Radiohead Live June 6, 2012 @ Blossom Music Center, Cuyahoga Falls, OH
My brains have been scrambled. Radiohead probed my mind… and I liked it.
Radiohead may actually be dark scientists, merely posing as musicians who are highly adept at their craft. Operating at forbidden frequencies, and unlocking aural sequences the equivalent of cosmic code breaking, it seems plausible that this band could cause a cataclysmic celestial event. An event, where formulas and proofs replace measures and movements and theorems and algorithms, substitute tempos and time signatures.
Radiohead was the band that sold us jazz by convincing us it’s rock. But, after witnessing their experimental mastery onstage, a more fitting decree is – Radiohead is purging our arcane notions of dance music and reprogramming it into something unearthly, maybe even a little unnerving ( like a college student’s introduction to David Lynch). The truth is, Radiohead is alien. The band speaks an entirely different language than most of us, and live, summon an other worldy sound -both unnerving and beautiful. I heard the death rattle of a thousand dying star systems. Felt the rumblings of an astral anomaly and ancient planets violently rotating. I heard all earthly matter beautifully swirling towards a wormhole, being replaced by antimatter as it enveloped all it touched. I heard the sound of the apocalypse, and Radiohead were the end of music on earth. The effects this sonic experiment, caused audience consciousness to disintegrate. From the front row to the lawn, everyone seized and convulsed in unison, as if losing control over their bodies and minds.
The slightly ambiguous thriller links several characters around the world, examining their sexual relationships and how they transgress society. Starring Anthony Hopkins, Jude Law, Rachel Weisz
Paul Dano stars as a neurotic novelist crippled by that dreaded writer’s block. When he finally receives a burst of inspiration by crafting a story about a wonderful dream girl named Ruby, he’s astonished to discover that his story willed her into existence.
The pint-sized Wallis carries the film on her back as Hushpuppy, a young girl living with her father in an impoverished Delta community. When her father’s health begins to fail, Hushpuppy’s world goes out of whack. Great floods and the appearance of mythical beasts known as aurochs take over her community, as she must learn how to survive without her father.
Woody Allen, Alec Baldwin, Penelope Cruz and Roberto Benigni…
But if you need more – Allen’s European roadtrip hits Italy, with an ensemble cast caught in a variety of Woody’s trademark romantic and social misadventures.
An uptight NYC lawyer gets dumped by her husband and decides to take her two kids upstate for a summer vacation; their destination is grandma’s house, and grandma just happens to be a pot-smoking, chicken-raising hippie. Directed by Bruce Beresford (“Driving Miss Daisy”)and starring Elizabeth Olsen, Jane Fonda, Catherine Keener.
Safety Not Guaranteed stars Aubrey Plaza (Parks & Rec) as a magazine intern working on the story of a small-town wacko, who put out an ad seeking a partner to help travel back in time. As she gets closer to the man behind the ad, she begins to realize that the mysterious circumstances surrounding him aren’t as crazy as they first seemed.
Dark comedy director Bobcat Goldthwait’s new film God Bless America starts Bill Murray’s younger brother, Joel as Frank, a terminally ill man who takes his nothing-to-lose scenario and decides to clean up society. Aided by the crazy 16-year-old Roxy, he goes “Taxi Driver” on annoying reality TV debutantes, media loudmouths and people who text in the theater.
Watch this short story about shaping surfboards from Joel Fitzgerald Surfboards. You can catch this and other films at The New York Surf Film Festival – a curated exhibition of the highest quality surf films from around the world to give the surfing community and general public a spotlight in the city to celebrate the filmmaking craft, honor the heritage, and learn about the new movements within and surrounding the surf lifestyle.
Ben Nordberg is one of the most well known Brits in international skateboarding, known for his easy-going style. He’s so laid back, he looks like he’s half- asleep most of the time. This is Ben Nordberg’s first ever, full-length Flip video part. Filmed by Russell Houghton, Ewan Bowman, Greg Hunt & Greg Poisionner. Edited by James Gardner. Presented by Relentless Energy, Analog, Gravis & Flip Skateboards.
Rooftop films has teamed up with SXSW to present a weekend of Austin-based festival favorites including The Sheik and I, Fat Kid Rules the World, and Sun Don’t Shine. Q&As will follow each screening this weekend.
Thursday, June 7
The Sheik and I
(Caveh Zahedi | 108 min.)
Co-Presented by Rooftop Films & SXSW
Caveh Zahedi built a reputation as a naughty provocateur with surreal docu-comedies like A Little Stiff and I Am a Sex Addict, but his latest effort rises above self-interest and takes a stab at instigating change. And he might be facing a fatwah for it. The Sheik and I, a diary film about Zahedi’s messy experience working on commission in the United Arab Emirates, certainly contains a mischievous edge. However, Zahedi has also made an alarming testament to the challenges of sincere expression in societies opposed to its function. It’s a daring work made with reckless abandon — in other words, both irresponsible and necessary. Q&A with Caveh Zahedi following the screening.
Venue: On the lawn of Automotive High School, 50 Bedford Ave. @ North 13th St. Williamsburg, Brooklyn
Subway: L to Bedford Ave. or G to Nassau Ave.
8:00PM: Doors open
8:30PM: Live music
11:30PM-1:00AM: After-party at Matchless (557 Manhattan Ave. @ Driggs)
Tickets and more information: http://rooftopfilms.com/2012/schedule/the-sheik-and-i/
Friday, June 8
Fat Kid Rules the World
(Matthew Lillard | 94 min.)
