Category Archives: The TVD Storefront

TVD Live Shots: Incubus and Sublime with Rome at Xfinity Center, 8/3

MANSFIELD, MA | Multi-platinum band Incubus rocked the Xfinity Center amphitheater just outside of Boston Wednesday night, showcasing their collection of tight, interstellar grooves ranging from of six albums.

The night was highlighted with tracks “Warning” and “Drive” that were fully backed by the crowd in a rejoicing fashion. Throughout the night, Incubus made this audience feel like a sixth member of the band as they dropped the music at key points to shine a spotlight on the crowd’s vocals and excitement—an energy that the band was noticeably engaged with.

Incubus and Sublime wouldn’t necessarily be categorized among the same musical genres, so touring North America together might stand out to some. However, the majority of Incubus fans tend to be into the genre-fusing, reggae-ska-punk pioneers Sublime, who in turn had actually influenced Incubus. This isn’t the first time these two have played together as well. Incubus opened for Sublime in 1995 when they filmed their infamous DVD, Sublime’s 3 Ring Circus—Live At The Palace. More shared stages would follow in later years.

This summer tour is a dream bill for fans who had the unique experience in the 2000s of diving into the catalog of a trailblazing band, while also following the newly emerging Incubus as they were evolving their sound and releasing new music.

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TVD Radar: Rory Gallagher, Deuce 50th Anniversary 3LP Box
Set in stores 9/30

VIA PRESS RELEASE | “There are a million guys who sound like Stevie Ray Vaughan, but I never heard anybody who could really pull off sounding like Rory Gallagher.”Slash

To celebrate the 50th anniversary of Rory Gallagher’s Deuce sophomore solo album from 1971, a deluxe CD boxset will be released by UMC on Friday September 30th. The album is available to pre-order here.

The extensive celebratory release digs deep into the Rory Gallagher Archives and will include a new mix of the original album, twenty-eight previously unreleased alternate takes, a six-song 1972 BBC Radio In Concert, and seven Radio Bremen radio session tracks. The package will contain a 64-page hardback book with a foreword by Johnny Marr of The Smiths, unseen images by the late Mick Rock, essays, and memorabilia from the album recording. The 2CD and 3LP will be cut down versions from the deluxe box and there will be a special D2C 1LP of the BBC In Concert – Live at The Paris Theatre, 13 January 1972.

Released in November 1971, just six months after his eponymous solo debut, Rory Gallagher’s second album, Deuce, was the summation of all that he’d promised in the wake of Taste’s collapse. Rory wanted to capture the feeling of a live performance, so he would look to record immediately after live concerts while keeping production to a minimum.

He chose Tangerine Studios, a small reggae studio, in Dalston in East London, due its history with legendary producer Joe Meek. With Gerry McAvoy on bass guitar and Wilgar Campbell on drums, the album was engineered by Robin Sylvester and produced by Rory. Deuce features many Rory highlights, from the blistering “Crest Of A Wave” to the Celtic-infused “I’m Not Awake Yet.”

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Victor DeLorenzo,
The TVD Interview

PHOTO: NINA FERNANDEZ | Hatched via email between musicians, the new trio Night Crickets comprise the talents of Violent Femmes co-founder Victor DeLorenzo, David J of Bauhaus and Love and Rockets, and multi-instrumentalist Darwin Meiners. Their debut release A Free Society, released earlier this year on CD has just been issued on vinyl this summer by Omnivore Records. From his studio in Milwaukee, DeLorenzo talked about the collaboration, his experimental drum approaches, the split with Violent Femmes, and the drum pattern that captured the world.

How did Night Crickets come to be?

In 2013 my band Violent Femmes played the Coachella Music & Arts Festival in California and backstage, I came across Darwin Meiners. It turned out that not only was he a fellow musician, but also was the manager of David J of Bauhaus and Love and Rockets.

I didn’t really know that much about Bauhaus or Love and Rockets other than maybe the one or two hits that Love and Rockets had. But I got on well with Darwin and stayed in touch. And then two holiday seasons ago, he got in touch with me and asked me if I would be willing to create some drum tracks for him that he could write some music to. So I said, yeah, that sounds like a great idea because as a matter of fact, I own a recording studio here in Milwaukee and I’ve had this studio for over 30 years.

