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Tuesday, February 9, 2010
Sunday, November 15, 2009
Bammas came, bammas saw, bammas got rocked
DJ Stereo Faith is known throughout DC as a positive force for quality events throughout the city, from the Black Cat, to DC9, to Napoleon, and beyond. Even by his typically high standards, the Feedback curated by Faith this last Saturday at DC9 was an exceptional evening indeed.
Splitting deck time between himself and hardworking DJ notables Jackie O and Lil’ El (who likewise can be found bouncing all over the district, but we’ll point out the night at DC9, KIDS, that they both share, as a reference), it was clear that all three felt the intensity of the night and were hell bent on bringing their A game. In a nightlife genre that has reached a point where its end is beginning to be argued in select media, the crowd responded with a great appreciation to the earnest sets, pounding across the dancefloor with an intensity that is not often found in DC clubs these days. Even though it was not their job, all three made certain that the place was more than warmed up for the special guest of the evening.
Togo born, DC raised, Tabi Bonney has been in the hip-hop game for more than a minute. An over-achiever across the boards, from his music, to his fashion label, to his masters degree in Biology and Secondary Education, Tabi has laid down the concrete foundation for the hard sought notoriety for those involved in Hip-hop. Beyond his solid rhymes and catchy DJ style backing beats, it’s truly his talent as a performer that brings him to the front of the pack. An individual used to opening for the likes of Outcast, and LL Cool J might feel it’s beneath him to perform in a small club with three DJ’s, but instead Bonney seemed to give 100%, bounding across the stage and making sure everyone was part of the show.
The room seemed to shrink to a third of its size the moment he hit the stage. Bodies packed around the space like it was a heated cockfight, and hands flew up left and right forming a chorus of organic metronomes. As the room kept time, Tabi Bonney sailed through a list of his hits, such as Rock Bammas, Rich Kids, and The Pocket, taking time between tracks to make sure the fans were still right there with him. Shrewd move or happy accident, he played long enough to captivate, but short enough to have people wanting just a bit more. Though there was no argument about the calculation of the mutually beneficial promotion to hand out free CD’s in exchange for email addresses.
After his departure from the mic, the floodgates opened again, and the crowd spilled across the club. All three DJ’s kept going above and beyond, challenging everyone else to do the same, for roughly two more hours. In the end, the lights flipping on was not enough, and the staff had to kill the soundsystem to grind Feedback to its final halt. All in all, I can’t imagine anyone found the evening to be less than a total success.
The injection of a finally successful group of hip-hop artists from the DC community, that include Bonney, Wale, XO, and for my druthers, Flex Mathews, could be the injection that will keep both that and the DJ scene going strong for a long time to come.
Splitting deck time between himself and hardworking DJ notables Jackie O and Lil’ El (who likewise can be found bouncing all over the district, but we’ll point out the night at DC9, KIDS, that they both share, as a reference), it was clear that all three felt the intensity of the night and were hell bent on bringing their A game. In a nightlife genre that has reached a point where its end is beginning to be argued in select media, the crowd responded with a great appreciation to the earnest sets, pounding across the dancefloor with an intensity that is not often found in DC clubs these days. Even though it was not their job, all three made certain that the place was more than warmed up for the special guest of the evening.
Togo born, DC raised, Tabi Bonney has been in the hip-hop game for more than a minute. An over-achiever across the boards, from his music, to his fashion label, to his masters degree in Biology and Secondary Education, Tabi has laid down the concrete foundation for the hard sought notoriety for those involved in Hip-hop. Beyond his solid rhymes and catchy DJ style backing beats, it’s truly his talent as a performer that brings him to the front of the pack. An individual used to opening for the likes of Outcast, and LL Cool J might feel it’s beneath him to perform in a small club with three DJ’s, but instead Bonney seemed to give 100%, bounding across the stage and making sure everyone was part of the show.
The room seemed to shrink to a third of its size the moment he hit the stage. Bodies packed around the space like it was a heated cockfight, and hands flew up left and right forming a chorus of organic metronomes. As the room kept time, Tabi Bonney sailed through a list of his hits, such as Rock Bammas, Rich Kids, and The Pocket, taking time between tracks to make sure the fans were still right there with him. Shrewd move or happy accident, he played long enough to captivate, but short enough to have people wanting just a bit more. Though there was no argument about the calculation of the mutually beneficial promotion to hand out free CD’s in exchange for email addresses.
After his departure from the mic, the floodgates opened again, and the crowd spilled across the club. All three DJ’s kept going above and beyond, challenging everyone else to do the same, for roughly two more hours. In the end, the lights flipping on was not enough, and the staff had to kill the soundsystem to grind Feedback to its final halt. All in all, I can’t imagine anyone found the evening to be less than a total success.
The injection of a finally successful group of hip-hop artists from the DC community, that include Bonney, Wale, XO, and for my druthers, Flex Mathews, could be the injection that will keep both that and the DJ scene going strong for a long time to come.
Tabi Bonney performing at Feedback at DC9 from Denman C Anderson on Vimeo.
Saturday, November 14, 2009
Oh to feel the gentle slumber
The DC founded, Slumberland Records, celebrated their twenty-year existence with a more than colossal show on Friday at the Black Cat. With a clown car of acts squeezed into the Cat’s normal time slot, fanatics of the label were able cheer wildly along to the likes of Brown Recluse, Pants Yell!, Frankie Rose & The Outs, The Ropers, Nord Express, Lorelei, and of course, the feature of the evening, the one and only pop sensation, Crystal Stilts.
I must admit that I spent the majority of the night tethering back and forth between the show and my favorite dance night at the Black Cat, Kicks. But what I did hear was all manner of dreamy, indie, garagey, shoegaze, psych-flecked, cotton candy goodness.
While the crowd was not nearly the most rambunctious I’ve seen at the Cat, they certainly were devoted, and held down a steady camp as they eagerly awaited act after act, genuinely seeming to appreciate each one for it’s own merits.
In my schizophenic nomadry between the two floors, I had to pick my choice moment to produce the camera, and it should come as no surprise that the hour arrived as Crystal Stilts took the stage. A savvier fan could probably produce names for the tracks I captured, but if the band is to be believed, this is a document of two newer pieces.
From everything I’ve heard and know about that band, this is an even deeper return to the garage spirit that has brought them ever-critical acclaim, most recently from the Night of Light LP. Guitar that slips away like the tide, eddied by a swirl of vocals, with a loose cadre of drums pushing things along, while an echo of keyboard becomes the jelly that somehow holds it all together.
I believe Crystal Stilts themselves would want you to sit back, relax, enjoy the ride, and pay no attention to where you might end up.
I must admit that I spent the majority of the night tethering back and forth between the show and my favorite dance night at the Black Cat, Kicks. But what I did hear was all manner of dreamy, indie, garagey, shoegaze, psych-flecked, cotton candy goodness.
While the crowd was not nearly the most rambunctious I’ve seen at the Cat, they certainly were devoted, and held down a steady camp as they eagerly awaited act after act, genuinely seeming to appreciate each one for it’s own merits.
In my schizophenic nomadry between the two floors, I had to pick my choice moment to produce the camera, and it should come as no surprise that the hour arrived as Crystal Stilts took the stage. A savvier fan could probably produce names for the tracks I captured, but if the band is to be believed, this is a document of two newer pieces.
From everything I’ve heard and know about that band, this is an even deeper return to the garage spirit that has brought them ever-critical acclaim, most recently from the Night of Light LP. Guitar that slips away like the tide, eddied by a swirl of vocals, with a loose cadre of drums pushing things along, while an echo of keyboard becomes the jelly that somehow holds it all together.
I believe Crystal Stilts themselves would want you to sit back, relax, enjoy the ride, and pay no attention to where you might end up.
Crystal Stilts performing at the Slumber Records 20th anniversary show from Denman C Anderson on Vimeo.
Sunday, November 8, 2009
The even less anticipated, long winded conclusion of the Sonic Circuits ’09 review
I was still deep in recovery from the previous day’s mini-fest when I pedaled up to the Black Cat for the grand finale of the ’09 Sonic Circuits. We had truly been promised an epic evening, and, beleaguered though we were, there was electricity in the air.
Arriving unintentionally fashionable, I missed Alexei Borisov & Anton Nikkilä , and pushed through the upstairs doors to see Pekka Airaksinen, whom I recognized from the Jandek ensemble, studiously commanding a laptop and a small array of gear. This is where my only real criticism of Sonic Circuits would come in. I wholeheartedly support what they are doing, and their attempts to raise their own bar each year. But, for the most part, they come from a very clinical and classical school of noise. A pedagogy more based in Maurizio Bianchi (who I actually love), and skronk free-jazz than the contemporary trends of Prurient, Emeralds, or even more modern classics such as Cock E.S.P. Therefore, the shows seem to be hit and miss to the followers of No Fun, Not Not Fun, Hospital, or anything Aaron Dilloway might carry. I hope this is not taken too strongly, but in the future, I’d love to see more Fckn Bstrds, and even HEALTH than, say, post-jazz theory.
It was clear, sadly, that even more so than for Faust, the crowd had packed in to see the LA based, sassy noise pop group, HEALTH. Such as when I went to No Fun Fest, and saw all the Blank Dogs and Sonic Youth fans, (who knew nothing of the band’s origin), standing around in angsty confusion, the HEALTH fans went reeling as though hit by an uppercut once Rat Bastard+Chris Grier+Ulrich Krieger stepped onto the stage to unleash a sonic chaos. And while it’s true, this group consisted of two guitars and a very skronky saxophone, the way the group carried out their set made it highly effective. For noise fans this was a pied piper tune indeed. Just when it seemed as though the moment had played out, Ulrich Krieger carefully lowered his horn and proceeded to let fly a Fear of God style guttural eruption through the vocal mic. This instantly pushed the stage through the roof, and up onto the next level. After he was finally spent, Ulrich, with the same calmness, picked his sax back up, and musically re-joined his partners for a denouement.