Co-Presented by Rooftop Films & SXSW
Troy is a fat kid. Ignored at school, ridiculed by his younger, more athletic brother, pitied by his ex-marine father, he has decided to end it all by stepping in front of a bus. He is just about to do it when he is knocked out of harm’s way by a force of nature named Marcus. Thus begins an unlikely partnership between nerdy, introverted Troy and semi-homeless, drug-addicted, punk rock genius Marcus. Marcus recruits Troy as the drummer in his new band, and for a second, it looks like things might be looking up for Troy. There are only a couple of problems. Troy doesn’t know how to play the drums, and Marcus doesn’t know how to stay off the pills for long enough to be the friend that Troy so desperately needs. Twenty pages into K.L. Going’s book by the same name, Matthew Lillard (SLC Punk) picked up the phone to buy the movie rights. It took him nine years to find a way to make the film. We at Rooftop are glad he did, and we think you will be too. Q&A with Matthew Lillard following the screening.
Open Road Rooftop, 350 Grand Street (at Essex), Lower East Side, New York, NY 10002
Subway: F, J, M, Z to Delancey Street-Essex Street; B, D, Q to Grand Street
8:00PM: Doors open
8:30PM: Live music
11:30PM-1:00AM: After-party at R Bar (218 Bowery @ Rivington) courtesy of Radeberger Pilsner
Tickets and more information: http://rooftopfilms.com/2012/schedule/fat-kid-rules-the-world/
Saturday, June 9
Sun Don’t Shine
(Amy Seimetz | 90 min.)
Co-Presented by Rooftop Films & SXSW
The sun is blaring white. The air is thick as water. Behind the mangroves and swamp grass, a man and a woman fight like animals. There’s trouble in the trunk. The cause of the commotion is unclear. The woman (rising indie star Kate Lyn Sheil) passes out in the muck and the man (Kentucker Audley) sets to driving shirtless before they reveal anything. With the heat so palpable and the landscape a teeming jungle that’s creepily calm, the whole thing could be a fever dream. Many moments in Sun Don’t Shine have an ethereal quality—a shirt flutters away from a car window, the sounds of the world melt into noise. But this is the danger-tinged dreaminess of Badlands, and the film truly grips you by carving vivid details out of an authentic Southern locale.
Open Road Rooftop, 350 Grand Street (at Essex), Lower East Side, New York, NY 10002
Subway: F, J, M, Z to Delancey Street-Essex Street; B, D, Q to Grand Street
8:00PM: Doors open
8:30PM: Live music by Behavior
11:30PM-1:00AM: After-party at Fontana’s (105 Eldridge St. @ Grand)
Tickets and more information: http://rooftopfilms.com/2012/schedule/sun-dont-shine/
Director Wes Anderson talked with Drew Mcweeny about his latest film Moonrise Kingdom and his great relationship with Bill Murray.
THE BLACK POWER MIXTAPE 1967-1975 mobilizes a treasure trove of 16mm material shot by Swedish journalists who came to the US drawn by stories of urban unrest and revolution. Gaining access to many of the leaders of the Black Power Movement—Stokely Carmichael, Bobby Seale, Angela Davis and Eldridge Cleaver among them—the filmmakers captured them in intimate moments and remarkably unguarded interviews. Thirty years later, this lush collection was found languishing in the basement of Swedish Television. Director Göran Olsson and co-producer Danny Glover bring this footage to light in a mosaic of images, music and narration chronicling the evolution one of our nation’s most indelible turning points, the Black Power movement. Music by Questlove and Om’Mas Keith, and commentary from prominent African- American artists and activists who were influenced by the struggle — including Erykah Badu, Harry Belafonte, Talib Kweli, and Melvin Van Peebles — give the historical footage a fresh, contemporary resonance and makes the film an exhilarating, unprecedented account of an American revolution.
Download over 50, shiny, new – indie, electronic and hip-hop – tunes for free.
Just RIGHT CLICK on a track and SAVE LINK AS MP3 to your computer.
**Lazy-Man fix: Hit play on our MUSIC PLAYER here.
GvsB II MIX (100 mb)
GvsB II :: MIXTAPE
01 Taken By Trees x TTA :: taken too young
02 Glass Candy :: rolling down the hills (spring demo)
03 Twin Sister :: meet the frownies
04 Chromatics :: in the city (demo)
05 Games :: strawberry skies (feat. Laurel Halo)
06 Laurel Halo :: thaw
07 Glass Candy :: halloween
08 A.Dd+ :: can’t come down
09 Chromatics :: running up that hill
10 Taken By Trees :: anna (feat. Panda Bear) (CFCF remix)
11 Twin Sister :: kimmi in a ricefield (balam acab remix)
12 Taken By Trees :: the sweetness of air france
13 Twin Sister :: all around and away we go
14 A.Dd+ :: i’m so dallas (DJ Sober mix)
15 Glass Candy :: geto boys (demo)
16 Twin Sister :: lady daydream (Jóvenes y Sexys remix)
17 King Felix (Laurel Halo) :: SPRING 01
18 Chromatics :: into the black (drumless version)
19 Chromatics :: kill for love
Sound of Vision is a 7- minute documentary, about one man’s journey to belong as he confronts the hurdles, and embraces the beauty, of the city he will never see. The film was created in under five days for the International Documentary Challenge by 20Coop – a collaborative production team comprised of five New York based filmmakers from The United States, Canada, Russia, China and The Netherlands : Joseph Vele, Julia Doran, Konstantin Syomin, Dongnan Chen, and Loretta van der Horst.
Sound of Vision premiered at the Hot Docs Canadian International Documentary Festival in Toronto on May 1 and took home five major awards including Best Film presented by the Documentary Channel, the POV Award presented by American Documentary/ PBS, Best Use of Genre, Best Cinematography, and Best Editing.
