tag:blogger.com,1999:blog-61991370749353259062024-03-05T09:39:34.404-05:00Shadowtime NYC† IN PRAISE OF SHADOWS †<br><br><br>A Discerning Perspective on the DarkShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.comBlogger183125tag:blogger.com,1999:blog-6199137074935325906.post-43986101668702444302014-06-17T18:45:00.003-04:002014-06-17T18:45:33.109-04:00The B-Sides NYC SessionsHosting a new show on NYC Life on Thursdays at 11:30pm. Debuting August 7th!
<iframe name="nyctvondemand" src="http://a002-vod.nyc.gov/html/embedplayer.php?id=2498" width="640" height="360" frameborder="0" scrolling="no"></iframe>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-21918307073712107722012-12-31T19:07:00.002-05:002012-12-31T19:25:25.225-05:00RIP Shadowtime NYC 2009-2012<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje9x_vCiOzSgYzDwHYKq2kZqCuzTZFg3Vh9KjoT3191WLB64Ju_0gB0RdGuZK5kBxUs5FTj0YFJSP4c-YVwLnU0l3m4My7v9w3s_MrE8J9erlHh_jZhseUWPuiROoxux-m32STy3xOCO8/s1600/graveyard.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="150" width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje9x_vCiOzSgYzDwHYKq2kZqCuzTZFg3Vh9KjoT3191WLB64Ju_0gB0RdGuZK5kBxUs5FTj0YFJSP4c-YVwLnU0l3m4My7v9w3s_MrE8J9erlHh_jZhseUWPuiROoxux-m32STy3xOCO8/s200/graveyard.jpg" /></a></div>
ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-66459694581042770322012-12-02T12:36:00.000-05:002012-12-31T19:27:19.500-05:00NIGHT SONGSyou can find me now...
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6uOVnMOWFDDVNhgEDSOeSJ3hWV-gRSxPFT_3wyNQ0kWta8AT9clYw9S5KRZTbMrQ2CXj7rStblJxTHEFBflN1R_nAg8O5dVtbBphnekOkxMGADivJ-0b-qx0sPETl8UUUoQ-yUqEOlqM/s1600/NightSongsFlyerKKforFB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6uOVnMOWFDDVNhgEDSOeSJ3hWV-gRSxPFT_3wyNQ0kWta8AT9clYw9S5KRZTbMrQ2CXj7rStblJxTHEFBflN1R_nAg8O5dVtbBphnekOkxMGADivJ-0b-qx0sPETl8UUUoQ-yUqEOlqM/s320/NightSongsFlyerKKforFB.jpg" width="259" /></a></div>
<br />ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-64280573431275704982012-09-27T13:23:00.000-04:002012-09-27T14:55:16.037-04:00Black Crystal Fuck Wolf<span class="Apple-style-span" style="color: #333333; font-family: arial, sans-serif; font-size: small;"><span class="Apple-style-span" style="font-size: 12px;"></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix2Zp6HzzDF15KnGJNEqBoIVvHV5nSHW4Y28lMXPTjXhWqjFKFcmE6XTvH4X_Ha8aVMuX3uiGIHTqXMNDXCJx-KSNZzwXO4pYVOWY_zDynMbgTaFf4V9VlCnucrxx8c-joF48vDRIHC0Q/s1600/My+Little+Droney+complete+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix2Zp6HzzDF15KnGJNEqBoIVvHV5nSHW4Y28lMXPTjXhWqjFKFcmE6XTvH4X_Ha8aVMuX3uiGIHTqXMNDXCJx-KSNZzwXO4pYVOWY_zDynMbgTaFf4V9VlCnucrxx8c-joF48vDRIHC0Q/s320/My+Little+Droney+complete+cover.jpg" width="320" /></a></div>
<span class="Apple-style-span" style="color: #333333; font-family: arial, sans-serif; font-size: small;">A crawl through the crunch of synthetic insects underfoot and tomblike echoes of the claustrophobic deep, <i>My Little Droney</i> is an uneasy portrait of subtle horror. Cited as the music of an anonymous Brooklyn musician born in 1987, <a href="http://www.facebook.com/blackcrystal.farkwolf" target="new">Black Crystal Fuck Wolf</a> creeps painlessly into your ear with an uncomfortably eerie fusion of drone and noise built through the digital manipulation of raw analog material.<br />
<br />
More at <a href="http://www.bigtakeover.com/recordings/black-crystal-fuck-wolf-my-little-droney-ep-mechabenzaiten" target="new">The Big Takeover</a>...<br />
<br />
<iframe frameborder="no" height="166" scrolling="no" src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F39250745&show_artwork=true" width="100%"></iframe></span>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-20569449388702798962012-08-11T21:47:00.001-04:002012-08-11T21:50:10.564-04:00VoltaireA visit to thee Lair of Voltaire...<br />
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/j-zBPyjzvSA" width="560"></iframe>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-87908723721489695572012-05-02T10:51:00.002-04:002012-05-03T11:06:41.916-04:00✞Sharon Needles✞<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3nbYbXztST9phLkvxeLvieAd-sJLqDOCfF198Zr2XwIiu95csEyoaJufuVkhX2XrqrL5KSsRg_S3YSVWg70DrUazGizAhBVi4FgsxP8uEK49xICMFhqP3GhX8cqkWrz_3yqUmASwqLvQ/s1600/sharon-needles-rupauls-drag-race.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3nbYbXztST9phLkvxeLvieAd-sJLqDOCfF198Zr2XwIiu95csEyoaJufuVkhX2XrqrL5KSsRg_S3YSVWg70DrUazGizAhBVi4FgsxP8uEK49xICMFhqP3GhX8cqkWrz_3yqUmASwqLvQ/s320/sharon-needles-rupauls-drag-race.jpg" width="320" /></a></div>
<span class="quote"></span><br />
<center><span class="quote">"if anyone ever boos you offstage that is simply applause from ghosts"</span></center><span class="quote"> </span><br />
<span class="quote"><a href="http://sharonneedles.com/home/" target="new">Sharon
Needles</a>: The <i>gory</i>geous winner of Rupaul's Drag Race Season 4, and the only
queen I've seen this century to reference Wayne County on national TV and spit blood with the best of 'em. #Happy Halloween</span><br />
<br />ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-8801770001524133762011-12-01T15:20:00.003-05:002011-12-01T15:23:19.204-05:00Boris InterviewChatted with founder/drummer Atsuo at Irving Plaza before Boris' gig with locals Liturgy and Asobi Seksu...<br /><br /><iframe width="560" height="315" src="http://www.youtube.com/embed/2BpJlZmCpkg" frameborder="0" allowfullscreen></iframe>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-71923792412014582732011-10-03T11:34:00.015-04:002011-10-03T11:53:11.502-04:00Anasazi @ Saint VitusIt was the Christian Death and Resurrection show at <a href="http://www.facebook.com/pages/An%C3%A5sazi/210316422337596?ref=ts"target="new">Anasazi</a>’s Saint Vitus appearance on Saturday, with a lineup featuring former members of New York’s now deceased post-punk band of brothers, <a href="http://www.facebook.com/pages/An%C3%A5sazi/210316422337596?ref=ts#!