tag:blogger.com,1999:blog-54163462986252425152024-03-12T21:59:01.474-07:00head medicinean oasis of greatness in a desert of mediocrity
Unknownnoreply@blogger.comBlogger156125tag:blogger.com,1999:blog-5416346298625242515.post-24861503929869189272017-01-18T08:39:00.001-08:002017-01-18T08:39:20.283-08:00The Pioneering Afro-Electro-Funk of William Onyeabor<div style="text-align: center;">
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<span style="font-size: x-large;">William Onyeabor</span></div>
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<i>Who is <a href="https://www.facebook.com/WilliamOnyeabor/?fref=ts" target="_blank">William Onyeabor</a>? </i>no one really knows for sure. what we do know is that Onyeabor was a pioneering oddity in the 1970s and 80s Nigerian funk music scene, performing his own brand of African electronic dance music. he never performed live, and few people ever actually met the man, but his records were hugely successful on the Nigerian club scene. he performed and produced the music himself, released his albums on his own label Wilfilms, and even manufactured his records at his own vinyl pressing plant. his sound sprouted from the psychedelic afro-funk around him in mid 70s Nigeria, but sharply diverged from there, and eventually stumbled upon an endless repetition of synthesizer dance floor loops. there was no one else around even vaguely sounding like Onyeabor at that time. his ideas seemed to be closer to German Krautrock than anything else, and his later work prophesied 1980s house music. in 1985, Onyeabor became a born-again Christian and completely disappeared from public view, hiding away in his Nigerian palace.</div>
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few people know any other details about him. legend has Onyeabor learning music production in Stockholm, Sweden before moving on to study cinematography in Moscow, until he returned to Nigeria to make films and produce their soundtracks. no one can recall ever actually seeing an Onyeabor film, though. his studio was packed with state of the art recording equipment and an army of synthesizers, but there is no record of how or where Onyeabor would have been able to purchase this expensive equipment. there are no other musician credits, so it it unknown if he had a backing band or if he was performing everything himself. all that remains are his records and the music embedded in the grooves.</div>
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Onyeabor's music once again emerged on the classic Nigeria 70 funk compilation, and in 2013 Luaka Bop issued <i>World Psychedelic Classics 5: Who is William Onyeabor?, </i>a collection spanning his entire career<i>. </i>after an exhausting battle to track Onyeabor down and secure licensing rights, Luaka Bop finally released <a href="http://williamonyeabor.com/boxset/" target="_blank">a deluxe box set collecting all eight of Onyeabor's albums</a> in 2014. to celebrate the occasion, the man himself came from the shadows and granted the BBC his first ever radio interview (check it out <a href="http://www.bbc.co.uk/programmes/p02f3nfr" target="_blank">HERE</a>) where he revealed he will be releasing a new album of gospel music in the near future.<br />
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*<i>William Onyeabor passed away peacefully at his home on January 16 at the age of 70. RIP.</i> <br />
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here are a few of my favorites from the <i>Who is William Onyeabor? </i>compilation:<br />
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and here is Noisey's Onyeabor documentary <i>Fantastic Man.</i><br />
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-5416346298625242515.post-20048147086025537182016-11-18T14:35:00.001-08:002016-11-18T14:35:47.596-08:00A Tribute to Lemmy Kilmister, by Robert Valley (and Metallica)<div class="separator" style="clear: both; text-align: center;">
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<a href="https://www.facebook.com/robertvallley/?fref=ts" target="_blank">Robert Valley</a>, one of the (if not thee) most inspired animators/illustrators currently working, has crafted a mind-melting eyegasm tribute to the mighty Lemmy Kilmister. It's maybe a bit unusual that it's in the form of a video for Metallica and their new track "Murder One," but, hey, however this masterpiece needed to be conceived and delivered into the world is fine by me. it's worth noting that Valley animated this entire piece in Photoshop. fucking Photoshop! who does that?? (eventually i will get off of my ass and put together a feature on Valley's work... everything he has touched is golden.)<br />
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feel free to enjoy the video with the Metallica soundtrack, or, if yer like me, it might be a bit more appropriate to hit mute and have some of Lemmy's sounds to chase it down with.<br />
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recommended alternate soundtrack<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-14684749241895846612016-05-31T00:35:00.000-07:002016-05-31T01:10:16.728-07:00Tishoumaren: The Desert Blues of the Tuareg Nomads<div class="separator" style="clear: both; text-align: center;">
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<b><i>"I felt this was the music I'd been looking for all my life." - Robert Plant</i></b></div>
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The Kel Tamasheq people, known collectively as the Tuareg nomads, have wandered the Saharan Desert for millennia. <a href="https://www.youtube.com/watch?v=bOnUM-cmHAc" target="_blank">Long under siege from poverty, drought, and political unrest</a>, the Tuareg have cultivated a fiercely independent culture and their own unique musical voice. Over the last forty years, their style of rebellious guitar-based desert blues, called Tishoumaren, has emerged. This music flows from the same ancient African wellspring whose sounds and rhythms crossed the Atlantic and developed into the American Blues, but the Tuareg style is its own independent strain. It is steeped in the Tuaregs' ancient musical traditions, meant to convey images of the never-ending Saharan horizon, the shifting sand dunes, and the swaying rhythm of the camel caravans' movements. But in the 1970s, as a result of violent political turmoil and geographic displacement, the Tuareg youth plugged in electric guitars for the first time, took these traditional sounds, and merged them together with the Western rock, reggae, and psychedelic music that was infiltrating Africa to create something new. Today, these Tishoumaren musicians are superstars among the Tuareg people. Their music has been copied and traded on bootlegged cassette tapes or, more recently, as mp3's via cellphone memory cards, throughout Africa. In recent years, Tishoumaren music has permeated the international world music scene, and has been steadily growing in respect and popularity while adamantly holding onto its individuality. These bands sing in the Tamasheq language with their unconventional vocal melodies, and refuse to bend their sound to a more dominant Western-styled approach. This is who they are, and this is how they sound. Take it or leave it. From the legendary Tinariwen, to the rising guitar hero Omar "Bombino" Moctar, and to the legion of bands following in their wake, Tishoumaren music expresses the lives and landscape of the Tuareg, informs the outside world of their struggles, and acts as a rebel yell as well as a call for peace. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyDApz39F1c4l98CGzqFhNSNkvdXap35J_kW6UjlDyNDXjj3ZIpoYe2dcxI-6SBC7bRwgnsnbeC3CdJUAQPTdDVB0Q9SoCuoxBPz4KXXUHUv7WC17nO-zJ64Q1veXJehN2MQwpCejoO9A/s1600/94919512_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyDApz39F1c4l98CGzqFhNSNkvdXap35J_kW6UjlDyNDXjj3ZIpoYe2dcxI-6SBC7bRwgnsnbeC3CdJUAQPTdDVB0Q9SoCuoxBPz4KXXUHUv7WC17nO-zJ64Q1veXJehN2MQwpCejoO9A/s400/94919512_o.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">Tuareg man, 1936</span></div>
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No one knows exactly when the Tuareg first inhabited the Sahara. When the Greek historian Herodotus wrote about them in the 5th century BC, the Tuareg were already an ancient people controlling vital trade routes through Africa. Their massive camel caravans brought valuable salt, gold, and other rare goods to the rest of the world, while helping to disseminate culture, art, and music. But the once vast ancestral Tuareg homeland is no more, carved up by French colonists in the early 1900s. The Tamasheq are now scattered across the borders of Mali, Niger, Algeria, Libya, and Burkina Faso. This is one of the most politically volatile points on the globe, and although there are unfathomably wealthy deposits of oil and uranium under their feet, the Tuareg endure soul shattering poverty and drought on the surface. </div>
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<span style="font-size: x-small;">man and his dog, 1967</span></div>
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The name Tuareg (meaning "rebel" or, in another translation, "Abandoned by God") was given to them by the Arabs after their initial resistance to adopt Islam. Even after their conversion, though, the Tuareg remained profoundly tied to their pre-Islamic way of life. <a href="http://www.dailymail.co.uk/news/article-3131511/Sex-Sahara-Striking-photographs-mysterious-Islamic-tribe-women-embrace-sexual-freedoms-dictate-gets-divorce-don-t-wear-veil-men-want-beautiful-faces.html" target="_blank">Their complex matrilineal culture </a>still gives women power and equal rights in ways that are not only progressive in the Islamic world, but in democratized Western countries as well. Through history it was the women who were the principle performers of traditional Tuareg music and poetry, singing over a bowed 3-stringed lute and a rhythm on a tende hand drum. These traditional songs were typically about daily Tuareg life, the landscape, and the animals around them. Although the Tuareg do not have a word for "the blues" as we know it, their closest translation is a concept called "assouf," a deep loneliness or nostalgia that is at the heart of their music. </div>
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<span style="font-size: x-small;">female Tuareg singers in Algeria</span></div>
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<span style="font-size: x-small;">Tuareg woman, 1917</span></div>
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After the French colonists left in the 1960s, the newly established governments cracked down on boundary crossing nomads, and the Tuareg way of life was splintered. Young Tuareg men were either off fighting in battles, or they were forced into exile, oftentimes in a new urban environment that dramatically clashed with their rural way of life. By the late 1970s, the seeds for the Tishoumaren sound would be planted as a group of young Tuaregs would find that their new brand of music was an even more powerful weapon of rebellion than a Kalashnikov rifle.</div>
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<span style="font-size: large;">Tinariwen</span></div>