Sound of Vision and the eleven other finalists are online for viewing and voting for the Audience Award (presented by the Documentary Channel) in the International Documentary Challenge Screening Room.
On the cusp of inheriting his father’s estate, Swanson (Tim Heidecker, “Tim & Eric Awesome Show, Great Job!”) is a man with unlimited options. An aging hipster in Brooklyn, he spends his days in aimless recreation with like-minded friends (“Tim & Eric” co-star Eric Wareheim, LCD Soundsystem frontman James Murphy and comedian Gregg Turkington a.k.a.“Neil Hamburger”) in games of comic irreverence and mock sincerity. As Swanson grows restless of the safety a sheltered life offers him, he tests the limits of acceptable behavior, pushing the envelope in every way he can. Heidecker’s deadpan delivery cleverly masks a deep desire for connection and sense in the modern world. The Comedy wears its name on its sleeve, but director Rick Alverson’s powerful and provocative character study touches a darkness behind the humor that resonates with viewers long after the story ends.
Watch Reggie Watts and Madmen’s John Hamm remix the theme from”Taxi” on IFC’s new talk show “Comedy Bang! Bang!” T-T-T-T-Tony Danza.
Packed with character cameos, short films, comedy sketches and games set in an off-beat world, Comedy Bang! Bang! delivers thirty minutes of absurd laugh-loaded fun featuring some of the biggest names in comedy, including Amy Poehler, Zach Galifianakis, Adam Scott, Seth Rogen, Elizabeth Banks and, host Scott Aukerman. But before these comedy greats can make it to the relative safety of the couch, they have to get past Reggie Watts who has made it his mission to make each and every one of them sing with him. ” ( via IFC )
In 1991, two works appeared – Douglas Coupland’s novel Generation X, and Richard Linklater’s film Slacker—both, in Linklater’s words, “speaking about the generation that doesn’t want to be spoken for,”(1) the generation born during the tumult of the 1960s. At the same time that Slacker and Generation X were reaping headlines, an equally important (though much less self-conscious) generational statement was unfolding: chapters of Daniel Clowes’ Like A Velvet Glove Cast In Iron had been appearing in his singlecreator showcase Eightball since late 1989.Linklater describes a Dead Kennedys show in 1984 that galvanized him: “In a very short time I went from thinking (as I had been told over and over again) that my generation had nothing to say to thinking it not only had everything to say but was saying it in a completely new way.”
Statistically it is a generation that is less than one percent of the population, the flat line after the bulge of the baby boom. It is the first generation with a lower median income than their parents. It is a generation raised on t v and conspicuous on t v. It is a generation that grew up with not only the cold war, but with global warming, terrorism, and metal detectors in their schools.
The album Smash, by the Orange County band Offspring, has sold over 3 million copies; it is the largest-selling independent album to date. The band members’ average age is 28 and, in my opinion, their success is due in no small measure to lyrics such as the following: We’re not the ones who leave the homeless in the street at night We’re not the ones who’ve kept minorities and women down….
We’re not the ones who let the children starve in faraway lands
We’re not the ones who made the streets unsafe to walk at night….
But the weight of the world is on our shoulders….” (2)
Much less earnest and far more satirical is a one-page strip in Eightball called “Who Would You Rather Fuck: Ginger or Mary Ann?” (3) Here Dan Clowes discourses on twenty-something culture through the mouths of slacker characters created by fellow cartoonist Peter Bagge:
“It is a culture of contrived contrariness—we listen to ineptly performed, discordant music and wear ugly, ill-fitting clothes…. Our response to a culture of sadism is to masochistically scar and wound ourselves… .[W]e are … a toothless hybrid, removing the basically serious intent from the movements of the late 60s and late 70s…. We have extracted varied aspects from those two cultures (“alternative media” and self-conscious sloppiness from the former and guiltless worship of junk from the latter) and formed an aggregate that is meaningful only in that it indicates clearly that ours is an empire in sharp decline…. [W]e will now sink into oblivion, to be remembered (perhaps) only by some even more idiotic future generation who will morbidly imitate our mannerisms in a regressive attempt to avoid the horrors that surely lie before
Many of Clowes’ stories are similarly short, satirical, and self-referential. His first ongoing series featured a hep private eye named Lloyd Llewellyn, inhabiting an eternal and highly stylized 1960. His short work has appeared in Weirdo, Young Lust, National Lampoon, and the Village Voice; one of his most widely printed (though uncredited) works was the design of the OK Soda can, a product targeted specifically at the perceived Generation X market. It is, however, in the dark, complex, and Kafkaesque novel Like A Velvet Glove Cast In Iron (completed in 1993) that Clowes creates his most sustained and coherent (though some might argue the latter) vision.
We know very little about Clay Loudermilk, the main character of Velvet Glove, but we can make some inferences. He appears to be in his twenties, has no apparent income or responsibilities. He was once married to a beautiful black-haired woman who left him without any real explanation; his search for her forms the spine of the novel’s plot.
The story opens with Clay in the audience at a porn theater, watching a film called Like A Velvet Glove Cast In Iron. It contains no sex or nudity, but features people in bizarre costumes involved in bondage and s&m. At the end of the film, a masked dominatrix reveals herself to be Clay’s ex-wife. Clay learns the film was made by a Dr. Wilde and his company, “Interesting Productions,” located in nearby Gooseneck Hollow. After a series of bizarre and painful adventures, he locates the house of one of the cast members, and actually sees his ex-wife through the window. He takes an apartment across the street and waits another week before trying to approach her.
