Monthly Archives: October 2019

TVD Live Shots: Big Wreck at The Crocodile, 10/24

SEATTLE, WA | There’s something extraordinary about the band Big Wreck. They’re one of the few rock bands on the planet that has managed to create a unique sound that is all their own. I’m still struggling to describe exactly what that sound is, but when I hear it, I know immediately.

If I had a gun to my head, I guess I would say it’s riff-heavy hard rock layered with deep blues, massive grooves, and soaring vocals. There’s no denying that frontman Ian Thornley sounds a bit like Chris Cornell in his prime, but there’s much more than that. Hell, this is the guy who turned down vocal duties for Velvet Revolver because he didn’t feel comfortable singing without playing guitar. This begs the question, what does he do better? The answer isn’t very straightforward.

You see, Ian Thornley is the kind of songwriter that other songwriters aspire to be. He’s the whole package: a unique and incredible voice, guitar god, and most importantly, he can write a fucking song that makes you stop and think how one human being could possibly be able to write such majestic choruses.

Take, for example, their breakthrough “hit” if you will from 1996 “The Oaf.” Of course, it’s got a catchy intro and verse, but when the chorus kicks in, it’s what separates Big Wreck from the rest of the pack. Then take a listen to “That Song” from the same record. Holy shit, this one takes it up another notch by adding storytelling and incredibly smart lyrics. (My friends and I in college spent weeks debating what the fuck a “pocketbook Brando” is.) Furthermore, “That Song” is a story told in song that makes you feel something, it transports you to a specific moment in your life—it’s familiar—yet it’s something that doesn’t happen very often in a modern song.

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TVD Radar: Peaky Blinders OST 3-LP set
in stores 11/15

VIA PRESS RELEASE | Since the fifth season of the massively popular BAFTA-winning series BBC drama wrapped up, fans are aching for their next hit of Peaky Blinders. On November 15, UMe will release the first-ever official soundtrack to the series (currently available on BBC’s iPlayer and on Netflix in more than 100 countries outside of the UK) that has captivated audiences across the globe. The soundtrack will be available on 2CD, 3LP, and digital. Pre-order is available here.

It’s not just the low tones of Nick Cave’s vocals in the opening theme tune that have become synonymous with the BBC’s Birmingham-based flagship gangster drama centered around Tommy Shelby, his family and their somewhat dubious business practices. Alongside the atmospheric opener, all the songs featured in the show have been painstakingly chosen to reflect the feel of the program (the violence, the grit AND the glamour), which was inspired by a real group of gangsters in post WW1 Birmingham.

The soundtrack features a previously unreleased rendition of the show’s iconic theme song, Nick Cave & The Bad Seeds’ “Red Right Hand.” Only available on this release, the track was recorded specifically for the show by PJ Harvey and following its premiere this morning on BBC Radio 6 Music, it will be available to stream and download here.

Also, exclusively on the album are Jehnny Beth’s “I’m The Man” and Anna Calvi’s season five score, “You’re Not God,” along with Richard Hawley’s (Bob Dylan) “Ballad of A Thin Man” on CD and vinyl for the first time. The album is completed by songs from Nick Cave himself, Arctic Monkeys, The White Stripes, Royal Blood, The Last Shadow Puppets, Queens of the Stone Age, Black Sabbath, David Bowie, Laura Marling, and Foals amongst others.

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TVD Radar: Cabaret Voltaire, Methodology ’74-’78. Attic Tapes clear 7-LP set in stores 12/6

VIA PRESS RELEASE | Cabaret Voltaire have announced the first-ever vinyl release of Methodology ’74-’78. Attic Tapes, which collates the band’s early recordings. Out on December 6, the 7-piece clear vinyl box set is available in a limited edition of 500 units worldwide and comes with an art print signed by Richard H. Kirk. 