From time to time, when I had a great drum setup going, I would just record wild drum tracks just to some kind of click track or some kind of drum track, and I would just store them away to be able to use in the future for different music projects.

So I told Darwin I had some of these already recorded and that, if he wanted, I could create some new ones for him too. So I did that, but when I got to the point where I sent him some stuff, I said, what about the idea of maybe seeing if David would want to be involved in this and maybe we could create some stuff together, what do you think about that?

And Darwin went to David and got back to me and said, “It sounds like a great idea.” So that just started us on our kismet way of putting together some music that eventually became this full length record.

Is it unusual to start songs with drum tracks?

I think for some people, it’s just another way of recording. Because I’ve been in the business so long, I’ve learned to record music from many different ideas at the onset. Whether it’s just the drum track, or it’s the guitar track that’s recorded to a click track, or what have you. Or maybe just starting with a lyric and building from there. So I don’t look at recording music as being a one way process. I’ve got many different ideas in my arsenal.

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Graded on a Curve:
Frank Kimbrough,

In December of 2020, the pianist Frank Kimbrough passed away far too soon. Noted for his extended role in the Grammy-winning orchestra of Maria Schneider, Kimbrough was also an extensive collaborator in smaller groups, including three discs as part of the Herbie Nichols Project. Additionally, he led his own quartet, and fitting for a pianist, exceled in the trio configuration, which is what’s heard on Palmetto Records’ 2003-2006: Volume One: Lullabluebye / Volume Two: Play in two distinct lineups, one with bassist Ben Allison and drummer Matt Wilson and the other with bassist Masa Kamaguchi and drummer Paul Motion. The 2CD is out Aug 12, with a 4LP set scheduled for December.

Frank Kimbrough’s influences are unimpeachable. Alongside the perpetually undersung Herbie Nichols, there is Bill Evans, Thelonious Monk (Kimbrough’s exquisite 6CD set Monk’s Dreams: The Complete Compositions Of Thelonious Sphere Monk, was released by Sunnyside in 2018), Paul Bley, and Andrew Hill, with the last two distinguished as mentors for Kimbrough (who was born in 1956).

Listening to 2003-2006, the nature of this relationship with Bley and especially Hill comes into sharp focus, as the pianist’s playing is at once cerebral and highly accessible, and right off the bat in the melodically grooving opening title track of Lullabluebye, a set recorded at Maggie’s Farm, the studio of Palmetto founder Matt Balitsaris, in April of 2003 and first released the following year; it and Play, which was also recorded at Balitsaris’ Pennsylvania-based studio just a smidge over two years later (and issued in 2006), will be making their vinyl debut in December.

“Lullabluebye” is one of eight varied Kimbrough originals on the first set, alongside the meditative “Ghost Dance” (inspired by the music of Annette Peacock), the jauntily catchy “Fu Bu” (a bit of a dis to the US prez of the time), with Allison and Wilson killing it throughout,  and my pick for the Lullabluebye’s standout piece, the wildly energetic “Whirl,” a tour de force blending thorny structure and freeform execution; it was often this trio’s set closer. But for the album’s finale, “Eventualities” begins with Kimbrough in solo mode, the playing contemplative as the emerging trio action is beautifully intense.

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Graded on a Curve: Poison,
Open Up and Say… Ahh!

Celebrating Rikki Rockett, born on this day in 1961.Ed.

I finished this review only to discover–much to my chagrin-that I wrote one 3 years ago. Just more proof, as any were needed, that I have the memory of a house fly. In any event, this new review is 150 times better than the old one. Besides, all self-respecting music critics should return to this hair metal masterpiece every couple of years. It’s that great.

Judging by the Punky Meadows look-alike on the cover of their 1986 debut and the twin sister of Gene Simmons on their second, these Mechanicsburg chest waxers couldn’t decide whether they wanted to be Angel or Kiss, so they went ahead and bested both of ‘em. Glam metal idols in the days before Kurt Cobain placed former hairdresser Rikki Rockett’s skyscraper ‘do on the endangered species list, Poison packed enough hair to stuff a mattress into their metal and by so doing lubed the loins of a million girls itching to steal their makeup.