In the meantime, fate catches up with both of them. On the run from a sadistic killer named Geat, Clay stumbles upon the headquarters of Interesting Productions. There he watches, less with horror than with overwhelming sadness and despair, their latest film. It is called Barbara Allen, and it includes footage of his ex-wife being murdered and buried. Clay makes his way to the gravesite, where Geat literally dismembers him, leaving him armless, legless, and powerless.
In a long interview in The Comics Journal, Clowes talks about the origins of the story: “It was based on two or three dreams I had had at the time, and one that my ex-wife had had recurring throughout her life.” Later he says, “A lot of stuff is taken directly from dreams I’ve had. A lot of it is just daydreams, where … I can just have these thoughts that are uncontrolled by common logic, and then I start to see things in a different way. It’s sort of the same thing as when you wake up from a long dream and you, for one minute, see the absurdity of the world.”
That absurdity is most obvious in the novel’s supporting cast: Laura, a sixtyyear- old dog with no orifices, who lives on a syringe of water a day; Billings, Laura’s most recent owner, with his failed hair transplant like a miniature forest and his obsession with “Mr. Jones,” a round-headed novelty character; Tina, a spectacularly deformed dolphin-woman, bright green in color, with pop eyes and scales.
From the beginning, the novel is drenched in surrealism and an idiosyncratic, dreamlike logic. On page 12, Clay seeks information about the
film from a swami who holds court in the men’s room of the theater and gives accurate and detailed answers to any question asked of him. On page 13 he borrows a car from a friend who has had his eyeballs removed due to an infection and replaced with “rare Asiatic sea crustaceans.”(5)
Causality in the novel operates at a level that is not accessible to Clay, or apparent to the reader. Driving his friend’s car from its underground parking garage, Clay is accosted by a drunken attendant who spews whiskey directly into Clay’s mouth. As a result, Clay is arrested two pages later by two omnisexual policemen in sunglasses who offer him a deal: fight them, or risk “ten years at the big rock.” At the conclusion of their savage beating, one of the policemen carves an image into the bottom of Clay’s foot: the roundheaded novelty character, “Mr. Jones.” As a result, Clay buys a figurine of “Mr. Jones” at a novelty store, which attracts the attention of Billings, collector and conspiracy theorist. Billings’s orifice-less dog, Laura, chooses to follow Clay even though he tries to send him (her?) away. As a result, Billings believes Clay has kidnapped the animal and sets the madman, Geat, on his trail.
There is no reason to believe that Velvet Glove is a parable or an intellectual puzzle to be solved. On the contrary, Clowes seems to have expended considerable effort to keep from pinning down the meaning of the work, to the extent that too much planning seemed “manipulative and contrived” to him. “It would be really hard to mystify my audience when I knew exactly what was going to happen,” he told the Comics Journal. “So I’ve been trying to write it while keeping myself mystified as much as the readers … trying to see what kind of images and ideas excite me and scare me and affect me emotionally…. And I’m also trying to write an honest narrative, a narrative that works by its own rules and goes under its own steam rather than … contriving things…. And then, on some level, it’s kind of a social satire, a comment on the way I see the world in my bleakest moments.”What is available to the careful reader is a consistent, andmeaningful, world view. That world view is occasionally bleak indeed, as when Billings rants: “The world is a shithole, filled with swine and sheep.” And this is certainly a valid reading of the story. The novel is filled with heartless, greedy characters like Geat and Dr. Wilde, and compassionate victims like Clay and Tina, characters who act, as Clowes says in the interview, “according to their own humanity—or lack thereof.”
Another thread that runs throughout the story concerns gender relations. Clowes took the title, a reversal of the “iron fist in a velvet glove” cliché, from the Russ Meyer film Faster Pussycat, Kill Kill. “I still don’t understand what it means … basically … it’s something that’s couched in femininity, but it’s actually very tough and masculine.”
Gender roles are very much at issue throughout the story. After his beating at the hands of the (sexually very non-traditional) police, Clay is rescued by a man named Godfrey—”God” to the members of his cult. Godfrey’s holy mission is to bring about “Harum Scarum,” his version of Helter Skelter, in which, as one of his followers explains, “there’s gonna be a worldwide war between man and woman and woman’s gonna win…. The new world will be one people, one gender, one culture. Esperanto, the universal language will be spoken….”Clay is assigned to murder columnist Ann Landers, but escapes. Later in the novel, Godfrey’s revolution does in fact take place, with mobs of women running in the streets, beating men up, stripping them, and insulting them. When last we see Godfrey he is in the White House, and his followers are holding Bill Clinton at gunpoint.
The macrocosm reflects the tensions present throughout the story: Haskell, a rival of Billings in the pursuit of the “Mr. Jones” mystery, explains to Clay that “only male Caucasians with certain character patterns” can achieve the mental frequency needed to contact Mr. Jones (p. 97). (Conspiracy fans will enjoy the scene where Billings, having seen the Mr. Jones figure carved in Clay’s foot, begins to demand, “What’s the frequency, Kenneth?”, a phrase allegedly used by a man who assaulted Dan Rather in New York, and the inspiration for a recent hit by the group R.E.M.) Billings consistently refers to the orificeless dog Laura as “he.” Geat, Clay’s ultimate assailant, abuses women and injects himself with testosterone (p. 79). A film poster in the offices of Interesting Productions shows a Popeye-like character over the title “No Use for Wimmen” (p. 107). Godfrey, who is clearly portrayed as a hypocrite and manipulator (he tells Clay, “we have no use for your pig play money” then two panels later asks his lieutenant “Where’s my change?”) is only ever seen naked, his penis in constant view.