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<a href="https://www.facebook.com/tinariwenmusic/?fref=ts" target="_blank">Tinariwen</a>, the godfathers of the Tishoumaren sound, was formed in 1979 by Ibrahim Ag Alhabib. Living a life in exile since witnessing his father's execution by the Malian government at the age of four, Ag Alhabib found solace in his own handmade stringed instruments. Later, while living in an Algerian refugee camp, Ag Alhabib was introduced to the guitar. It was in these refugee camps that Tuareg men, separated from their women and their traditions, seriously began to play music on their own, and Ag Alhabib studied from those around him. These musicians were inspired by the great Malian bluesmen <a href="https://www.youtube.com/watch?v=g0iaTsSHuWY" target="_blank">Ali Farka Touré</a> and <a href="https://youtu.be/zk9vLNL9XMY" target="_blank">Boubacar Traore</a> and used their style of music as a departure point. At the same time, the music of Jimi Hendrix, Led Zeppelin, Santana, Bob Marley, and, <a href="http://africasacountry.com/2015/03/the-unexpected-popularity-of-dire-straits-in-north-african-tuareg-communities/" target="_blank">unexpectedly, Dire Straits</a> was being passed around the camps by the Tuareg youth. This deeply influenced Ag Alhabib's new musical ideas. He gathered together a collective of like-minded musicians who merged the traditional Tuareg music with Western rock and reggae, and when they plugged electric guitars into generator-powered amplifiers and began to play out in the desert, the Tishoumaren sound was born. </div>
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For a time, Ag Alhabib and members of Tinariwen were a part of Libyan ruler Mohammar Gaddafi's Tuareg militia, but soon deserted when they learned of his ulterior motives, and joined the growing Tuareg rebellion to reclaim their ancestral homeland. By this point, Tinariwen's music had evolved around a powerful, socially conscious message for the Tuareg people, and urged others to join their cause. Authorities considered their music dangerous and Tinariwen was driven underground. With no formal studio recordings or albums to sell, Tinariwen would record a live set for anyone who came to them with a blank cassette. These tapes were passed, traded, and duplicated throughout the region, and their brand of rebel music resonated with the young Tuaregs as the rebellion grew.<br />
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By the early 1990s, a peace accord was struck, and Tinariwen was now able to travel the world and perform outside of their homeland for the first time. In 2001, they helped organize the inaugural Festival in the Desert and recorded their first album with renowned producer/guitarist <a href="https://en.wikipedia.org/wiki/Justin_Adams" target="_blank">Justin Adams</a>, best known for his <a href="https://www.youtube.com/watch?v=U2XMRxjDe0c" target="_blank">African-influenced work with Robert Plant</a>. From there, Tinariwen's international fame quickly grew, to great critical acclaim. They have received major music awards around the world and still continue to tour, bringing their message to an even wider audience than they could ever have imagined.</div>
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<span style="font-size: large;">Bombino</span></div>
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Singer/songwriter <a href="https://www.facebook.com/bombino.official/?fref=ts" target="_blank">Omar "Bombino" Moctar</a> is the leader of the new Tishoumaren movement, and is the first internationally recognized Tuareg guitar hero. He is a product of the first Tuareg generation that grew up around
Tishoumaren music, where Tinariwen was a force of nature in their
communities shining a light for others to follow. Bombino's music builds upon the Tinariwen foundation but he elevates the sound to an entirely different level. His songs are deeply hypnotic, still rooted in the Tuareg rhythms, but have an even more rock-based groove behind it all. The real magic, though, lies in his transcendental, seemingly effortless guitar solos. His fingers move with amazing fluidity across the frets and the notes ring out into the ether, building a repetitive trance that can only be made in the wide open expanses of the desert. Bombino possesses a sound unlike anyone else out there.</div>
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Bombino was born in 1980 in Niger near Agadez, the country's largest city, but drought and civil unrest forced him out, Instead, he grew up with his grandmother in a refugee camp in Tamanrasset, Algeria. Here, his cousins introduced him to the guitar and a lifelong obsession took hold. As a teenager, he traveled to seek out his uncle, a well known Tuareg painter, to obtain a guitar of his own and began to take lessons from a Tuareg master. Soon he was playing in Tuareg bands, and it was then that he was given the nickname "Bombino," Italian for "little child." While working as a goat herder in Libya, Bombino, already heavily influenced by Tinariwen, studied the guitar work of Jimi Hendrix and Mark Knopfler of Dire Straits and began to cook up his own personal style. He was recorded for the first time in 2004 by a Spanish documentary crew, and his first album, <i>Agamgam,</i> was released. These songs are acoustic-based original compositions, usually accompanied only by handclaps and a rhythm pounded on a traditional water drum, and are recorded around a campfire under the desert sky. Even the sounds of the animals can be heard in the background. <i>Agamgam </i>is a fascinatingly raw artifact, capturing Bombino's songs, stripped down to the core, just as his legend was beginning to grow. These songs have become popular standards to the Tuareg youth today.</div>
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In 2006, Bombino first toured the United States as a member of Tidawt, and <a href="https://youtu.be/GuxXKBGGuDw" target="_blank">played lead guitar on an African-inspired version of the Rolling Stones' classic "Hey Negrita"</a> with Ron Wood and Charlie Watts (and Mick Jagger on harmonica) for a Stones world music compilation. Back home, bootlegged cassettes of <i>Agamgam</i> was being voraciously traded and a devoted fan base was forming. It seemed as if Bombino's career as a musician was finally lifting off. But when Bombino returned home, the government of Niger had outlawed the guitar, declaring it as a tool of Satan, and soon the Tuareg rebellion had reignited. Government forces responded by brutally cracking down on the Tuareg people. Bombino joined the rebels, but when two of his bandmates were captured and executed, he went into exile in Burkina Faso.<br />
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Meanwhile, documentary filmmaker Ron Wyman was in the Sahara piecing together a film on the Tuareg when he became entranced by the sounds coming from his driver's tape deck. When he learned the name of the musician, Wyman tracked Bombino down and his film, <i><a href="http://zerogravityfilms.com/store" target="_blank">Agadez: The Music and the Rebellion</a>,</i> veered into a new direction. This documentary captures the moment after the Tuareg laid down their arms and Bombino was finally able to return to Agadez. With special permission from the Sultan, Bombino <a href="https://www.youtube.com/watch?v=fzWBow0OAeA" target="_blank">gave a special performance under the Great Mosque</a>, the first performance of its kind, to celebrate their newly found freedom. Wyman assisted in the recording of Bombino's first official studio recordings and the album <i>Agadez </i>was released. This time around, the sound was deepened with rhythm guitar and bass, with drums as well. The record was immediately recognized by the world music community, and Bombino's music began to spread even further.</div>
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In 2012, his music reached Dan Auerbach of The Black Keys. Auerbach invited Bombino and his band mates to Nashville where he would produce their third album, <i>Nomad</i>. This album brought the Tishoumaren sound even further into Westernized rock without ever losing its spirit. The production is a little more stoney, the guitars are fuzzier, the bass a little gnarlier, and the drums are more forceful, but the center of Bombino's sound and message remains the same. <i>Nomad </i>was released on Nonesuch Records and became Bombino's breakout hit, debuting at #1 on the Billboard World Music chart. Bombino toured the world where his infectious music, stunning guitar work, and exotic stage presence endeared him to all who witnessed it.</div>
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His most recent album, <i>Azel,</i> was recorded in Woodstock, New York with David Longstreth of the Dirty Projectors and pulls back from the psychedelic fuzziness of <i>Nomad</i>. Bombino brings his sound closer to its roots while adding a more prominent reggae influence, creating a hybrid he calls "Tuareggae." The guitars are clearer now, and his vocals are more upfront rather than obscured in the haze. </div>
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The music of Bombino is built on a driving need to help empower his people. He acts as a bridge to the Tuareg past, to keep his people connected as they navigate the modern world, while serving as an ambassador for the rest of us to understand his culture. And though most of the world cannot understand his lyrics, his determined and unyielding optimism, born in one of the harshest environments on earth, shines through his music and the sound of his guitar.<br />
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<span style="font-size: large;">TAMIKREST</span></div>
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<span style="font-size: large;"><span style="font-size: small;"> <a href="https://www.facebook.com/bombino.official/?fref=ts" target="_blank">Tamikrest</a></span></span><span style="font-size: small;"> </span>might have the most psychedelic sound of the Tishoumaren bands. Compared to the shining beam of light of Bombino's sound, Tamikrest is far more atmospheric with everything enveloped in a smoky desert haze. The heavy influence of Jimi Hendrix and Pink Floyd's David Gilmour on guitarist Ousmane Ag Mossa creates a ridiculously dank strain of desert rock that should please any serious guitar aficionado. The musicianship is top shelf, with stunning production that gives the music a rich, organic feel. Their songs are often more melancholic, tapping deep into the Tuareg's concept of "assouf," that feeling of desperate loneliness and longing. <br />
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During the Great Drought of the 1980s, while Tinariwen was first bringing their message of rebellion to the Tuareg people, bandleader/guitarist Ousmane Ag Mossa was just being born. He witnessed the rebellion first hand with the women and children that were left behind as the men fought or fled. The music of Tinariwen was around
him, pouring out of the speakers of boomboxes on bootlegged cassettes,
and this was Ag Mossa's Beatles-on-Ed-Sullivan moment. He dedicated himself
to life as a musician. During the cease fire of the 90s, Ag Mossa was able to receive a formal musical education, an impossible dream for previous Tuareg generations. Here he befriended Cheikh Ag Tiglia, a fellow guitarist and bassist. Political unrest forced the two musicians out and they resettled in Kidal, Mali. An art and music school was there, established in 2001 by the Dutchess of Luxembourg, and they were able to continue their musical education. Soon, they hooked up with percussionists Aghaly Ag Mohamedine and <span class="text_exposed_show">Ibrahim Ag Ahmed and Tamikrest was formed. The name Tamikrest, which is Tamasheq for "junction," was adopted since every member represents the Tuareg tribe, but each came from vastly different places in different countries with different governments. </span><br />
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At the Festival in the Desert in 2008, Tamikrest formed a strong musical friendship with American musician/producer Chris Eckman. With Eckman's outstanding production, Tamikrest has recorded three deeply psychedelic albums that push the Tishoumaren sound out even further into the cosmos, with <i><a href="https://glitterbeat.bandcamp.com/album/adagh" target="_blank">Adagh</a> (</i>in 2010), <i><a href="http://glitterbeat.bandcamp.com/album/toumastin" target="_blank">Toumastin</a> (2011), </i>and <i><a href="http://glitterbeat.bandcamp.com/album/chatma" target="_blank">Chatma</a> (2013). </i>Tamikrest uses their music to reconnect with their Tuareg culture and to
