The Best Video In Europe
posted by November 4 at 3:10 PMon
posted by November 4 at 3:10 PMon
posted by November 3 at 4:48 PMon
posted by November 3 at 3:12 PMon
posted by November 3 at 11:21 AMon
Rogério Duprat, the record producer who helped define the sound of Brazil’s Tropicalia movement, prompting frequent comparisons to George Martin’s work with the Beatles, is dead at 74. If you are unfamiliar with his work, check out the “lost masterpiece” A Banda Tropicalista Do Duprat, reissued via Cherry Red’s él imprint, featuring performances by Os Mutantes and a swell cover of “Lady Madonna.”
posted by November 3 at 10:57 AMon
And now for some serious adorableness, Motųrhead-style:
posted by November 3 at 10:50 AMon
In this week’s Rocka Rolla, it was reported that Band Of Horses were moving to Charleston, North Carolina. Well, Charleston, North Carolina doesn’t exist. The band is actually moving to Charleston, South Carolina.
We regret the error.
posted by November 2 at 5:52 PMon
The press release for Music Nation, the new pay-to-play Web 2.0 Youtube/Star Search mashup that has already been widely, um, discussed in the blogosphere and isn’t really worth discussing further, includes this choice nugget:
Finally, all the emerging artists marketing themselves online (i.e., Myspace) will actually have a chance to get signed with a major label.
1. Measuring success by whether you’re signed to a big label or not. How quaint!
I guess that’s four thoughts.
posted by November 2 at 4:32 PMon
I didn’t even know that Jennifer Finch took pictures, but on the advice of Slog Commenter Seme, I checked out an article about her upcoming exhibition in the LA Weekly and I am blown away. Jennifer Finch was the main instigator of L7, of course, one of the most notorious of all Riot Grrl bands.
Henry Rollins looks hot! I didn’t expect to think that about someone who’s neck is bigger than my entire body, but there you go.
Anyhow, I am really wishing that I lived in LA today (or technically, Saturday, when the exhibit opens) so I could go check out the rest of the pictures. Lately I have been investigating the chronology and atmosphere of the Los Angeles punk scene, so this exhibit is just adding to my terrible obsession. All these photographs seem to have been taken after the death of Darby Crash (the same day as John Lennon), which makes them during the rise of Black Flag, the Circle Jerks, and later, the Red Hot Chili Peppers. The LA punk scene is especially interesting, in my opinion, because it popped up in a very geographically strange place, simultaneously with the East Coast punk scene. LA caught on way faster than the rest of the country when it came to punk, a fact which I attribute mostly to Mr. Crash and the Dogtown boys, who hated the Germs crowd at first, but later realized they had similar attitudes.
I digress. Go check out the article, and then read Lexicon Devil, the story of Darby Crash’s life and death, and then come back and tell me you aren’t obsessed with LA punk right now. Cuz I am.
posted by November 2 at 1:40 PMon
In this week’s Underage column, I reported that the Halcyon in Edmond’s has closed, and also that Gallery 1412’s future is looking grim because last weekend’s benefit show failed to raise much money. But since the paper went to press, Gallery 1412 members have confirmed that while the future is a little shakey, the venue will still stay open. We’ll have a full report of the venue’s current situation in next week’s paper, but for now know that all booked shows will go on as scheduled. And you should go. And support them. Because they could really use the love.
A full calendar can be found at www.gallery1412.org.
posted by November 2 at 1:08 PMon
Tonight at VAIN, freelance photographer (and occasional Stranger contributor) Breanne Koselke will unveil her latest project entitled “The Way We Get By.” The exhibit strives to show how a handful of local musicians continue to make rent and make music, capturing them in both their worlds of day job employee and onstage performer. I’ve always thought this was ripe subject matter and I’m glad Koselke has tackled it. Here is an example her photographic pairings—this is Shane Berry from local band the Divorce at work as a barista and onstage as a front man:
Photos of the Catch, Siberian, Kane Hodder, Schoolyard Heroes, and White Gold are also featured—the show opens at 6 pm this evening as part of the first Thursday art walk.