Methodology ’74-’78. Attic Tapes charts the development of Cabaret Voltaire starting from their early experimental period of ’74/’75. The package contains recordings made during the same period as those featured on the recently reissued album, 1974-76 – originally released on Industrial Records – and features the original recordings of tracks such as “Nag Nag Nag,” “No Escape,” “The Set Up,” “Baader Meinhof,” “Here She Comes Now,” and “Do The Mussolini (Headkick),” all of which were later re-recorded with new equipment and released by Rough Trade in the ’70s.

Initially a three-piece, Richard H. Kirk, Stephen Mallinder, and Chris Watson began by playing around with recorded sounds manipulated by basic reel-to-reel tape recorders in Sheffield, England in 1973. Way ahead of their time, these ideas cumulated in 1975 when the three staged their first performance of these sound experiments and assumed the name Cabaret Voltaire, taken from the name of the club started in Zürich by the principals of the Dada art movement during the First World War.

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Nine tunes that will scare you shitless.

A blast from the past, if you will.Ed.

You’re alone in the dark, and the only voices of reason you have are your own thoughts. Don’t be fooled; darkness is not a place of solitude.

Sounds that are ordinarily mundane, like a dripping faucet or a creaky wood floor, become amplified, grabbing your undivided attention. If you’re devoid of light for too long, these sounds might completely betray you. Welcome to the sadistic and moribund world of Halloween. Below we’ve compiled a list of song with lyrics and situations that will make you look behind your back and perhaps leave you scared…shitless.

Megadeth – Go To Hell | Don’t fear the reaper? That’s nonsense when your soul is wagered on a game of eternal blackjack. The Charon, the ghastly oarsman who shepherds souls, bears little comparison to the fateful entity that has dominion over the realm of fire and brimstone. Uncorrupted minds everywhere—if you hear Dave Mustaine’s verses, rebuke them immediately. Or damnation will be upon you.

Audra – You’re So Pretty | The acoustic scales over the chamber alone are chilling. The sequence of the four-note motif cycles in this tune like the seconds along a clock. What’s the fate of this woman trapped in the basement? What will happen to her? Only time will tell.

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Graded on a Curve: New in Stores for October 2019, Part Five

Part five of the TVD Record Store Club’s look at the new and reissued releases presently in stores for October, 2019. Part one is here, part two is here, part three is here, and part four is here.

NEW RELEASE PICKS: Swans, Leaving Meaning (Young God / Mute) It can seem a bit unfair to other promising and thriving acts to so regularly spotlight the work of Michael Gira in this column (and in year end best lists), but after consideration, Leaving Meaning fully deserves the attention, as it’s something distinctly more than just another great Swans release. That’s because it documents a new phase of Gira’s band; much attention was paid to the winding down of the prior lineup, arguably the best in the outfit’s long history, after the release of the masterful The Glowing Man. There was promise of more to come under the moniker with the understanding that the results would constitute a break with what had commenced at the beginning of the decade and solidified Gira as one of our most important artists.

Leaving Meaning assuredly marks a fresh chapter in the saga, though unsurprisingly, Gira hasn’t inaugurated this phase with concision, as the release is over 90 minutes long on 2CD and over 80 on 2LP. This is in keeping with his penchant for large-scaled works (which predated the prior Swans iteration going back to the mid-’90s and even earlier as ’87’s Children of God broke 70 minutes). And with expected similarities aside, Leaving Meaning justifies the new start hubbub; back in the day, Swans was occasionally compared to Industrial, but this set inches into the ballpark of the Gothic, or maybe more appropriately dark folk, partly through depth of vocals but also because Gira is never cheerful, which, along with many returning players, reinforces this as a Swans record. A very brilliant Swans record. A

REISSUE/ARCHIVAL PICK: The Pop Group, Y (Definitive Edition) (Mute) This expanded edition of the first LP from these essential UK post-punkers completes a reissue program that commenced on the band’s own Freaks R Us label back in 2016 with the rerelease of their second LP from 1980, For How Much Longer Do We Tolerate Mass Murder? There was also a fresh pressing of the “We Are All Prostitutes” 45, Cabinet of Curiosities, which collected the debut single and unreleased stuff including a session for John Peel, and The Boys Whose Head Exploded, which was a collection of live songs documenting various locations on a 1980 tour. This stream of fanbase-funded material overlapped with two new records from the group that to my ear did a pretty okay job of not sullying their significant legacy.