bring their viewpoints to the local and international political
discussion. They are fighting for increased political representation
and an improvement of basic human rights for their people, most notably
on their 2009 album, <i>Chatma. </i>Meaning "Sisters" in Tamasheq, this
record brings attention to the harsh reality of life for the Tuareg women. In recent years, the town of Kidal was overtaken by militant Islamic fundamentalists, and the members of Tamikrest have been forced to live in Algeria. They continue to record and bring their music around the world to help bring attention to the dangerous situation there.<br />
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<span style="font-size: large;">The Future of Tishoumaren</span></div>
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<span style="font-size: large;"><span style="font-size: small;"> </span><span style="font-size: small;">As the Tishoumaren bands collectively take their traditional music into the future, they are not only fighting a social and political battle, but a cultural one as well. The Tuareg youth trade large collections of music on cellphone memory cards, and a far wider range of music is now at their disposal than ever before. Though the Tishoumaren musicians are still very popular, hip hop culture has come into the scene and the youth are increasingly less concerned with carrying on the Tuareg traditions, making their message even more urgent. As a result, the Tishoumaren sound has been evolving in new ways.</span></span><br />
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<span style="font-size: large;"><span style="font-size: small;"> <a href="https://www.facebook.com/terakaft/?fref=ts" target="_blank">Terakaft</a> is a unique hybrid of the old and new guard. The band was formed in 2001 by </span></span>guitarist/singer Sanou Ag Ahmed with members of the original Tinariwen line up, including his uncle Liya Ag Ablil (aka Diara). The band is now chiefly Diara with his nephews Sanou and his younger brother <span class="text_exposed_show">Abdalla. Together, Terakaft is attempting to expand the Tishoumaren sound into something more youthful with pop influences, but with the wisdom of their elders. </span></div>
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<a href="https://www.facebook.com/imarhan1/?fref=ts" target="_blank">Imarhan</a> are a group of young Tuareg musicians from Tamanrasset, Algeria. They are a part of the generation of Tuareg that grew up almost exclusively in the city, far away from the rural nomadic traditions. They dress in their everyday clothes rather than the traditional robes and turbans. Still with the obvious undercurrent of Tinariwen beneath them, Imarhan brings a more diverse and urban sound to their brand of Tishoumaren. There are Western rock influences, but there are also heavy traces of other African music, including jazz and funk, that sets Imarhan apart. <br />
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<a href="https://www.facebook.com/mdoumoctarofficial/?fref=ts" target="_blank">Mdou Moctar</a> might be the most unusual of the young Tishoumaren artists. His first album, <i>Anar</i>, features his guitar work layered over a drum machine with heavily autotuned vocals. The music is a blend of the Tishoumaren sound with Bollywood pop, and creates an almost alien sound. Although <i>Anar</i> was never formally released, the recordings were passed around via cellphone memory cards throughout the region and his fame began to grow among the Tuareg youth culture. In 2015, he starred in a Tuareg remake of Prince's <i>Purple Rain </i>film titled <i>Akounak Tedalat Taha Tazoughai (</i>aka <i>Rain the Color of Blue With a Little Red in It</i>, since there is no word for purple in the Tamasheq language). Moctar recorded and released a soundtrack for the movie in a style more in the vein of Bombino, without the electronic elements.<br />
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With the increase of Islamic fundamentalism in the region, and a changing cultural landscape as the modern technological world moves in, the Tuareg way of life might be facing its most formidable challenge yet. But music is at the heart of the Tamasheq people, and Tishoumaren is a reflection of the their spirit and soul. This is a people who have stared hardship in the eye for centuries, and have not only survived but pushed forward when most others would wilt from the strain. It will be fascinating to hear how the Tuareg and their sound evolve with the times, and how their music will continue to contribute to the world around them.<br />
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<span style="font-size: x-small;">Bombino with my son, Tulsa Oklahoma 2013</span></div>
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<a href="https://www.facebook.com/briankoschak" target="_blank">~Kojak</a><br />
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a head medicine production<br />
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© 2016 brian james koschak<br />
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<span style="font-size: large;">FOLLOW HEAD MEDICINE ON <a href="https://www.facebook.com/kojakheadmedicine" target="_blank">FACEBOOK</a> AND <a href="https://twitter.com/bkojak" target="_blank">TWITTER </a></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-51305803906499109882016-02-11T23:32:00.000-08:002016-02-11T23:32:38.199-08:0070s-80s Pinball backglass art <div style="text-align: justify;">
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the earliest pinball machines date back to the late 1700s, but they really took off during the Depression-era 1930s, satisfying the public's need for cheap fun. there wasn't any competition until video games like Space Invaders, Pac-Man, and Asteroids took over the arcades all across the country in the late 70s/early 80s. the pinball makers, unable to compete with video game graphics, needed to up their game and fought back with brilliant artwork to catch the eyes and imagination of teenagers with pockets full of change. this was the golden age of pinball art. </div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-14047651975462334172016-02-05T14:21:00.000-08:002016-02-05T14:21:10.220-08:00Marvel black light posters by Third Eye Inc 1971<br />in 1971, Third Eye Inc, a New York City-based poster company, released a series of Marvel Comics black light posters using art from Jack Kirby, Gene Colan, and John Romita among others. 24 of these designs were made as day-glo silk screened posters on heavy paper stock, and sold around the country (Third Eye also released a series of Marvel greeting cards as well). i can only imagine how many teenage brains warped in their fogged out bedrooms to these posters back in the day.<br />
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images found from several different sources, notably <a href="https://www.blogger.com/(http://coolandcollected.com/marvel-third-eye-blacklight-posters/#)" target="_blank">Cool and Collected</a> and <a href="https://www.flickr.com/photos/nickderington/sets/72157608615767554/" target="_blank">Nick Derrington's Flickr</a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-35413206775909269602016-02-04T15:17:00.001-08:002016-09-20T09:44:57.822-07:00Tabula Rasa (a clean slate): a graphic short story by brian koschak<div style="text-align: justify;">
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"Tabula Rasa (a clean slate)" is a 4-page graphic short story based on a dream i had a few years ago, just as my inevitable mid-life crisis was kicking in. it was cathartic working on it over the years, chipping away whenever there was time. i felt the story became a sort of metaphor/riddle that my brain concocted, and seemed to challenge me to do something productive with. i suspected that once the story was finished, and if i could get it to look just how i imagined, than it might signify the end of the crisis. and it did.</div>
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the unofficial official soundtrack is <a href="https://en.wikipedia.org/wiki/Albatross_%28instrumental%29" target="_blank">"Albatross"</a> by <a href="https://en.wikipedia.org/wiki/Peter_Green_%28musician%29" target="_blank">Peter Green's Fleetwood Mac</a>, from 1968. it is a beautiful, classic piece of music. listen to it <a href="https://www.youtube.com/watch?v=8scHKFwr0og" target="_blank">HERE</a>.<br />
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i hope you enjoy "Tabula Rasa (a clean slate)," and if anyone is interested, there is a free high res pdf available for download <a href="http://www.mediafire.com/view/lczwmprlw7ul27l/Tabula_Rasa.pdf" target="_blank">HERE</a>.<br />
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thanks,<br />
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~<a href="https://www.facebook.com/briankoschak" target="_blank">kojak</a><br />
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the past is gone</div>
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it has burned to the ground.</div>
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so leap into the future</div>
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and chase the unknowable horizon.</div>
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<span style="font-size: x-small;">"Tabula Rasa (a clean slate)" is copyright 2016 brian james koschak</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-13913768404193927492015-11-03T00:02:00.003-08:002015-11-03T00:02:53.708-08:00In Search of Steve Ditko (BBC documentary 2007)<div class="separator" style="clear: both; text-align: center;">
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<i>In Search of Steve Ditko</i> is a 2007 BBC documentary following Jonathan Ross on his attempt to track down <a href="https://en.wikipedia.org/wiki/Steve_Ditko" target="_blank">the elusive comic book titan</a>, best known as the co-creator of Spiderman. along the way, Ross sits down with Alan Moore, Neil Gaiman, Stan Lee and more to discuss the man and his classic work.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-6607057828125305602015-09-09T15:23:00.000-07:002015-09-09T15:30:29.679-07:00GOAT - "It's Time For Fun" b/w "Relax" (w/ interview) (Rocket Recordings/Sub Pop/Stranded 2015)<div class="separator" style="clear: both; text-align: center;">
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The mysterious Swedish psychedelic collective <a href="https://www.facebook.com/goatsweden?fref=ts" target="_blank">GOAT</a> has emerged once again from the shadows with a new single, "It's Time For Fun" b/w "Relax," the band's first new tracks since the release of <i>Commune</i> last October. Unexpectedly, the limited edition single debuted at #1 on the UK vinyl singles charts, proving that their fans are still as rabid as ever. The new music finds the band in an unexplored tangent -- a more sparse, laid back sound draped over a skittering drum machine. Both tracks start off roughly the same, with a nervous drum machine clicking over a simple repetitive baseline, but they split from there. The A-side, "It's Time For Fun" is a formal Goat track stripped down to the bone with a sparse arrangement of guitar and keys with a simple sing along vocal line, while the single's b-side, "Relax," is a hazy instrumental daydream with added layers of percussion and organ. "It's Time for Fun" has already been integrated into the live Goat set, and has quickly evolved far past the recorded version<span style="font-size: large;"> <span style="font-size: small;">(it is at the <a href="https://www.youtube.com/watch?v=3Bf25E64MhM" target="_blank">25:30 mark of their Glastonbury show</a>)</span></span> while "Relax" stands off to the side on its own as a welcomed anomaly in the Goat catalog.<br />
