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The Gate, at first glance, are an improvisational / jazz trio, but with information freely flowing in from punk and metal (Brian Osborne drummed with Wretched Worst for their very memorable Castle session last March; bassist Tom Blancarte, also a black metal fan) and horror films (tuba player Dan Peck, in addition to being a fan of black metal et al., is also a horror and cult-film buff), their sound offers doomy vistas, and cinematic, creeped-out passages, as well as hearty improv energy.
This live set runs the gamut of rhythmic / tonal delights, and the listener likewise easily escapes any preconceptions about what a tuba, bass and drum trio might be able to pull off. "Plague Face" will bring to mind Alan Silva and BYG Actuel, as often as it does European B-film music. At just over 47 minutes, this set is a real treat for fans of the "out." Mp3 hotspot > 18 mins.
(music just below the break)
I had the pleasure of speaking with Jayne County on my program on Thursday; she hit the stage at Bowery Electric on Thursday for the Max's Kansas City Alumni Reunion shows (which goes on through Sunday). Check the archive for the interview. I heard that Jayne might be at La Mama before her much anticipated Max's reunion performance, so it was off to the Ellen Stewart Theatre first! The La Mama show was- Jukebox Jackie: Snatches of Jackie Curtis -an exhilarating collage performance containing elements of the Warhol star's life; poetry, film snippets, songs and great vignettes. The final performance is on June 10th. With a killer cast: Justin Vivian Bond, Bridget Everett, Cole Escola and Steel Burkhardt, the production was a huge pleasure to take in. Jayne County did indeed grace the theatre-goers with her rendition of Max's Kansas City, as seen here as an encore to the show. She was gone in the blink of an eye (aye aye!) as soon as the show was done, and was soon to get onstage with her alma mater, so to speak, the Max's Kansas City Alumni Reunion show. The shows run all weekend at Bowery Electric, check their site for scheduled shows!
Posted by dianekamikaze on June 08, 2012 at 02:30 PM in Diane Kamikaze's Posts, Interviews, Music, New York City, Photography, Propaganda, Radio, Sex, Video Clips, WFMU in General | Permalink | Comments (3) | TrackBack (0)
Technorati Tags: Bowery Electric, Bridget Everett, Cole Escola, Jackie Curtis, Jayne County, Justin Vivian Bond, La Mama, Max's Kansas City, Mickey Leigh, Peter Crowley, Rattlers, Steel Burkhardt, WFMU
Positive feedback continues to filter in for this live set, presented on the air a few weeks ago. The Spiritual Switchboard, a collaboration between two of Brooklyn's synth heavyweights, is without question a summit to be reckoned with. Jesse DeRosa (of Baked Tapes, Grasshopper, The Hex Breaker Quintet / Quartet, Shingles, etc.) and Joshua Slusher (OPPONENTS, Creeplings, The Grand Selector, et al.) are busy young men, overflowing with talent and a vibrant urgency to express themselves, and put it all out there, as much and as often as possible. Perhaps surprisingly for that M.O., their works are of the highest quality.
It's no secret that I admire them both professionally and personally, so I was only too pleased to provide the My Castle of Quiet program as a forum for them, a vehicle, with which to continue sharing their prowess, on a journey that began for me personally, back when Grasshopper were the second live band ever to be presented on the program, in August of 2009. The Spiritual Switchboard were joined for this absolutely live session by Joshua Greco (also of OPPONENTS), another super-nice guy with a big talent for swinging it analog.