posted by November 2 at 12:18 PMon
I still have endless fascination for the early-90s mistake that was hip-house (seriously, who thought rhyming over 4-4 would be a good, interesting idea?), but other than the Jungle Brothers’ “I’ll House You,” it’s all just been written off as something to laugh at (that particular JB track instead regarded as a classic). In that same vein, the above is the video from Snap!’s “The Power,” featuring the lyrical stylings of Turbo B. Turbo B was slated to perform tonight at Neumos opening for Panjabi MC, but the show’s been cancelled (refunds at point of purchase) so that’s not happening. My sense of curiosity wasn’t strong enough for me to attend this show just to find out if Turbo B would perform this song, but I was looking forward to hearing from someone out there whether that happened or not. Oh well, guess I’ll have to keep an eye on Youtube.
posted by November 2 at 9:54 AMon
A few days ago, Mark Cuban posted some interesting thoughts on the popular “Long Tail” concept, mostly focusing on the relationships between content creators (that’s you and me, folks) and the big entities that stand to gain from aggregating all those teeny niche markets into something profitable. (The Long Tail in 10 seconds: In the world of Amazon, iTunes and Netflix, you can do just as well selling 100 copies of 100,000 different records as you can from selling 10 million copies of a single megahit. I’ve explained the creative implications in the graphic above.)
“No content creator wants to be on the long tail,” Cuban says, and he’s sort of right. It’s nice to be on the big, fat left-hand side of that curve. It means paying your rent on time, or buying Bentleys and shit. He’s right about the relationships between big companies, popular content and copyright infringement. And he makes some good points about how it still takes hefty investments to sell significant units of digital (or analog) anything.
(More after the cut.)
posted by November 2 at 8:57 AMon
I love Split Lip Rayfield. So much so that I even have a SLR counted cross-stitch on my office wall. So I was saddened to learn yesterday that the Tractor Tavern show on Friday, Nov. 10 by these kick-ass Kansas boys—who I once described as the only bluegrass band I’d put on the same bill as Slayer—will be their last show here. Bittersweet news, although completely understandable; guitarist and dobro player Kirk Rundstrom is fighting cancer.
Here’s the note the Tractor sent out yesterday:
Most Split Lip Rayfield fans are by now aware of Kirk Rundstrom’s recent diagnosis and continuing battle with esophageal cancer. Despite his prognosis and due to Kirk’s love of music, Split Lip Rayfield has been playing last shows in their key markets. Nearly all of the shows have been sold out and they have all been amazing - the boys are putting tons of heart into them. Wayne Gottstine (mandolin) has returned for these last tours too - if you are familiar with SLR, you’ll know that this is a big deal as well.
That being said, they are making their way back for one last West Coast tour in November. This marks the last chance for their fans to see them play on the West Coast before their two final Kansas dates - after which Kirk will retire from live performance altogether to concentrate on doing what he can to restore his health. Please come out and help us celebrate the nearly 10 years of incredible music Split Lip Rayfield has blessed us with!
posted by November 1 at 6:24 PMon
It doesn’t really get good until about halfway through…..
posted by November 1 at 5:23 PMon
Since Line Out’s in rigormortis today, here are a couple of music recommendations based on the last couple of shows I attended:
Love is All - Nine Times That Same Song
Love Is All closed out the evening at Neumos Monday after the Amy Sedaris reading. Despite the fact that it was the Swedish band’s first show in Seattle and the fact that the reading was sold out (Sedaris was crude and delightful, but standing that long was not working for me), the band played to a crowd of less than thirty, a sizable fraction of which was composed of the opening bands and their support staff. Welcome to Seattle indeed. Regardless of crowd size, they played their hearts out, expanding my mental “Swedish Bands I Love” list to a trio from a duo (The Cardigans and The Concretes being the other two bands naturally). More rocking than The Cardigans new material, but incorporating brass like The Concretes on occasion, Love is All are more than deserving of all the Pitchfork love they’ve received, playing the kind of pop that warms your heart even on one of autumn’s first cold nights (think a female-fronted Hot Hot Heat with a predilection for lutefisk). Hopefully they’ll be back in town soon, at which point I expect to see far more people there.