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<div style="text-align: center;">
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2089508248/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 522px; width: 350px;"><a href="http://goat.bandcamp.com/album/it-s-time-for-fun">It’s Time For Fun by Goat</a></iframe></div>
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Head Medicine recently caught up with GOAT to learn more about these tracks, their thoughts on recent live shows, and what lies ahead.<br />
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<b>HEAD MEDICINE: "It's Time For Fun" and "Relax" were recorded in New York and Sao
Paulo. These were the first Goat recordings from outside of your home
studio, right? Can you tell us about the recording and final assembly
of these tracks? </b><br />
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GOAT: No, not really. We did record some
stuff in Thailand when we did <i>Commune</i> and some stuff was recorded in
Korpilombolo. But early versions of these two songs on our new single
were recorded on a trip I did in January. I met musicians and jammed with
them in New York and São Paulo. I had found a cheap drum machine early
in New York which we jammed to. Then the rest of the Goat crew arranged
the jams and laid down some overdubs and vocals on it. Turned out pretty
fine I think.<br />
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<b>HEAD MEDICINE: What instrument is used to get that
blaring sound on "Relax"? is that a pump organ or an accordion of some
kind? i can't figure it out.</b><br />
GOAT: it was some kind of organ this dude in São Paulo had at his home. Some kind of pump organ which is distorted in our studio.<br />
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<b>HEAD MEDICINE: "It's
Time for Fun" and "Relax" feature some pretty drastically different
sounds compared to the intensity of <i>World Music</i> and <i>Commune</i>. Are
these more laid back sounds creeping into Goat's new music or were these
fairly isolated experiments? </b><br />
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GOAT: I don't know
but the recordings we have done so far for the next album do not sound
like this really, so this single isn't a change of our overall sound I
think.<br />
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<b>HEAD MEDICINE: Speaking of new music, how is the progress on any
new recordings? Has Goat been able to get some solid work in over the
spring and summer?</b><br />
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GOAT: during the summer, recordings have paused but we will start again now. Some stuff is nearly finished.<br />
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<b>HEAD MEDICINE: Back
in April, Goat performed a special show in Bristol, the <a href="http://www.thefourohfive.com/music/news/article/surrender-the-self-goat-interviewed-142" target="_blank">"Sounds of Surrender."</a> All phones, cameras, and money were left at the door and
masks and costumes were handed out to the crowd to encourage an ego-less
exchange between the band and audience. can you tell us a bit about
that show? It must have been an interesting experiment. Did it reach
the desired effect?</b><br />
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GOAT: For us it was amazing to see this
crowd, all masked and dressed up but which effect that had on the
audience I don't know. Unfortunately the club closed after the show,
otherwise we could have walked around in the crowd without being
noticed..<br />
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<b>HEAD MEDICINE: We have already talked about how touring is
taxing on the members of Goat, but the band has brought you to some
pretty exotic locations, like Istanbul, and in December you will travel
to Australia for a few shows. Are there times on these mini tours to
enjoy the surroundings and the people or is it all work and no play?
Any interesting non-Goat experiences along the way that are worth
sharing?</b><br />
<br />
- it's good fun and we get along so well with each
other that we don't need much more stimulating things really while we
are out playing, but our last show at Nox Orae in Switzerland was amazing.
it was a very warm day and they brought us out together with this guy
Anton Newcombe [founder of the Brian Jonestown Massacre] on boats right on the lake of Geneva and we could take a
swim from the boats.. 22,5 degrees in the water, we had some beers and
some wine.. That was a good day. It was Anton's birthday so we had some
celebration there on the lake.<br />
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<span style="font-size: x-small;">GOAT with Anton Newcombe, founder of the Brian Jonestown Massacre</span></div>
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<b><br />~Rocket Recordings recently
mentioned some music being released by GOAT offshoot Capri Informis.
is there anything you can tell us about this band?</b><br />
<br />
- it's the
guy that plays djembe with us live and his wife I think. Wonderful
people. And I think they have done some great music too!<b><br /><br />~i'm
sure this question doesn't have a definite answer, but what are your
feelings towards the future of GOAT? Do you see the band as an
evolving project over the years or something that will have a far
shorter lifespan? Continuing to occasionally tour or becoming more of a
studio-only group?</b><br />
<br />
- I don't know. But I think we are not going to
tour forever. Maybe take a longer break in some years, and then see what
happens. Music will always be made though. It is in our souls.<br />
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<div style="text-align: center;">
~as always, special thanks to GOAT for taking the time to answer these questions.~ </div>
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<div style="text-align: center;">
<span style="font-size: large;">be sure to check out <a href="http://headmedicine.blogspot.com/search/label/goat" target="_blank">Head Medicine's GOAT archive</a>, full of exclusive interviews, <span style="color: #0000ee;">reviews<span style="color: #0000ee;">, art, photos</span></span>, and more <a href="http://headmedicine.blogspot.com/search/label/goat" target="_blank">HERE</a></span></div>
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<span style="font-size: large;"><span style="font-size: small;">all writing and art by <a href="https://www.facebook.com/briankoschak" target="_blank">kojak</a> </span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-15759126104520784042015-07-27T09:34:00.000-07:002015-07-27T09:34:16.548-07:00bootleg movie posters from GhanaThrough the 1980s and 90s in the West African country of Ghana, mobile movie theaters brought American films to the people. Oftentimes these were nothing more than a tv and vcr, powered by a generator and hauled around in the trunk of a car from town to town. Local artists were commissioned to create attention-grabbing posters to advertise the viewings, sometimes without having ever seen the movie. Hollywood eventually brought the copyright hammer down on these bootleg viewings and posters, but these surreal masterpieces remain. Take a look...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHxY9S_OUWsoFNi7nDGe3rMVwyKuNsf8KTq6R2ySsFZqIGl5KjabvH6M2x1txxYDXSOlb27SdR_D37dJTo43d4U-xZwHIUUTxGyVlDFzo8k3PheJnEVuBGkFAkCCUIYWip0lUzK0uNfwI/s1600/BM9UKTGCIAAD3k3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHxY9S_OUWsoFNi7nDGe3rMVwyKuNsf8KTq6R2ySsFZqIGl5KjabvH6M2x1txxYDXSOlb27SdR_D37dJTo43d4U-xZwHIUUTxGyVlDFzo8k3PheJnEVuBGkFAkCCUIYWip0lUzK0uNfwI/s640/BM9UKTGCIAAD3k3.jpg" width="480" /></a></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-48076049293868897432015-07-06T15:02:00.000-07:002015-11-17T21:58:36.725-08:00Goat - Glastonbury 2015 full set<br />
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Swedish psychedelic collective <a href="https://www.facebook.com/goatsweden?fref=ts" target="_blank">GOAT</a> has been relatively quiet since the release of their second album <a href="http://headmedicine.blogspot.com/2014/09/goat-commune-rocketsub-popstranded-2014.html" target="_blank"><i>Commune</i></a> last fall, but they have recently awoken for a series of European festival gigs over the summer. GOAT returned to Glastonbury this year after <a href="https://www.youtube.com/watch?v=9ys9Qps5a40" target="_blank">their triumphant coming out party in 2013</a> and once again the entire set was beautifully filmed and recorded. <br />
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The band debuted their new single, "It's Time For Fun," which will be
released as a limited edition 7" with the b-side "Relax" in September. <br />
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GOAT will be making a handful of appearances in August at various festivals, as well as a rare performance in Greece in October. make sure you check em out if you can.<br />
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8/1: Näsåker/Sweden – Urkult Festival <br />
8/13: Gothenburg - Way Out West Festival<br />
8/21: Hasselt/Belguim – Pukkelpop Festival<br />
8/22: Wales/UK – Green Man Festival<br />
8/28-29: La Tour-de-Peilz/Switzerland – Nox Orae Festival<br />
10/17: Greece/Athens – Gagarin Festival<br />
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<span style="color: red;">check out Head Medicine's complete GOAT archives <a href="http://headmedicine.blogspot.com/search/label/goat" target="_blank">HERE</a>, with exclusive interviews, reviews, photos, art, and more </span><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-10204743387597586872015-07-04T19:11:00.000-07:002015-07-04T19:11:10.110-07:00William Stout's "Legends of the Blues"<a href="https://en.wikipedia.org/wiki/William_Stout" target="_blank">William Stout</a> has built a formidable body of work in his 40+ year long art career, ranging from comics and album art to storyboarding and conceptual art in film and television. In 2013, <a href="http://abramscomicarts.com/" target="_blank">Abrams ComicArts </a>published his <a href="http://www.abramsbooks.com/product/legends-of-the-blues_9781419706868/" target="_blank">"Legends of the Blues"</a> book which builds where Robert Crumb's classic <a href="http://cafeblackrose.blog.com/2011/09/23/heroes-of-the-blues/" target="_blank">"Heroes of the Blues"</a> trading card set from 1980 left off. Stout renders over 100 Blues titans in his own version of Crumb's iconic, bold crosshatched style, and wrote a short biography to accompany each entry. Oftentimes, Stout weaves in symbolic imagery in the backgrounds to enhance the individual's mythology. It's a brilliant collection of images, and the book is a must have for any fan of illustration or the blues.<br />
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here are some examples. buy the book <a href="http://www.abramsbooks.com/cart/?ref=9781419706868" target="_blank">HERE</a>.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-71082872813113728302015-06-18T12:53:00.000-07:002015-06-18T13:04:43.904-07:00Rick Griffin - "Surfer Movies" (1971)In 1971, legendary psychedelic concert poster artist <a href="https://en.wikipedia.org/wiki/Rick_Griffin" target="_blank">Rick Griffin</a> (American 1944-1991) produced <i>Tales from the Tube</i>, an underground comix insert to Surfer Magazine. It included work by Robert Crumb, S. Clay Wilson, and Robert Williams, among others. Here is one of Griffen's strips, "Surfer Movies."<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-41947263040512035622015-06-08T14:59:00.000-07:002015-06-08T22:26:57.291-07:00The Jaipur Kawa Brass Band: Dance of the Cobra<div class="separator" style="clear: both; text-align: center;">
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The Jaipur Kawa Brass Band is a collection of Rajasthani gypsies in Northern India, led by renowned bandleader <a href="http://folkrajasthan.com/hameed-khan-kawa/" target="_blank">Hameed Khan Kawa</a>.