Perhaps in part because Pledge Music (the platform for the Freaks R Us reissues) went bust, Mute is now on the scene. But I’ll add that the multi-format nature of the affair required hefty label muscle; along with single CD and cassette offerings of Y, there is a 3CD that includes the rare and unreleased comp Alien Blood plus the self-explanatory Y Live. There is a 2LP of Y with a 12-inch reissue of debut 7-inch “She Is Beyond Good and Evil” and two limited 4LP sets, one on Inca Gold wax, corralling everything. Those unfamiliar with The Pop Group’s importance might be wondering if all this activity is justified, to which I’ll reply most certainly, as the music offered here greatly expanded possibilities, and as reflected by how many folks once hated this band, was way ahead of the game. So, it still holds up, big time. A

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In rotation: 10/31/19

Aylesbury, UK | Record fair at Aylesbury’s The Hop Pole a great success: A record fair proved popular with music fans at The Hop Pole pub on Saturday. Stallholders were happy to see plenty of visitors to the pub, to the first event of its kind, which was organised by Mark Bradley. The event was a treat for music fans, with a range of vinyl, CDs, books and t-shirts on offer. There was also a chance to listen to some music in a number of DJ sets on the day, from guest DJs including music journalist Kris Needs, and Mark Gerrard. Following the success of this first event, organisers have announced that a second fair will be held at the pub on December 7.

Brooklyn, NY | Safe to Say This Is Williamsburg’s Only Record Shop/Cafe With a Bathtub? Most coffee shops don’t have a usable bed in them, or allow entire motor vehicles inside, but it’s safe to say Etiquette isn’t your ordinary coffee shop. Vincent Marino, part of Four Happy Men Hospitality and one of Etiquette’s owners, is hesitant to even call the south Williamsburg space a coffee shop. Though the room was filled with laptops on the afternoon we met, he also doesn’t call it a coworking space. In the back, there are drawers of vinyl courtesy of Halcyon, a long-running shop formerly at the nightclub Output, but Etiquette isn’t mainly a record store, either. The best way Vincent can describe the curious, multifaceted space is a “place where people hang out.” Etiquette, which opened in late July on Broadway near the East River, is from the same team as nearby bar Loosie Rouge. As per Vincent, Etiquette should feel like “an extension of your living room,” and the space looks the part.

Sydney, AU | Discogs Presents: EMC Record Fair at EMC 2019! Discogs to Host Free Record Fair at Electronic Music Conference in Sydney Australia. October 30, 2019: Discogs, the leading online physical music exchange, announced today its first-ever physical event in association with the Electronic Music Conference in Sydney, supported by Pioneer DJ. Discogs Presents: EMC Record Fair will take place on Saturday, November 16th from 10 am – 6 pm at The Factory Theatre Courtyard and entry is free to all. Discogs Presents: EMC Record Fair will feature a selection of DJs such as Aroha, Daniel Lupica, Merph, Sampology, Simon Caldwell, Toni Yotzi who will be exclusively spinning records purchased from vendors at the fair making for one-of-a-kind sets followed by a brief Q&A. Discogs celebrates all vinyl-junkies, music fans an avid collectors and welcomes them to the EMC Record Fair. Numerous stalls will be filled with great amounts of records covering all genres of dance music. Be a part of the community, meet specialists, other collectors and find the gems you never knew you needed!

UAE | Check out The Flip Side, UAE’s only independent record store: Tucked away inside the bustling lanes of Dubai’s art district Alserkal Avenue, record shop The Flip Side is its owner Shadi Megallaa’s way of paying homage to the glorious medium of record music. The 40-year-old professional DJ’s love for vinyl dates back to his time working at a record shop in New York. Noticing the lack of any record stores in the UAE, he decided to fill the void by establishing his own in the year 2017. “I loved it and other than that I wanted to buy records as a customer and it didn’t exist here,” explains the music aficionado. Although a commercial enterprise, Shadi, who is of Egyptian origin, refuses to view it solely as a business set up. “The way I see it is that we deal with music. I am a DJ and musician. My colleague Jedd is part of a band. We are not just business people, this is what we do, it’s our life. This is just an extension of our lives basically.”