Had Poison been nothing more than a pretty pooch they’d have gone the way of Cats in Boots, and poor C.C. DeVille would have had to scuttle back to Three Mile Island with his poison blue Flying V guitar beneath his legs. But Poison had the skills to pay their thousand dollar spandex bills, and come Open Up and Say… Ahh! only Guns ‘N’ Roses had more powder in their pistol.

Counterintuitive as it sounds, there was an innocence to Poison’s twist on L.A. sleaze; unlike those moody social Darwinists Guns ‘N’ Roses (welcome to the jungle!), Poison believed in the power of positive partying. No appetite for destruction for these hair teasers; like Def Leppard, all they wanted was for you to pour some sugar on ‘em and lick it off.

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TVD Radar: The Podcast with Evan Toth, Episode 80: Michael Rault

PHOTO: SHAWNA SCHIRO | Michael Rault embraces the skill that all great musicians are good at: listening. All of his life, Michael has been carefully listening to his influences, and filtering those sounds through his own lens. It seems he’s finally completed the album that he’s been destined to make, his self-titled, second solo release.

Musically, he’s a sponge picking up some of the greatest sounds of the latter half of the 20th century. If your record collection is eclectic, then what Michael creates will fit right in next to the tried and true, well-traveled grooves sitting on your shelf. Completing this musical journey is the production and flavor that Daptone Records’ subsidiary, Wick Records, brings to the formula: a warmly textured, funky, organic and earthy feel, but applied to a rock and roll singer-songwriter instead of to the soul, funk, and R&B projects that the label is often known for.

This Canadian, like many famous songwriting Canadians in the 1970s, has made his current home beneath the sunny skies of Los Angeles, California. While there, he has connected with a like-minded group of other musicians who support each other musically and otherwise which is perfect for Michael, because he seems to always be looking for inspiration, always looking for something new to listen to.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector, and hi-fi aficionado. Toth hosts and produces The Evan Toth Show and TVD Radar on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

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Graded on a Curve:
Pere Ubu,
The Modern Dance

1896 saw the premier of literary bomb-thrower Alfred Jarry’s play Ubu Roi, with its anti-hero Pere Ubu. The play promptly caused a riot, and Jarry—who once said “One can show one’s contempt for the cruelty and stupidity of the world by making of one’s life a poem of incoherence and absurdity” was undoubtably pleased. His goal—to the extent that he had one—was to see the hidebound and the conventional art of his time dead and buried. “Art,” he said, “is a stuffed crocodile.”

No one has ever accused Cleveland’s Pere Ubu of being a stuffed crocodile. The band that would make a virtue of clang and clamor rocketed from the tomb of the Mistake on the Lake’s Rocket from the Tombs, a promising band that collapsed over the usual creative differences.

Tombs’ members split into factions—David “Crocus Behemoth” Thomas and a collection of new players here, Stiv Bator and Company’s Dead Boys (originally Frankenstein) over there. (A third band, Friction, which was fronted by Rocket linchpin Peter Laughner, would collapse without recording an album after he rocketed his way into his own tomb at the ripe old age of 24, the result of booze and drugs.) Pere Ubu and the Dead Boys couldn’t have been more different. The latter band fit comfortably into the Heartbreakers and Richard Hell and the Voidoids mold; Pere Ubu followed their namesake straight into the revolutionary absurd.

Thomas’ notion was to create a clamorous and fractured sound, and to do so he enlisted an initially reluctant Alan Ravenstine, whose synthesizers, atonal saxophone, and innovative tape manipulation techniques spelled the difference between Pere Ubu and its contemporaries. The result was the band’s 1978 debut The Modern Dance—arguably the most innovative LP to emerge from the post-punk era.

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Graded on a Curve:
Rick Derringer,
All American Boy

Celebrating Rick Derringer on his 75th birthday.Ed.

I don’t know about you, but I spend plenty of time thinking about the words I want engraved on my headstone. They’re going to be there for eternity, after all, so you want your epitaph to be both eye-catching and memorable. Over the years I’ve gone from E.M. Cioran’s, “Only one thing matters; learning to be the loser” to “Futility Lies Here” to “This is all your fault.” But I always come back to the aside Rick Derringer tosses off in the middle of “Rock and Roll Hoochie Koo,” to wit, “Did somebody say keep on rockin’?”