The Black and Blue Bowl at Webster Hall annually features a variety of hardcore bands. Considering my hardcore roots, I thought I would know more people at the show, but the bill was mostly mid-period bands. I did see some great metal shirts throughout, which made me immediatley comfy- Behemoth, Sodom, Gorguts..and at some point I did hear some Celtic Frost over the PA. The sold out crowd surfed, dove, piled-on and stared in awe at the slew of bands presented in this 9 hour day. There were no barriers in front of the stage, what a welcome touch. When the dancing actions of the hardcore genre were misconstrued as 100% aggression years ago, the barriers were born in almost all mid- to large-size clubs. It was nice to see more interaction with the bands. One of the bands on the bill early was Holland's Born From Pain, their new release: The New Future is available as a free download on their Facebook page; recommended. The Dave Smalley led DYS were a band I was really looking forward to seeing; full of fury, the Dag Nasty, Down By Law, and former ALL singer was all heart as usual, punchy as hell; most of my photos of him were blurry -running around on the stage like it means everything to his survival, he always brings all he's got to a live performance. Here is a shot of Dave with guest vocalist Drew Stone of NYC's Antidote. Drew will be a guest on the Peer Pressure segment of my program June 21st; he's the director of ALL AGES, The Boston Hardcore Film. The NY debut of this film will be June 29th-July 1st at Brooklyn's Nitehawk Cinema. From the west coast, the crowd was treated to a swift kick in the butt by Rotting Out from LA, who mixed their hardcore with thrash, in a super-infectious manner. The Mob, who debuted their soon to be released 45, Back To Queens to the sold out crowd, probably goes back furthest in NYHC history than anyone else featured at the BnB Bowl. With a few demos recorded previously, their first release: Upset the System came out in 1982, and they helped push initial recordings from Urban Waste and Agnostic Front in the early 80s as well. Vocalist Ralphie G was a featured guest on the Peer Pressure of DKFM in December; listen here. They were laser tight, heavy, and frenzied revealing their seasoned confidence. Paul Bearer's guillotine edged wit was center stage when Sheer Terror took over, taking out the audience with his barbs and his vocal braun.
What is metal, or rock for that matter? While others scramble for last-minute sub-subgenrefication, I am happy just to watch those umbrellas widen, and the envelope swell and burst. Occultation are such a band, one that tastefully mines not-immediately-recognizable influences, and much like that pre-job interview adage, "just be themselves, they'll be fine." Fine they did do, having grown leaps and bounds since the impressive Somber Dawn demo, to a sound that defines itself throughout their debut full-length, Three and Seven, on Profound Lore.
That first demo, and an early, related live video clip, led to their My Castle of Quiet invitation, and it was an easy call for yours truly that the band was indeed a perfect fit to the horror-gloom purveyed weekly on the radio program. These complex, richly haunting songs marry almost to an absurd ideal with the essence of MCoQ, such that it was an easy decision to host a live performance, positioned to promote their groundbreaking first release.
Here's their set, short, sweet and brimming with power >
So yes, I certainly miss CBGB and can't even begin to talk about my general disappointment in the state of music venues that exist in Manhattan currently. That is a rant for another space, another time. It has been pointed out recently via more than one source, most notably by This Ain't The Summer Of Love that CBGB's - the brand, is hosting a music festival. A quick tweet of disdain by good friend Zenametal and I take a look...yes it looks dubious to me. The background, as from what I remember -is that the rights to the CBGB name/brand were sold off a couple of years ago, some four years after the closing of the club itself. There's been nary a peep from the punk icon's website, and I've heard background conversations about CBGB's coming back. In Manhattan. What? Was I drunk? So at the moment, there is not actual CBGB's any longer, and the entity known as CBGB is hosting a music conference, it's sponsored by Sonicbids and it's a $25 entry fee to be considered to get on the bill. I've got a pretty good dose of resignation in relation to pay to play things like this with absentee party-throwers' names. Apparently it's going to take over the city. Who's got a good guess as to what's going on here? Say it isn't so, or say it's gonna be killer! I suppose leaving the billing to the public and those interested is interesting, but there is such a thing as curating and caring. You can't put your arm around a memory...
