirit of every man, but insists that if a song is true, anybody can relate. I have played witness to Scott charging unfazed, full speed, head first, helmet cast aside, into countless mishaps that would leave most disheartened, embarrassed, or at the very least needing a change of trousers. Scott is not fearless; he is not compelled by the adrenaline fix sought by most adventurers. You're about to find out that Scott Alexander makes music that does not fail to express his longing for the real. Utterly self conscious, Scott's songs explode ego, baring the bland and bizarre of identity in strip-mauled Middle America. Self-righteous rants, imagined conversations, fantasies, dreams, and outright lies come together to form Scott Alexander's take on truth.
-John Brauer, June 2004
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yes!
In response to the previous reviewer. Yes! You are stupid.
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Scott Alexander

A note from the creator
Although it is hardly avant-garde, many of the songs on this album have an experimental structural approach. Some make harmonic references to each other while others constantly mutate to the text.
What I’m also creating is an aesthetic for realistic emotional development and thought. Though I attempt to be consonant and melodic, I never stay completely steady or in a “groove” for very long. The absence of drums and bass add to this lack of stability as well as the recording technique itself, which was done by the sound engineer for Smithsonian folkways recordings with little or no compression.
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