“Rock and Roll, Hoochie Koo” is one of rock’s greatest songs, and Derringer’s version is decidedly superior to the one recorded by Johnny Winter in 1970. Winter’s version is surprisingly sluggish, and it took Derringer, an axe-slinger more attuned to pure rock’n’roll than the blues, to really press down on the accelerator. And Derringer’s rock chops are what make his 1973 LP, All American Boy, so wonderful.

The ex-McCoy—you know, the band that gave us “Hang on Sloopy”—has very impressive bona fides as a sideman and hired gun. He has had a quasi-incestuous relationship with the Winter Brothers and participated in various of their projects, played on several Steely Dan tunes, was responsible for the guitar solo on Alice Cooper’s “Under My Wheels,” and played on Todd Rundgren’s best albums, including Something/Anything. And I’m just cherry picking here.

But it’s the solo (and star-studded) LP All American Boy that is his finest hour. It’s all over the place, but most of its songs work, and what we’re looking at here is a sadly neglected album of great merit. He certainly brought in the talent: Edgar Winter plays keyboards, David Bromberg plays guitar and dobro, Joe Walsh throws in on electric guitar, Bobby Caldwell handles drum chores, Suzi Quatro plays bass on those songs that Kenny Passarelli doesn’t, and Toots Thielemans even contributes on harmonica.

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TVD Radar: The Podcast with Evan Toth, Episode 79: Gabriel Birnbaum from Wilder Maker

The first time I played Wilder Maker’s new album titled Male Models, I thought someone sent me the wrong link; I assumed that instead of the actual record, I was listening to a mixtape from the record label. The wide-reach and scope of the record seemed to be too much to accomplish from one group of musicians. But, as I listened, I began to piece together similar voices and instrumentation and—maybe, most interestingly—the style of musical composition. Finally, it dawned on me that this was the same band all along; this was Wilder Maker.

Gabriel Birnbaum has a history in jazz, but loves his rock and roll too. With Wilder Maker, he’s taken those free-form chops, and a healthy respect for clever composition, and juxtaposed it with rock and pop and folk and whatever else he deems necessary to share his vision with you, dear listener. He’s erudite, he doesn’t shy away from overarching themes and references; this Wilder Maker album is just like graduate school: scholarly, but fun and—most importantly—rewarding.

Birnbaum joins me from a farmhouse in Vermont to explain how the album was constructed during the pandemic, the players who currently make up the band, and his musical influences and goals. Birnbaum is at Wilder Maker’s helm, but the contributions of all of the talented musicians who helped create Male Models demonstrates that—like a good mixtape, or playlist—the best musical ensembles are greater than the sum of their parts.

Evan Toth is a songwriter, professional musician, educator, radio host, avid record collector, and hi-fi aficionado. Toth hosts and produces The Evan Toth Show and TVD Radar on WFDU, 89.1 FM. Follow him at the usual social media places and visit his website.

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The 100 Most Awesome Rock Songs of All Time

Here you have it—my list of the 100 most awesome rock songs of all time. I can guarantee you’ll either 1) find it ludicrous proof that I have deplorable tastes in music or 2) dismiss it as a willfully perverse attempt to irk on my part. Or both. But here’s the thing—these are MY 100 most awesome rock songs of all time. I could have attempted to write an “objective” list of the top 100 most awesome songs of all time, one that would have surely included songs by the likes of Janis Joplin, Jimi Hendrix, the Ramones, the Clash, Joy Division, and Nirvana (to name but a few), but truth is I rarely if ever listen to any of ‘em. Besides, the exercise would have been boring as hell.

What’s my idea of an awesome song? Simple. A truly awesome song is one that I could listen to with a smile in my heart every single day for the rest of my life without growing sick of it. No exaggeration. Which is why I haven’t included songs I’ve loved for, say, a mere five years or so. How can I be certain that one day down the road I’ll hear, to cite just two examples, the MC5’s “Black to Comm” or Mud’s “Tiger Feet” and mutter, “Jesus, not that fucking song again.” My ears are fickle bastards.