As bodies pulled themselves up off of the floor, HEALTH began hauling out their equipment to pick up the pieces. Following in suit, they too started off with a cacophonous bang. But gradually, order came from chaos, and parts of their set transformed into pure pop aesthetics. They pulled all of this off in a way that, instead of confusing their fans, actually convinced them to come along for the ride. The rest of the set became calmer and calmer, but still merged back and forth between the two styles. Their non-stop, hi-energy performance left their eager fans absolutely sated. Ten years ago this band would certainly have been a rising star on the Thee. One. G label.
(Of course, I had my own personal drama with a novice photographer who, even though he free reign of the entire space along the stage, kept insisting on standing directly in front of my camera and I…)
Finally, the moment the rest of the crowd had been anxiously awaiting since it was announced several months before, Krautrock legends, Faust, had arrived and taken the stage with their massive set up. The curiosity surrounding the cement mixer in the middle of everything was almost more than the anticipation of the band itself.
In true Krautrock style, Faust kicked things off by sliding into a spacey, instrumental psych jam, perfect for turning on, tuning in, and dropping out to. After taking the audience to the place they needed them for the duration of the evening, they went deeper with another epic audio tome, wrapped around a spoken word piece, that in so many ways, described the bands connection to the philosophies of their legendary, German namesake.
It was in the middle of this deeply reverential moment that Jean-Hervé Péron, one of the original members of the band, turned on said cement mixer enigma, and let its whir gently rumble through the system. As the rest of the band quietly supported this sound, Jean began to pour pitchers of pebbles into it, augmenting the effect, and periodically tossing great handfuls onto the unsuspecting crowd. Somewhere near the disorienting climax of all this, Werner "Zappi" Diermaier, Faust’s other original member, picked up a grinder and carefully applied it to the metal thunder sheet hung near his drum kit, thereby sending a shower of sparks up and across the ceiling of the stage. The swirling finally reached its headspinning end, and the audience was Faust’s for the taking.
Faust seized full control, and soared through track after track, making new fans, and old fans bigger fans, along the way. At one point they stopped to say that, since things were going so well, during the next track, Geraldine Swayne, (who apparently is also a painter, writer, photographer and filmmaker), was going to create a painting while the band played. It was obvious that this was the type of maneuver that made the audience suspect. And even I would have to admit that it sounded like a terrible idea. But, not only did they pull it off, both the music and the painting were excellent. I’m quite certain that this was the first time in history something like this has worked.
In the end it was an excellent set, to wrap up another excellent Sonic Circuits. With the odd popularity of noise, I’m certain that this organization and fest will only grow in popularity and success. Here’s to hoping so anyway, because I’m looking forward to Sonic Circuits ’10 being an even more expansive and crazy event than this year’s. Unfortunately, (but fortunately, for the organizers), I’ve got a long time to wait until it gets here……
Arriving unintentionally fashionable, I missed Alexei Borisov & Anton Nikkilä , and pushed through the upstairs doors to see Pekka Airaksinen, whom I recognized from the Jandek ensemble, studiously commanding a laptop and a small array of gear. This is where my only real criticism of Sonic Circuits would come in. I wholeheartedly support what they are doing, and their attempts to raise their own bar each year. But, for the most part, they come from a very clinical and classical school of noise. A pedagogy more based in Maurizio Bianchi (who I actually love), and skronk free-jazz than the contemporary trends of Prurient, Emeralds, or even more modern classics such as Cock E.S.P. Therefore, the shows seem to be hit and miss to the followers of No Fun, Not Not Fun, Hospital, or anything Aaron Dilloway might carry. I hope this is not taken too strongly, but in the future, I’d love to see more Fckn Bstrds, and even HEALTH than, say, post-jazz theory.
It was clear, sadly, that even more so than for Faust, the crowd had packed in to see the LA based, sassy noise pop group, HEALTH. Such as when I went to No Fun Fest, and saw all the Blank Dogs and Sonic Youth fans, (who knew nothing of the band’s origin), standing around in angsty confusion, the HEALTH fans went reeling as though hit by an uppercut once Rat Bastard+Chris Grier+Ulrich Krieger stepped onto the stage to unleash a sonic chaos. And while it’s true, this group consisted of two guitars and a very skronky saxophone, the way the group carried out their set made it highly effective. For noise fans this was a pied piper tune indeed. Just when it seemed as though the moment had played out, Ulrich Krieger carefully lowered his horn and proceeded to let fly a Fear of God style guttural eruption through the vocal mic. This instantly pushed the stage through the roof, and up onto the next level. After he was finally spent, Ulrich, with the same calmness, picked his sax back up, and musically re-joined his partners for a denouement.
Rat BastardChris Grier+Ulrich Krieger performing at Sonic Circuits vid#1 from Denman C Anderson on Vimeo.
Rat Bastard+Chris Grier+Ulrich Krieger performing at Sonic Circuits vid#2 from Denman C Anderson on Vimeo.
As bodies pulled themselves up off of the floor, HEALTH began hauling out their equipment to pick up the pieces. Following in suit, they too started off with a cacophonous bang. But gradually, order came from chaos, and parts of their set transformed into pure pop aesthetics. They pulled all of this off in a way that, instead of confusing their fans, actually convinced them to come along for the ride. The rest of the set became calmer and calmer, but still merged back and forth between the two styles. Their non-stop, hi-energy performance left their eager fans absolutely sated. Ten years ago this band would certainly have been a rising star on the Thee. One. G label.
(Of course, I had my own personal drama with a novice photographer who, even though he free reign of the entire space along the stage, kept insisting on standing directly in front of my camera and I…)
HEALTH performing at Sonic Circuits '09 from Denman C Anderson on Vimeo.
Finally, the moment the rest of the crowd had been anxiously awaiting since it was announced several months before, Krautrock legends, Faust, had arrived and taken the stage with their massive set up. The curiosity surrounding the cement mixer in the middle of everything was almost more than the anticipation of the band itself.
In true Krautrock style, Faust kicked things off by sliding into a spacey, instrumental psych jam, perfect for turning on, tuning in, and dropping out to. After taking the audience to the place they needed them for the duration of the evening, they went deeper with another epic audio tome, wrapped around a spoken word piece, that in so many ways, described the bands connection to the philosophies of their legendary, German namesake.
It was in the middle of this deeply reverential moment that Jean-Hervé Péron, one of the original members of the band, turned on said cement mixer enigma, and let its whir gently rumble through the system. As the rest of the band quietly supported this sound, Jean began to pour pitchers of pebbles into it, augmenting the effect, and periodically tossing great handfuls onto the unsuspecting crowd. Somewhere near the disorienting climax of all this, Werner "Zappi" Diermaier, Faust’s other original member, picked up a grinder and carefully applied it to the metal thunder sheet hung near his drum kit, thereby sending a shower of sparks up and across the ceiling of the stage. The swirling finally reached its headspinning end, and the audience was Faust’s for the taking.
Faust's intro to their set at Sonic Circuits '09 from Denman C Anderson on Vimeo.
Fast performing at Sonic Circuits '09 vid#1 from Denman C Anderson on Vimeo.
Faust performing at Sonic Circuits '09 vid#2 from Denman C Anderson on Vimeo.
Faust seized full control, and soared through track after track, making new fans, and old fans bigger fans, along the way. At one point they stopped to say that, since things were going so well, during the next track, Geraldine Swayne, (who apparently is also a painter, writer, photographer and filmmaker), was going to create a painting while the band played. It was obvious that this was the type of maneuver that made the audience suspect. And even I would have to admit that it sounded like a terrible idea. But, not only did they pull it off, both the music and the painting were excellent. I’m quite certain that this was the first time in history something like this has worked.
In the end it was an excellent set, to wrap up another excellent Sonic Circuits. With the odd popularity of noise, I’m certain that this organization and fest will only grow in popularity and success. Here’s to hoping so anyway, because I’m looking forward to Sonic Circuits ’10 being an even more expansive and crazy event than this year’s. Unfortunately, (but fortunately, for the organizers), I’ve got a long time to wait until it gets here……
Saturday, November 7, 2009
The largest fury crammed into the smallest space
As a bonus, until the second half of the belated Sonic Circuits review is posted, here is a brief bit about the recent Iron Lung show.
I know that Chris Moore contacted me multiple times about trying to move this to a larger space, but alas, it was to no avail. So, as with all out of pocket shows, this one took place at the little house that could, Silver Sprung’s own Corpse Fortress. While they have been a boon to the punk community for sometime now, offering space when there is none, there are two major drawbacks to this place (if you don’t count the sketchy crowds that one often finds milling about there).
A: It is not near anything, least of which is mass transit
B: It is like having bands play in a room the size of your apartment’s kitchen.
I must admit that, even for this show, I would not have gone were it not for the ride I was given.
We arrived late, but I was glad to have gotten there in time to hear the other band I was excited to see, Ilsa. However, unfortunately, upon opening the door to the basement, I was immediately met by bodies, and as such, was forced to enjoy the band by standing on the space immediately above the show.
My cohort and I hatched a plan to bum rush the steps after this to ensure a good spot for Iron Lung. Having a friendship with the band, my partner in crime was able to get us V.I.P. access to, quite literally, right beside the band. The layout went something like this. There was the wall of the room, then me, then one foot, then the drums, then one foot, then guitar, then a small side gallery of people, then the other wall. And off to the side, was the crowd itself, packed tighter than any “sardine” simile could describe.
Even through the lens of my flipvid, I was terrified of how close the violent drum swings were coming to my face. In case you’ve never seen Iron Lung before, (or any “power violence” set for that matter) it’s like taking a two hour arena rock, metal show, and simmering it down to a lead furied ten minutes, and this was certainly no exception. Both the band and the crowd erupted at the same, in only the way that a band who draws about 100 people crammed in a ten foot by ten foot room can. Arms flailed about, as they were the only things that could be freed to move. As the band churned through tracks from Sexless//No Sex, one of the drum sticks exploded into toothpick shrapnel. The rabid fans kept pace with the ragging band, but almost before it had begun, it was all over. Like a trailer park after a tornado, all that was left were random bits of debris.