/thehuntbegins"target="new">The Hunt</a>, (J. Vigil on bass, Christian Count on keys), and a performance that brought the brooding, vicious creep of Southern Death Cult to life. <br /><br />Back in 2006-2008, a cadre of bands in a similar vein played weekly across the city, often in lineups that evoked every sonic and aesthetic aspect of 1980’s post-punk to a point where it was commonplace, if not a bit tired. But as Cinderella says, you don’t know what you’ve got ‘til it’s gone, and all bands have since broken up, putting a spiritual cramp in our style and forcing us to seek DJ nights and not live shows in which to hear the sickly drag of sepulchral synths and guitars with reverb ringing steady beneath stern, funereal vocals, braced with a smash of bombast to emphasize the punk behind the post. Witness the second coming of this sound in the clip below, as Anasazi frontman Chi Orengo draws out the drama, stance sturdy and threats real enough to snap bones and slice leather. "Deceive me once, shame on me, deceive me twice, you'll pay with your life..." <br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzBNf1G_guGcfw8cjGgdcd-kNr4VtMbOmB4uL8Vl-lMZD2-_k8XOPoZIQKYa7t8rVgTKJQnt-tg3mlg_xMdEg' class='b-hbp-video b-uploaded' frameborder='0'></iframe>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-21979478803511180212011-07-08T09:31:00.048-04:002011-07-10T13:11:29.073-04:00Pendu Disco: Mascara, Myrrh Ka Ba, Zombelle<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQp3HnhQi5uRAH3AYZZvpw79e9p6gFYKOOxQxY9BFAy1A25IvxRBc7rRqJCzpP7pu4H74g-OsqRLrOBE-FcsQWFGdvAoQzo4xjDHzBeEqAbJszU1QXp9TUIVj7p4y3Aecml63IWRzhgr8/s1600/pendu-disco-logo.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 142px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQp3HnhQi5uRAH3AYZZvpw79e9p6gFYKOOxQxY9BFAy1A25IvxRBc7rRqJCzpP7pu4H74g-OsqRLrOBE-FcsQWFGdvAoQzo4xjDHzBeEqAbJszU1QXp9TUIVj7p4y3Aecml63IWRzhgr8/s200/pendu-disco-logo.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5626993246585278418"></a>Blackened and blissful synthscapes, visceral neon visuals, and (as ever) a crowd well worthy of aesthetic attention made last night's <a href="http://www.pendu.org/events/pendu-disco/" target="new">Pendu Disco</a> an ecstatic occasion. <a href="http://soundcloud.com/mascara" target="new">Mascara</a> opened the show with seething distorted sounds and beats viscous and vicious: the duo's psychedelic electro grind had the expertly attired audience totally raved up. The impassioned full body commitment of the vocals inspired an infectious materiality, dispelling that whole electronica-as-the-province-of-inert-abstraction thing. There was nothing but presence and physicality in Mascara's performance. The room became an aural hothouse, with nothing but hot house, bleeding prismatic feeling bolstered by the charmingly odd technicolor jungle gym installation in Secret Project Robot and the avant evil video art on the walls by <a href="http://vimeo.com/user1151743"target="new">Lee Jackson</a>. Pure synesthesia.<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyv2OXq2JX0GbgCa-ZGRi5GxLR6zWbENvDcvqOtoJiOu6GkSxx0UAjaGA91wWINe168MbQPVDyls1n0hKZgjw' class='b-hbp-video b-uploaded' frameborder='0'></iframe> <br />(Apparently I was too out of it for proper video taking, but you get the idea...)<br /><br />As the night progressed, each act introduced elements that changed the sonics while the space remained electrified with the infusion of new energies. By the time the oh-so-fly <a href="http://soundcloud.com/zombelle" target="new">Zombelle</a> and <a href="http://soundcloud.com/myrrh-ka-ba" target="new">Myrrh Ka Ba</a> played "<a href="http://soundcloud.com/myrrh-ka-ba/pumpkin2" target="new">Pumpkin Pumpkin</a>," their collaborative spin on <a href="http://kreayshawn.tumblr.com/"target="new">Kreayshawn</a>'s "Gucci Gucci," my mind was officially blown. "One big broom, full of black witches," Zombelle rapped as she stalked across the stage, blue hair and sunglasses glowing in the lights. The mix of humor and straight up spooky baddassery of the track is still confounding. With a veritable who's who of witch house in the audience (according to Todd Pendu), along with the infinitely groovy scene of the evening, it was definitely one of the top parties of my summer thus far...<br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dx-1YgnLm-yF8B9H13JXufS2Vpi11rekmELzMNWfa8-L9wUoNJksqrefSarU5GGethbyJ2gmvS_xIozL9g1UA' class='b-hbp-video b-uploaded' frameborder='0'></iframe>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-5269589636914412062011-07-01T13:19:00.012-04:002011-07-01T13:32:59.269-04:00Interview: The RaveonettesI wrote the following for a publication at the invitation of Ms. <a href="http://www.exiteverything.com/"target="new">Hilary Beck</a>, but as it wasn't printed, thought I may as well post it here...<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgibe4CEjdaUEtSwwQgtT5usIQGaOgejFt_Mbu-OSXKBYI6UY2WvHWbIBmaFJKmx6hWGL2WgiFXzKsv2zLC2xn_QIHCUJ-ocqUVzyOaIPvzMQcsxPG3zDp2invP8FwVbHObnu_CFvE2sJo/s1600/raveonettes.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgibe4CEjdaUEtSwwQgtT5usIQGaOgejFt_Mbu-OSXKBYI6UY2WvHWbIBmaFJKmx6hWGL2WgiFXzKsv2zLC2xn_QIHCUJ-ocqUVzyOaIPvzMQcsxPG3zDp2invP8FwVbHObnu_CFvE2sJo/s200/raveonettes.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5624435983642195362" /></a> With their fifth full-length, <span style="font-style:italic;">Raven In The Grave</span>, The Raveonettes take their sunkissed sonic spaces to more morose territory. Danish duo Sune Rose Wagner and Sharin Foo certainly aren’t strangers to darker lyrical themes, (over their ten year career sex, drugs, and death have always been fodder), but on this record, they create walls of sound that smolder with post-punk sturm und drang. <br /><br />The album opens with “Recharge and Revolt” as cinematic synths add texture behind guitars ringing above a propulsive bassline. “Forget That You’re Young” has a similar Joy Divisionesque sound with the addition of synthesizers that inject an early Depeche Mode brightness towards the end while bassist Foo sings innocently about the age of a potential paramour. Despite their turn toward gloom, Wagner dismisses any attempt to label this record the band’s <span style="font-style:italic;">Disintegration</span>. “I think it was just what we felt like doing at that particular time. We always do different albums because we’re in different stages of our lives, so this was just what came out of this one. It wasn’t intentional.”