The two most compassionate characters are much less sexually stereotyped. Clay, as his name suggests, is extremely malleable, allowing others to direct his moment-to-moment actions. At one point we even see him idly trying on a woman’s wig (p. 84), and his passive nature is the opposite of Geat’s aggression. Tina, the most emotional of all the characters, attempts to seduce Clay by laying her eggs in his bed (p. 52).
My preferred reading is to see the films in the novel as reality, and the filmmakers as personifications of the forces who shape our existence. The sight of his ex-wife as a character in a movie is the impetus for Clay’s quest. When he takes his quest too far, he becomes part of the movie himself—his dismembering forms the climactic scene in Dr. Wilde’s latest “Interesting Production.” The punch line is that the plots of Dr. Wilde’s films are dictated by a preadolescent, pipe-smoking girl whom he calls “Precious.” Her casual, spur-of-the-moment suggestion was the cause of the on-screen murder of Clay’s ex-wife, not to mention untold other deaths and savageries.
An extreme view might hold that Clay’s acts of compassion are the very cause of his undoing; his concern for his ex-wife, his kindness to Tina, and his adoption of Laura lead only to pain, humiliation, and finally mutilation. Gary Groth, Clowes’ interviewer, points out that “It’s a fallen world,” has become a catch phrase in Eightball. Clowes talks about his first experience with the punk scene in New York: “I thought, ‘Wow, this is made for me. This is really speaking to my generation.’ Basically, my attitude was that we were all going to be blown up soon, and it didn’t really matter. Life was hopeless….”
He perceives his audience as being “college kids and disenfranchised teenagers—basically what we were 10 years ago. That’s who I get letters
from.” And it is in that particular adjective, disenfranchised, that I believe the key to Velvet Glove lies.
The most striking thing about Clay Loudermilk, in retrospect, is his powerlessness. In the course of the story everything is taken from him—his borrowed car, his clothes, his wallet, his identity, finally even the use of his limbs. When he rents a room, the same room is rented again to another person, without Clay’s knowledge or consent. Even the object of his search, his ex-wife, is murdered virtually under his nose. He saw a body bag being carried out of the building across the street (p. 95) without realizing until muchlater that his ex-wife was inside. His powerlessness comes in part from lack of money and position, but mostly from his unwillingness to hurt others (e.g. Ann Landers). For this he is repeatedly punished.
But this is not a generational issue. It is an issue of power and enfranchisement. Just as it is unfair to brand an entire age group as “slackers”
or “generation X,” it is equally unfair to assume that only young people are disenfranchised. Crippled and powerless people of all ages are on the fringes of Velvet Glove—Tina’s mother, an alcoholic with broken dreams of a mysterious lover; Sal, Tina’s middle aged fellow waitress, with whom Tina escapes from reality in soap operas; a lonely, disfigured man on all fours (p. 66) who gives Clay directions; there is even a statue in the town square (p. 48) of a onearmed, one-legged man.
When Richard Linklater talks about the message his generation has to offer, he says, “each individual had to find it in their own way, and in the only place society had left for this discovery—the margins. I think that’s where Slacker
This is also where Velvet Glove takes place. And if it offers little in the way of false hope or artificial panaceas, it does hold out the reassurance that those of us who have been disenfranchised by our violent, doomed society are not alone.
by Lewis Shiner
(1) All Linklater quotes from Richard Linklater, “Introduction,” Slacker, St. Martin’s Griffin, 1992.
(2) Offspring, “Not the One,” Smash, Epitath/Ada, 1994.
(3 )Daniel Clowes, “Who Would You Rather Fuck: Ginger or Mary Ann?”, Eightball 13, 1994.
(4 ) All Clowes quotes from Gary Groth interview with Daniel Clowes, The Comics Journal 154, 1993. Sitcom 3
(5) All page numbers refer to Daniel Clowes, Like a Velvet Glove Cast in Iron, Fantagraphics, 1993.
We were then given Sennheisner headphones, motioned into the theater and seated in tiny “space pods” – [ side note: I probably should have worn sweatpants and not the skinniest pair of jeans I own, but I digress]. Kid Koala took the stage, accompanied by his daughter, Maple, sitting contently in the chair beside him. Then, with a giant smile, Kid Koala proceeded to blow every mind in the crowd, as he performed a magic show on his turntables that would make David Copperfield green. It is incredibly rare for a musician to give so much of themselves to the audience. While most Dj’s and musicians stand on stage trying to act as cool as humanly possible, Kid Koala appeared with no pretense; more like a friend – sitting in his living room – doing what he enjoys doing most. This was what made the show such an awesome experience.
I talked to Kid Koala a.k.a Eric San after the show and he let me in on some details for the upcoming Deltron 3030 Event II – the sequel to the legendary Deltron 3030 album- which will be released in July, as well as, 12 Bit Blues another album coming out on Ninja Tune in the fall.
Here is a song called “3 Bit Blues” which appears on the upcoming album 12 Bit Blues.
You can also listen to a couple songs off the Space-Cadet album below [disclaimer: the tracks on this album are so relaxing, I haven’t been able to make it through the album’s entirety without being lulled to sleep].
If you have the opportunity to check out Kid Koala’s “Space-Cadet Headphone Experience” show, you should not think twice. I left the show feeling so inspired, that I immediately went home and turned on my MPC [MIDI Production Center]. After a 2 month creative drought, I quickly chopped up some samples, remembering how good it feels to create music you can call your own.
Update your iPod playlist this month for free, with over 50, sh!t hot, new – indie, electronic and hip-hop – tunes! We did the work for you. All of the freshest, most recent MP3 downloads on discosalt.com can be found below, in one clean, easy to grab list.