There were still two more bands left in the evening, but my friends and I were already having dreams of convenience stores. Was hitching a ride out to Silver Spring to pay a cover to crawl into an over crowded house to see one band play for ten minutes worth it? Absolutely.
A few notes about the video. It was shot entirely in Jensen vision, where you are the drummer. Also, a note about not being able to hear the vocals: I’m not sure if you’ve ever been to a house show, but no one who was actually there could hear them either.
Enjoy.
I know that Chris Moore contacted me multiple times about trying to move this to a larger space, but alas, it was to no avail. So, as with all out of pocket shows, this one took place at the little house that could, Silver Sprung’s own Corpse Fortress. While they have been a boon to the punk community for sometime now, offering space when there is none, there are two major drawbacks to this place (if you don’t count the sketchy crowds that one often finds milling about there).
A: It is not near anything, least of which is mass transit
B: It is like having bands play in a room the size of your apartment’s kitchen.
I must admit that, even for this show, I would not have gone were it not for the ride I was given.
We arrived late, but I was glad to have gotten there in time to hear the other band I was excited to see, Ilsa. However, unfortunately, upon opening the door to the basement, I was immediately met by bodies, and as such, was forced to enjoy the band by standing on the space immediately above the show.
My cohort and I hatched a plan to bum rush the steps after this to ensure a good spot for Iron Lung. Having a friendship with the band, my partner in crime was able to get us V.I.P. access to, quite literally, right beside the band. The layout went something like this. There was the wall of the room, then me, then one foot, then the drums, then one foot, then guitar, then a small side gallery of people, then the other wall. And off to the side, was the crowd itself, packed tighter than any “sardine” simile could describe.
Even through the lens of my flipvid, I was terrified of how close the violent drum swings were coming to my face. In case you’ve never seen Iron Lung before, (or any “power violence” set for that matter) it’s like taking a two hour arena rock, metal show, and simmering it down to a lead furied ten minutes, and this was certainly no exception. Both the band and the crowd erupted at the same, in only the way that a band who draws about 100 people crammed in a ten foot by ten foot room can. Arms flailed about, as they were the only things that could be freed to move. As the band churned through tracks from Sexless//No Sex, one of the drum sticks exploded into toothpick shrapnel. The rabid fans kept pace with the ragging band, but almost before it had begun, it was all over. Like a trailer park after a tornado, all that was left were random bits of debris.
There were still two more bands left in the evening, but my friends and I were already having dreams of convenience stores. Was hitching a ride out to Silver Spring to pay a cover to crawl into an over crowded house to see one band play for ten minutes worth it? Absolutely.
A few notes about the video. It was shot entirely in Jensen vision, where you are the drummer. Also, a note about not being able to hear the vocals: I’m not sure if you’ve ever been to a house show, but no one who was actually there could hear them either.
Enjoy.
Friday, November 6, 2009
The much belated, not anticipated, Sonic Circuits review, part 1
This was meant go up well over a month ago, but due to many, many unforeseen technical difficulties, it is just now getting on its feet.
Every year noiseheads of all shapes and sizes scuttle down to the only noise festival DC has to offer. Over the years,Sonic Circuits has grown in size and stature, hosting everyone from Italian noise performance artists OvO, to John Wiese, and everywhere along the spectrum, in between.
This year was no different. After building almost an entire week around Sonic Circuits ‘09, things finally wound up to the colossal double evening finale.
I say evening loosely, as the Saturday show was an all day fest unto itself. Fortunately I had prepared myself, and was hunkered down for a long day of squeals and pops.
Hitting the play button, hometown hero, founder of Sockets Records, DJ for Fatback, member of Hand Fed Babies, and many more accolades,Sean Peoples humbly walked onto the stage and introduced himself. After that the audience slid into a trancelike place as blissful beats and tones filled the small room at the Velvet Lounge. For being the first set of a long day, it was definitely one of the more effective and memorable.
Let me briefly mention that, for brevity’s sake, (of which I usually am not known), I’ll only be reviewing the sets that I have video for. And while it’s true, those were the stand out artists, for me, it’s worth your time to check out all the performers from that cold and rainy Saturday.
Soft Pieces is another fragile, ambient noise artist. Again, hailing from the DC area, on this occasion, it almost seemed like a somber ritual being acted out before the crowd. A hushed silence ushered in woven blips and tones. At the height of the magical incantation, a giant slinkly was spread across the entire space, as it sent lightening over the PA. The religious expression was concluded with a communion of sorts as Soft Pieces adorned a mask, and handed out pieces of the spring as he snipped it down.
Per usual for Sonic Circuits, as with any fest, or at least any show at the Velvet Lounge, there came a long and awkward moment of confusion. No one was playing, no one was setting up, and no one in the speculating crowd had a good idea of what the story was. Finally, outsider legend Jandek came walking out of the muck, backing ensemble in tow. It was one of the more highly anticipated sets of the festival, but at this point, people were ready for anything.
While overall it was the gratification everyone had hoped for, the rest of the group was a bit overwhelming, marginalizing the person who should have been gravitated around. Noise, in this sphere, is chaos, but the forefront was better reserved for the namesake of what in this instance was an array of artists.
Everyone could tell that things had gotten of kilter, but were all breathlessly awaiting the glass-like hypnotic powers of Tim Hecker. When, finally, one of the organizers sulked onto the stage to inform us, in the way that one would share a death in the family, that Tim Hecker was sick, and would not be performing, we took it with that same reaction of woe and mourning.
As the heads of the crowd hung low, Kotra, a Nietzschean Deus Ex Machina from the Ukraine, mounted a pile of gear, and saved the day. What I have to say about this unexpected talent is that he finally brought to the table what I’d been waiting for all day: real, harsh noise. While the noise genre is dense with eclectic movements, harsh noise has been a standard from the beginning, and you can’t really call this a noise fest without it. It’s true Kotra pumped beats and synth through the system, but with the volume and abrasion that gave the feeling of standing in front of a blow dryer, in the way that only harsh noise can.
After this the show began to churn. People went down to the bar, or went out for food. The next few rounds of performers began to feel like a long blur. We devotees had already been there for seven or eight hours. The true hangers on were, at this point, waiting for the Dutch spectacle known as Fckn Bstrds. And wait we did. Finally, after an eternity of free-jazz, the moment had arrived. And by that, I mean the moment the management tried to shut down the show for having gone well past its cut off time. Fortunately, enough pleading took place to allow a group who had flown in from Europe, to actually perform after several locals had forgotten that they were not the only people there.
And it was absolutely worth the wait. As the group began dragging trash across the stage for set up, one member stripped naked, and tapped foam around various parts of his body. That alone could have constituted a performance. What happened in the end was roughly ten minutes of insane fury. There was screaming, shoving, the throwing of random objects, garbage monster outfits, full frontal nudity, and all set to the soundtrack of blaring disharmony over the system. A full pit, much more apt for a hard core show than this, erupted, and I held my camera out until it was absolutely no longer safe to do so. But in the end I was able to get the proof that this happened, and I could not be happier to present my first *NSFW* video.
Dead is the only way I could describe everyone, after what seemed like a fest cum eternity. We all hobbled home to recover before the final day of this week long excursion.
Every year noiseheads of all shapes and sizes scuttle down to the only noise festival DC has to offer. Over the years,Sonic Circuits has grown in size and stature, hosting everyone from Italian noise performance artists OvO, to John Wiese, and everywhere along the spectrum, in between.
This year was no different. After building almost an entire week around Sonic Circuits ‘09, things finally wound up to the colossal double evening finale.
I say evening loosely, as the Saturday show was an all day fest unto itself. Fortunately I had prepared myself, and was hunkered down for a long day of squeals and pops.
Hitting the play button, hometown hero, founder of Sockets Records, DJ for Fatback, member of Hand Fed Babies, and many more accolades,Sean Peoples humbly walked onto the stage and introduced himself. After that the audience slid into a trancelike place as blissful beats and tones filled the small room at the Velvet Lounge. For being the first set of a long day, it was definitely one of the more effective and memorable.
Sean Peoples performing at Sonic Circuits vid #1 from Denman C Anderson on Vimeo.
Sean Peoples performing at Sonic Circuits vid #2 from Denman C Anderson on Vimeo.
Let me briefly mention that, for brevity’s sake, (of which I usually am not known), I’ll only be reviewing the sets that I have video for. And while it’s true, those were the stand out artists, for me, it’s worth your time to check out all the performers from that cold and rainy Saturday.
Soft Pieces is another fragile, ambient noise artist. Again, hailing from the DC area, on this occasion, it almost seemed like a somber ritual being acted out before the crowd. A hushed silence ushered in woven blips and tones. At the height of the magical incantation, a giant slinkly was spread across the entire space, as it sent lightening over the PA. The religious expression was concluded with a communion of sorts as Soft Pieces adorned a mask, and handed out pieces of the spring as he snipped it down.
Soft Pieces performing at Sonic Circuits vid#1 from Denman C Anderson on Vimeo.
Soft Pieces performing at Sonic Circuits Vid#2 from Denman C Anderson on Vimeo.
Per usual for Sonic Circuits, as with any fest, or at least any show at the Velvet Lounge, there came a long and awkward moment of confusion. No one was playing, no one was setting up, and no one in the speculating crowd had a good idea of what the story was. Finally, outsider legend Jandek came walking out of the muck, backing ensemble in tow. It was one of the more highly anticipated sets of the festival, but at this point, people were ready for anything.
While overall it was the gratification everyone had hoped for, the rest of the group was a bit overwhelming, marginalizing the person who should have been gravitated around. Noise, in this sphere, is chaos, but the forefront was better reserved for the namesake of what in this instance was an array of artists.
Jandek performing at Sonic Circuits from Denman C Anderson on Vimeo.