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TVD Live Shots: Jinjer at Bottom Lounge, 10/22

Ukrainian progressive metal band Jinjer has been stirring up interest for the past year or so. With a stellar leading front woman in Tatiana Shmailyuk and tight instrumentalists, it’s no wonder that a number of their shows on this tour have been sold out—including Chicago’s show at Bottom Lounge.

The crowd was super pumped and hyped, calling for Jinjer to “come on out” with a silly, juxtaposed song as the backdrop to the coming metal onslaught headed everyone’s way. The band entered one by one, starting with newest member, drummer Vladislav Ulasevich who joined in 2016. Original member and guitarist Roman Ibramkhalilov and bassist Eugene Abdukhanov soon followed. Tatiana walked out and “Teacher, Teacher” from their 2019 EP “Micro” immediately ensued.

Every member’s performance was on point and Tatiana didn’t hold anything back—the images will clearly show a truly electric performance. The sound and energy were relentless, giving the audience everything they hoped for—and more. It was also refreshing to see a respectful and tamer crowd given the high energy, and not seeing any crowd surfing or anyone out of control. Everyone was just genuinely enjoying the craftsmanship of the music during three songs off the band’s very recent release Macro—their fourth studio album—that arrived in stores three days after this show on October 25th.

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TVD Radar: The Staple Singers, Come Go With Me: The Stax Collection 7-LP set in stores 12/6

VIA PRESS RELEASE | Craft Recordings is thrilled to announce the release of a vinyl box set celebrating one of music’s greatest gospel and soul groups, The Staple Singers. Set for a December 6th release date, Come Go With Me: The Stax Collection presents all of the group’s studio albums released on the iconic Memphis label, spanning 1968–1974, and features the Staples’ biggest hits, including “I’ll Take You There,” “Respect Yourself,” and “If You’re Ready (Come Go with Me).”

The six studio albums were cut from the original analog masters by Jeff Powell at Take Out Vinyl. The final, seventh disc offers rarities, non-album singles, and several live recordings from the legendary 1972 Wattstax music festival. The seven discs come in heavyweight 180-gram vinyl pressed at Memphis Record Pressing. Housed in a slipcase, the collection also includes a deluxe booklet with archival photos and new liner notes from American music specialist and curator Levon Williams (formerly of the Stax Museum and the National Museum of African-American Music), and folklorist, ethnomusicologist and writer Dr. Langston Wilkins. The complete collection will also be released digitally, and the six studio albums will be available in hi-res 24-bit/192 kHz and 24-bit/96 kHz formats for the first time.

By the time that the Staple Singers signed to Stax in 1968, the family quartet—helmed by patriarch Roebuck “Pops” Staples, with daughters Cleotha and Mavis, and son Pervis (later replaced by his sister Yvonne)—had long graduated from the gospel circuit. The Chicago group had become well-known in the counterculture and folk scenes and were performing alongside major rock acts like Big Brother and the Holding Company and the Grateful Dead. The Staples had also become formidable voices in the Civil Rights movement, and many of their songs preached a message of empowerment and racial equality.

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Graded on a Curve: Canned Heat,
Living the Blues

Come on over, kids, and sit on your granddad’s lap. He wants to bore you to tears with tales of the good old days, when American blues band Canned Heat (what ‘cha mean ya never heard of ‘em?) were, like, Gods. Not only did they knock ‘em dead at Monterey and Woodstock, they gave voice to the counterculture zeitgeist with their ode to hippie urban flight, “Going Up the Country.” A lot of freaks listened to it, built themselves lean-tos in the woods, and got torn to pieces by grizzly bears.