The group hails from the Thar Desert, "The Original Land of Gypsies,"
and merges their traditional sounds with classical Indian music and
popular Bollywood movie soundtracks, all with the rousing brass marching band
traditions that flooded the country with British colonialism in the
1700s. It's an unexpectedly badass mix, sounding like some exotic James Bond chase theme, as you can see for yourself...<br />
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keep in mind that the band is often accompanied by a female Sapera dancer from the snake
charming Kabelian tribe, where snakes are worshiped as guardians of
spiritual truth, as well as by a sword swallowing/fire eating fakir (magician). <br />
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Jaipur Kawa Brass Band released their album, <i>Dance of the Cobra,</i> in 2013 through the UK label <a href="https://www.facebook.com/WorldMusicNetwork" target="_blank">World Music Network</a>/Riverboat Records. a little research showed that <i>Dance of the Cobra</i> is full of classic Bollywood soundtrack hits, performed mostly as instrumentals, but completely reformed when blasting through the horns and percussion of the Thar Desert in a marching band procession. it's unlike anything i've heard.<br />
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here are some key tracks, and if you like what you hear, go to <a href="http://www.worldmusic.net/" target="_blank">World Music Network's site</a>, pick up a copy of the album <a href="http://www.worldmusic.net/store/item/TUG1073" target="_blank">HERE </a>, and put some money in their pockets.<br />
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~<a href="https://www.facebook.com/briankoschak" target="_blank">kojak</a><br />
<br />
FOLLOW HEAD MEDICINE ON <a href="https://www.facebook.com/kojakheadmedicine" target="_blank">FACEBOOK</a> AND <a href="https://twitter.com/bkojak" target="_blank">TWITTER</a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-5416346298625242515.post-15573092293289646582015-06-05T12:32:00.000-07:002015-06-07T22:48:43.715-07:00Pretty Lightning - "A Magic Lane of Light and Rain" (Cardinal Fuzz 2015)<div class="separator" style="clear: both; text-align: center;">
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Pretty Lightning<br />
<i>A Magic Lane of Light and Rain</i><br />
Cardinal Fuzz Records 2015<br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4084162954/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://prettylightning.bandcamp.com/album/a-magic-lane-of-light-and-rain">A Magic Lane Of Light And Rain by Pretty Lightning</a></iframe></div>
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<a href="https://www.facebook.com/prettylightning?fref=ts" target="_blank">Pretty Lightning</a> draw their life force from the swampy drone of North Mississippi Hill Country Blues masters Junior Kimbrough and R.L. Burnside, and filters it through a ghostly, hallucinogenic fog. It is a limitless source of inspiration, always ripe for exploration, and the German guitar/organ/drums duo dig in and root down with the best of em. <i></i> <br />
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Pretty Lightning's sophmore album, <i>A Magic Lane of Light and Rain</i>, naturally builds upon the sounds of their 2012 debut, <a href="https://prettylightning.bandcamp.com/album/there-are-witches-in-the-woods" target="_blank"><i>There Are Witches In The Woods</i></a>, and in the process stumbles upon the common ground between Kimbrough and Krautrock. These grooves could spiral out into infinity, but the fact that Pretty Lightning can hammer them into actual songs, with memorable hooks and melodies, is rare. The recordings themselves are clear but raw... focused, but fuzzy in the peripheral... which should translate well to their live show.<br />
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It will be interesting to see where Pretty Lightning goes from here, as their sound deepens and congeals even more.<br />
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<a href="http://prettylightning.com/" target="_blank">prettylightning.com/</a><br />
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Stand out tracks: The Rainbow Machine, Bow Low, Woodlands<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-76076602945531579722015-05-28T12:46:00.000-07:002015-05-28T12:46:54.100-07:00Milo Manara does Marvel Milo Manara, the legendary French erotic comics master, unwittingly found himself at the center of a heated debate on the oversexualization of women in American comics with his infamous Spider-woman cover. Manara did what he has done best over his decades-long career, seductive women in provocative poses, and the internet broke as a result. His other Marvel covers were cancelled in the wake of the outrage. America is still a place with rigid Puritanical views on sexuality, yet openly flaunts death and destruction in every available medium, and Manara's work simply doesn't jive with these sensibilities. It is unlikely we will ever see the Master's work published through mainstream comics on this side of the ocean again, so here is a collection of his Marvel covers, as well as some pages from his 2010 graphic novel, X-Women, written by Chris Claremont (download a Spanish copy <a href="http://www.mediafire.com/download/520q6pz75z4/X-Women+%282010%29+%28FDA+-+Renegados%29.cbr" target="_blank">HERE</a>, for scholarly review of course).<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-29427231983925982892015-05-21T21:15:00.000-07:002015-05-21T23:21:25.132-07:001830s animation with the Phenakistoscope<div class="separator" style="clear: both; text-align: center;">
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Forty years before the advent of motion pictures, and eighty years before the development of modern animation, creative minds were already attempting to make a series of static images magically move for an audience. One of these earliest pioneers was Belgian inventor Joseph Plateau, who created the <a href="http://en.wikipedia.org/wiki/Phenakistoscope" target="_blank">Phenakistoscope</a> in 1831. His device used images on a spinning wheel that, when looked at through a slit onto a mirror, created the optical illusion of movement. The phenakistoscope was considered a novelty or a child's toy at the time, since only one viewer at a time could look through it, but the basic formula for motion pictures was officially in place. in 1871, Eadweard Muybridge would use a series of successive photos to make the first movie, <a href="https://www.youtube.com/watch?v=IEqccPhsqgA" target="_blank">"The Horse in Motion,"</a> and in 1914, Windsor McCay would become one of animations most prominent pioneers with <a href="https://www.youtube.com/watch?v=TGXC8gXOPoU" target="_blank">"Gertie the Dinosaur."</a> The work of Plateau helped pave the way. <br />
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Richard Balzer has been compiling and digitizing many of these early phenakistoscopes into GIFs, as well as other early animation devices like zoetropes, fantascopes, and thaumascopes. Without his effort, this art form would likely have passed into the ether. please go to his website <a href="http://www.dickbalzer.com/" target="_blank">HERE</a> and his Tumblr <a href="http://dickbalzer.tumblr.com/" target="_blank">HERE</a> to see more and to gather more information.<br />
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<br />Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-5416346298625242515.post-43816598140895944472015-05-19T10:03:00.000-07:002015-05-19T10:54:16.929-07:00The Rolling Stones - "We Love You" (1967)<div class="separator" style="clear: both; text-align: center;">
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August, 1967. After months of serious legal problems stemming from the Rolling Stones' drug bust at <a href="http://dangerousminds.net/comments/simon_wells_the_great_rolling_stones_drugs_bust" target="_blank">Redlands</a>, Keith Richards and Mick Jagger were out on bail and their drug charges were overturned. The band was working on <i>Their Satanic Majesty's Request, </i>and, as a thank you to the fans for their unconditional support through their legal issues, released "We Love You" as a single, with uncredited backing vocals by John Lennon and Paul McCartney.<br />
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While <i>Their Satanic Majesty's Request</i> still stands as thee most controversial Stones album among fans, often written off as a half-assed attempt to keep up with the Beatles' <i>Sgt Pepper's</i>, "We Love You" is clearly the band's masterpiece from their brief psychedelic era. <br />
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The track starts off with the clanging of keys and jail cell doors before Nicky Hopkins' piano pounding starts in. Soon, waves of droning, blissed out psychedelic noise washes over everything. It's a cacophony of Charlie Watt's pounding drums, Brian Jones' surging Mellotron and horns, and Richards' damaged guitar sounds while Jagger, Richards, Lennon, and McCartney swoon "Weeeeeeee Loooooooovvvvveeee Yoooooooouuuuuuu" over it all. (Allen Ginsberg was in the studio during the recording of the vocals with Lennon and McCartney, the first collaboration between the two bands, and later said "They looked like little angels, like Botticelli Graces singing together for the first time.")<br />
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The band would never sound this confidently experimental ever again, and after <i>Their Satanic Majesty's Request</i>, the psychedelic overtones were ditched in favor of the stripped-to-the-bones sound of <i>Beggar's Banquet</i> a year later. "We Love You" is still a mesmerizing piece of music after nearly 50 years, and still stands as one of the Rolling Stones' hidden jewels.<br />
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here's a promotional film from 1967. Scenes of the band recording Their Satanic Majesty's Request are intercut with images of Richards, Jagger, and Marianne Faithful re-enacting the Trial of Oscar Wilde.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-68266280343176589012015-05-18T08:46:00.000-07:002015-05-18T08:46:12.239-07:00Sean Hartter: Alternate Universe Movie Posters (2009-2013)Alternate Universe movie posters by <a href="http://en.wikipedia.org/wiki/Sean_Hartter" target="_blank">Sean Harrter,</a> artist/writer/musician (1973-2013). A stop motion Ray Harryhausen Devil Dinosaur movie, with Corey Feldman as Moon Boy! Kraftwerk composing the Blade Runner soundtrack! Clint Eastwood in the title role of a Wolverine movie directed by Sam Peckinpah! Etc etc etc. More <a href="http://hartter.blogspot.com/2009/11/misc.html" target="_blank">HERE</a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-731202533576938542015-05-16T11:22:00.000-07:002015-05-18T00:04:39.985-07:00This Will Destroy You - "Dustism" (2014)<br /><div class="separator" style="clear: both; text-align: center;">
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<br />
This Will Destroy You<br />
"Dustism"<br />
<i>Another Language</i><br />
Suicide Squeeze Records 2014<i> </i><br />
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like liquid light poured in your earholes.<br />
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i saw <a href="http://twdy.tumblr.com/" target="_blank">This Will Destroy You</a> at Austin Psych Fest: Levitation last weekend, but i don't remember much about it. i don't recall ever looking at the band, or the projections in the Levitation Tent. my wife and i were just passing through, and we paused and had a beautiful moment together. TWDY was a tapestry in the background, which was perfect, and then we moved on to be with our friends. this is the song they played. <br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-25723268061139275422015-05-03T13:36:00.001-07:002015-05-03T13:36:26.553-07:00Moebius' Marvel Comics posters (1991)In 1991, French comics maestro Jean "Moebius" Giraud was commissioned by Marvel Comics for seven new posters featuring Marvel heroes. These images, along with Moebius' collaboration with Stan Lee for <i>Silver Surfer: Parable </i>in 1988, are the only works the European master ever created for the American mainstream comics publisher.<br />