Everyone could tell that things had gotten of kilter, but were all breathlessly awaiting the glass-like hypnotic powers of Tim Hecker. When, finally, one of the organizers sulked onto the stage to inform us, in the way that one would share a death in the family, that Tim Hecker was sick, and would not be performing, we took it with that same reaction of woe and mourning.
As the heads of the crowd hung low, Kotra, a Nietzschean Deus Ex Machina from the Ukraine, mounted a pile of gear, and saved the day. What I have to say about this unexpected talent is that he finally brought to the table what I’d been waiting for all day: real, harsh noise. While the noise genre is dense with eclectic movements, harsh noise has been a standard from the beginning, and you can’t really call this a noise fest without it. It’s true Kotra pumped beats and synth through the system, but with the volume and abrasion that gave the feeling of standing in front of a blow dryer, in the way that only harsh noise can.
Kotra performing at Sonic Circuits from Denman C Anderson on Vimeo.
After this the show began to churn. People went down to the bar, or went out for food. The next few rounds of performers began to feel like a long blur. We devotees had already been there for seven or eight hours. The true hangers on were, at this point, waiting for the Dutch spectacle known as Fckn Bstrds. And wait we did. Finally, after an eternity of free-jazz, the moment had arrived. And by that, I mean the moment the management tried to shut down the show for having gone well past its cut off time. Fortunately, enough pleading took place to allow a group who had flown in from Europe, to actually perform after several locals had forgotten that they were not the only people there.
And it was absolutely worth the wait. As the group began dragging trash across the stage for set up, one member stripped naked, and tapped foam around various parts of his body. That alone could have constituted a performance. What happened in the end was roughly ten minutes of insane fury. There was screaming, shoving, the throwing of random objects, garbage monster outfits, full frontal nudity, and all set to the soundtrack of blaring disharmony over the system. A full pit, much more apt for a hard core show than this, erupted, and I held my camera out until it was absolutely no longer safe to do so. But in the end I was able to get the proof that this happened, and I could not be happier to present my first *NSFW* video.
Fckn Bstrds performing at Sonic Circuits from Denman C Anderson on Vimeo.
Dead is the only way I could describe everyone, after what seemed like a fest cum eternity. We all hobbled home to recover before the final day of this week long excursion.
Wednesday, October 14, 2009
The closest a person like me will ever come to doing drugs....
Roughly two weeks ago now, I spent a few days in the ever amazing city of San Francisco. Beyond hanging out in record stores and cafes, I was eager to find some way to fill my evenings there. You'd never guess how helpful the people at Aquarius Records actually are. I asked what might be going on over the weekend, and instead of getting an off the cuff answer, I found myself as co-pilot in a Scotland Yard worthy hunt. After scoping across several papers and websites, the tall kindly gentleman stopped dead in his tracks,"Have you ever seen Caroliner?" he queried. Sadly my answer was going to be 'no.' "Well, they're virtually unheard of outside of SF, but they've been around forever." "It's a crazy show with costumes and costumes that merge with instruments, and more." Needless to say, that settled it for me.
What I was fortunate enough to stumble into that painfully windy Saturday night was a noise show in a multi-disciplinary artspace's gallery. If you happen to be in the Mission area in San Francisco, it might be worth your while to see what the Lab has going on.
While the opening three performers were very much enjoyable, it was the giant mystery looming behind the sheet draped over a large protrusion from the back wall that I was anxiously awaiting.
And sure enough, that time came. Down went the veil, and out popped the most surreal, dayglo portal to another world that I had ever seen. The closest I can come to describing it is, acid on acid. Instead, you should really just see for yourself:
Finding information on Caroliner can prove to be just as disorienting. While both the wikipedia entry and the myspace page tell a lose story of Caroliner being a tribute to a singing bull from the 1800's, there is little factual or helpful explanation, (though I did not scour the latter very hard).
Actually, the most enlightening bits of information came from a conversation happening behind me during the show. Somewhere out there is a video of the brainchild behind Caroliner performing the project solo, in the early eighties. This same, unnamed wunderkind, is, at this point, in his early forties, has no job, and basically lives to work on the band. (It was speculated that, in light of this, he probably lives like a cockroach. But that was just speculation.....). Most interesting of all was that the cowboy attired couple manning the merch were non other than his parents.
I spoke to his father afterward to see what, obviously, handmade record I should get. He said he couldn't tell them apart. I asked which one sounded most like the set, and his surprising reply was,"Tonight? Aw that was real tame; I've seen 'em do much crazier stuff than that." My mind was left to only imagine.
It might not justify a cross country trip, but Caroliner is certainly a group to go out of your way to get "far out" with. And while San Francisco is far from DC, it's not nearly as far as Europe. (Sonic Circuits, I'm looking at you........)
What I was fortunate enough to stumble into that painfully windy Saturday night was a noise show in a multi-disciplinary artspace's gallery. If you happen to be in the Mission area in San Francisco, it might be worth your while to see what the Lab has going on.
While the opening three performers were very much enjoyable, it was the giant mystery looming behind the sheet draped over a large protrusion from the back wall that I was anxiously awaiting.
And sure enough, that time came. Down went the veil, and out popped the most surreal, dayglo portal to another world that I had ever seen. The closest I can come to describing it is, acid on acid. Instead, you should really just see for yourself:
Caroliner performing at The Lab in San Francisco from Denman C Anderson on Vimeo.
Finding information on Caroliner can prove to be just as disorienting. While both the wikipedia entry and the myspace page tell a lose story of Caroliner being a tribute to a singing bull from the 1800's, there is little factual or helpful explanation, (though I did not scour the latter very hard).
Actually, the most enlightening bits of information came from a conversation happening behind me during the show. Somewhere out there is a video of the brainchild behind Caroliner performing the project solo, in the early eighties. This same, unnamed wunderkind, is, at this point, in his early forties, has no job, and basically lives to work on the band. (It was speculated that, in light of this, he probably lives like a cockroach. But that was just speculation.....). Most interesting of all was that the cowboy attired couple manning the merch were non other than his parents.
I spoke to his father afterward to see what, obviously, handmade record I should get. He said he couldn't tell them apart. I asked which one sounded most like the set, and his surprising reply was,"Tonight? Aw that was real tame; I've seen 'em do much crazier stuff than that." My mind was left to only imagine.
It might not justify a cross country trip, but Caroliner is certainly a group to go out of your way to get "far out" with. And while San Francisco is far from DC, it's not nearly as far as Europe. (Sonic Circuits, I'm looking at you........)
Wednesday, October 7, 2009
Pretty Ok? I don't think so
This is a bit late. And while I hate to post back to back, I have yet to upload my Sonic Circuits footage, and that Caroliner vid from SF (Don't worry, you will know...).
Regardless, roughly two weeks ago I was fortunate enough to take in a more than splended evening at the Cat on a Thursday of all things.
Not only was it a night with some of my favorite people, but the bands were not too shabby either.
Kicking the whole celebration off were bay area, pop-punk (near) veterans Onion Flavored Rings, who, might I add, were the most known and respected group on this bill. With tendrils slithering in and out of the wide ocean of the punk scene for over a decade, it only made sense in certain contexts to have them open the show. None-the-less, they did so with a slightly sour cotton candy bravado. With a teaspoon of awkward disgruntledness sewing the set together, Onion Flavored Rings excellently knocked out a whole wall's worth of spazzy pop anthems.
And the punx went wild...........
Taking the baton and running with it, Ingid came bursting onto the stage with the crushing force of a little math, a little prog, a dash of Providence and a whole easter basket of rock. Sadly, you may not have heard of them if you weren't below the underground or an Indigenous American tracker. Climbing out of the ashes of Mass Movement of the Moth, this dynamic duo have soared to much higher places. Seeing them perform is still as likely as winning the lottery, but they both bring the same amount of joy. Here they are in their natural habitat.
My reference for Screaming Females is not flashy clubs, popular music blogs, or bad, self impressed, internet radio, rather my connection comes from sweaty basements, punk shows, and the DIY community. So their current status is still a very odd reality for me. But, I'll give them two things: they have always been nice to me when we've interacted, and when they rock, they rock hard (I held my tongue on "...like a hurricane...".) And this was no exception at the Cat. The crowd, obviously, had grown in size and pressure, but fortunately the enthusiasm had grown as well (only by a touch). Coming out with a sawed-off sized bang, the Screaming Females erupted in a way that said, "I'm doing this because I enjoy it, but I'm glad you seem into it as well...."
Once they had the crowed even more firmly on their side, they took them on a pre-Ralph Nader ride, only slowing down a bit for a few of the newer tunes.
I am constantly amazed by Marissa's voice, off the charts guitar skills, and far-beyond over-the-top stage presence. If you've ever met her, you'll quickly realize that the stage is where she is able to truly express herself. Which is not to say that Mike and Jarrett are any sort of backing band; in fact, the whole group operates as one
intertwined machine. Though the crowd (I'd place myself in this camp) expressed a sentiment to hear some of their older tunes, they still managed to take a little more paint off of the walls and put a few more cracks in the ceiling.
All in all, it was one of those rare nights where everything was perfect, and it was only so because everyone brought their A game to the table.
Regardless, roughly two weeks ago I was fortunate enough to take in a more than splended evening at the Cat on a Thursday of all things.
Not only was it a night with some of my favorite people, but the bands were not too shabby either.
Kicking the whole celebration off were bay area, pop-punk (near) veterans Onion Flavored Rings, who, might I add, were the most known and respected group on this bill. With tendrils slithering in and out of the wide ocean of the punk scene for over a decade, it only made sense in certain contexts to have them open the show. None-the-less, they did so with a slightly sour cotton candy bravado. With a teaspoon of awkward disgruntledness sewing the set together, Onion Flavored Rings excellently knocked out a whole wall's worth of spazzy pop anthems.
And the punx went wild...........
Onion Flavored Rings playing at the Black Cat #2 from Denman C Anderson on Vimeo.