<br /><br />The murky mood on <span style="font-style:italic;">Raven In The Grave</span> gets sadder and sweeter on “War In Heaven,” which brings on the balladry, offering chimes to offset dissonant guitars and a synthpop beat driving the melancholy sprawl. Chords ascend and descend until they waste away into white noise at the end of this delicate gem. Later, the romantic dirge “Summer Moon” finds Wagner and Foo spinning winsome harmonies. “Most of all I can’t let go, this perfect thing is dying,” they lament, giving off an attitude of woeful resignation laced with laissez faire lightness that permeates the rest of the record. The song has the sonic simplicity of a decaying music box tune, and highlights much of what the band does best: deceptively simple yet infectious songs for daydreams. <br /><br />When pressed further about any conscious choices of sounds or themes in the songwriting for this record, Wagner again rejects the insinuation of premeditation. “Nothing is intentional,” he affirms. “You just sort of try all kinds of stuff and then all of a sudden you hear something you like and then you end up using it. You don’t plan anything. I just write a lot of songs and record a lot and whatever we think sounds good, we’ll just use. It’s not like we have a grand idea behind it or anything. We just like to do spontaneous music. We know when it works, ‘cause we both like it.” <br /><br />In many ways, not much has changed. Wagner still lists teenage rebellion movies like 1983’s <span style="font-style:italic;">Bad Boys</span> with Sean Penn and Ally Sheedy as an inspiration, and describes the lushly morose “Evil Seeds” track as being based on the tried and true topic of all great 60’s pop: “loving and holding on to something that you love.” Despite the band’s shadowy veneer, the fuzzy 60’s psych by way of 80’s shoegaze still pulses beneath the surface. Once you dig on “Let Me On Out” with its perfectly tripped out groove and “My Times Up,” which is surely a theme for a surf rock prom, you’ll question whether The Raveonettes have really strayed very far at all. <br /><br />In fact, listening to the band’s more classic sounding songs in the context of recent buzzed about bands (Dum Dum Girls, Crocodiles, Tennis), it’s pretty clear that Wagner and Foo were way ahead of the curve. Their revival of these sounds obviously began far before the current resurgence of atmospheric garage rock. When asked about this phenomenon, and how he views the The Raveonettes’ influence on this new cadre of noisemakers, Wagner agrees that they’re forerunners of the revival. “It’s flattering that we can inspire bands, you know? It’s always nice to give something back, and to help people to carry on,” he says. “I think that’s really flattering. I like it.”<br /><br />Undeniably a force in this new post-Raveonettes breed is Tamaryn. The San Francisco duo of Tamaryn Brown and Rex John Shelverton is making waves with their brand of languid, Siouxsie-soaked noisepop, and were handpicked by Wagner to open for their current tour. Of frontwoman Tamaryn he explains: “I’ve known her for almost ten years. We’re good old friends. It’s the perfect tour. It couldn’t be better.” <br /><br />While on tour Wagner says that he doesn’t have any hard and fast pre-show rituals, but certainly doesn’t shy away from imbibing a bit. “We usually just go out and eat and drink some wine and then we go back and drink some vodka and then we go on stage and have a blast. We always have a fun time. We do a lot of promo during the day, early, when we do shows, so we can get sleep. We don’t have time to do much. At night we just hang out with friends. We’ll hang out with friends tonight since we’re in New York. This is where I live so I have a lot of friends here.”<br /><br />Along with a great opening act, Wagner excitedly mentions their new setup of two drummers and “the best sound guy we ever had [and] the best players we ever had.” Wagner’s excitement about this current lineup and tour extends to his upcoming stint in Europe and his hopeful return to the States next Fall. However, lest we think his happiness hinges too much on their live show or their record’s reception, Wagner reminds us that in the end the band is just for two. <br /><br />“I only make music for Sharin and I. That’s the only two persons I make music for. They’re the only ones I really have to impress. If people like it, wow that’s great, but if they don’t like it, I couldn’t care less either.”ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-35599900585431791732011-06-01T10:25:00.039-04:002011-06-01T12:15:08.665-04:00Witch Haus of GagaAs it's a bit boring to indulge in the virulent whirlwind that overtakes those trying to assess the validity of Lady Gaga's monster fame, let's talk music. On her latest, <span style="font-style: italic;">Born This Way</span>, "Bloody Mary" snakes forward as the darkest, most musically modern track on the album and deserves a closer listen. The song undeniably incorporates genre markers of clubland's foggiest darling, <a href="http://www.pendu.org/mag/2010/11/08/genesis-of-genre-witch-house/" target="new">Witch House</a>. A known champion of genderfuck, Gaga even does drag vocals as her mezzo morphs into deeper reaches with a ghoulish pitch shift. Syrupy beats drive slow and sinister synths that churn beneath her mournful Mary Magdalene homage and you just gotta wonder, has she heard her old tracks chopped and screwed in those horror-laced <a href="http://mishkanyc.com/bloglin/2010/08/13/%D0%BC%D0%B8%D1%88%D0%BA%D0%B0-presents-%E2%84%91%E2%8A%87%E2%89%A5%E2%97%8A%E2%89%A4%E2%8A%86%E2%84%9C-of-mater-suspiria-vision-zombie-rave-special-edition-mixtape/" target="new">Mater Suspiria Vision</a> mixes?<br /><br /><iframe src="http://www.youtube.com/embed/VFwmKL5OL-Q" allowfullscreen="" width="560" frameborder="0" height="349"></iframe><br /><br /><iframe src="http://player.vimeo.com/video/14091260?title=0&byline=0&portrait=0" width="400" height="225" frameborder="0"></iframe><p><a href="http://vimeo.com/14091260">LADY GAGA - Alejandro (ℑ⊇≥◊≤⊆ℜ of Mater Suspiria Vision ZOMBIE RAVE REMIX)</a> from <a href="http://vimeo.com/user2940588">Mater Suspiria Vision</a> on <a href="http://vimeo.com">Vimeo</a>.</p>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-84946892941024840632011-05-03T10:05:00.003-04:002011-05-03T10:07:24.206-04:00Concert For Japan (Ryuichi Sakamoto Interview)<object style="height: 390px; width: 640px;"><param name="movie" value="http://www.youtube.com/v/FTC4y7B71-s?version=3"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/FTC4y7B71-s?version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="390"></embed></object><br /><br />A clip from my Ryuichi Sakamoto interview last month!ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-23404445547586311962011-04-13T11:11:00.014-04:002011-04-13T11:26:29.630-04:00Concert For Japan (Lou Reed, Philip Glass, Laurie Anderson, John Zorn Interview)<p class="MsoNormal">Japan Society’s Concert For Japan was a 12 hour marathon of improvisational noise, j-rock, somber balladry, pop punk, and world fusion funk. Artists ran the gamut from Ryuichi Sakamoto, Philip Glass, Lou Reed, Laurie Anderson, and John Zorn to Ethiopian singer Gigi and up-and-coming Japanese acts like Hard Nips and The Suzan. This moving fundraiser for Japan somehow managed to retain a spark of ingenuity while deftly balancing emotionally wrought themes and a spirit of carefree fun. 100% of the proceeds went to Japan Society’s <a href="http://www.japansociety.org/earthquake" target="new">Japan Earthquake Relief Fund</a>, which has raised over 3.5 million dollars since March 12, 2011. </p> <p class="MsoNormal"> I was lucky enough to be granted a group interview with Philip Glass, Lou Reed, Laurie Anderson, and John Zorn. All dressed in black (much of it weathered leather), the avant-old-guard of experimental music sat across from me as I asked them about their performance choices and experiences in Japan. Reed reverently described a three hour train trip in Tokyo to pick up one of the first computer calculator watches (of which he nabbed the last one) and his perceived connection between his own creative predilections and the Japanese minds that could dream up such cutting edge technology. He’s felt a kinship ever since, and frequents Akihabara (the electric district) on each visit to Japan.