Avia Gardner - Mill Farm
Last night, Mitchell Akiyama and wife Jenna Robertson performed as Avia Gardner for the Halloween edition of Oscillate. I didn’t really get into Mitchell’s solo improvisation, but found the Avia Gardner portion of the evening as engaging as I’d expected (when you’re enjoying a soundcheck, they’re doing something right). I hadn’t heard of the act until someone compared them to Iceland’s Mum, which prompted me to give them a listen. While that comparison is valid in many respects (especially with their older material with its soft delicate vocals over digital soundscapes), Mum tends to evoke a very specific mood, while Avia Gardner has an entirely different emotional tone. Their newer material moves away from the altered electronics for more analog instrumentation, but the same ingredients of Jenna’s voice and Mitchell’s penchant for epic sonic tapestries remain intact. I haven’t yet picked up the album (it’s on it’s way to Easy Street), but I have an early feeling it might be a sizable part of the soundtrack for this winter.
posted by November 1 at 4:27 PMon
These guys are playing the Showbox on New Year’s Eve:
posted by November 1 at 2:15 PMon
Sure, this is a few days away, but it seems appropriate to remind the Lineout public on this, the Day of the Dead, that The Baltic Room’s Sunday weekly No Tomorrow is over after this Sunday’s edition. Rather than go quietly into this good night, they’re going out with a doubly-cacophonic evening, starting with a “battle” against fellow experimental noise night Le Vide, and ending with crowd-participatory noise-fest afterwards. If you’ve never managed to make it to No Tomorrow, this is your last chance. Here’s the copy:
LE VIDE vs. NO TOMORROW
Le Vide presents
Ferveur Noire / Rotted Brain / Son of None / MCVD (this is the DJ side
project of Syphilis Sauna)
The Lobo Saloon
433 Eastlake Ave E
No Tomorrow: Final Night
On this final night, No Tomorrow cordially invites
anyone and everyone to bring a soundmaker of their choosing -
acoustic, electronic, or otherwise to the Baltic for a last sonic
stand. It’s suggested that you bring your own power strip and cables if you
going electronic. And, it’s best to stick with a small setup to give
everyone some physical and frequency space to work in. I don’t know exactly
how this will work, but we’ll figure it out. Tell your friends (and
bring your recorders).
The Baltic Room
1207 Pine St.
posted by November 1 at 11:25 AMon
Prince is headed to Vegas.
Bono’s latest move doesn’t dovetail very nicely with his war against global poverty. He’s not down with paying his own taxes.
Barbra Streisand is inspiring her fans to throw drinks at her—and not because of her ticket prices.
Patti Smith, Van Halen, R.E.M., the Stooges and other nominees for the Rock ‘n’ Roll Hall of Fame have been announced.
posted by October 31 at 5:46 PMon
There are two out-of-print records that, for the past eight years or so, I have been keeping a constant eye out for whenever I go record shopping: the Dytopia/Skaven split 12-inch and the Area 51 discography 10-inch. The former can be found occasionally on eBay, but it usually sells for more money than I care to drop on a record; the latter, however, is nowhere to be found. It’s long out of print, and I believe only 1,000 copies were made in the first place, so people who’ve got it seem to hang on to it for dear life.
Happily, the Area 51 discography is being re-pressed by Sound Virus records (run by Mike Ott, who ran Hopscotch records, which originally put out the 10-inch, and also put out the Death Wish Kids 7-inches, and an Apeface 12-inch that has one amazing song on it). The record will be available in about two weeks, and only 500 will be pressed (12-inches this time, on clear vinyl). In a few months, more copies will be released on CD.
But wait, who is Area 51, and why am I so excited about their discography, a discography that’s so small it fits on a 10-inch? First off, Area 51 are from Seattle, and I am not, so maybe I’m wrong in assuming people don’t know them; back home in Northern California, two of my friends and I LOVED Area 51—but beyond us, no one else we knew, or anyone I’ve met since, had even heard of them. No one. But, you’ve heard of Death Wish Kids right? Their 7-inches are generally plentiful at record stores. Well, Area 51 is the band that came before them, and includes members that went on to be in Murder City Devils, Pretty Girls Make Graves, and Modest Mouse.
I don’t think I’ve ever heard Modest Mouse, but I have heard Pretty Girls Make Graves and Murder City Devils and I don’t like either of them. Area 51 do not sound like any of those three bands. They sound basically just like Death Wish Kids, only slightly edgier and slightly less poppy—Andrea Zollo and Spencer Moody scream their fucking heads off in this band. Area 51 are seriously rocking”¦ but not serious hardcore. Their subject matter is very high school; you know, pissed-off songs about killing cops and having no values. Oh, and the best song on the record is an ode to the 1979 teen-boredom/angst/destruction movie Over the Edge.