Taking the baton and running with it, Ingid came bursting onto the stage with the crushing force of a little math, a little prog, a dash of Providence and a whole easter basket of rock. Sadly, you may not have heard of them if you weren't below the underground or an Indigenous American tracker. Climbing out of the ashes of Mass Movement of the Moth, this dynamic duo have soared to much higher places. Seeing them perform is still as likely as winning the lottery, but they both bring the same amount of joy. Here they are in their natural habitat.
Ingrid playing at the Black Cat in DC from Denman C Anderson on Vimeo.
My reference for Screaming Females is not flashy clubs, popular music blogs, or bad, self impressed, internet radio, rather my connection comes from sweaty basements, punk shows, and the DIY community. So their current status is still a very odd reality for me. But, I'll give them two things: they have always been nice to me when we've interacted, and when they rock, they rock hard (I held my tongue on "...like a hurricane...".) And this was no exception at the Cat. The crowd, obviously, had grown in size and pressure, but fortunately the enthusiasm had grown as well (only by a touch). Coming out with a sawed-off sized bang, the Screaming Females erupted in a way that said, "I'm doing this because I enjoy it, but I'm glad you seem into it as well...."
Screaming Females playing at the Black Cat Vid#1 from Denman C Anderson on Vimeo.
Once they had the crowed even more firmly on their side, they took them on a pre-Ralph Nader ride, only slowing down a bit for a few of the newer tunes.
Screaming Females playing at the Black Cat vid#2 from Denman C Anderson on Vimeo.
I am constantly amazed by Marissa's voice, off the charts guitar skills, and far-beyond over-the-top stage presence. If you've ever met her, you'll quickly realize that the stage is where she is able to truly express herself. Which is not to say that Mike and Jarrett are any sort of backing band; in fact, the whole group operates as one
intertwined machine. Though the crowd (I'd place myself in this camp) expressed a sentiment to hear some of their older tunes, they still managed to take a little more paint off of the walls and put a few more cracks in the ceiling.
All in all, it was one of those rare nights where everything was perfect, and it was only so because everyone brought their A game to the table.
Tuesday, October 6, 2009
Burnin’ up the Second Rome
Last week, the eclectic purveyors of Type 1 music, the Cornel West Theory, finally had the launch of their first record proper, on one of the best local labels going right now, Sockets Records. Not only was it a packed house, (and with only one group on the bill, none the less), but both parties were honored to have Dr. West himself present. Not able to simply stay in the crowd, he was also participating in the festivities.
After Timothy Hicks, the “official” spokesperson of the Cornel West Theory, took a moment to explain the creation of the ensemble, Dr. West gave their introduction.
The very minute he stepped into the light, an electric crackle filled the room, and expanded like a massive Tesla Coil as the night went on:
The atmosphere the group creates, from the sincerity of their political message, to their passionate theatrical performances, to their audience participation, instantly mobilizes the attendees creating a very magnetically charismatic environment. All of which is embodied in Dr. West, who, midway through the set, (after being dragged onto the stage to break down some dance moves like a twenty-five year old James Brown, for which, not being able to capture on film, I will never forgive myself), took the stage to poetically send out some of his beliefs while the group acted as his backing band. It was the most powerful peak of the night, and the entire room unified under the blanket of his words:
The Cornel West Theory, in keeping with its collective style flow, lets many people get involved in telling the story. A number of pieces read like group spoken word, only pulled off with engaging success, and most certainly entwining itself with the music. These tracks have a family feel where everyone grabs the mic to participate:
All in all, it was one of the most successful record release show I’ve seen in a long time. I spoke with vocalist and the provider of the electronic spine for the group, John Wesley Moon, afterwards and he said the group was taking its time to figure out the next step. They will be planning a tour for the Second Rome album, but they’re waiting to see the initial reaction. From there, they’ll decide where the band is at, and how to push it to the next level. If the rest of it goes anything like this night, I’m sure they will have no trouble at all.
After Timothy Hicks, the “official” spokesperson of the Cornel West Theory, took a moment to explain the creation of the ensemble, Dr. West gave their introduction.
The very minute he stepped into the light, an electric crackle filled the room, and expanded like a massive Tesla Coil as the night went on:
the Cornel West Theory record release show Vid#1 from Denman C Anderson on Vimeo.
The atmosphere the group creates, from the sincerity of their political message, to their passionate theatrical performances, to their audience participation, instantly mobilizes the attendees creating a very magnetically charismatic environment. All of which is embodied in Dr. West, who, midway through the set, (after being dragged onto the stage to break down some dance moves like a twenty-five year old James Brown, for which, not being able to capture on film, I will never forgive myself), took the stage to poetically send out some of his beliefs while the group acted as his backing band. It was the most powerful peak of the night, and the entire room unified under the blanket of his words:
the Cornel West Theory record release show vid#2 from Denman C Anderson on Vimeo.
The Cornel West Theory, in keeping with its collective style flow, lets many people get involved in telling the story. A number of pieces read like group spoken word, only pulled off with engaging success, and most certainly entwining itself with the music. These tracks have a family feel where everyone grabs the mic to participate:
The Cornel West Theory record release show vid#3 from Denman C Anderson on Vimeo.
All in all, it was one of the most successful record release show I’ve seen in a long time. I spoke with vocalist and the provider of the electronic spine for the group, John Wesley Moon, afterwards and he said the group was taking its time to figure out the next step. They will be planning a tour for the Second Rome album, but they’re waiting to see the initial reaction. From there, they’ll decide where the band is at, and how to push it to the next level. If the rest of it goes anything like this night, I’m sure they will have no trouble at all.
Thursday, September 24, 2009
A black cat crossing your path is never a bad thing.....
Roughly a week and a half ago, the Black Cat took it's annual moment to commemorate another year of bands, beats, and brawls. At 16, the club should be sneaking out, openly defying it's parents and learning how to procure both booze and porn. How better to sum up the energy of angsty teendom than by celebrating with DC hot rodding garage punk warlords, The Shirks, coupled with DC ex-pats to the astral plane, Dead Meadow. Such a small, yet HUGE bill.
The Shirks (aka, still, the best band in DC right now....) came out in true style by declaring that,"We're The Shirks from Washington, DC, and we're HUNG OVER!" before unleashing sonic annihilation onto the crowd. Though they opened with the same two songs they started the last video with, I did manage to catch one new track, which is definitely worth checking out.
If you were able to take the compressed fury of The Shirks and slowly coax it out into a long and intricate tapestry, you would have the embodiment of nouveaux psych pioneers, Dead Meadow. After taking their time setting up green mood lighting, wiggle light effects, a smoke machine, and (obviously long ago now) a bass drum head that hurt your eyes to simply look at, the band calmly strolled out, and the hypnosis began. Though it's all the way I remember it, The Shirks played for roughly fifteen minutes, while Dead Meadow swam through about an hour and half. It went from a show to a happening in the blink of an eye. Once they finally let the crowd touch ground again, we could not help but notice all of their instruments were still in place, and, yes, there would be an encore.
When all was said and done, I felt as though rock'n'roll had sucked the marrow from my bones. It was, without a doubt, one of the best shows I had been to in months, and definitely one of the best shows I'd seen at the Black Cat in about a year. So, here's to another year of shows, DJ's, and,"You can't make me do that; my dad's a _______!"
The Shirks (aka, still, the best band in DC right now....) came out in true style by declaring that,"We're The Shirks from Washington, DC, and we're HUNG OVER!" before unleashing sonic annihilation onto the crowd. Though they opened with the same two songs they started the last video with, I did manage to catch one new track, which is definitely worth checking out.
The Shirks play at the Black Cat's 16th anniversary show in DC from Denman C Anderson on Vimeo.
If you were able to take the compressed fury of The Shirks and slowly coax it out into a long and intricate tapestry, you would have the embodiment of nouveaux psych pioneers, Dead Meadow. After taking their time setting up green mood lighting, wiggle light effects, a smoke machine, and (obviously long ago now) a bass drum head that hurt your eyes to simply look at, the band calmly strolled out, and the hypnosis began. Though it's all the way I remember it, The Shirks played for roughly fifteen minutes, while Dead Meadow swam through about an hour and half. It went from a show to a happening in the blink of an eye. Once they finally let the crowd touch ground again, we could not help but notice all of their instruments were still in place, and, yes, there would be an encore.
Dead Meadow performing at the Black Cat's 16 anniversary in DC from Denman C Anderson on Vimeo.
When all was said and done, I felt as though rock'n'roll had sucked the marrow from my bones. It was, without a doubt, one of the best shows I had been to in months, and definitely one of the best shows I'd seen at the Black Cat in about a year. So, here's to another year of shows, DJ's, and,"You can't make me do that; my dad's a _______!"
Wednesday, August 26, 2009
No, your radio is not broken; your house alarm is not going off....
Last Friday I was asked to perform on University of Maryland's longstanding radio station WUMC. The specific show, (n)flux, is geared towards experimental and ambient sounds. DJ ARKive has been working hard to pull together quality programming including having live performances from the likes of Daniel Higgs, among others. You should give it a listen every Friday from 10:00-12:00PM.
Needless to say, I was quite surprised to share an honor bestowed upon MULTIPLE members of Lungfish. Without evening meaning to, I performed for nearly an hour and a half. I'd been deeply exhausted by work, so, bits of the piece were not my best. However, I am quite fond of the better stretches. If you are a trooper, in the most Iron Maiden sense of the word, you can listen to the entire event here, (obviously you need to skip down to the "N FLUX" show, and no, the Tom Petty at the beginning is not part of it....).
Per usual, I could not resist whipping out my Flipvid, and I've included a brief excerpt here (Yes, with all the fun of watching real, live, clinical knob turning...):
Needless to say, I was quite surprised to share an honor bestowed upon MULTIPLE members of Lungfish. Without evening meaning to, I performed for nearly an hour and a half. I'd been deeply exhausted by work, so, bits of the piece were not my best. However, I am quite fond of the better stretches. If you are a trooper, in the most Iron Maiden sense of the word, you can listen to the entire event here, (obviously you need to skip down to the "N FLUX" show, and no, the Tom Petty at the beginning is not part of it....).