And get this, Bobby and Lu Ann: Canned Heat also have the distinction of recording the longest song in rock history. The Allman Brothers’ “Mountain Jam” (which comes in at a succinct by comparison 33 minutes and 41 seconds) can’t touch it. Yes’ “Fly from Here” (which is the soul of brevity at 23 minutes and 49 seconds) doesn’t even come close. And Iron Butterfly’s “In-A-Godda-Da-Vida, which clocks in less than 18 minutes, is practically a Minutemen song. (And don’t even try to sell me on J. Tull’s Thick as a Brick and A Passion Play; both are made up of individual songs strung together like a chain gang and don’t count.)

Yes, kiddies, Canned Heat hold the world record. It’s 41-minutes long and called “Refried Boogie” and you can hear it on the band’s 1968 double LP Living the Blues. Why you (or anybody else) would want to listen to it is a mystery to me, but that was the trouble with your average hippie–no quality control.

A few words about the band. Canned Heat was founded by two rabid blues enthusiasts (Alan “Owl” Wilson and Bob “Bear” Hite), took its name from every rail yard hobo’s alcoholic beverage of choice, and boasted a most excellent pair of electric guitarists (Wilson and Henry Vestine, the latter of whom had the rare distinction of being kicked out of Frank Zappa’s Mothers of Invention for smoking pot). Wilson was a brilliant harmonica player and had one of the most distinctive voices of the hippie epoch. Hite was fat. Everybody in the band was stone ugly, which is kind of cool. Your long-hairs loved ‘em.

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TVD Premiere: Underorder, “Never Quite There”

Underorder deliver distorted euphoria on new single “Never Quite There.”

The track is lifted from Other Ways To Be Apart, a larger work, broken into three EPs which are intended to mirror the changing seasons. Written primarily in 2015 and 2016 by songwriter Gabriel Zucker, at the end of one long-distance relationship and the beginning of another, the intensely personal songs often explode more inwardly than out.

The lush, ambient vibe of the music ultimately gives the impression of a single shape pushing outwards over time, echoing meditations on love and distance. “I’ve grown increasingly fond of this triptych for the way it showcases the band’s impulsive creativity,” Zucker asserts. “These songs are rather simple and under-composed, and much of the arrangement was improvised in the studio. I layered in synths and samples afterwords to heighten the choices the band had made, but the choices themselves happened organically at the time, and I think that vitality is audible.”

The 3 act structure will be released in installments throughout the coming months.

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Graded on a Curve: Vetiver,
Up on High

Led by singer-songwriter Andy Cabic, Vetiver has been at it for well over fifteen years, with new album Up on High the outfit’s seventh full-length. The sound is rooted in folk-rock, though these fresh ten selections expand the template with touches of soft rock, college rock, indie rock, and classic rock intermittently nodding toward country rock. All these elements might suggest a patchwork if not a hodgepodge, but the disc is a focused affair, and if easygoing it avoids faltering into the overzealously mellow. It’s out November 1 through Mama Bird Recording Co.

I’ve mentioned it before in this space regarding other artists, but my first taste of Vetiver came via 2004’s The Golden Apples of the Sun, the limited-edition (1,000 copies) Devendra Banhart-compiled CD made available through the Arthur magazine imprint Bastet. A decidedly freak-folky excursion with numerous intermingled strands of New Weird Americana, Vetiver’s “Angel’s Share” opened the set, and due to its curator’s strong taste, the comp remains one of best examples of the field’s consistency and breadth.

Flash forward to 2005 and Vetiver were found on the CD included with the literary periodical The Believer’s annual music issue, then in its second year. The amount of overlap between that covers-themed disc and The Golden Apples of the Sun was considerable; along with Vetiver, who delivered a sweet version of Michael Hurley’s “Be Kind to Me,” there was CocoRosie, Josephine Foster, Espers, and ol’ Devendra himself.