<br /></p><p class="MsoNormal">Here's an edited version of the interview:<br /></p> <p class="MsoNormal"><iframe title="YouTube video player" src="http://www.youtube.com/embed/-WPywUZAsns" allowfullscreen="" width="640" frameborder="0" height="390"></iframe><br /></p> <p class="MsoPlainText"><a href="http://www.nytimes.com/2011/04/12/arts/music/concert-for-japan-with-philip-glass-and-lou-reed.html"><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>JA</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> 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<![endif]-->ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com1tag:blogger.com,1999:blog-6199137074935325906.post-28079180203971627072011-02-23T13:48:00.017-05:002011-02-23T14:28:22.085-05:00Reconsidering Chinese Democracy<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY59KAuocP_SZFxDDcI1aq6IVOoWaLI-k92Nn2RSAt8urEVAMiZ6QtzZ7IbKbypPhMcfFzVsyzdXWLTKMGoCTvrSObN8e5zlwG_wWrjKGw0i1QwAAvmN3X654CMJVAucfVo0VLZxxi7pE/s1600/chinese-democracy.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 198px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY59KAuocP_SZFxDDcI1aq6IVOoWaLI-k92Nn2RSAt8urEVAMiZ6QtzZ7IbKbypPhMcfFzVsyzdXWLTKMGoCTvrSObN8e5zlwG_wWrjKGw0i1QwAAvmN3X654CMJVAucfVo0VLZxxi7pE/s200/chinese-democracy.jpg" alt="" id="BLOGGER_PHOTO_ID_5576964475180001282" border="0" /></a><span style="font-family:times new roman;">An exacting and erudite case for reconsidering </span><span class="blsp-spelling-error" id="SPELLING_ERROR_0" style="font-family:times new roman;">Axl</span><span style="font-family:times new roman;"> Rose's </span><span style="font-style: italic;font-family:times new roman;" >Chinese Democracy</span><span style="font-family:times new roman;"> has just been posted over at </span><a style="font-family: times new roman;" href="http://www.decibelmagazine.com/featured/justify-your-shitty-taste-guns-n-roses-chinese-democracy/" target="new">Decibel</a><span style="font-family:times new roman;">. 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</w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; text-align:justify; text-justify:inter-ideograph; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--><em style="font-family: times new roman;">"Appetite for Destruction</em><span style="font-family:times new roman;"> was the result of a set of very specific, unsustainable, unrepeatable circumstances. (Just ask Buckcherry.)" BURN!</span><br /><br /><span style="font-family:times new roman;">Whether you love it or hate it, a formalist approach to </span><span style="font-style: italic;font-family:times new roman;" >Chinese Democracy </span><span style="font-family:times new roman;">seems most useful. </span>But <span style="font-family:times new roman;">regardless of how the tides of public opinion may turn, "I.R.S." and "Shackler's Revenge" will still stick it out on my playlists...</span>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-15436945420008776272011-02-09T11:12:00.011-05:002011-02-09T11:24:47.437-05:00TWSS: The Ultimate Feminist Gag?<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" 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name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; text-align:justify; text-justify:inter-ideograph; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--><span style="font-weight: bold;font-family:";font-size:12pt;" >Garth</span><span style=";font-family:";font-size:12pt;" >: Hey, are you done yet? I'm getting tired of holding it.</span> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style="font-weight: bold;font-family:";font-size:12pt;" >Wayne</span><span style=";font-family:";font-size:12pt;" >: Yeah, that’s what she said. </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" >(Wayne’s World, 1992)</span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" > </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" >Thus launched the most recent wave of what may be the greatest oral gag of our time. It’s the little black dress of the joke world; so simple and yet so functional that barely an exchange exists that cannot benefit from an unexpected injection. Whether repeated ad nauseam by Michael Scott on <i>The Office</i> or by your 15-year-old brother, That’s What She Said has penetrated pop culture to the hilt. But while it seems on the surface to be a misogynistic tool predominately the province of men, there’s a dynamic, female-centric undercurrent to the gambit that has been thus far overlooked. </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" > </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" >First and foremost, That’s What She Said gives power to the woman who speaks. Who exactly <i>she</i> is may be unclear, but depending on context, she’s a virginal coquette, a wayward ingénue, or a seasoned cougar. What’s constant, however, is her sexual appetite: we always relay what <i>she</i> has to say in a sexual situation, and most often in an encounter with a man and his appendage. </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" > </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" >As Freud proposed, psychosexual development revolves around the phallus, so whether you have it or lack it, the presence of the penis is felt deep within our psyches. Yet in spite of the phallocentric world in which we live, TWSS has supplanted the dick joke as the ultimate in sex humor for the early oughts. Last summer, <a href="http://www.huffingtonpost.com/2010/06/10/hitchcocks-thats-what-she_n_607689.html" target="new">The Huffington Post</a> published a link to an early version of That’s What She Said from Alfred Hitchcock’s 1929 film, <i>Blackmail</i>. Back then, the phrase was “As the girl said,” but the effect was indeed the same. “Come here, stand in your place, or it will not come out right, as the girl said to the soldier,” Hitchcock tells a giggling blonde. He dominates the conversation with his imposing, masculine figure and delivery, but still speaks for the girl getting hot and heavy with a man in uniform.