Tonight Tonight in Music: Zizek Urban Beats Club, Joseph Arthur, Earlimart, Bullet for My Valentine
posted by on July 22 at 9:30 AM
Zizek Urban Beats Club
(MUSIC) Zizek Urban Beats Club is a weekly dance party and DJ collective in Buenos Aires, Argentina, that mixes music from around the globe—Berlin techno, Baltimore club, London grime—with South America’s world beat du jour, cumbia. But why the name Zizek? DJ Grant C. Dull explains: “One of the resident DJs, a philosophy student, loved how Zizek used elements of contemporary culture and ‘mashed them up’ with classical thought to create something fresh and new, similar to what we are doing with music.” (Nectar Lounge, 412 N 36th St, 632-2020. 9 pm, $10, 21+.) Eric Grandy
Read more about Zizek Urban Beats Club in this week’s Bug in the Bassbin.
Joseph Arthur, Anna Ternheim
(Triple Door) Over the last several months, singer/songwriter and visual artist Joseph Arthur has released a flurry of recorded material on his own Lonely Astronaut label—four EPs since March, leading to a full-length coming in September. Each of the EPs is diverse in both mood and style. (March’s Could We Survive showcased the raw urgency of his earliest albums, while April’s Crazy Rain incorporated lots of beats.) Arthur has also been busy on the visual-art front, opening the Museum of Modern Arthur, his gallery space in Brooklyn. In the live-music arena, his performances are a sight to behold; he lays down loops prior to each song, creating the backing vocals and rhythm parts which, added to the “live,” make for completely unique performances. KATHLEEN WILSON
Earlimart, the Capillaries
(Chop Suey) Like the quiet kid in the back of class, Earlimart don’t immediately demand your attention, but once you start noticing, you realize that their quiet charm is a hell of a lot more interesting than the class clown. Hymn and Her, the duo’s latest album, is full of hazy beauty and lovely boy/girl harmonies that seem to float together over the music. The result feels like blissfully drifting down a river on a hot summer day in the central San Joaquin Valley, where the band take their name from, cold beverage in hand and no worries or distractions to ruin the perfect moment. BARBARA MITCHELL
Bullet for My Valentine, Bleeding Through, Cancer Bats
(Showbox Sodo) The New York Dolls introduced glam to the underground in 1973. By 1989, the Dolls were eclipsed by chart-topping glam metal acts like Dangerous Toys. That same year, Gorilla Biscuits and Youth of Today were playing Sunday matinee shows at CBGBs. Strangely enough, people still give a shit about Lower Eastside hardcore bands while the majority of the ’80s Metal Circus poster boys are relegated to obscurity. But those New York hardcore bands helped usher in current mainstream trash like Bullet for My Valentine. As we speak, in some basement or dive bar, a far more interesting band is playing, and 15 to 20 years from now we’ll be talking about them instead of Bullet for My Valentine. BRIAN COOK
Hear Bullet for My Valentine here.
And Judas Priest.
um, dont forget judus fucking priest.
I just wanted to mention how much I LOVED Brian's preview for the Bullet For My Valentine show. It really made my day.
You do know they are from Wales, right?...They have nothing to do with the American hardcore scene. You don't even have the genre right. Try again.
The show kicked ass by the way. Too bad you weren't there. Then again you probably would have been flattened so I guess it all worked out for you.
@4
you're absolutely right. they have absolutely nothing to do with hardcore (american or european) from a sonic perspective. hence my description of them as mainstream trash. however, they have been marketed to the hardcore audience. this is evident in their debut american release coming out on Trustkill Records (an american hardcore label), though it was actually financed by a major label. it's also evident in their choice of support acts: Bleeding Through and Cancer Bats. both acts are hardcore bands (or, at least categorized as such by their publicists). so while you're correct that they are not an american hardcore band, you completely missed the point. like so many other post-nu-metal bands, they're trying to cash in on any loud rock market that still has a shred of credibility. it's pretty offensive to see cock-rock bands like BFMV and Avenged Sevenfold use the hardcore scene's network to establish a fanbase when it's so obvious that they have no actual affiliation to it. it's even more depressing that people buy into it.
on a side note, when did "american" enter the equation? are you trying to argue that europe and the uk didn't have viable hardcore scenes? ever heard of Discharge? geography wasn't the point of the article. rather, i was trying to highlight the sad reality of boring bands cashing in on the blood and sweat of pioneering artists.
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