This reinforces the impact of the whole New Weird folk experience, but I mainly bring it up to highlight how Vetiver has endured while many others involved in that scene have long since drifted off the radar. With this said, I haven’t been the most diligent follower of Andy Cabic’s material after 2006’s To Find Me Gone (which came after the eponymous ’04 debut). There was Thing of the Past in ’08 for FatCat and two after that for Sub Pop, Tight Knit in ’09 and The Errant Charm in ’11, followed by Complete Strangers for Easy Sound in ’15.

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In rotation: 10/30/19

Sioux Falls, SD | It’s a vinyl record renaissance in Sioux Falls: KSFY reports that according to the Recording Industry Association of America (RIAA), vinyl records are pacing to outsell CDs for the first time in over three decades. Crosstown Vinyl owner Steve Zastrow says, “Vinyl is making a strong comeback. When CDs first came out, a majority of people just dumped their records and started buying CDs.” “People have been getting more into them lately. But my wife and I, we’ve always loved vinyl and there is always a market for it.”, said Total Drag owner Dan Nissen. According to KSFY, CDs sales dropped by 34% at the end of 2018 while vinyl records sales increased 18.5.% between 2016 and 2017. “It’s just having something tangible, from the artwork to just the fun of getting a brand-new vinyl record, and throw it on your turn-table,” said Nissen. CDs debuted in 1982 and sales of vinyl records began a steady decline. 20 years later, the iPod made music portable and CDs sales cratered.

Los Angeles, CA | Supervinyl sets the record straight in Los Angeles: All signs might show that the digital age has taken over, but in Los Angeles, there is hope for traditionalists yet. upervinyl is a newly-opened record store, located in Hollywood, that not only stocks a curated collection of classic and rare albums, but also a selection of turntables, speakers and audio equipment as well. Founded by Barry Perlman, the co-founder of Lucky Brand jeans, the boutique has been designed by the locally based architecture and design studio, Standard, who’ve created homes for retail brands such as Blu Dot, Helmut Lang and Intelligentsia coffee in the past. Rather than appearing like a throwback to music’s golden era, Superviny LA’s whopping 1,750 sq ft space has been spliced with black stained oak display cases, panels with integrated lighting, eye-catching louvered ceiling panels and a natural concrete floor for a completely contemporary feel. Once past the black brick and glass storefront, visitors are met by a grid of records, organised in layered tiers that extend upwards toward eye level. This all-encompassing display continues deep into the store and curves around a table, where the turntables and other paraphernalia, including record crates and stands made from hard wood, is displayed.

Record labels share fears over counterfeit vinyl: Record companies, particularly independent labels, are increasingly having to face the problem of counterfeit vinyls being sold online, according to reports. According to Digital Music News, Tommy Boy Records president Rosie Lopez last week told attendees at the Making Vinyl Conference in Los Angeles that her label was discovering numerous fakes of their vinyl records online including albums they haven’t even pressed. “Somehow records that Tommy Boy hasn’t pressed in—eve—are on sale on Amazon, that’s a little concerning,” Lopez said. Chairman of vinyl distributor Alliance Entertainment, Bruce Ogilvie, shared Lopez’ concerns, the report said. “I’m concerned that the ecosystem is getting polluted with counterfeit product,” he added. The vinyl distributor reportedly had little praise for Amazon’s efforts to tackle the problem. “Amazon doesn’t really care, because they still make their fulfillment fees,” Ogilvie said.

Swindon, UK | The Sex Pistols’ first single to sell for thousands in Chippenham: One of the world’s rarest vinyl records is to be auctioned in Chippenham on Friday. Wessex Auction Rooms, at Westbrook Farm, will have The Sex Pistol’s God Save The Queen record on sale, an item which has been valued between £12,000 – £15,000. The British punk band produced one of the most famous PR stunts in history on March 10 1977 when they penned a new contract with A&M records outside of Buckingham Palace, ahead of the release of their first single. This stunt was too controversial for A&M to handle, so they cancelled the contract six days later and ordered all of the copies of the single to be destroyed. Only 10 records of the song were left in the vault at the company, meaning this vinyl has become a much-wanted item for fans of the genre across the world. Auctioneer and vinyl expert Martin Hughes said: “I have had the privilege of selling many rare records but this is certainly the most exciting of them all.