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Since Tame Impala guitarist Nick Albrook is also Pond’s chief songwriter and there are a few lineup overlaps, comparisons between the two Australian neo-psych pop groups are inevitable. Unlike Innerspeaker, super-producer Dave Fridmann doesn’t man the boards on this one, but the farmhouse production is affected with virtually the same tape echo, leslie speaker wobble, and vintage guitar tones. This puts the two on the same sonic playing field, but because of Pond’s willingness to take risks, Beard, Wives, Denim doesn’t feel distinctive or as firmly indebted to classic psychedelic music. With influences that range from David Crosby to Spiritualized, Pond’s songs are widely varied. “Fantastic Explosion of Time” is a grungy, garage rock fireball; “You Broke My Cool” injects ’50s style into ’70s glam; “Elegant Design” is a sly homage to funk, sung in a womanly falsetto, and “Moreno’s Blend” is a raw, acoustic porch jam. Every melody is blanketed in psychedelic sounds, giving a unified feel to the record, even if the music isn’t always easily containable. However, Pond is at their best when they go full force into watercolor psych, like in the fantastically trippy “When it Explodes,” and “Sorry I Was Under the Sky.” These songs could be B-sides to Innerspeaker. The only difference is that Tame Impala seem completely sincere about returning to the late ’60s/early ’70s. Pond is like an incorrigible younger sibling that is determined to learn by making mistakes. Both groups’ records are essential. [itunes]
Stream Edward Sharpe and the Magnetic Zeros new single “Man on Fire” from their new album, Here. The song recently debuted on KCRW, and you can stream the replay below.
Here is out May 29th via Community Music/Vagrant.
[photo: Chris Hornbecker/IFC]
Portlandia’s Fred Armisen and Carrie Brownstein aren’t just bringing back the 90′s, but a whole range of music for the rock nerds, this week on NPR Music. Both Armisen and Brownstein have – spent enough time in bands (Brownstein in Wild Flag and Sleater-Kinney, Armisen in the punk group Trenchmouth) to see the humor in amateur DJ nights and men with Pearl Jam tattoos. On this week’s show, the two sit down with Bob Boilen to talk about the music they grew up with, their favorite Portland bands, and a fateful trip to the home of punk icon Glenn Danzig.- (NPR)
Filmmaker Jarred Alterman, takes you inside the phantasmagoric world of a family of artists, holed up in a centuries-old monastery in southeastern Portugal in CONVENTO; a SXSW, Edinburgh, and Rooftop Films documentary fave.
Prima ballerina Geraldine, photographer Kees, and their two boys Christiaan and Louis left Holland in 1980 to take up residence at the Convento São Francisco de Mértola. Strategically situated at the convergence of two rivers in southeastern Portugal, this vacant monastery was left decaying for centuries until the Zwanikken family transformed it with their eccentric and earthy endeavors. In the airy studio converted from the estate’s chapel, Christiaan builds kinetic sculptures from discarded electronics and the skulls and bones of deceased wildlife. Combining the family’s home movies with his own observant photography, Alterman artfully casts these fantastical creatures as supporting characters as they literally move across the landscape, animating the ancient grounds.
In case you missed the chill-inducing new video for ‘The Wave’ (and next chapter in the Jean Noel story) from Miike Snow during SXSW, check it now on Noisey
The video is a continuation of a thread which began in their last video for “Paddling Out.” In that video, a group of unfortunates were abducted to space in an experiment to create a perfect human named Jean Noel. Following some pretty brutal chainsaw surgery, the video ended with Jean crashing to earth in a spaceship seemingly manned by classical-era twins. Both videos were directed by Swedish Director Andreas Nillson, who’s work includes MGMT and Fever Ray. Rumours the entire plot was cooked up after a real life after hours chain saw massacre are currently unconfirmed.
On Tuesday, March 20, Miike Snow will stop off in NYC at the Music Hall Of Williamsburg. Tickets are limited and Terminal 5 tickets holders have a limited pre-sale. General tickets are on-sale March 15th @ 12pm PST here:http://www.j.mp/ms-wburg-tickets
Subversive art collective Breton are about to release their Album “Other People’s Problems” in the next week and along with that they have a small tour lined up in the UK.
As a bunch of film-makers who turned musicians in order to soundtrack their visual work, who emerged from the south London squat party scene and named themselves after the father of surrealism Andre Breton, their approach to creating this album was never going to be predictable. Nor is the end result.
The album’s 11 tracks were fashioned from a field recording. Breton mastermind Roman Rappak obsessively records anything that attracts his attention – a building being demolished, a chance conversation, keys opening doors, the hypnotic motion of a New York subway car – and around these incidental sounds songs are created and a story is formed. His process of Automatic writing gives the songs their randomness and complex, dark layers of twisted beauty. Each listen divulges a little more – be it footsteps on a deserted hospital corridor, the ramblings of a beat poet on acid or the songs of prayer in a Belgian mosque.
It’s about randomness rather than traditional structure. Liberating the songs to take on a life of their own – Breton’s musical interpretation of the surrealist game “The Exquisite Corpse”. “Other People’s Problems’” seditious sound was formulated at the band’s creative HQ The Lab, a disused bank in Kennington, south London. It’s here that this outfit live, rehearse, and make their music. It’s also where they create their films, videos and remixes with meticulous attention to detail under their cinematic wing BretonLABS.
The band then took their album from the dingy grey urban surrounds of the Lab and relocated to Iceland for a week to record it at Sigur Ros’ studio in Reykjavik, which added yet another dimension to its sound. The final task was the addition of brass and strings. Breton sent some basic parts to German composer and personal hero Hauschka in Berlin, who recorded them with an orchestra of violinists, cellists and trumpet players to create an incredible piece of music worthy of a film score. He sent back the parts to Breton who then chopped up and sampled them into select album tracks – so the classical was redefined. And with that the album finally reached the end of its own game of “The Exquisite Corpse”.