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<span style="font-size: x-small;">iron man</span> </div>
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<span style="font-size: x-small;">spiderman</span></div>
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elektra</div>
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punisher </div>
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<span style="font-size: x-small;">daredevil</span> </div>
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<span style="font-size: x-small;"> the thing</span></div>
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<span style="font-size: x-small;">wolverine</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-8646279639815933672015-04-28T21:29:00.001-07:002015-04-28T21:29:47.065-07:00The Bernard Krigstein Illustration Archive: early work and later sketchesBernard Krigstein is one of the most respected illustrators ever to work in comic books, due in large part to his classic work with EC Comics in the 1950s. But Krigstein had a career as a commercial artist as well, before and after his time in comics, and very little of those works have been seen since their original printing. The Bernard Krigstein Illustration Archive is a collection of some of these rare pieces, many scanned directly from tear sheets in the legendary artist's personal files. (See the rest of the collection <a href="http://headmedicine.blogspot.com/search/label/krigstein" target="_blank">HERE</a>)<br />
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Up to this point, the Archive has collected several pieces from Krigstein's illustration work from 1957-58, immediately after his retirement from comics. But these three pieces offer a view into two very different eras of Krigstein's career: his pre-comics illustration career, and sketches from later in his life as a teacher at the High School of Art and Design in New York City.<br />
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This first piece is from the very beginning of Krigstein's career as a professional artist as the staff illustrator for <i>Air Youth Magazine</i> in 1942. It is important to remember that, prior to working in illustration and comics, Krigstein was an aspiring fine artist who considered these commercial art forms to be beneath him. It was only when he was unable to find a patron to support his painting career that he grudgingly sought work in the illustration field to help pay the bills. Krigstein quickly showed an ability to switch gears from his Cezanne-inspired still lifes and self portraits to dramatic illustration work, as this piece shows. He immediately exhibited a full range of technical skill as an illustrator, even though this piece is likely among his earliest attempts at using these illustrative techniques with ink. Krigstein's instinctual eye for a dynamic composition is also on display. (Note: the blank spot in the composition would have been used for accompanying text when printed. Also, that is not Krigstein's original signature. His wife, Natalie, signed many pieces after his death.) <br />
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These next pieces are from his time as an instructor at the High School of Art and Design in New York City, a position he accepted in 1962 and held for two decades. By this point in his life, you can tell he is just enjoying himself, letting his brush skate around the paper without any pencil underdrawing. <br />
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The first is titled "3 Students," dated 1976. The second is undated.<br />
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Check out the rest of the Bernard Krigstein Illustration Archive <a href="http://headmedicine.blogspot.com/search/label/krigstein" target="_blank">HERE</a>. If you have any further examples of Krigstein's work that you would like to submit to the Archive (high res scans ideally), contact me at Kojakart@gmail.com. Thank You.<br />
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~kojakUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-91871159526511764932015-02-19T21:09:00.001-08:002015-02-20T09:41:52.181-08:00Brownout Presents Brown Sabbath (Ubiquity 2014)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdp7CmAfY-GLBnFhJyryb2P_pOG5jrCyGALl2VYuqgYdStrPxdSVKvz7OfL4Lpg828WLukK_EIl71BACf8NBC6hxG0i_9N6_orTmV4HdCpbRTHlYItQNUL6A1Yl6wBBZJ5M2FRewELyU/s1600/1397756717Brown_Sabbath_by_Courtney_Chavanell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdp7CmAfY-GLBnFhJyryb2P_pOG5jrCyGALl2VYuqgYdStrPxdSVKvz7OfL4Lpg828WLukK_EIl71BACf8NBC6hxG0i_9N6_orTmV4HdCpbRTHlYItQNUL6A1Yl6wBBZJ5M2FRewELyU/s1600/1397756717Brown_Sabbath_by_Courtney_Chavanell.jpg" height="500" width="640" /></a></div>
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Brownout Presents Brown Sabbath<br />
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Ubiquity Records 2014<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=317790814/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 687px; width: 350px;"><a href="http://brownout.bandcamp.com/album/brownout-presents-brown-sabbath">Brownout Presents Brown Sabbath by Brownout Presents Brown Sabbath</a></iframe>
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How in the hell a 9-piece Latin funk band could ever rationalize a Black Sabbath cover album is beyond me, but that's exactly what Brownout did, recording under the name Brown Sabbath no less. Don't laugh, this isn't some joke novelty act. This shit is surprisingly very, very real. Black Sabbath's catalog is full of sacred texts etched in musical granite, so if you are gonna mess around with these songs and put your own personal stamp on them, you better know what you are doing. Luckily, the members of Brown Sabbath/Brownout are some of the top Latin funk musicians in Austin, Texas with the Grammy-winning Grupo Fantasma, so their music is tweaked to the tits at the moment. These aren't some glue sniffin' teenagers in the basement. This is highly refined. Most importantly, there's no hipster irony at work here, just so ya know. Brown Sabbath is definitely honoring the source material, and is the first band to breathe a genuine fresh life into these songs in years. For the most part, the songs are followed pretty faithfully, with only the arrangement of Iron Man winding up far off the beaten path. The guitarists are constantly paying tribute to Iommi's towering riff legacy, but they are able to somehow build on it and take his guitar solos into realms that he would never have thought of (especially on the standing ovation-worthy climax of "Planet Caravan"). Conceiving and executing original horn arrangements to the music of Black Sabbath could not have been easy, but they totally nail it as well, and somehow seamelessly weave in thick baratone sax and blasting trumpet and trombone. It's quite an accomplishment, really, if the entire idea isn't completely blasphemous to you right from the start. There are instrumentals mixed in with performances from a variety of vocalists, including Alex Maas of The Black Angels. Everyone is very truthful to the source and Ozzy's original work, but their own personalities are allowed to show through.<br />
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Brown Sabbath has the technical skill, the creativity, and
the confidence to convert even the most arms-crossed, tunnel-visioned
Black Sabbath fan out there. Live, they have a reputation as being a
monster, so if they come through your town, put your hardened
preconceptions away and check it out. <br />
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Head Medicine wanted to know a bit more about this project, so we got in touch with Greg Gonzalez, bass player for Brownout/Brown Sabbath.<br />
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<b>INTERVIEW WITH GREG GONZALEZ / BROWNOUT PRESENTS BROWN SABBATH</b></div>
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<b>~From
what i have read online, Brown Sabbath is a side project from a band
called Brownout, which is itself made up of members of a larger
Grammy-winning Latin funk collective called Grupo Fantasma. can you
tell us a little bit about this musical family tree and Brown Sabbath's
place in it?</b></div>
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<a href="https://www.facebook.com/grupofantasmamusic" target="_blank">Grupo Fantasma</a> was formed out of two
different bands, the Blimp and Blue Noise Band back in 2000. We had been
playing together at college parties and coops as "The Young Silly
Bitches," playing endless funk jams and some tasty covers. At the time
we were obsessed with the music of Colombia, especially <a href="http://en.wikipedia.org/wiki/Cumbia" target="_blank">cumbia</a>, and we
decided to take the template we had created as TYSB and that became
Grupo Fantasma, basically a funk jam band working its way through some
Colombian tunes we liked. The project took off from the get go and had
us playing with Prince, Larry Harlow and others. After about 5 years or
so we decided that we wanted to revisit our funk roots as Grupo was
headed in a more Latinized direction. This became the impetus to form
<a href="https://www.facebook.com/brownoutband" target="_blank">Brownout</a>. </div>
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Fast forward 9 years and 3 albums
later and we had a month long, weekly residency at a local club in
Austin. We wanted to make each night a different theme, a James Brown
night, a hip hop night, a b-boy night etc. For the final night we
decided to do a Black Sabbath tribute, Brown Sabbath. It was a smashing
success. Ubiquity got wind of it and offered us a deal to record the
project and the rest is history. We also have a six piece band with
current and former members of Grupo Fantasma/Brownout called <a href="https://www.facebook.com/MoneyChichaBand" target="_blank">Money Chicha</a> which plays psychedelic guitar music inspired by music from Peru
and Colombia that was popular in the 60s and 70s</div>
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<b>~Was everyone familiar with the source material? Was the idea a tough sell to those who were not?</b></div>
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The horn players didn't know anything about Black Sabbath but the rhythm
section was all familiar with the music and in most cases big fans of
the Sabbath. It wasn't really a tough sell, as Grupo and/or Brownout
we've definitely done a wide variety of music and styles. We've backed
up GZA, Spoon, Aaron Freeman (Ween), Larry Harlow (Fania All Stars),
Prince, and even Daniel Johnston.</div>
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<b>~It would seem almost more predictable that Brown Sabbath would have a
goofy, ironic angle to it, like <a href="https://www.youtube.com/watch?v=CZHWy6W00oM" target="_blank">Dread Zeppelin</a> for example, but you guys
are being very honest to the source material. how did you find that
fine line between reverence to some of the most classic classic rock out
there and bringing such a left-field latin funk element to the
music? </b></div>
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Many of us are big fans. Beyond that, we
don't ever try and do music which we don't actually feel. It would be
very difficult to tour and support material that we don't actually like.