</span></p><p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" ><iframe title="YouTube video player" src="http://www.youtube.com/embed/zl6SMOSXa7A" width="480" frameborder="0" height="390"></iframe></span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" > </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" >Going even further back into history, one can find a similar sentiment delivered in English Edwardian times. “As the actress said to the bishop” was the line, which author Leslie Charteris of <i>The Saint</i> series later put to good use in the late 1920s. Fast forward to 2010, and we’ve got dozens of iPhone apps on the topic, YouTube mashups of Michael Scott’s best uses of the phrase, and even a website, TWSSstories.com. Many may have tired of its ubiquity by now, while others are just coming around. </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" > </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" >In any time period, and in any That’s What She Said, the man is the mere object of the joke and a ‘thing’ to be commented upon. <i>She</i> is always the subject - the acting, speaking subject with sexual agency, so whether the TWSS joke is told by a man or a woman, the listener is receiving a woman’s point of view. It is for this reason I posit TWSS as a feminist phenomenon that has harnessed the willing participation of countless men, who unwittingly objectify themselves with every slip of the tongue. That’s What She Said subversively promotes female sexual empowerment by giving voice to <i>her </i>actions and desires, and thus, the gag always has a woman coming out on top, regardless of in whose mouth it originates. </span></p> <p class="MsoNormal" style="text-align: left; line-height: normal;" align="left"><span style=";font-family:";font-size:12pt;" > </span></p>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-82095128421986523562011-02-08T16:07:00.029-05:002011-02-08T16:35:15.471-05:00Wildstreet II...Faster...Louder<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6bza-SY0vRmrRekVhv6evFF_dE3CxL0zBHAWd5WzSACQB5n28HWuyxOinqNR-9ALQTOvTPo2xBGiM25URTxvhIAolguFQj68UIEphhg0kIDM1xIPYclET0UHRP2AO9QPEEGh4_1BiH04/s1600/164593_473195933261_8342603261_5665470_3876733_n.jpg"><img style="float: left; margin: 0pt 10px 10px 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mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; text-align:justify; text-justify:inter-ideograph; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]-->The fact that a band like <a href="http://www.myspace.com/wildstreet" target="new">Wildstreet</a> can fill a club in New York City is a wet dream come true. Since their hedonistic glam metal debut, they’ve scratched their sonic nails across the country’s back alleys and mainstreets, playing shows with those of the original sleaze rock coterie like L.A. Guns and Bang Tango. Two years later and they’ve got a new EP, (released digitally on January 25<sup>th</sup>), and it’s filled with the kind of riffs to drive your fists and lyrics slippery with enough sex action to make you yearn for better days.<br /><br />Don Hills got a taste of the new tracks at the official release show last Friday; “Poison Kiss” won my vote with its refrain to “wake up when the sun’s down” - a reminder of a time when metal bands had a corner on the market of songs about sleep patterns. Things got really hot and heavy at the tail end of the set, however, when Militia of <a href="http://www.myspace.com/judaspriestessband" target="new">Judas Priestess</a> stormed the stage for an electric duet of “Gimme Shelter” with Wildstreet frontman Eric Jayk. Her powerhouse vox were, as ever, dripping with diamonds and rust. It was an evening of heavy, trashy rock 'n' roll at it’s finest. Amen.<span style=""> </span><span style=""> </span><span style=""> </span>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-86434180531280565652011-02-04T14:32:00.029-05:002011-02-27T19:58:19.572-05:0020 Questions with Religious to Damn's Zohra Atash<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpIe6bwtfC1bcEGLwsaJDV_QyGPldc1rAW37qApq8lzoS_QpOXsTpU9rszKlWd9Hb80T-A5IVCkA7Exq7hMqxQSbKH0qBLMWz858ZTwAslXsyiVvDuKynSgNAJGAe9JWaPy1CrDLvp7w0/s1600/1912.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpIe6bwtfC1bcEGLwsaJDV_QyGPldc1rAW37qApq8lzoS_QpOXsTpU9rszKlWd9Hb80T-A5IVCkA7Exq7hMqxQSbKH0qBLMWz858ZTwAslXsyiVvDuKynSgNAJGAe9JWaPy1CrDLvp7w0/s200/1912.jpg" alt="" id="BLOGGER_PHOTO_ID_5569920887677895010" 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mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--><span style="font-style: italic;">Glass Prayer</span> has been simmering on my stereo. On it, <a href="http://www.myspace.com/religioustodamn" target="new">Religious to Damn</a> traverse howling landscapes and oneiric territories; there’s noise, water, and meat in these songs, and so much movement. At times, it seems singer/songwriter Zohra Atash almost forces reviewers to write in verse. I’ve been a <a href="http://www.bigtakeover.com/recordings/religious-to-damn-glass-prayer" target="new">victim</a>, and from <a href="http://blogs.villagevoice.com/music/2011/01/download_religi.php" target="new">recent write-ups</a> that smolder with the blackened glow her songs inspire, I’m definitely not the only one. So in honor of <span style="font-style: italic;">Glass Prayer</span>'s official release next Tuesday on M’Lady’s, I’ve asked Zohra to write her own verses for us in answer to my new Proustian questionnaire. Enjoy.<br /><p class="MsoNormal">††††††††††</p><p class="MsoNormal"><span style="font-weight: bold;">Hell is</span>: Other people. This is quoted a lot as a joke, but I remember when I first read the surrounding stuff, I really related to it. It's more about being trapped in this dialog box where we're forced to judge ourselves with the tools other people give us. That's hellish.<br /><br /><span style="font-weight: bold;">New York City is</span>: My home, and I love this city. We've had people say things like, "Your music doesn't sound like you're from New York. It sounds other-worldy." The music I make is about escapism, and I incorporate a lot of influences. I also travel quite a lot. I just find the whole notion of 'you have to live in a converted barn by the sea to write about elemental, mystical stuff,' as silly.<br /><br /><span style="font-weight: bold;">My latest record</span>: Is a work I'm proud of.<br /><br /><span style="font-weight: bold;">Favorite vice</span>: Worrying<br /><br /><span style="font-weight: bold;">Favorite virtue</span>: Enough respect for my loved ones not to romanticize my vices.