To be truly accurate, a list like this would have to be updated daily, because none of us have every song we’ve ever loved at our fingertips. They will only announce themselves to us when we hear them in our sleep, on the radio, in movies, TV shows and annoying ads, in supermarkets, dentists’ chairs, or at the gym. Hell, I’ll probably hear at least one awesome song at my own wake.

So yeah, no one will be happy with this list. My uneducated guess is that some 99 percent of readers will conclude I’m full of shit, as opposed to the 92 percent of readers who’ve been convinced I’m full of shit for years now. But I have no regrets. Better to do 100 things wrong than do nothing at all. My mom used to tell me that, before they packed her off to the penitentiary for committing a dozen or so armed robberies.

One final note: I’ve tried to stick as closely as possible to that “rock” in the title. Hence I’ve attempted to exclude, for better or worse, songs in the funk, hip hop, gospel, reggae, country, soul, ska, disco, R&B, Americana, folkies with banjos, electric dance, and industrial genres that might otherwise have made the list. I’ve also excluded, with one notable exception, progressive rock, for the simple reason that I loathe the shit.

100. “Closer to the Heart” • Rush
Geddy Lee wants to “mold a new reality, closer to the heart,” and I’m okay with that.“You can be the captain, and I will draw the chart,” he sings, and I’m okay with that too. And I hereby announce that my first act as ship’s commander will be to make Geddy walk the plank.

99. “Miracles” • Starship
Marty Balin: “I had a taste of the real world/When I went down on you, girl.” Well there you have it—if it ain’t vagina, it’s Maya.

98. “Bittersweet Symphony” • The Verve
A stroke of genius, sampling the Andrew Oldham Orchestra’s version of the Rolling Stones’ “The Last Time.” But how can Richard Ashcroft be stuck in a mold if he’s a million different people from one day to the next? Oh well. It’s no dumber than “Slowly walking down the hall/Faster than a cannonball.”

97. “Smoke on the Water” • Deep Purple
Remember that stupid guy with a flare gun? You’re looking at him.

96. “Candles in the Rain” • Melanie
Before she got her brand new pair of roller skates and zipped herself off the American Top Forty forever, Melanie of the amazing voice recorded this gospel-flavored salute to the festival at Woodstock, which tops “Woodstock” because she doesn’t 1) say anything really stupid like “We are billion-year-old carbon” or 2) make me blow radioactive chunks like Crosby, Stills Nash & Young.

95. “Lights Out” • The Angry Samoans
The newest teen fad? Poking your eyes out with a fork. Or a pen. Actually any pointy object will do. But be sure to read the instructions: “If you poke too far you reach the front of your brain/Fork in your mind can drive you insane!” And no one wants that.

94. “Come Sail Away” • Styx
Let’s see if I’ve got this straight. Dennis DeYoung’s the captain of a ship setting course for a virgin sea. When along come some angels in a starship, which should not be confused with the Starship of “We Built This City” or the guitar-shaped starship on the cover of Boston’s debut album. DeYoung’s starship is just your average run of the mill UFO, by which I don’t mean the band.

93. “Calling Occupants of Interstellar Craft” • The Carpenters
One minute the brother and sister team then President Richard Nixon called “Young America at its very best” were churning out brilliant chart toppers, the next they were inviting bug-eyed green people from outer space to stop by for finger sandwiches. As if Klaatu hadn’t stopped by for finger sandwiches some four years earlier.

92. “Deuce” • Redd Kross
If Kiss had a goddamn clue as to how to play their own songs, they’d be Redd Kross.

91. “This Is Just a Modern Rock Song” • Belle and Sebastian
These Glasgow Twee People have never been as innocent as they sound—that “Arab strap” in the title of “The Boy with the Arab Strap” is a cock harness. On this one, Stuart Murdoch ambles about Glasgow getting tossed arse over tit by a girl who knows judo, and making self-effacing comments about his band. To wit, “We’re four boys in corduroys/We’re not terrific but we’re competent.”

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Graded on a Curve:
Klaus Schulze,
La Vie Electronique Volume 1.0

Remembering Klaus Schulze, born on this day in 1947.Ed.