Chairlift’s new video concept for “Met Before” is a Choose-Your-Own-Adventure, where you use your keys to chose the storyline. Directed by Jordan Fish, the interactive video will be different each time you watch, while the accompanying song, will be the same. You’ll start out in a university lecture hall, and you might end up making out with Amber Schaefer from Starfawn.
Beijing is a city of endless noise, the roar of construction and gridlocked traffic never too far off. The capital is also home to a flourishing experimental music scene, where young Chinese respond to their surroundings with a cathartic racket.
Howling into Harmony takes an intimate look at the lives of three local musicians and their parents, exploring the delicate balance between rock n’ roll rebelliousness and family, Westernized culture and deeply-rooted nationalism. Using underground music as an entry point, the film explores the world of young Chinese in the big city.
Come watch and support Joshua Frank’s documentary at Big Snow Buffalo Lodge in Brooklyn – Wednesday, March 21st :
Howling into Harmony (dir. Joshua Frank)
Soviet Pop (Beijing)
Zhang Shouwang (of Carsick Cars and White – Beijing)
Sontag Shogun (Brooklyn)
Ashcan Orchestra (Brooklyn)
Film at 8 p.m.
Bands at 9 p.m.
Big Snow Buffalo Lodge
89 Varet St., Brooklyn
Wednesday March 21
And be sure to download a copy of the upcoming issue of Discosalt Magazine, featuring Joshua Frank’s film Howling into Harmony
2012 has been going supremely well for Sharon Van Etten. The year kicked off with her debut performance on late night television; her stunning new album, Tramp, unleashed on the world via Jagjaguwar, was surrounded by a flurry of excellent press, including a profile in The New York Times Magazine and a rave review on NPR’s “All Things Considered.” Shortly after, she kicked off three months of touring with sold out shows across the northeast and midwest, culminating in a three-night run in her hometown of New York. Sharon is in Europe now and begins the second leg of her North American tour next week with two special shows at SXSW – the NPR showcase at Stubb’s on Wed.
Before heading down south, Sharon wants you to soak up a little more of Tramp with the video for “Leonard.” The video, directed by Sam Zimman. Check it out.
To support their SXSW dates, the band is also giving away a free download of “High Low” HERE.
Facebook has been inundated with a storm of KONY 2012 posts in the past couple days and the viral video, directed by Jason Russell has amassed over 9 million views. The film and campaign by Invisible Children aims to make Joseph Kony – one of the world’s worst war criminals – famous, not celebrate him but raise support for his arrest, disarm the LRA, bring child soldiers home and set a precedent for international justice.
HOW TO HELP:
Watch the new video from Tearist for the single “Unarmed” directed by Sean Stout.
Over the last two years Tearist has become one of the most notorious and vital bands in the new underground pulsing through Los Angeles. Building on songs driven by intense vocals and synths, the duo’s performances are known for being deeply physical and direct events. Yasmine Kittles sings from the depths of her body/soul and moves in a near-transfixed state, using scrap metals to scrape rhythm from the ground beneath her. All the while, as if telepathically linked, William Strangeland uses sputtering, cracked synthesizers to create shimmering melodic lines along rumbling interlocked beats and rhythms. Their songs flow and surge, building thick layers of analog sound and noise, often leaving wrecked PA’s in their wake.
Based in Minneapolis, Howler are Jordan Gatesmith (vocals / guitar), Ian Nygaard (guitar), France Camp (bass), Max Petrek (keyboard) and Brent Mayes (drums). The five-piece have released their debut album, America Give Up via Rough Trade Records on MP3 & LP and will be supporting The Vaccines’ full UK tour later this year.
The debut EP ‘This One’s Different’ is also available now.
After five years off the scene, The Shins have returned with a new, word-heavy video for “September,” inspired by Jacob Escobedo’s artwork for the album. The single will be released on the B-side to their upcoming Simple Song 7-inch, leading up to the release of their upcoming full length, Port of Morrow, [out March 20]. Now, the only question is whether or not this song will change Natalie Portman’s life.
The Drums performed a 4 song set last night (Valentine’s day) at W.I.P. (short for Work-in-Progress & owned by the proprietors of the Greenhouse). We caught The Drums last at CMJ 2010 (Photos). Starting roughly an hour late a midst the bottle-service-heavy underground art house (even if a bit contrived), The Drums tore through perennial favorites such as “Best Friend” as well as their more current hit “Money” and the dancing made me really miss the days of Mondo at Don Hills.
Catch the photos from last night’s performance below.
[photos: Cory Greenwell]
The Black Keys Follow up their buzz-worthy viral video for “Lonely Boy”, with a new video for “Gold On The Ceiling” off of their late 2011 release, El Camino. The video, directed by Reid Long, keeps it simple, following the band through their recent world tour intertwining studio footage with clips of the band behind-the-scenes and performing on stage.
In the early 1990s, Seattle was the focal point of an emerging musical underground. The Gits helped spearhead this new scene. Their sound was proto-grunge and all-out punk aggression. The earnest, blues wail of front woman Mia Zapata was its center. Mia was the very embodiment of riot grrrl intensity, talent, and humanity. Her uncompromised integrity epitomized a way of life that influenced an entire generation of female artists to follow. Upon returning from a successful European tour -and at the height of The Gits’ popularity- singer Mia Zapata was found raped and murdered, unfairly abbreviating the band’s fable. Incredibly, more than a decade later, new evidence would surface, Mia’s case file would be reopened, and a suspect would be brought to justice –as cameras rolled.