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TVD Live Shots: Gwar at Showbox SoDo, 10/21

SEATTLE, WA | Last week I was in Seattle for a series of meetings for my day job and happened to be in town to witness another epic Gwar gig. In between corporate presentations and happy hours with my teammates, I was able to take in a show at the legendary Showbox SoDo. What better way to spend a Monday night in Seattle than celebrating 30 years of all things offensive and disgusting with Blothar, Balsac the Jaws of Death, Jizmak Da Gusha, Beefcake the Mighty, and Pustulus Maximus?

It was only a matter of time before Gwar set their sights on the current state of affairs and built an entire show around the most horrible thing to ever happen to the US: Trump. The scumdogs of the universe are back with new storylines, antics, decapitations, and of course, vast amounts of blood and space jizz. I was a bit surprised to not see the venue wrapped like a kill room in the TV show Dexter. Was there going to be less blood this time around? Short answer, no.

Having photographed Gwar several times in the past, I knew the rules of engagement. The more you cover up with a plastic wrap, raincoats, or camera condoms, the more you got it. So I went in with zero protection, just ready to embrace the chaos. I lost focus with the new intro for just a second and was immediately blasted by a torso that had just been beheaded to kick off the gig. My Nikon Z6 better be waterproof, I thought as I ran to the side to wipe the blood off my camera lens and get back into the action.

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TVD Live Shots: Ed Volker’s Jolly House
at SideBar, 10/25

PHOTOS: DENNIS McDONOUGH | The Radiators’ keyboardist, singer and songwriter Ed Volker has long indulged in side projects going back to the early days of the Rads in the 1980s. His latest venture, a reconstituted version of Jolly House, played two sets on Friday at the SideBar, New Orleans’ newest, most intimate venue.

For this gig in front of a small but enthusiastic crowd, Volker left his keyboard at home and played the show with just his familiar percussion rig. Without a chordal instrument, bassist and Radiators’ bandmate Reggie Scanlan had his work cut out for him. Of course, he rose to the occasion while staying seated.

Saxophonist Joe Cabral and percussionist Michael Skinkus, longtime partners in Volker’s various solo projects had no problem filling out the sound as Volker presented some Radiators’ chestnuts including an old fan favorite, “Rainbow,” which segued into “Take Me to the River” along with his inimitable versions of classic blues and R&B tunes like Earl King’s “Trickbag.”

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TVD Radar: Passable
in Pink: Official Motion Picture Soundtrack
available 11/15

VIA PRESS RELEASE | When love reigns over Northwood High out in the Chicago ‘burbs, it happens underneath the soft, pink spotlights illuminating that most special night of the year —prom night! And when that happens, it’s bound to be called … Passable in Pink. That is, if it’s a laughably inept 1984 teensploitation movie that made John Hughes look like Orson Welles. And if that movie never actually existed.

Omnivore Recordings will soon unveil the Passable in Pink: Official Motion Picture Soundtrack in conjunction with the November 14th Audible Original release of Passable in Pink, a cinematic audio experience currently available for preorder at The Digital-only soundtrack will be available on 11/15.

Concocted by the bestselling author Mike Sacks (Poking a Dead Frog), who wrote Audible’s 2018 hit Stinker Lets Loose!, Passable in Pink sends up the 1980s with an epic cast: Gillian Jacobs, Bob Odenkirk, Adam Scott, Justine Bateman, Judd Nelson, Rhea Seehorn, Laraine Newman, and more.

The soundtrack from Mark Rozzo (who created the Stinker Lets Loose! soundtrack and who has played in Champale, Maplewood, and Bambi Kino) channels every ’80s subgenre imaginable: blippy New Wave, swanky U.K. pop, bratty Twin Cities punk, Winston-Salem jangle, Swiss techno, New Agey electronica, even some break beat and a high-school pep-rally band in overdrive.

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