Go to Sound Virus to get the record.
posted by October 31 at 3:18 PMon
Leave it to Tom Waits to give us one of the creepiest music videos ever.
posted by October 31 at 12:11 PMon
I’m an unapologetic fan of horror films, and by extension, the role that music plays in scaring people senseless. Audible ingredients are obviously important to movies of any genre, but when it comes to building and maintaining suspense, disorienting or disturbing an audience, or just generally creating uncomfortable ambience, a carefully crafted score or soundtrack is a critical tool for a horror film director.
The first time I remember being fundamentally spooked by a soundtrack was when I heard the ghostly strains of theremin that color the score to Alfred Hitchcock’s 1945 psychological thriller, Spellbound. The theremin (pictured below) went on to become the basis for many frightful features, including The Thing From Another World and The Day the Earth Stood Still, the latter of which was composed by Bernard Herrmann.
Herrmann ended up being Hitchcock’s most prominent collaborator and the man responsible for The Trouble With Harry, The Birds, Vertigo, and most notably, the stabbing violins of Psycho. Hitchcock was well aware of the gravity sound added to his work, and always gave Herrmann elaborate directions.
Unsurprisingly, late ’70s and early ’80s slasher films were infected by the same plastic sound that was infiltrating pop music at that time: the synthesizer. While this made for more than a few thoroughly unscary, dated-sounding scores, it was this simple, effective element that made Halloween one of the most disturbing movies of that era. In an effort to stay within the confines of his paltry budget, director John Carpenter composed Michael Myers’ tinny, relentless theme music himself.
More recently, I was impressed by the score for 28 Days Later, composed by Canadian avant garde art punks Godspeed! You Black Emperor, a beautifully paced and intricately constructed post-apocolyptic soundtrack. Despite what I enjoy in non-cinematic contexts, I find it completely distracting when directors recruit industrial rock artists like Trent Reznor (Seven) or Marilyn Manson (the remake of Texas Chainsaw Massacre) to create a what amounts to a music video soundtrack.
Sometimes the sheer absence of sound or the misappropriation of a formerly benign song as the backdrop for something henious is the most effective device of all. David Lynch used Roy Orbison’s “In Dreams” with chilling results in Blue Velvet, as did Stanley Kubrick with “Singing in the Rain” in the merciless rape scene from A Clockwork Orange.
Locally, one of my favorite connoisseurs of disturbing music is KEXP’s Greg Vandy. Every Halloween, he does a special edition of his Roadhouse show using gothic alt-country and vintage Americana as the foundation. You can listen to this year’s edition here (just click on “most recent show”).
posted by October 31 at 11:22 AMon
Last night, at the Ozma show at Chop Suey, the Pharmacy were definitely the shining stars. The boys are now apparently operating as a four piece (before it was just three, but Joey recently left the band so they have not only a new keyboard player but a new bassist as well), and to close out the day-before-Halloween show, they played a great cover of Adam Green’s “Dance With Me” (such a charming song). As the song started, a few of the band’s accomplices attacked the crowd with dozens of balloons and handfuls of streamers. The crowd loved it, but they also were too distracted by bouncing around the balloons to actually dance along with Pharmacy singer Scotty Yoder as he hopped around on stage singing. Oh well, it was still great. I only wish I had pictures.
As for where to go tonight, well aside from all the Halloween parties happening around town, there are also some stellar rock shows. The Ark, as reported earlier, had to cancel their US dates, but the show must go on and now my favorite boys, Speaker Speaker, be playing at the Croc with the Figurines. Sure, they’re not Swedish (and they don’t have Ola Salo’s cheeckbones), but they’re just as much fun. Also tonight, the Hollowpoints will play the High Dive, Bad Things are playing Jules Maes, the Invisible Eyes, Super Geek League, and the Dead Vampires will be at Studio Seven and there’s also a Devo Tribute Night at Chop Suey with the Pleasure Boaters, Teeth & Hair, the Resets, Dynamik, and more.
posted by October 30 at 4:45 PMon
posted by October 30 at 3:23 PMon
Judging by the fact that along with editor Dan Savage, Stranger writers Kurt B. Reighley and Ma’Chell Duma LaVassar have written so enthusiastically about the Ark, it’s safe to say that we’re big fans here. Unfortunately, as previously feared and then refuted last week on Line Out, the Ark have cancelled most of the remaining dates on their U.S. tour, including their show scheduled at the Crocodile tomorrow.
posted by October 30 at 3:05 PMon
Four years ago today somebody walked right into Jason Mizell’s Queens studio and shot him in the head.