The Gits is an account of overcoming adversity, addiction, love, loss and pain. It’s a punk rock mystery, but not merely a tale of tragedy. It’s the mythic story of a great American Rock N Roll band.
Watch the full film HERE.
Immerse yourself in the energetic, innovative and potentially illegal world of mash-up media with RiP: A remix manifesto. Let web activist Brett Gaylor and musician Greg Gillis, better known as Girl Talk, serve as your digital tour guides on a probing investigation into how culture builds upon culture in the information age.
Brett Gaylor is a documentary filmmaker and new media director. He is the creator of opensourcecinema.org, a video remix community which supports the production of his feature documentary RiP: A remix manifesto. He is also the web producer of the Homeless Nation.org, a web project dedicated to bridging the digital divide – allowing everyone to participate in online culture.
In September 2009, documentary filmmaker Peter Gilbert joined more than 40 observers – including musicians Laurie Anderson, Jarvis Cocker, Robyn Hitchcock, Ryuichi Sakamoto and writer Suzan-Lori Parks – on an ice-breaking ship for a nine-day voyage off the coast of Greenland with artist-led climate change project, Cape Farewell.
Their goal was to see, experience and contemplate the effects of climate change first-hand – and to begin a creative conversation with the rest of the world about one of the most important and pressing issues facing the future of humanity.
Watch the full film HERE
Transport is a short film collaboration between comedian/musician/maverick Reggie Watts and photographer Noah Kalina. Watts not only makes crazy beats and sounds with his voice, but also acts in this elegantly shot black and white walkabout. Check out more of Watts here.
Before sketch comedy duo Carrie Brownstein of Sleater-Kinney fame and Fred Armisen of SNL teamed up to make Portlandia, there was Thunderant.com; a series of awkward moments, misunderstandings, well-intentioned failures, and celebrations of cluelessness. Watch the comedy side-project on the Thunderant Website or Thunderant on iTunes.
Tracing the steps of “grunge” from its subversive inception, to its global rise, to the multimillion pop culture phenomenon
Tracing the steps of “grunge” from its subversive inception in neighborhood basements to its global rise to the multimillion dollar pop culture phenomenon, HYPE! incorporates hilarious interviews with rare concert footage of bands like Nirvana, Soundgarden, Mudhoney, and The Melvins. Filmed over three years in 24 track digital sound, HYPE! casts a discriminating look on how the fuse was lit on the northwest rock explosion.
Watch the full film HERE
Photographer Mark Bramley spent 2 days in Tokyo with just his Canon 5D MkII, taking thousands of photos. Lost In Tokyo captures his unique urban cultural experience through timelapse of Tokyo’s busy metropolitan streets, subway trains and skyline.
As the 90s came to a close, the business of music began to change profoundly. New technology allowed artists to record and produce their own music and music videos, and the internet became a free-for-all distribution platform for musicians to promote themselves to audiences across the world. The result was an influx of artists onto the cultural scene, and audiences were left wondering how to sort through them all. In this episode of the PBS series Off Book, watch as Jon Cohen (Co-Founder, FADER Label), Ryan Dombal (Senior Editor, Pitchfork) Blake Whitman (VP of Creative Development, Vimeo) and Anthony Volodkin (Founder, Hype Machine) discuss these massive changes, and reveal how music blogs and websites have arisen as the new arbiters of quality. Produced by Kornhaber Brown, with music from Flex Blur, Mindthings, Dub Terminator and Nestor Gonzalez.
Artists from Music Video Section: Rihanna – We Found Love – vimeo.com/33123323 Miss Eaves – Diva Pop – vimeo.com/34415367 My First Earthquake – We Float – vimeo.com/31941995 Moullinex – Catalina – vimeo.com/19723907 Sleigh Bells – Riot Rhythm – vimeo.com/16668477 Keep The Heat Morning Teleportation – Expanding Anyway – vimeo.com/14304059 Da Silva – Les Stations Balnearies – vimeo.com/33569324 Goose – Synrise – vimeo.com/20913850 Tim and Puma Mimi – Perspective – vimeo.com/11742651 DYE – Fantasy – vimeo.com/30798517 Dan Wholey – Amateur Rocketry – vimeo.com/29672263 Health – We Are Water – vimeo.com/10818338 Colours – Colourfornia – vimeo.com/26906724 Dancing Pigeons – Ritalin – vimeo.com/13639493 The Naked And Famous – The Sun – vimeo.com/27790801 The Limousines – vimeo.com/18665622 Flying Lotus – Kill Your Co-Workers – vimeo.com/15568767 Follow Off Book: Twitter: @pbsoffbook Tumblr: pbsarts.tumblr.com/
This New Year’s Day, Marina Bay Sands, a 55-story resort was chosen as the venue for the largest BASE jumping attempt in Singapore. Watch as seven professional BASE jumpers [Marta Empinotti, James Pouchert, Amanda Vicharelli, Anne Helliwell, Tim Mattson, Brendon Cork and Jeb Corliss] participate in this adrenaline pumping display against the futuristic Singapore skyline to welcome in the New Year. Skypark BASE jump was directed & Edited by Snow R. Shai with music from PowderTree and produced by extremegate.com.
Leeds quartet Alt-J (aka ‘triangle’, aka △) is a band that should be on everyone’s music radar in 2012. On their AA sided single Matilda / Fitzpleasure – released courtesy of Infectious Music– Alt-J masterfully gush bright reverb-drenched blues vocals over a variety of heavy bass fuzz, guitar scratching, skittish percussion and intricate vocal harmonies.