<br /><br /><span style="font-weight: bold;">My onstage aesthetic</span>: Black lace, things that jingle and sparkle, and a short skirt.<br /><br /><span style="font-weight: bold;">Analogue or Digital</span>: False dichotomy.<br /><br /><span style="font-weight: bold;">Hot or Cold</span>: Hot across the board (except for "wave").<br /><br /><span style="font-weight: bold;">Best NYC venue to play</span>: Wierd at Home Sweet Home.<br /><br /><span style="font-weight: bold;">Favorite NYC bar</span>: Motor City anytime Zack Lipez or Jonathan Toubin are DJing, and Friday nights with Anna Copa Cabanna go-go dancing.<br /><br /><span style="font-weight: bold;">A rumor about my band</span>: I'm not sure it's a rumor, but maybe an annoying misconception. There seems to be this idea that because our music has been referred to as "gypsy" that we make actual gypsy music or that because gypsies are exotic and I'm Afghan, that the music is supposed to sound exotic or super eastern. But I grew up in America and I like a lot of British and American music. Some people think of gypsy garb as having coins and shiny things on it and sometimes I wear things like that. But Bob Dylan wrote gypsy songs, and Fleetwood Mac wrote the song "Gypsy" and it's all a mood, really. If I identify with it at all, it's in the sense that it's just music about a wild, wandering heart.<br /><br /><span style="font-weight: bold;">Pre-show ritual</span>: Half an hour of meditation.<br /><br /><span style="font-weight: bold;">Post-show ritual</span>: Josh and I discussing the show at length.<br /><br /><span style="font-weight: bold;">Favorite philosopher</span>: Can I combine Rumi and Schopenhauer into one, pessimistic, passionate, music-adoring entity?<br /><br /><span style="font-weight: bold;">Favorite monster</span>: Sirens.<br /><br /><span style="font-weight: bold;">Dead muse</span>: Oum Kalthoum.<br /><br /><span style="font-weight: bold;">Living Muse</span>: Josh Strawn - he keeps me focused and tells it to me like it is. We share a musical brain. And Daniel Lanois.<br /><br /><span style="font-weight: bold;">By Day</span>: Collecting inspiration.<br /><br /><span style="font-weight: bold;">By Night</span>: Creating.<br /><br /><span style="font-weight: bold;">My musical motto</span>: Be dynamic, colorful, and know when to minimize and maximize.</p><p class="MsoNormal"><iframe src="http://player.vimeo.com/video/17327889" width="400" frameborder="0" height="300"></iframe></p><p><a href="http://vimeo.com/17327889">Religious to Damn "Drifter" Music Video</a> from <a href="http://vimeo.com/jasonsomma">Jason Akira Somma</a> on <a href="http://vimeo.com/">Vimeo</a>.</p><br /><p></p>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-52033797307399847932011-02-03T16:32:00.000-05:002011-02-04T13:33:40.515-05:00Burzum // Budstikken<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz1F0NshebbvYwNR50XTyP76aPtNyyDwlBLq5Qlxv_sKitxpE8wXEFCa8npHqMxFUK8_3IeDOEoxv0mI0bzJSBcDipxVBv71CRVTfkqM7dKzkk4l2pN6HuqhTAovyYi_sYql8CBQWQPYU/s1600/2011_fallen.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz1F0NshebbvYwNR50XTyP76aPtNyyDwlBLq5Qlxv_sKitxpE8wXEFCa8npHqMxFUK8_3IeDOEoxv0mI0bzJSBcDipxVBv71CRVTfkqM7dKzkk4l2pN6HuqhTAovyYi_sYql8CBQWQPYU/s200/2011_fallen.jpg" alt="" id="BLOGGER_PHOTO_ID_5569858791162972610" border="0" /></a>The blood and fire <a href="http://www.burzum.org/eng/library/a_burzum_story02.shtml" target="new">Burzum discourse</a> has always intrigued me more than the music itself, but one leaked track off their upcoming record, <span style="font-style: italic;">Fallen</span>, might signal a new appreciation. On “Budstikken,” (in English, "The Message") guitars assail without losing melodic ring, and Varg Vikernes’ damning rasp is broken up by warm, delicately sinister spoken incantations shot through with rapid fire strums. Dare I say the jam has a touch of glam that invokes a boot-chain-shaking stomp? <a href="http://www.burzum.org/eng/discography/official/2011_fallen.shtml" target="new">Official release</a> is March 7th, but until then there’s always YouTube… <br /><br /><iframe title="YouTube video player" src="http://www.youtube.com/embed/tI4Yd3yqkpc" allowfullscreen="" width="480" frameborder="0" height="390"></iframe>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-62474174794378152132011-02-02T16:31:00.009-05:002011-02-02T16:38:21.479-05:00Pitch Black from the Dead<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7_7cEHmpo1WadKiRCrH84Fp7MBxDMJ9HQrVqqa7ADZUBZfpSdorUEIeD5NOXO2dFB_FAArPbDHAf4LGnD02Z6I_8pNxyUspGZZPObjRyFH7pS5_R-_U1K6jMLvk_n6UuYU4WzpGapdgE/s1600/image_mountaindewpitchblack1_2011.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 150px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7_7cEHmpo1WadKiRCrH84Fp7MBxDMJ9HQrVqqa7ADZUBZfpSdorUEIeD5NOXO2dFB_FAArPbDHAf4LGnD02Z6I_8pNxyUspGZZPObjRyFH7pS5_R-_U1K6jMLvk_n6UuYU4WzpGapdgE/s200/image_mountaindewpitchblack1_2011.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5569208527152677202" /></a><br />If blogging about evil soda is wrong, then I don't wanna be right. Mountain Dew first spawned this murky purple masterpiece back in 2004 around Halloween and have finally decided to <a href="http://www.bevreview.com/2011/01/07/mountain-dew-pitch-black-is-back-by-popular-dew-mand-in-2011/"target="new">resurrect the stuff</a> in May of this year. Pitch Black is assuredly the Beelzebeverage of carbonated confections and I'll await its second coming with baited breath.ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-72437987281212614162011-02-01T12:11:00.022-05:002011-02-01T12:33:13.686-05:00Cauldron's Burning FortuneI got a desperately needed fix of old school metal when I was tipped off to the <a href="http://www.myspace.com/cauldronmetal"taget="new">Cauldron</a> show at Union Pool Sunday night. The place was packed - a welcome sign that a revival of my favorite subgenre is indeed amping up. Cauldron, a power trio from Toronto, work the <span style="font-style:italic;">Heavy Metal Parking Lot</span> look to a T, right down to the beer shirt and dirtied up white high top sneakers that bassist/vocalist Jason Decay was wearing. Guitarist Ian Chains rocked Baphomet and a Flying V while they all had those shaggy, unteased and totally headbangable locks of the era. <br /><br />Onstage it was a live slaughter of galloping riffs, pounding away with a fury that even got a mini pit going behind me. Decay and Chains had the perfectly choreographed mane-tossing together, broken up by Chains’ pretty wicked solos that were all performed crotch forward and leg up on the monitor. True to the best of the classics but pumped up with fresh blood, this was not a tongue-in-cheek affair.