Per usual, I could not resist whipping out my Flipvid, and I've included a brief excerpt here (Yes, with all the fun of watching real, live, clinical knob turning...):
DCADCNC perforning live on the (n)flux show on WUMC from Denman C Anderson on Vimeo.
Monday, August 17, 2009
DC is Doomed
Sorry to say, this isn't a post about a staggering group of burn outs letting minor chords reverberate long enough to grow beards, as exciting as that would also be. No, the title is a song title from a band to be mentioned below. What this is really about is how, (besides that truth that music is doomed in DC), last weekend was one of those rare occasions where there were, quite literally, worthwhile bands playing every night. The ante has been upped for this being a video blog, but, none the less, every piece will be curated.
Thursday night was truly a miracle of dark gods' first degree. After four albums, ten years, and what seems like an eternity away from the east coast, SF based, seminal USBM band, Ludicra, randomly played at DC9. Though I'll have to say, for such a monumental event, even I had to find out while randomly skimming through a midwest metal blog. Fortunately, that did indeed happen, and I was right up front to hear the frost tainted onslaught. If you aren't aware of this band, check out their website here.
I was still reeling from the previous nights warfare, when I decided to try to catch Magrudergring and Assholeparade after work.
Being one of the original wave of powerviolence bands, not to mention being a group having anything to with heavy music coming from FloriDeicide, Assholeparade carry quite the mantle of brutality. I'd seen them several years ago when they were touring for their new album, so I knew I was in for a rager. One (of many) of the positive aspects of the DIY scene is that, in many circumstances, it prevents bands from hiding behind any pretense. You are going to have to know what you are doing when faced with a bare room, no stage, full office lighting, a half-working, sub-par PA, and no line of demarcation between you and the crowd. Quite simply, if you are not the real thing, you will tank like a flying-device, pre-Wright brothers. Fortunately, Assholeparade did not have this problem, as they tore through a twenty minute blitz krieg. Another positive thing about this type of show is that the kids aren't afraid to get active, and, as long as they aren't being assholes, I say the more the merrier. You don't even have to look very closely to see where that had an impact on the integrity of filming.
They were quickly followed up by hometown heroes Magrudergrind. This is a band I can't really say enough good things about. I've known them almost the entire time I've lived in DC, though they pre-date that. I've been down front and center more times than I could even try to count, and I can scarcely name a more energetic and sincere band. Plus, oh well, it should be said, they fucking rip. Every new release could strip the paint off of buildings. They do in fact have a new album out, and you can check it out on their myspace profile.
(Plus, there is no way I could ever say anything bad about a band who's brought Unholy Grave to the US (TWICE!))
If those shows combined weren't enough to dig my grave, Saturday night's most certainly brought the shovel. It is always irritating when people discuss, X city's best kept secret band, who, look out world, is on the rise. But let me wear the hat of that asshole for just a moment. As much as it saddens me to think about, without trying to intentionally, DC's The Shirks (that mystery band I mentioned at the beginning) are certainly going to go somewhere, because, dammit, they just rock so hard. In the most arms folded, stare straight city in America, only The Shirks could induce a pit simply by playing rowdy garage punk. I'm sure it did not hurt that they've been out of commission for quite a while due to a sports injury (guitar karate, I believe). They have two 7's out, and everyone should, by all means, pick them up here.
Sunday was a day spent best brunching late in the afternoon, with a copy of the New Yorker. And, though being beaten by a gang of tiny soap-socked elves is a strong situation to recover from, I wish I could do it more often.......
Until the next round.
Thursday night was truly a miracle of dark gods' first degree. After four albums, ten years, and what seems like an eternity away from the east coast, SF based, seminal USBM band, Ludicra, randomly played at DC9. Though I'll have to say, for such a monumental event, even I had to find out while randomly skimming through a midwest metal blog. Fortunately, that did indeed happen, and I was right up front to hear the frost tainted onslaught. If you aren't aware of this band, check out their website here.
Ludicra playing at DC9, in DC from Denman C Anderson on Vimeo.
I was still reeling from the previous nights warfare, when I decided to try to catch Magrudergring and Assholeparade after work.
Being one of the original wave of powerviolence bands, not to mention being a group having anything to with heavy music coming from FloriDeicide, Assholeparade carry quite the mantle of brutality. I'd seen them several years ago when they were touring for their new album, so I knew I was in for a rager. One (of many) of the positive aspects of the DIY scene is that, in many circumstances, it prevents bands from hiding behind any pretense. You are going to have to know what you are doing when faced with a bare room, no stage, full office lighting, a half-working, sub-par PA, and no line of demarcation between you and the crowd. Quite simply, if you are not the real thing, you will tank like a flying-device, pre-Wright brothers. Fortunately, Assholeparade did not have this problem, as they tore through a twenty minute blitz krieg. Another positive thing about this type of show is that the kids aren't afraid to get active, and, as long as they aren't being assholes, I say the more the merrier. You don't even have to look very closely to see where that had an impact on the integrity of filming.
Assholeparade playing in DC from Denman C Anderson on Vimeo.
They were quickly followed up by hometown heroes Magrudergrind. This is a band I can't really say enough good things about. I've known them almost the entire time I've lived in DC, though they pre-date that. I've been down front and center more times than I could even try to count, and I can scarcely name a more energetic and sincere band. Plus, oh well, it should be said, they fucking rip. Every new release could strip the paint off of buildings. They do in fact have a new album out, and you can check it out on their myspace profile.
(Plus, there is no way I could ever say anything bad about a band who's brought Unholy Grave to the US (TWICE!))
Magrudergrind playing in DC from Denman C Anderson on Vimeo.
If those shows combined weren't enough to dig my grave, Saturday night's most certainly brought the shovel. It is always irritating when people discuss, X city's best kept secret band, who, look out world, is on the rise. But let me wear the hat of that asshole for just a moment. As much as it saddens me to think about, without trying to intentionally, DC's The Shirks (that mystery band I mentioned at the beginning) are certainly going to go somewhere, because, dammit, they just rock so hard. In the most arms folded, stare straight city in America, only The Shirks could induce a pit simply by playing rowdy garage punk. I'm sure it did not hurt that they've been out of commission for quite a while due to a sports injury (guitar karate, I believe). They have two 7's out, and everyone should, by all means, pick them up here.
The Shirks playing at the Velvet Lounge in DC from Denman C Anderson on Vimeo.
Sunday was a day spent best brunching late in the afternoon, with a copy of the New Yorker. And, though being beaten by a gang of tiny soap-socked elves is a strong situation to recover from, I wish I could do it more often.......
Until the next round.
Friday, July 31, 2009
How I Spent My Summer Vacation....
So, you may have noticed a lack of activity here at the ole AS this summer. (But you probably didn't...) At any rate, I was given the fantastic opportunity to set up music programming for DC's Capital Fringe Festival, and, knowing me, I geekily documented as much as I could.
I was happily surprised at the number of people who were willing to reach out and take a chance to help craft some fantastic programming for the summer, and I really couldn't thank them enough for that.
I also want to add that there were many more performers than featured here, but I was only able to be there for the full bills at the end of the evenings. Among those were the likes of such great musicians as Pygmy Lush, Paul Michel, Alien Tears (Beck from Turboslut), John Bustine, and a whole horde more. Again, I owe all of them a deep gratitude.
Things kicked off with great DC psych band The Plums, followed by a Baltimore band of the same description, Lo Moda. The show was cruising along until the ABC barged in and claimed we did not understand our permit (riiiiiight......), thereby completely nixing what would have been another eloquently killer set from ex-Sentai, third-eye BLDGS.
At the next event I was fortunate enough to have some of DC's finest, Will Eastman, Micah Vellian, and Outputmessage using vinyl and stylei like flint and kindling to burn the house down. Here's a short bit of Outputmessage:
As always, Kylos was there on the V-dexxx, and I have to say, I'm diggin' his new images...
I was talking to Sean Peoples a few weeks ago, and he told me that he was trying to re-vamp Sockets Records and really do it right this time. I found that to be an ironic statement from the head of one of the most beloved labels in DC already, but I can't say I wouldn't get behind any ramping up.
So it went with a night that he,(or I should say, Sockets Records), curated.
Chris Grier is a guitar conjurer who is almost as interesting to listen to speak as it is to hear him at his craft. I do remember him saying that whatever time he was given, he most certainly would be able to fill. (And many other, much more quality statements, best left unquoted here...)
Another powerhouse from the new Sockets records, now with more *oomph*, is fractured dance pop band, Big Gold Belt. They are what would happen if those bland, generic, pseudo Brit-pop bands were membered by actually talented, interesting people. I really love this:
And finally, bringing the house down, was the group so impressive they were asked to come back to the Fringe by it's executive Director, the Cornel West Theory. Sean is really pushing these guys, and rightfully so. Beyond talent, they are full of boundless energy, sincerity, and integrity. Plus, one of the guys wears a pasamontana...
The next night saw more of the same type of solid curation, as All Our Noise orchestrated what was probably our most successful night.
To kick things off, John and Paul Thornley, of US Royalty fame, got together to perform in a much more intimate style than they usually do, and it seemed to be a great choice for the Fringe.
Continuing in a similar vein, Typefighter proved that you can take a full band to some very quiet places that come right out to audience and take there hand before blasting off into the sky with them.
Finally, Seas shifted all the way to the other end of the spectrum, with thick, rich layers of sound that swept everything away that was not tied down.
In an odd, and semi-tragic turn of events, a friend of one of my bosses was slated to do a four part-music/sound project, but in a twisted irony, suffered serious hearing damage in a speaker accident. Needless to say, he had to drop out at the last minute.