There is some tongue in cheek humor involved, but at the end of the day
we love the music of Black Sabbath and don't want to do it a disservice.</div>
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<b>~Sometimes
the horns are playing the vocal melodies or another part of the
original arrangement, but at other times it is a completely new
element. What was the creative process in figuring out the horn
arrangements? </b></div>
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Our trombonist Mark "Speedy"
Gonzales did all the horn arrangements. He did a great job of
incorporating the horns without being overly "jazzy" and leaving plenty
of space for the music to remain guitar driven and rock-centric.</div>
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<b>~How
has the reception been at Brown Sabbath live shows? are the
Brownout/Grupo Fantasma fans coming out and digging it? and how has the
response been from hardcore Sabbath fans?</b></div>
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Everybody
has been loving it. The Grupo fans, Brownout fans, Sabbath fans. Even
Ozzy himself has come out and expressed his appreciation! We're actually
going to be playing the Ozzfiesta in Mexico this summer (Mexican
Ozzfest)</div>
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<b>~Any plans on Brown Sabbath returning to the studio to record another album?</b></div>
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Currently
we're working on a new full length album of Brownout material. We love
Black Sabbath and enjoy doing the Brown Sabbath thing, but at the end of
the day, we don't want to be just a tribute band. We all believe
strongly in our own sound and our original material and we look forward
to releasing something later in 2015</div>
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<i>follow Brownout on <a href="https://www.facebook.com/brownoutband" target="_blank">Facebook</a> for more info and tour dates </i></div>
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<i>Special thanks to Greg Gonzalez and Kevin Calabro</i></div>
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~kojak<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5416346298625242515.post-15633798857003881582015-01-14T18:07:00.000-08:002015-01-14T18:30:42.222-08:00"The Maxx" - (Mtv Oddities 1995) and the Maxximum Sound comic soundtrack (Animated Alligator 1993)<div class="separator" style="clear: both; text-align: center;">
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Sam Kieth rose to prominence as a comic book artist in the mid/late 1980s, most notably co-creating The Sandman with Neil Gaiman. His intensely detailed and anatomically warped drawings made him a fan favorite, but by 1993 he bailed on mainstream comics and joined the independent creator-owned Image Comics, where he created <i>The Maxx, </i>one of the era's most original books<i>.</i> In 1995, <i>The Maxx </i>was adapted into thirteen 11-minute animated episodes for Mtv Oddities. Kieth's idiosyncratic art style, right down to the panel layouts of the book, and surrealistic story was almost perfectly captured. <i>The Maxx</i> could quite possibly be the most faithful comic book-to-animation-or-film translation ever. The series was released on VHS in the late 90s, and finally showed up in 2009 on dvd, but only as an Amazon "made on demand" dvd-r of poor quality. Apparently, Amazon has now made a better quality dvd available, with full episode commentaries and interviews with Sam Kieth (get it <a href="http://www.amazon.com/Maxx-Complete-Michael-Haley/dp/B002WJHDJI/ref=sr_1_1?ie=UTF8&qid=1421275724&sr=8-1&keywords=The+Maxx%3A+The+Complete+Series" target="_blank">HERE</a>).<br />
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It is worth noting that <i>The Maxx </i>animated series was preceded in 1993 by <i>The Maxx: Maxximum Sound </i>soundtrack cassette, an audio dramatization meant to be listened to while reading along with the first three issues of the comic series. Produced and directed by Stephen Romano of Animated Alligator, <i>Maxximum Sound</i> was made available with a coupon in <i>The Maxx </i>#4. This production acted as a demo of sorts that helped convince Mtv to bring the animated series to life.<br />
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here are the first five episodes of <i>The Maxx, </i>as well as <a href="http://www.mediafire.com/download/244tdvix9m564vv/The_Maxx_-_Maxximum_Sound.zip" target="_blank">the Maxximum Sound soundtrack HERE</a>. all are here for scholarly review only, of course.<br />
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Recently, IDW has published <i><a href="http://www.idwpublishing.com/product/the-maxx-maxximized-vol-1/" target="_blank">The Maxx: Maxximized</a>, </i>the entire reissued, remastered comic series, as well as <i>The Maxx: Artist Edition. </i><br />
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<a href="http://www.comicbookresources.com/?page=article&id=46733" target="_blank">HERE</a> is an interview with Sam Kieth about the reissues and what's in the future for The Maxx.<br />
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-5416346298625242515.post-85644986867096019712015-01-08T03:05:00.000-08:002015-01-09T00:16:55.035-08:00Hold Back the Road That Goes... The Story of Shudder to Think - Part Two<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><i><span style="font-family: Georgia,"Times New Roman",serif;">Hold Back the Road That Goes... </span></i></span></div>
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<b><span style="font-size: large;"><span style="font-family: Georgia,"Times New Roman",serif;">The Story of Shudder to Think</span></span></b><i><span style="font-family: Georgia,"Times New Roman",serif;"><b><span style="font-size: large;"> </span></b></span></i></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">part two: in the beginning... /<i>arson</i>/<i>curses</i></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><i>(HEAD MEDICINE is proud to present Part Two of its multi-chapter, comprehensive oral history of Shudder to Think. Be sure to check out <a href="http://headmedicine.blogspot.com/2013/11/hold-back-road-that-goes-story-of.html" target="_blank">Part One: "Introduction/...to the future"</a>, as well as a condensed <a href="http://headmedicine.blogspot.com/2013/11/a-musical-introduction-to-shudder-to.html" target="_blank">overview of the band's musical career.</a> Shudder to Think produced one of the most original catalogs in rock music, and although beloved by many, is not everyone's taste. If you are not already familiar with the music of Shudder to Think, hopefully you give it a try and enjoy it. thanks ~<a href="https://www.facebook.com/briankoschak" target="_blank">kojak</a>)</i> </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">From the very beginning, Shudder to Think was a square peg in a round hole. Even with <a href="http://headmedicine.blogspot.com/2012/09/forgotten-classics-vol-1-shudder-to.html" target="_blank">their most recognized avant garde work</a> still years and a major lineup change away, the band was wedged awkwardly into the <a href="http://saladdaysdc.com/" target="_blank">1980s Washington DC hardcore scene</a>. Unlike most of the bands around them, Shudder to Think had no sociopolitical manifesto and lacked any kind of strict punk idealism. Elements of classic rock and shameless pop melodies were fused into their sound, a rarity for the time. Most decisively, the androgynous vocals and stage presence of singer Craig Wedren often left sweaty, testosterone-fueled scenesters confused and angry. Even though the band had the full respect of their fellow DC musicians, including Fugazi's Ian MacKaye who would later sign them to the legendary Dischord Records, geography often seemed to be the only similarity between them. Shudder to Think was a head-scratching anomaly, a distinction that would never change.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Shudder to Think was formed in 1986 by bassist Stuart Hill, guitarist Chris Matthews, drummer Mike Russell, and vocalist/lyricist Craig Wedren. It was an unlikely rag-tag pairing of creative minds, but the band's singular sound soon began to take shape. Shudder to Think's first recordings, the 1987 demo tape <a href="http://www.mediafire.com/download/njm4kg0ztky/stt-bluesuede+demo.zip" target="_blank"><i>Get Off Of My Fucking Blue Suede Shoes</i>,</a> was sold at shows and a small but faithful cult following began to develop. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">This material evolved into their first official release, the <i>It Was Arson</i> 7" from Sammich Records in 1988. <i>Arson</i> was Shudder to Think's jumping off point from the hardcore/post-hardcore music being made around them and is easily the group at their hardest and most aggressive. Chris Matthews' guitar is white hot with buzz-saw power chords and heavy metal solos flying around Stuart Hill's rock solid bass lines. Mike Russell had not yet developed the subtleties of his later work and instead sounds hellbent on beating his drums straight into the fucking ground. Craig Wedren's singing, screams, yelps, and howls, especially in the context of 1988 Washington DC, sound almost extraterrestrial. At the center of it all, though, were the irresistible pop hooks that would become a Shudder to Think hallmark, even at their most bizarre and challenging. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">The title track, "It Was Arson," still sounds amazing and possesses all of the characteristics of these early embryonic years. </span></div>
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<object classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" height="40" id="gsSong117325059" name="gsSong117325059" width="250"><param name="movie" value="http://grooveshark.com/songWidget.swf" /><param name="wmode" value="window" /><param name="allowScriptAccess" value="always" /><param name="flashvars" value="hostname=grooveshark.com&songID=11732505&style=metal&p=0" /><object type="application/x-shockwave-flash" data="http://grooveshark.com/songWidget.swf" width="250" height="40"><param name="wmode" value="window" /><param name="allowScriptAccess" value="always" /><param name="flashvars" value="hostname=grooveshark.com&songID=11732505&style=metal&p=0" /><span><a href="http://grooveshark.com/search/song?q=Shudder%20to%20Think%20Ro" title="Ro by Shudder to Think on Grooveshark">Ro by Shudder to Think on Grooveshark</a></span></object></object>