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFR65MEFLe3k0Is2p2IiZ8eIVGtuZ5CxJ-htArvGeHHWnZwZkGda-Ay3v1sxHJrG1BkvsbkAcunr74z4O6zfU2GBj4wwZCHdB5Iap506BtTv724AsKUTNbH2qhjs19rpdQMg5uroKucQ/s1600/IMG_0723.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqFR65MEFLe3k0Is2p2IiZ8eIVGtuZ5CxJ-htArvGeHHWnZwZkGda-Ay3v1sxHJrG1BkvsbkAcunr74z4O6zfU2GBj4wwZCHdB5Iap506BtTv724AsKUTNbH2qhjs19rpdQMg5uroKucQ/s200/IMG_0723.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5568770116120533122" /></a> <br /><br />Cauldron’s second full-length, <span style="font-style:italic;">Burning Fortune</span>, is out on Earache Records February 15th, and I was psyched to grab an early copy. On record, Decay sings with some of the bite of Bruce Dickinson and Chains’ riffs can conjure Downing/Tipton alchemy, but there’s none of the soaring melodic tapestries or explosive bombast in production that characterizes classic Maiden and Priest. Instead, Cauldron take a more occult approach, creeping into the world of witches and fire with the thrash and snarl of early Metallica, beloved NWOBHM beats, and Sabbath aesthetics - even injecting a Scorpionic melody in “Miss You to Death” and a Motorhead methamphetamine bassline in “Rapid City/Unchained Assault.” <br /><br />Thematically there’s much ado about the femme fatale and her dark and twisted powers of seduction and destruction and less of the straight up ‘slide it in’ bedroom banter of 80’s glam metal. “I trust in lust to keep you stranded by my side/And when you’re gone I’m only left with lies” Decay sings on "Queen of Fire." The cover art for <span style="font-style:italic;">Burning Fortune</span> says it all, showing a dark haired temptress, glowing red eyes and spike heels on fire as she emerges from a limousine shrouded in smoke, her sharp red nails, long and demonic, gripping the doorway. The crushed beer cans against the wheel of the vehicle and the $20 dollar bill on the ground finishes off the elemental tableau of sex, beer, and cash. Cauldron’s molten brew is indeed potent and true. <br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDMa4QCRJlDqJT_N2rJhiowSbd1DbX9rPr9_OpIXBjhPtuqpdCqUIUb1ikTGqZyFbZ_g5OC3nBX-61MZzJRCad6qoMsUDgZhy446Q0Se49uFycOl3Nfcmmdbyw1_u3lsQmGetFvEwpGfo/s1600/Cauldron-Burning-Fortune-400x400.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDMa4QCRJlDqJT_N2rJhiowSbd1DbX9rPr9_OpIXBjhPtuqpdCqUIUb1ikTGqZyFbZ_g5OC3nBX-61MZzJRCad6qoMsUDgZhy446Q0Se49uFycOl3Nfcmmdbyw1_u3lsQmGetFvEwpGfo/s200/Cauldron-Burning-Fortune-400x400.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5568770035092261538" /></a><br /><br />While you await the new release, check out Cauldron’s most excellent video for “Chained Up In Chains” off their first record, <span style="font-style:italic;">Chained to the Night</span>. <br /><br /><iframe title="YouTube video player" class="youtube-player" type="text/html" width="640" height="390" src="http://www.youtube.com/embed/QeJAZGLayBA" frameborder="0" allowFullScreen></iframe>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-48819572906482544232011-01-31T10:07:00.026-05:002011-01-31T11:06:55.600-05:00Martial Canterel - You Today<a href="http://www.myspace.com/martialcanterel"target="new">Martial Canterel</a>’s much anticipated new record, <span style="font-style:italic;">You Today</span> will finally be released on Feb. 8th. I contributed some words on the subject to the official <a href="http://www.wierdrecords.com"target="new">Wierd Records</a> press release, but wanted to share an alternate version deemed a bit verbose for public consumption. <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin_x-m4oPJ245kLzy3yDi-cL2G9sxr1_efZGA11SishSs2O_AfctPKV92GlmuaSbUYETHjdW7UdtiX2S6rBDYwaN4vcBSygL1jBpUoEYg-97aX1nGYcmJze7j4VEMs_fAK-4UdezXSw_8/s1600/VR018-2_MC_YouToday_CD_Jacket.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 184px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin_x-m4oPJ245kLzy3yDi-cL2G9sxr1_efZGA11SishSs2O_AfctPKV92GlmuaSbUYETHjdW7UdtiX2S6rBDYwaN4vcBSygL1jBpUoEYg-97aX1nGYcmJze7j4VEMs_fAK-4UdezXSw_8/s200/VR018-2_MC_YouToday_CD_Jacket.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5568379767276826210" /></a>The king of coldness and cruelty expands his reign with <span style="font-style:italic;">You Today</span>, a masterful statement that incorporates certain atavistic tropes of the minimal synth genre yet paradoxically projects an attitude of complete insouciance to the classics. Thoughtful yet distinctly danceable and infectious through and through, this record easily proves Martial Canterel’s Sean McBride as progenitor of American cold synth sounds of the 21st Century. His influence can be heard in scores of bands in the Wierd Records cadre and beyond, with the collision of his uniquely humanistic means of production through live analogue synthcraft expertly paired with vocals and lyrics that reflect the pitfalls and pleasures of our age. What began as McBride’s solo project in the early aughts throughout small dives in Brooklyn has since grown into a massive crowd-pleasing pulse reverberating across the U.S. and Europe.<br /><br /><span style="font-style:italic;">You Today</span> incorporates many of the enticing themes Martial Canterel is known for: bright, urgent melodies that snake between major and minor keys ornamented and punctuated by the noises of industry and McBride’s sonorous, stern vocals. Lyrically, <span style="font-style:italic;">You Today</span> probes the limits of legibility and the complexities of the concrete. “Market” and “Sidestreets” delve into the disconcerting atmosphere of crowds, buildings, objects and intimates, while the plodding yet dazzling sensual haze of “The Empty Sand” conjures oceanic imagery positioning the beach as palimpsest. “The shoreline records the past, a strata for every year…for I’ve lost so much to the sea,” he opines. As ever, McBride deals in deleuzions and biting realities, both musically and lyrically. And while the music of Martial Canterel can be enjoyed solo, its visceral kick is best felt on the dancefloor, amidst a flurry of flesh in motion. <br /><br />And here's the "You Today" video shot by Sean's partner in sonic sign (and signifier) <a href="http://lizwendelbo.com/"target="new">Liz Wendelbo</a>. <br /><br /><iframe title="YouTube video player" class="youtube-player" type="text/html" width="480" height="390" src="http://www.youtube.com/embed/zSmPHsDt1dw" frameborder="0" allowFullScreen></iframe>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-68646273810142266352010-12-22T10:07:00.020-05:002010-12-22T10:29:04.072-05:00Japanese MetalCNNGo just published a <a href="http://www.cnngo.com/tokyo/life/japanese-metal-243426#ixzz18mpyitb1" target="new">piece</a> on Japanese Metal / Visual Kei by La Carmina. It's perhaps a bit oversimplified, but the main point she makes about the genre-defying aspects of J-Metal is dead on. Reminds me a bit of what I was trying to say in 2006 on "<a href="http://www.bigtakeover.com/essays/japanese-visual-kei-and-the-blurring-of-american-genre-lines" target="new">Visual Kei and The Blurring of American Genre Lines</a>" for The Big Takeover.