Klaus Schulze has released a certifiable ass-ton of music, and only the most severely dedicated have collected it all. For those wishing to own his earliest solo recordings on vinyl, the long wait is over, as the One Way Static label has issued his work from 1968-1970 on the 2LP set La Vie Electronique Volume 1.0. Fully embracing experimentation in a home environment, Schulze’s boldly celestial and drone friendly excursions infuse early electronic, proto-ambient exploration with edge and heft. Today it’s easy to pigeonhole, but at the time it was breaking new ground, or it would’ve been, had it promptly come out; the good news is that it holds up well, and two more volumes are on deck.

This isn’t the debut for the material on offer here, but it is the most concise assemblage of solo Schulze at his earliest. Initially, this stuff was sprinkled non-chronologically by Klaus D. Mueller, who contributes useful notes for this set, into 1995’s 10CD Historic Edition box set, which in 2000 was dropped into the 50CD (that’s right, 50) Ultimate Edition savings-drainer (which also included the 10CD Silver Edition, the 25CD Jubilee Edition and five additional discs).

The maximal method was obviously geared to the diligent fan, but after the Ultimate Edition fell out of print, the notion of following chronology and breaking the music into more digestible sets prevailed; this resulted in the 16 volume La Vie Electronique CD series, which spanned from 2009 to 2015; La Vie Electronique Vol. 1.0 offers the contents of the first 3CD volume’s opening disc across two LPs.

Klaus Schulze wasn’t completely a solo operator. His first group Psy Free, described by Schulze in Mueller’s notes as playing avant-garde/ free rock, never recorded, but he then moved on to Tangerine Dream, and after playing drums on their swell first album, 1970’s Electronic Meditation, just as quickly quit. From there, he formed Ash Ra Tempel with bassist Hartmut Enke and guitarist Manuel Göttsching; helping to shape a terrific self-titled ’71 debut, he made another exit.

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Graded on a Curve: Imaginational Anthem Vol. XI : Chrome Universal – A Survey of Modern Pedal Steel

Individually deep and collectively cohesive, Tompkins Square’s Imaginational Anthem series stands securely amongst the very finest surveys of instrumental guitar ever assembled. Vol. XI is the latest installment, curated by Luke Schneider and informatively titled Chrome Universal – A Survey of Modern Pedal Steel; it features nine pieces from nine different purveyors of steel guitar artistry, with the contents varied yet focused. Another way to put it is to say the instruments used are recognizably pedal steel, and yet the playing eludes expectations. The collection is out August 5 on cassette, compact disc, and digital. Vinyl is coming at a date as yet unspecified.

In his liner essay for this set, the guitarist William Tyler expands upon a youthful state of mind that is very relatable. Specifically, he writes of his fascination with musical instruments as a child, and simultaneously, his difficulty in connecting to the sound of the pedal steel. As a music obsessed kid with a similar blockage of appreciation, I know of exactly what he speaks.

This really comes down to, as Tyler elaborates, a sense of fatigue through immersion. He grew up in Nashville, where country music has long been the dominant sound. In my case, I heard little music not tagged as country until shortly before my teen years, and after soaking up The Beatles, The Stones, Hendrix, Led Zep, and Sabbath, country music, where the pedal steel was a staple if not a constant, just couldn’t match up.

Keep in mind that for me, this was well before the emergence of Alt-country and after the major names in the Outlaw Country movement had settled into a mainstream they were never really that disconnected from. But of course, times change, along with maturity and reevaluations, though what Chrome Universal is proposing is not a reassessment of country music, but a consideration of the genre-eclipsing possibilities of pedal steel.

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TVD Radar: TwinArt Presents Instant This / Instant That: NY NY 1978–1985 2LP clear vinyl in stores 9/16

VIA PRESS RELEASE | This 2LP or 2CD set gazes into a micro-scene from the NYC Lower East Side art scene circa late ’78-’85, through the lenses of a variety of feminist perspectives on post-punk and true art punk. An ultra-violet time machine to a micro-scene viewed and heard through the curation of twin artists Linda and Ellen Kahn, who together are TwinArt. This magnificent journey features the music they created for the Manhattan Cable, along with other female voices from within their orbit.

Instant This / Instant That is built around the coveted flexi disc from an art mag that featured a song by Taste Test and a cut from intense Molecular Activity (IMA). Joining the fun are Jill Kroesen, who contributes her cult A-side “I Really Want To Bomb You” along with two unissued cuts from her poetic and percussive headspace.