I knuckled down and was able to fill most of the slots, but left with one....I side-stepped a few ethics and booked myself. I didn't feel it was that terrible of a decision under the circumstances. I've been toying off and on with a solo noise project for some months now. I'm trying to make it a more serious endeavor now that I have the time. This was the first time I have ever performed live, and I was fairly happy with how it sounded. (I also got a kick out of the "ambiance" going on around me, in what John called the most "demoralizing space I have ever seen.") Fair warning, it was so long Vimeo made me separate it into two vids (yes, I do expect you to indulge me in watching both installments).
Hip hop has always been an important part of my life, and also, obviously of DC in general. So there was no way I was going to pass up this opportunity to have some quality MC's stop by the Fringe. I'll have to admit, I had not heard of Arda Mus before this. But Flex Mathews suggested him, and DI backed that decision. It was certainly a good choice on all sides. I'd also like to note that all of these guys were really great people, and very nice to work with.
And a pretty sweet freestyle that I unfortunately missed the very beginning of:
I had initially asked Food For Animals to play, but when they couldn't do it, it was suggested that Hy's other group, Disturbed Individuals should play in their stead. After one listen, it was a done deal. Andrew had noted that they were getting around town a lot recently, so it was fortunate that I was able to snag them for this.
Finally, one night, many moons ago now, when Head Roc was playing at the Warehouse (RIP), he brought a kid up on stage, and though I don't remember exactly what he said, it was something to the effect of," This kid is a phenomenal MC, and you should all be on the look out for him." And it was right after that moment that I was first blown away byt Flex Mathews. I've off and on kept in touch with him in the years since, but I've always been a die hard supporter. It was a no brainer that he was the first person I contacted. He got his first notice as an epic battler, back in that period. After his name was made, he charged head-long into non stop writing, performing, and promoting. Between his high work ethic, talent, and ever-amiable personality, he's earned everything he's gained. We did take a moment to laugh at the fact that in the city paper he was voted best rapper of the year, thereby beating Wale...
Did I mention he's untouchable? This freestyle was much better for those who saw it in person, but none the less.....
Jeff Barsky is the definition of multi-talented, not only playing in The Plums, but also his own noise project, Insect Factory (and considering several other members of the plums joined him on this outing, the same could be said of them as well.) They were the perfect kick off to the highlight of the Fringe, Insect Factory, BLK w/BEAR, and NYC golden children, Religious Knives.
Jim Adams is another artist who had an instantly lasting effect on me. Seeing his fragile photography at an art show soon after I moved to DC, it was hearing his collaborative album with Rothko that really impressed me. I found "Wish for a World Without Hurt," to be an incredibly haunting album, even to this day. Performing, alone and with others, under the name BLK w/BEAR, every live show holds the promise of a new and interesting relationship between convention and the concept of sound. Beyond that, in his own subtle way, he is an attention holding performer in every set. My deepest apologies that this is not my best or longest video. BLK w/BEAR deserves better, but I was in the middle of pandemonium when I shot this.
Finally, in what was one of the proudest moments of the Fringe, Religious Knives took that stage. Just as amazing live as they are on record, I'm not sure there is much more to say except that if you missed them, well....you're an idiot.
Finally, sending off this summer chronicling, one of my personally favorite nights, well.....you may have guessed it, metal. The irony of being a fan of Orphan is hearing about them due to the lauding by Aquarius Records in San Francisco, not knowing that Speck, the drummer of the duo, is from DC. But regardless of how I got there, I cannot recommend this band enough. Their performance was enough to make people who's musical tastes are questionable say,"I'm not normally into that kind of thing, but that band was awesome." I had initially put local brutalizers, Ilsa, on the bill, but when they had to drop off, they suggested adding another ilk sharing band, Tetralogy of Fallot. New indeed, I'm sure you'll be hearing a lot from this impressive group.
It seems like everyone from Mick Barr to Mark McCoy has a black metal side project these days. I'd heard that the No Neck Blues band was involved in one as well, but didn't know much about them. When Orphan said they'd asked Malkuth to join them, I'd thought I'd give them a listen. Whatever your take on this type of black metal is, I'd have to say that they are one of the most savage and kvlt groups out there. Despite having to overcome a few obstacles, they played a crushing and memorable set.
Which brings me back to Orphan, and really, what more is there to say other than "Penis Farm"?
Well, that it that my friends, and I certainly wish you all could have been there. And I also suppose this is turning into something of a video blog, which, as it's happening at my hands, I'd have to say I wholeheartedly support. Until next time...
I was happily surprised at the number of people who were willing to reach out and take a chance to help craft some fantastic programming for the summer, and I really couldn't thank them enough for that.
I also want to add that there were many more performers than featured here, but I was only able to be there for the full bills at the end of the evenings. Among those were the likes of such great musicians as Pygmy Lush, Paul Michel, Alien Tears (Beck from Turboslut), John Bustine, and a whole horde more. Again, I owe all of them a deep gratitude.
Things kicked off with great DC psych band The Plums, followed by a Baltimore band of the same description, Lo Moda. The show was cruising along until the ABC barged in and claimed we did not understand our permit (riiiiiight......), thereby completely nixing what would have been another eloquently killer set from ex-Sentai, third-eye BLDGS.
The Plums playing at the Capital Fringe Festival in DC from Denman C Anderson on Vimeo.
Lo Moda playing at the Capital Fringe Festival in DC from Denman C Anderson on Vimeo.
At the next event I was fortunate enough to have some of DC's finest, Will Eastman, Micah Vellian, and Outputmessage using vinyl and stylei like flint and kindling to burn the house down. Here's a short bit of Outputmessage:
Outputmessage at the Capital Fringe Festival in DC from Denman C Anderson on Vimeo.
As always, Kylos was there on the V-dexxx, and I have to say, I'm diggin' his new images...
Visuals by Kylos at the Capital Fringe Festival in DC from Denman C Anderson on Vimeo.
I was talking to Sean Peoples a few weeks ago, and he told me that he was trying to re-vamp Sockets Records and really do it right this time. I found that to be an ironic statement from the head of one of the most beloved labels in DC already, but I can't say I wouldn't get behind any ramping up.
So it went with a night that he,(or I should say, Sockets Records), curated.
Chris Grier is a guitar conjurer who is almost as interesting to listen to speak as it is to hear him at his craft. I do remember him saying that whatever time he was given, he most certainly would be able to fill. (And many other, much more quality statements, best left unquoted here...)
Chris Grier performing at the Capital Fringe Festival in DC from Denman C Anderson on Vimeo.
Another powerhouse from the new Sockets records, now with more *oomph*, is fractured dance pop band, Big Gold Belt. They are what would happen if those bland, generic, pseudo Brit-pop bands were membered by actually talented, interesting people. I really love this:
Big Gold Belt performing at the Capital Fringe Festival in DC from Denman C Anderson on Vimeo.
And finally, bringing the house down, was the group so impressive they were asked to come back to the Fringe by it's executive Director, the Cornel West Theory. Sean is really pushing these guys, and rightfully so. Beyond talent, they are full of boundless energy, sincerity, and integrity. Plus, one of the guys wears a pasamontana...
the Cornel West Theory performing at the Capital Fringe Festival in DC from Denman C Anderson on Vimeo.
The next night saw more of the same type of solid curation, as All Our Noise orchestrated what was probably our most successful night.
To kick things off, John and Paul Thornley, of US Royalty fame, got together to perform in a much more intimate style than they usually do, and it seemed to be a great choice for the Fringe.
John and Paul Thornley Performing at the Capital Fringe Fest from Denman C Anderson on Vimeo.
Continuing in a similar vein, Typefighter proved that you can take a full band to some very quiet places that come right out to audience and take there hand before blasting off into the sky with them.
Typefighter performing at the Capital Fringe Festival from Denman C Anderson on Vimeo.
Finally, Seas shifted all the way to the other end of the spectrum, with thick, rich layers of sound that swept everything away that was not tied down.
Seas performing at the Capital Fringe Festival from Denman C Anderson on Vimeo.
In an odd, and semi-tragic turn of events, a friend of one of my bosses was slated to do a four part-music/sound project, but in a twisted irony, suffered serious hearing damage in a speaker accident. Needless to say, he had to drop out at the last minute.
I knuckled down and was able to fill most of the slots, but left with one....I side-stepped a few ethics and booked myself. I didn't feel it was that terrible of a decision under the circumstances. I've been toying off and on with a solo noise project for some months now. I'm trying to make it a more serious endeavor now that I have the time. This was the first time I have ever performed live, and I was fairly happy with how it sounded. (I also got a kick out of the "ambiance" going on around me, in what John called the most "demoralizing space I have ever seen.") Fair warning, it was so long Vimeo made me separate it into two vids (yes, I do expect you to indulge me in watching both installments).
DCADCNC first live performance, in DC from Denman C Anderson on Vimeo.
DCADCNC first live performance, part II from Denman C Anderson on Vimeo.
Hip hop has always been an important part of my life, and also, obviously of DC in general. So there was no way I was going to pass up this opportunity to have some quality MC's stop by the Fringe. I'll have to admit, I had not heard of Arda Mus before this. But Flex Mathews suggested him, and DI backed that decision. It was certainly a good choice on all sides. I'd also like to note that all of these guys were really great people, and very nice to work with.
Ardamus performing at the Capital Fringe Festival from Denman C Anderson on Vimeo.
And a pretty sweet freestyle that I unfortunately missed the very beginning of:
Ardamus freestyling at the Capital Fringe Festival from Denman C Anderson on Vimeo.
I had initially asked Food For Animals to play, but when they couldn't do it, it was suggested that Hy's other group, Disturbed Individuals should play in their stead. After one listen, it was a done deal. Andrew had noted that they were getting around town a lot recently, so it was fortunate that I was able to snag them for this.
Disturbed Individuals performing at the Capital Fringe Fest from Denman C Anderson on Vimeo.