On January 1, 1984, PBS aired Nam June Paik's "Good Morning Mr. Orwell." The entire concept, of PBS airing a series of bizarre happenings with artists ranging from Salvador Dali to Oingo Boingo, is pretty hard to imagine nowadays. Actually watching clips from the program is even stranger. A collection of clips from the program can be seen here, and gives a slight taste of what it must have been like to watch the program back in the day. John Cage plays amplified cactus with Takehisa Kosugi, Oingo Boingo is...Oingo Boingo, and Allen Ginsberg chants a sing songy tune with Arthur Russell on cello. The most striking piece, though, is Laurie Anderson's solo piece, "The Language of the Future." The piece also appears on Anderson's wonderful release, "United States Live." Her 1984 T.V. performance is transfixing:
"Man, oh man, you know, like, oh man! It's so...digital!" And she just meant that the relationship was on again, off again, always two things, switching, current runs through bodies, and then...it doesn't. It was a language of sounds, of noise, of switching, of signals. It was the language of the rabbit, the caribou, the penguin, the beaver, a language of the past. Current runs through bodies and then it doesn't. On again. Off again. Always two things switching. One thing instantly replaces another. It was the Language of the Future."
I walk by it on lunchbreaks. Sometimes I stroll by after I clock out. Outwardly, the building itself has no real significance. It's an unassuming redbrick three-flat with an unused ground-floor store front. There's little to distinguish it from any other building on the block, but I keep going back. I'm in awe of its cultural importance. I'm in awe of Henry Miller.
The old goat's account of "the neighborhood" is one of many repetitive, hypnotic constants in his writing. His Fourteenth Ward appears promimently in several of his best works -- in essays, memoirs, novels, etc. -- so whenever I pass the rising redbrick, I immediately succumb to a dizzying carousel of comparisons: Miller's Williamsburg vs. its modern counterpart, his Brooklyn vs. others', his struggle to break through a square existence vs. my looming 5 p.m. beer urge.
Xeno and Oaklander played at last week's E.S.P. TV live taping at Present Company in Brooklyn alongside EUC, a 3D video by Ken Jacobs, "Gift of Fire: Nineteen (Obscure) Frames That Changed the World", and "Trans Trans" by Bradley Eros and Tim Geraghty.
Here's a sneak peek of Xeno and Oaklander's performance. The full episode airs next Tues. Mar 27 at 10pm on Ch. 67 Time Warner/MNN4 in Manhattan. More info at www.esptvnyc.com
E.S.P. TV episodes #12 and #13, taped on February 18th for Roulette's Xperimental Love Fest air this week. The shows feature trumpet and electronics drone duo Grasshopper, a kaleidoscopic set with MV Carbon and C Spencer Yeh and a 50 min piece by Little Women.
#13 aired this past Sunday, but you can see them both at the free screening party Tues. Mar 6th at Forlini's on Baxter St in Manhattan. #13 will be replayed at 9pm and ESP TV #12 will debut at 10pm sharp on Ch 67 Time Warner in Manhattan/MNN4 online at www.mnn.org. More info at: www.esptvnyc.com
In the meantime here's a taste of MV Carbon and C Spencer Yeh's set on E.S.P. TV #12:
Going back a bit, as we prepare the new E.S.P. TV episode #12 taped last week at Roulette in Brooklyn for their Xperimental Love Fest, to bring you this...
E.S.P. TV #9 taped late last year at The Schoolhouse and featuring performances by Erica Magrey and Brooklyn synth duo YOU. Animations also by Clara Kim and Amy Lockhart courtesy of Aboveground Animation and video by Ania Diakoff.
"That's probably the hardest I've worked on any project," says Avi Spivak, the illustrator behind Norton Records' recent issue of Kicksville Confidential. And if you've seen Kicksville, released this past October, you'll understand what he means by "hard work" -- the Brooklyn-based artist's painstaking renderings of Norton stars are as detailed as they are funny, and they're clearly the toil of someone with a deep interest in u-ground comics and gutsy r'n'r alike. In Spivak's enthusiastic scrawl -- part Kaz, part MAD, part G. Panter, part urban daydrunk stupor -- some of the Norton stable's more colorful tales come to life, and we see, for example, Hannibal's fabled ride through Midtown Manhattan on an elephant, a Screamin' Jay Hawkins/Esquerita street-level fistfight and Hasil Adkins's rural shootout.