Multi-media artist Julie Hayward, once known as Duke Delight, contributes two songs she put to tape working with IMA’s Don Hunerberg that are poignant and powerful as they work she’s shown at the Whitney or the video she directed for The Talking Heads (“Burning Down The House”).

Post-punk “Do-Dada-ists” The Dance contribute quite a bit here, including an unissued demo, a cut from an EP, and two collaborations with TwinArt. All these treasures are woven together by sound art shorts from IMA under the guidance of TwinArt. This album is a delightful as the cover art of Ellen and Lynda suggest.

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Graded on a Curve: Oasis, Knebworth 1996 & Amy Winehouse, Live At Glastonbury, At The BBC

The following, is part six of our live concert releases series.Ed.

The UK music scene has morphed from one trend to another. In the 1960s it was the British Invasion and its aftermath that dominated. In the 1970s it was glam, punk, and eventually new wave, which only grew bigger in the 1980s. Synth-pop was also big in the ’80s. The ’90s was dominated by Brit Pop. It was also the decade that saw the arrival of Radiohead.

Proving the health of the UK pop music scene, the beginning of the century once again saw the emergence of a slew of artists that exhibited all the best traits of British pop music, including Coldplay, Snow Patrol, Keane, Amy Winehouse, Adele, and Sam Smith, to name just six. Only artists from the latest wave remain, with two that are most missed from the ’90s and from the early part of the century being Oasis and Amy Winehouse, respectively. Thankfully, several new live archival releases will delight the ardent fans of these British legends from iconic performances.

First up is one of the most famous concerts in British pop history: the performances of Oasis at Knebworth in 1996 on August 10th and 11th. We will review the 3-LP set and the film, Knebworth 1996, directed by Jake Scott. The film is as much a movie about the British fans of Oasis as it is a concert documentary. The core lineup for Oasis at this time was Liam Gallagher, Noel Gallagher, Paul Arthurs, Paul McGuigan, and Alan White. Thirteen other support and guest musicians also appear on these releases, including John Squire, formerly of the Stone Roses, who plays guitar on “Champagne Supernova” and “I Am the Walrus.”

Few filmed concerts so perfectly capture the love affair between a British group and its fans with 250,000 in attendance. Aside from the bracing performances of the group—at the top of its game—there are also interviews with its fans who were there to witness British pop music history. Other interviews include members of the band and those who put on the show.

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TVD Radar: The Secret Path: The Art of Roger and Freyja Dean exhibition opens 8/25

VIA PRESS RELEASE | The Haight Street Art Center will open The Secret Path: The Art of Roger and Freyja Dean, an exhibition of original art works by famed UK artists Roger Dean and his daughter Freyja Dean. The Secret Path will immerse visitors in an extraordinary world where life and landscape invoke the splendors of nature through the visionary imagination of the Deans. The exhibition opens August 25 and will close October 30, 2022, before touring to other venues. The presenting sponsors of The Secret Path: The Art of Roger and Freyja Dean are Blue Planet Alliance and Chambers Obscura.

“To see the art of Roger and Freyja together in this unique, groundbreaking exhibition is a once-in-a-lifetime opportunity for visitors to experience the magical environments created by this father-daughter duo,” said Kelly Harris, executive director of the Haight Street Art Center. “Both artists have universal appeal, and we are proud to be able to offer our patrons a chance to be a part of this stunning and psychedelic fantasy.”

Known for his groundbreaking work with Yes and other rock bands, Roger Dean’s six-decade career includes a dazzling range of media and formats. His daughter Freyja has followed in her father’s footsteps, earning international acclaim for her paintings, sculpture, and fabric art. With paintings, drawings, sculptures, and other media, this exhibition connects all facets of the Deans’ wide-ranging and restless imagination.

Visitors to the Art Center will recognize famous paintings that became the artwork for some of Roger’s legendary album covers, as well as studies of his extraordinary design work including his iconic Yes logo. Curated by Roger in consultation with Freyja, the exhibition includes more than 50 works that will furnish patrons with an imaginative and immersive environment that speaks to the challenges of the present while embracing the promise of the future.

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