Finally, one night, many moons ago now, when Head Roc was playing at the Warehouse (RIP), he brought a kid up on stage, and though I don't remember exactly what he said, it was something to the effect of," This kid is a phenomenal MC, and you should all be on the look out for him." And it was right after that moment that I was first blown away byt Flex Mathews. I've off and on kept in touch with him in the years since, but I've always been a die hard supporter. It was a no brainer that he was the first person I contacted. He got his first notice as an epic battler, back in that period. After his name was made, he charged head-long into non stop writing, performing, and promoting. Between his high work ethic, talent, and ever-amiable personality, he's earned everything he's gained. We did take a moment to laugh at the fact that in the city paper he was voted best rapper of the year, thereby beating Wale...
Flex Mathews performing at the Capital Fringe Fest from Denman C Anderson on Vimeo.
Did I mention he's untouchable? This freestyle was much better for those who saw it in person, but none the less.....
Flex Mathews freestyling from Denman C Anderson on Vimeo.
Jeff Barsky is the definition of multi-talented, not only playing in The Plums, but also his own noise project, Insect Factory (and considering several other members of the plums joined him on this outing, the same could be said of them as well.) They were the perfect kick off to the highlight of the Fringe, Insect Factory, BLK w/BEAR, and NYC golden children, Religious Knives.
Insect Factory (excerpt) performing at the Capital Fringe Fest from Denman C Anderson on Vimeo.
Jim Adams is another artist who had an instantly lasting effect on me. Seeing his fragile photography at an art show soon after I moved to DC, it was hearing his collaborative album with Rothko that really impressed me. I found "Wish for a World Without Hurt," to be an incredibly haunting album, even to this day. Performing, alone and with others, under the name BLK w/BEAR, every live show holds the promise of a new and interesting relationship between convention and the concept of sound. Beyond that, in his own subtle way, he is an attention holding performer in every set. My deepest apologies that this is not my best or longest video. BLK w/BEAR deserves better, but I was in the middle of pandemonium when I shot this.
BLK w/BEAR (excerpt) performing at the Capital Fringe Fest from Denman C Anderson on Vimeo.
Finally, in what was one of the proudest moments of the Fringe, Religious Knives took that stage. Just as amazing live as they are on record, I'm not sure there is much more to say except that if you missed them, well....you're an idiot.
Religious Knives performing at the Capital Fringe Fest #1 from Denman C Anderson on Vimeo.
Religious Knives performing at the Capital Fringe Fest #2 from Denman C Anderson on Vimeo.
Religious Knives performing at the Capital Fringe Fest #3 from Denman C Anderson on Vimeo.
Finally, sending off this summer chronicling, one of my personally favorite nights, well.....you may have guessed it, metal. The irony of being a fan of Orphan is hearing about them due to the lauding by Aquarius Records in San Francisco, not knowing that Speck, the drummer of the duo, is from DC. But regardless of how I got there, I cannot recommend this band enough. Their performance was enough to make people who's musical tastes are questionable say,"I'm not normally into that kind of thing, but that band was awesome." I had initially put local brutalizers, Ilsa, on the bill, but when they had to drop off, they suggested adding another ilk sharing band, Tetralogy of Fallot. New indeed, I'm sure you'll be hearing a lot from this impressive group.
Untitled from Denman C Anderson on Vimeo.
It seems like everyone from Mick Barr to Mark McCoy has a black metal side project these days. I'd heard that the No Neck Blues band was involved in one as well, but didn't know much about them. When Orphan said they'd asked Malkuth to join them, I'd thought I'd give them a listen. Whatever your take on this type of black metal is, I'd have to say that they are one of the most savage and kvlt groups out there. Despite having to overcome a few obstacles, they played a crushing and memorable set.
Malkuth performing at the Capital Fringe Fest from Denman C Anderson on Vimeo.
Which brings me back to Orphan, and really, what more is there to say other than "Penis Farm"?
Orphan performing at the Capital Fringe Fest #1 from Denman C Anderson on Vimeo.
Orphan performing at the Capital Fringe Fest from Denman C Anderson on Vimeo.
Well, that it that my friends, and I certainly wish you all could have been there. And I also suppose this is turning into something of a video blog, which, as it's happening at my hands, I'd have to say I wholeheartedly support. Until next time...
Tuesday, June 16, 2009
All Aghast on the West Coast
So, the mighty Aghast are taking their usual constitutional around the west coast for the summer. I dropped John a line about content for AS (yes, he's actually the co-author of this blog), and I'll just drop the quote in here:
"Hey dude... forgot to include you in my group email that Im trying to keep a tour blog at mundanearcana. Feel free to cut and paste on to AS if you want."
Thanks.
At any rate, as John did go to world of higher education to learn the king's English properly, it is, as usual, a good read.
So far he's up to post number two, but I'll just put them up here one at a time:
Thursday, June 11, 2009
If you're reading this, you have the city of Long Beach to thank
I wasn't sure if I wanted to bother keeping a tour log on this trip. And I'm still not sure that I do. But there have already been a few moments, brought to you by (and I know I said this last year too) the seriously beat-down burnout of a town that is Long Beach. I commented to Forrest earlier today about the incredibly high number of obviously intoxicated and/or visibly mentally ill people wandering the streets. We had a chuckle about it, but...it's not really hyperbole. Forrest speculated that it was a shared quality among beach towns and likened it to Virginia Beach. Here are a couple of great micro-encounters we've had with the locals so far:
1. In order to facilitate easy unloading of our bags last night, Alan briefly double parked his van in the mouth of an alley by his place, blocking the sidewalk. It's around 1:30am. We were inside a few minutes later, and a woman accosts Alan in his doorway and asks, "Is that your van?" "Yeah." "Ok, I need to get your name." Nothing about the woman's appearance suggests she has an even distant relation to the law enforcement profession. "Why do you need my name?" "Oh, uh... never mind." She walks away.
2. Forrest and I were walking back to Alan's after lunch today, and a hard-livin' type dude asked Forrest who did his "tat work," which was visible on both of his sleeveless arms. Due to an underabundance of teeth in the guy's mouth, I thought he had asked Forrest who did his tax work, which I thought an odd but not unreasonable question. Everyone needs tax work done now and again. Forrest replied that the artist is a friend of his back in Virginia. We continued the last half block to Alan's, where we hung outside for a minute. The guy stopped to chat briefly. "I got a friend who does that. He rides a bike around. Name's Tattoo."
Back to the big picture. All three of us had delayed flights thanks to the positively biblical weather visited on the mid-Atlantic last night. (By biblical, I mean "diluvian," not "weather that never happened," but thank you for asking.) Forrest's flight took off less than an hour late, but landed five minutes after his connecting flight was supposed to leave Cleveland. Run, Forrest, Run he did and made it. My flight was two hours late. Shravan had to spend the night in Atlanta. Fail. But here we all are. Forrest and I drove into LA to pick up Shravan this afternoon because poor Alan needs to vacate his home/record store by tomorrow, so he's off hauling all his shit into storage. He's also been throwing out a bunch of stuff, and while we were helping him last night, he made Forrest carry a box of overrun Parasytic covers to the dumpster lol. Right now S and F are practicing the set list with me occasionally vacating the keyboard to tap out a fill on the desk. Tour's so easy.
Void - AGHAST
If you are unfamiliar with Aghast, but love chaotic crust, you should check them out here.
"Hey dude... forgot to include you in my group email that Im trying to keep a tour blog at mundanearcana. Feel free to cut and paste on to AS if you want."
Thanks.
At any rate, as John did go to world of higher education to learn the king's English properly, it is, as usual, a good read.
So far he's up to post number two, but I'll just put them up here one at a time:
Thursday, June 11, 2009
If you're reading this, you have the city of Long Beach to thank
I wasn't sure if I wanted to bother keeping a tour log on this trip. And I'm still not sure that I do. But there have already been a few moments, brought to you by (and I know I said this last year too) the seriously beat-down burnout of a town that is Long Beach. I commented to Forrest earlier today about the incredibly high number of obviously intoxicated and/or visibly mentally ill people wandering the streets. We had a chuckle about it, but...it's not really hyperbole. Forrest speculated that it was a shared quality among beach towns and likened it to Virginia Beach. Here are a couple of great micro-encounters we've had with the locals so far:
1. In order to facilitate easy unloading of our bags last night, Alan briefly double parked his van in the mouth of an alley by his place, blocking the sidewalk. It's around 1:30am. We were inside a few minutes later, and a woman accosts Alan in his doorway and asks, "Is that your van?" "Yeah." "Ok, I need to get your name." Nothing about the woman's appearance suggests she has an even distant relation to the law enforcement profession. "Why do you need my name?" "Oh, uh... never mind." She walks away.
2. Forrest and I were walking back to Alan's after lunch today, and a hard-livin' type dude asked Forrest who did his "tat work," which was visible on both of his sleeveless arms. Due to an underabundance of teeth in the guy's mouth, I thought he had asked Forrest who did his tax work, which I thought an odd but not unreasonable question. Everyone needs tax work done now and again. Forrest replied that the artist is a friend of his back in Virginia. We continued the last half block to Alan's, where we hung outside for a minute. The guy stopped to chat briefly. "I got a friend who does that. He rides a bike around. Name's Tattoo."
Back to the big picture. All three of us had delayed flights thanks to the positively biblical weather visited on the mid-Atlantic last night. (By biblical, I mean "diluvian," not "weather that never happened," but thank you for asking.) Forrest's flight took off less than an hour late, but landed five minutes after his connecting flight was supposed to leave Cleveland. Run, Forrest, Run he did and made it. My flight was two hours late. Shravan had to spend the night in Atlanta. Fail. But here we all are. Forrest and I drove into LA to pick up Shravan this afternoon because poor Alan needs to vacate his home/record store by tomorrow, so he's off hauling all his shit into storage. He's also been throwing out a bunch of stuff, and while we were helping him last night, he made Forrest carry a box of overrun Parasytic covers to the dumpster lol. Right now S and F are practicing the set list with me occasionally vacating the keyboard to tap out a fill on the desk. Tour's so easy.
(Despite the photo, John actually doesn't drink.)
Void - AGHAST
If you are unfamiliar with Aghast, but love chaotic crust, you should check them out here.
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