One-time person of interest in the case, Curtis Scoon, is interviewed here; the man that Notiorious C.O.P. author Derrick Parker actually believes killed JMJ, Carl “Big D” Jordan, has never said anything about the incident. Check Parker talking about it here, around the 3:00 mark. Another rap murder goes unsolved…and to those who would say “live by the gun…”, you should check yourself, as he was one of hiphop’s most universally beloved individuals.
As Queens rapper Grafh put it, ‘we lost a man, a real nigga, a husband, a father’.
Jay was a distant cousin of mine whom I never met; god knows if I had, I would’ve surely been starstruck by my own kin. He is after all the King Of Rock- there is none higher. God Bless.
posted by October 30 at 12:57 PMon
I’m a little disappointed in myself for ignoring this album for so long. In anticipation of his upcoming Halloween performance at the Tractor, I thought I’d give Micah P. Hinson’s new CD, Micah P. Hinson and the Opera Circuit, a fair chance in my daily rotation at work. Maybe it’s just that autumn mood, but man, I am now totally enamored with this record. It’s funny, I’ve never once read anyone compare Hinson’s songwriting, or even his voice, to that of Silver Jews frontman David Berman. But after spending some time with Hinson’s new one, the melancholy ballads on Bright Flight and the visceral poetry of American Water were the first things to come to mind. As with the best Silver Jews albums, Hinson takes heartbreaking moments of disappointment and crafts pensive and poignant alt-country tunes that really capture that dusty rustic essence of the South.
You can stream the entire album through the Jade Tree website, and Kurt B. Reighley gave Hinson a brief write up in this week’s Up & Coming. I’m a big fan of the record’s first track, “Seems Almost Impossible,” as its airy strings and cricket samples set a very delicate, back porch mood that carries through the entire album.
If you’re like me and can’t handle the boisterous Halloween crowds, the Tractor may just be the best place to sit, chill and drink away the wickedness. I guess costumes are pretty much built-in for Tractor patrons; with my best flannel shirt, padded vest and trucker cap, I’m going as the Asian Will Oldham.
Micah P. Hinson, Zera Marvel @ The Tractor Tavern, 10/31, 9PM
posted by October 30 at 12:25 PMon
drawing by Devon Deimler at Wildfire Wildfire
Last night, Baltimore duo Ecstatic Sunshine turned the Comet Tavern into a cathedral. Guitar melodies floated through the room, stratosphere bound. Eager minds were blown. Imaginary beats pounded under very real plucked polyrhythms. Dudes rocked unbelievably hard with only two guitars.
I missed Make Believe. Tell me it wasn’t amazing (I know it was).
Meanwhile the Cha Cha hosted its first ever show to great success. Details are a bit fuzzy, but a good time was had by all. Keep and eye out for Colin Roper (of Cobra High)’s new band, Loving Thunder (thanks, Robin). You will know them by their lethal mix of Lightning Bolt frenzy and classic rock riffage.
posted by October 30 at 9:28 AMon
It was both haunting and boring—long, melancholy songs with a ghost of a folk-blues structure languishing at the bottom of an ocean of weird: unsettling open-chord tunings, plucked slowly, almost incidentally, and warbling vocals. (Boring, I should add, isn’t necessarily bad: If it’s used as a tactic so tenderize audiences for greater shocks later on—and isn’t simply the by-product of a lazy imagination—boredom can be a useful tool in an artist’s kit.) There was a fairly straight-ahead bassist. There was a drummer who played like he was backing a jazz trio. There were two women sitting far upstage. And then there was the spooky man himself, Jandek-who-isn’t-Jandek. From an explanatory web site:
Officially, Jandek is not a person. The man from the album covers and live appearances is “a representative of Corwood Industries,”¯ and “Jandek”¯ is a musical project which he directs. The trinity of Jandek, Corwood, and “the representative”¯ is both three and one… Everybody knows one thing about Jandek, that no one knows anything about Jandek. There is nothing but the music. Some find it crude or inept on first hearing, but upon exploration it reveals incredible depth, intelligence, feeling, and rewards for the listener.
He was tall, thin, pale, with a black hat, a shadowed face, black shirt and pants, playing his guitar by picking up and down the neck of the instrument, never using the frets that I could see. (He spent a lot of time not-facing the audience.) Unfortunately, about an hour into the performance, I began to feel ill and had to leave. Which is too bad. I didn’t walk in the door as a fan and I didn’t walk out the door converted, but I’m curious to hear what the rest of the set was like.