Spivak's resume prior to Kicksville is no less impressive. In addition to commercial art and various other projects, like the mural he painted outside of the now-defunct Mars Bar, he's contributed to Maximum RocknRoll, The Scientist, Vice -- and Al Goldstein's SCREW, for which he illustrated a cover in 2006.
FOOD is a short film directed by aritst/photographer Robert Frank about Gordon Matta-Clark and Carol Goodden's conceptual restaurant. Founded in 1972 in the SoHo neighborhood of New York City, FOOD brought together many factors of the local community, artists and otherwise, becoming a space for dialogue and conversation as well as a living piece in it of itself.
In '79, the Handgrenades issued what would become the best UK DIY punk single not actually from the UK: their "Demo to London" b/w "Coma Dos" 45, self-released in an undetermined quantity on the band's unnamed imprint.
The single is a killer. It was also once a source of profound mystery -- to collectors and wayward punk geeks, at least. Omitted on the sleeve are the band's roster, their location and where they recorded their material, and the only nuggets of information profferred are a production credit attributed to Bob Levitan and the word "phonographix." Given this anonymity, and in light of the title and subject of "Demo to London" -- not to mention the otherworldly cut-up cover art, production, vocals, and musicianship (or lack thereof) -- many took the band's provenance to be London, or perhaps the outskirts of Manchester. The flip's manic "Coma Dos" sheds even less light on the single's origin, and the listener's left with a clang-punk artifact of the highest random order, reminiscent of contemporaries like Swell Maps, the Petticoats, Desperate Bicycles, so on, so forth.
In case you missed it Sunday night on Manhattan cable access (MNN), E.S.P. TV #11 is now online. The hour long special was taped at Mutual Dreaming's "New Dance City" party (organized by Aurora Halal) at 285 Kent over Halloween weekend and features performances by Vidrio (ex-Ultradyne) and Steve Summers with possibly you or someone you know dancing to DJs Meridian 7 (also known for her modular synths), Ron Morelli (head of L.I.E.S.), and Traxx (prolific Chicago-based turntablist, producer, and owner of Nation Records)...
See it and past episodes at the E.S.P. TV Vimeo channel here: vimeo.com/channels/esptv
The next live public taping is Feb 18th, 8-12 at Roulette in Downtown Brooklyn. Lineup for that night includes MV Carbon and C Spencer Yeh, Grasshopper, and Little Women with video by Amanda Long and the E.S.P. TV team. More info here
Next Wednesday, Jan. 18, from 6 p.m. to 9 p.m., the Boo-Hooray Gallery will open its latest/greatest exhibition, Artists' Book Not Artists' Book, an oddball showcase of books artistic, non- and all manner in-between.
For the unfamiliar, Boo-Hooray is the brainchild of kingpin rec collector and art aficionado Johan Kugelberg; he and cohort Jeremy Sanders (of 6 Decades Books) have co-curated the exhibit. Artists' Book Not Artists' Book promises an array of curious tomes by the likes of Richard Meltzer, William Gibson, Richard Hell and Ed Ruscha, to name but a sampling, and judging from the gallery's previous shows -- displays of Ed Wood's paperback smut, photos and art relative to the Velvet Underground, Crass-related fanzines, etc. -- this one will be another doozy, even (or especially!) if you can't read.
All and sundry are welcome to stop by the gallery's space in Manhattan, 265 Canal Street (6th floor), where the show will run from Jan. 18 to Feb. 12, much to the delight and confusion of artists and philistines alike. Those wishing to RSVP for the opening should do so here.
In conjunction with the release of their new EP Canyon Candy (on David Byrne's Luaka Bop label), Javelin with director Mike Anderson made this pretty great short film featuring lots of people getting shot. And in conjunction with that short film, there's a recreation of the film in installation form in Manhattan's Clocktower gallery. The EP goes down smoother than whiskey, I'll tell you this much.
In related news, R Kelly wrote 32 new chapters to Trapped In The Closet.