<br /><br />And since I'm self-promoting, here's my interview with Japanese metal legends <a href="http://www.bigtakeover.com/interviews/interview-dir-en-grey" target="new">Dir en Grey</a> from their first US tour later that year. I'm still surprised they didn't make it bigger in the States. But, as many friends who hear my Visual Kei mixes can attest, the sound of the Japanese language coupled with a refusal to follow Eurocentric visions of metal aesthetics and aurality is definitely not for every palate. <br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZCDAt1zt8bEnjLLqPmEFLAMn3CKnRmPVdal8iIaPU9Hn2uwqUCUjgNhb3XqkO-bXoNV4vcfbTXx_JtB0d5fMzvPkgX6Usq3yphPyZFY8xPr9rCgDId_rH__t-Pmaj6LEW0sepcuhG3Rw/s1600/dir_en_grey.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 162px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZCDAt1zt8bEnjLLqPmEFLAMn3CKnRmPVdal8iIaPU9Hn2uwqUCUjgNhb3XqkO-bXoNV4vcfbTXx_JtB0d5fMzvPkgX6Usq3yphPyZFY8xPr9rCgDId_rH__t-Pmaj6LEW0sepcuhG3Rw/s200/dir_en_grey.jpg" alt="" id="BLOGGER_PHOTO_ID_5553528411324336850" border="0" /></a>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-88777248132634254562010-11-01T15:30:00.005-04:002010-11-01T15:33:09.494-04:00Obake! J-Horror / Hausu spoof videoA discussion of J-Horror cinema with Japan Society's director of Film, Samuel Jamier.<br /><br />Oh, and I also kill people.<br /><br /><object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/DLcxrYRJgF0?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/DLcxrYRJgF0?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com0tag:blogger.com,1999:blog-6199137074935325906.post-36515065027550714892010-10-14T11:16:00.001-04:002010-10-14T12:09:30.859-04:00Vaura @ Wierd<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIiRdjjgqByHlqjUJb9j8x82cXQ2P2FofHIYvb3MffEagWNdt6-DJoXCj5Z0hyR_PxO40VePC_j4KqdUk1WUkldU5xFEG9TsKsvpvUlVYsoTZjWBBdtGU_A0f_lSJE0Fd5BIoB9G3NP58/s1600/VaurawillneverbeaprojectingverbatWIERD...VR+(2).jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 96px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIiRdjjgqByHlqjUJb9j8x82cXQ2P2FofHIYvb3MffEagWNdt6-DJoXCj5Z0hyR_PxO40VePC_j4KqdUk1WUkldU5xFEG9TsKsvpvUlVYsoTZjWBBdtGU_A0f_lSJE0Fd5BIoB9G3NP58/s200/VaurawillneverbeaprojectingverbatWIERD...VR+(2).jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5527906954918799826" /></a><br /><a href="http://www.facebook.com/pages/Vaura/113871355306485?v=wall"target="new">Vaura</a>’s debut at <a href="http://www.wierdrecords.com/wierd/index.htm"target="new">Wierd</a> last night brought out a range of dark music devotees all poised to encounter this strange, new beast. While there are no recorded tracks available for public consumption yet, this show and the band’s September debut at Lit help to flesh out a few initial impressions of the foursome’s unique sound.<br /><br />Vaura weaves a wicked metallic skein of dense shoegaze atmospherics pierced by the thrash of rapid fire riffs and overlaid with classic post-punk vocals both dark in delivery and singular in thrust. It’s a collision of genres that’s difficult to describe, but the evocative aura of the music has a bleak, cruel romance pulsing at its core. While guitarist Kevin Hufnagel (Dysrhythmia, Jarboe, Gorguts) and bassist Toby Driver (Kayo Dot, Tartar Lamb, maudlin of the Well) come from experimental and metal backgrounds, drummer Charlie Schmid (<a href="http://www.myspace.com/religioustodamn"target="new">Religious to Damn</a>) and singer/guitarist Josh Strawn (<a href="http://www.listofblack.com"target="new">Blacklist</a>, Religious to Damn) bring sweeping, melancholic rock to the table. And despite imagery and ethos that may imply otherwise, Strawn’s disavowals of the band’s place in the new wave of black metal serve only to reveal Vaura’s barrier breaking intent and may paradoxically confirm their status as true black believers in the end. <br /><br />The name Vaura itself holds the key to many of the fecund, contradictive qualities within the music. It’s a winking orificial allusion that emphasizes their forceful feminine insertion of warmer, brighter tones into the steely strictures that constrain (and often limit) thrash, black, and death metal. Within this (v)aurality, there is a dynamic interplay between Hufnagel’s intense, precise guitar lines invoking a masculine, controlled rationality, and Strawn’s clean, emotive vocals with often indistinguishable lyrics that suggest a primal, pre-linguistic return of feminine, corporeally-driven feeling. But lest one get too entrenched in binaries that cut off the bloodflow, the few excellently placed larynx-shredding screams that break up Strawn’s delivery rip the listener from this womb state. These moments serve to (c)literalize the clash of gendered aurality in theory and provide a soundtrack for the collision of sexed bodies in practice. <br /><br />Vaura sounds like the violent upheaval of wars waged below the waist. With a balance of melody and brute force, there’s none of that clichéd hypermasculine parade of aggression that can be too clumsy to reach those untouched nether regions where labels devolve and dissolve into sounds of pure pleasure. Vaura’s irruption onto a scene badly in need of cross-pollination is a welcome one. The band’s first official release can’t come too soon.ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com1tag:blogger.com,1999:blog-6199137074935325906.post-394230536121619412010-10-12T23:24:00.009-04:002010-10-12T23:36:40.469-04:00Japan Fashion Now @ FITMy new vlog for <a href="http://www.japansociety.org"target="new">Japan Society</a>, Nihon New York, deconstructs the sharp silhouettes of Japanese fashion. Everything from Issey Miyake to H. Naoto is covered at FIT's cutting (bleeding?) edge exhibition, and as everyone knows, you can't beat a sack dress! Interview with ever erudite curator Dr. Valerie Steele and spot on commentary by <a href="http://www.purevile.com"target="new">Purevile</a>'s Wren Britton offset my off-the-cuff meanderings.<br /><br /><object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/TBreP2WafiY?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/TBreP2WafiY?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br /><br />P.S. Oshare = fashionable.ShadowtimeNYChttp://www.blogger.com/profile/05706890350483496960noreply@blogger.com1