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<span style="font-family: Georgia,"Times New Roman",serif;">Shudder to Think's sound quickly evolved past <i>Arson</i> and its heavier metallic overtones, becoming more developed and nuanced. The surrealism and off kilter song structures that would soon dominate Shudder's work had not yet infiltrated their creative consciousness, though. Instead, the music became even more melodic. Traces of flamboyant glam rock were bubbling up in the mix, and the pop hooks and melodies were stepping out even further into view. Their debut full length album, <i>Curses, Spells, Voodoo, Mooses</i>, was released by Sammich Records in 1989 and perfectly captures this unique moment in the band's history. Every great deconstructionist knows how to first build the cathedral before tearing it all down and reassembling it, and that is what Shudder accomplishes with <i>Curses</i>. This is the group's straightforward power pop masterpiece. The bass hooks are deep, the drums are tight and crisp, the arena-sized guitars are incendiary, and it's breathtaking having a chance to hear Craig sing a perfectly straight melody at full throttle without his trademark twists and turns. <i>Curses</i> was out of print for years and has long been a little heard secret, even among Shudder's fans. Surprisingly, <i>Curses</i> sounds totally modern. There are countless bands today who sound like this in their wildest wet dreams. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">The first four songs on <i>Curses</i> encapsulate the band at this time. Most noteworthy is the ridiculously titled "Abysmal Yellow Popcorn Wall," originally released in raw form on <i>Arson.</i> This is an absolutely perfect piece of guitar power pop, the pinnacle of what Shudder to Think was trying to accomplish. How this wasn't even a moderate college radio hit, I will never understand. Shudder would never sound this straightforward ever again.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">After <i>Curses, </i>Shudder to Think released the Medusa Seven 7" , a UK single from Hoss Records in 1989. <a href="https://www.youtube.com/watch?v=lEYAR8bMbO4" target="_blank">"Vacation Brain"</a> and <a href="https://www.youtube.com/watch?v=eR_wHvk17kE" target="_blank">"Boys Don't Hate Noise"</a> seems to be the moment that Craig Wedren's surrealistic lyrical tendencies began to take hold. Soon, the band would sign with Dischord Records and metamorphosis into an almost entirely different sounding group, a trend that continued on throughout Shudder to Think's career. </span></span><br />
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<span style="color: #660000;"><span style="font-size: x-large;"><i><b><span style="font-family: Georgia,"Times New Roman",serif;">Chris Matthews interview </span></b></i></span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~What were your earliest musical memories and when did you begin to play music? any training or self taught? important early influences? </b> </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">My first instrument was trumpet. My dad played it so I was following him. He loved Louis Armstrong. That did not go far. I started playing guitar when I was ten. I took lessons for a few years with a guy named Harold in Bethesda. I give him tons of credit for opening my eyes and ears to good music. I only knew what was on the radio and terrible crap like Steve Miller and Elton John! He taught me to play Hendrix, Zeppelin, Sabbath, Aerosmith, Boston, Queen, Pink Floyd and other hard and heavy guitar driven stuff. I loved it! About the same time I discovered WHFS on the radio and learned about new bands that Harold did not know. It was mostly New Wave (i.e. not punk or hardcore) like Talking Heads, Police, Clash, Devo, and Joan Jett. I definitely found something I loved when I picked up the record Urgh!: A Music War. This record had about 25 songs from different bands like Echo and the Bunnymen, the Police, Steel Pulse, Oingo Boingo, OMD, Devo, X, XTC and Gang of Four. I really loved Gang of Four and XTC and got all of their albums right away. WHFS also introduced me to the idea of local music. They had a daily listing of who was playing. This did not include any punk rock shows that I remember, but it did open me up to the idea that I could be in a band and play at ‘cool’ places like 9:30 club, DC Space, or the Gentry on capitol hill, where I played my first real show.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~Were you a part of any pre-Shudder to Think bands?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I played in two and half bands before Shudder. The Kingpins, a wannabe rockabilly band. This is the band I played in at the Gentry. 3-2-1, a new wave group with a bunch of Field School friends, and Stuge, which later morphed into Shudder to Think. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~How did all of you meet and when did Shudder form? can you tell us a bit about those early rehearsals? How did the music come together at the beginning?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I met Stuart working at Bob’s Famous Ice Cream in Glover Park probably in 1986. He was the one who really introduced me to the DC punk rock/hardcore scene. We organized a show at the Chevy Chase Community Center for 3-2-1, his band Stuge and Lunchmeat. I was immediately hooked on the hardcore scene after that show so I asked to joined Stuge. Mike was the drummer. After the singer, Bobby, left for college, we asked Craig to join. Craig went to the Field School, where I had graduated (I went to GW for college). He was in a school play that I went to see, and after hearing him sing I asked him to be in the band. He was playing with some other folks, but played with us and I guess we were worth the gamble.
For a short while we played as Stuge. I can’t remember when we changed the name, but I do remember it was Mike’s idea when he said on a drive to practice one day that he “shuddered to think that we would be just another hardcore band.” By then we are practicing at the Greenhouse, a group house in Langley Park where Marginal Man also practiced. Stu was living there while he started college at UMD. The rest of us were living in DC and would drive out a couple times a week for practice. These are hazy memories but we started off trying to be a hardcore band, which did not seem to work. Mike did not want to play the boop-bap beat nor was I much good at thrashing and Craig’s voice called for something different. So it ended up being something different, which came out sounding like the songs on It Was Arson. I wrote the basic riffs for "Questionable" and "Abysmal Yellow Popcorn Wall," "It Was Arson" was Stu and I think "Ro" was both of us. Craig and Mike did their own parts. This was how it worked, one of us would show up with something we thought was good and we tried to make it into a song. Craig was fun to watch because he would always sing out a melody over the rest of us and figure out words for it later. I always thought this was how his lyrics turned out so interesting.
I moved into the Greenhouse after the band started becoming something real. By then we were playing shows pretty regularly and were planning to record It was Arson. After a year I moved back to the city for my last year of college and we moved to practice at the Little Tavern warehouse in Silver Spring. Craig’s Dad was somehow involved in the business and had a large empty space so we could practice late.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~In your mind, what were the strengths of each of the other band members in those formative years?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">It was simple, everyone brought energy. Craig could sing like no one else and eventually he came to be able to think out a song better than anyone I know. Stuart was solid on the bass and kept us together, plus he got the shows. Mike insisted we do the best we could. He was an engineer working for PEPCO when we started so he was very much torn between a career and being in the band, so it had to make sense for him. I was mostly just a spaz who could play some guitar and write good chord progressions. Maybe the others will have something better to say about me. <b>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~When did Shudder begin playing live? what are your memories of the shows from this era? In your thoughts, when did Shudder really start hitting its stride?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I do not remember what our first show was, I bet Stu knows. We played a lot at DC Space early on opening for bands like Kingface, Marginal Man, Ignition, and GI. We also played some suburban all ages shows at various Legion and VFW Halls. The best part of these shows was how great the crowd always was. We were lucky to get the opening slots so the headliners drew a big crowd that came early enough to hear us. The groove kicked in when I started seeing people singing along. This must have happened when we put out It was Arson. We had some pretty bad shows before then with bad sound or just bad playing! It’s a bit later, but I remember that "About Three Dreams" was pretty popular one and loads of people knew the words to the whole story at the end, “cuckoos are all jewish, etc.” I only learned the words after I saw that everyone else knew them! </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~What was your place in the Washington DC hardcore/post-hardcore scene? what kind of reception/acceptance did you receive? pros/cons to coming up in that scene?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I tend to think we were sort of outsiders. There was a core group of bands and people by the time we showed up. Minor Threat and Rites of Spring were already broken up and starting new bands by the time I figured it out. The whole Dischord group was at the center. This is not to say that they were not welcoming to us. A lot of people knew Stuart from Glover Park so I think we had an in through him to get their attention. This is how we got in a position to ask Amanda Mackay to put out the first records. However, once we became a little established I remember seeing those folks at our shows and having come to see us. This is probably another part of knowing we hit our stride. One funny story is that after a DC Space show Ian and Jeff came up to say great show and we asked them if they might be interested in putting out our next record. They said they thought we already signed somewhere else, luckily we had not. But this kind of shows you were we stood, it was like one foot in and one foot out of the scene. Craig was also part of this. He was always looking to expand his musical horizons, so I think there was a pull from him to be different from what was happening in DC.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~Can you tell us a bit about Shudder to Think's early tours and some of your strongest memories/experiences? thoughts on Shudder's live performances around this time?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Our first real tour was fantastic. We hooked up with SNFU and played probably 12 shows with them across the northeast and in Canada. They really showed me at least how to be in a band. One of my best memories was our van. We found a used converted van that was named the “Captain’s quarters.” I think it had some sort of boat wheel for a steering wheel. It was terrible and we were only barely able to make it run. We really only pulled it off thanks to Stuart’s brother Bruce who knew how to fix cars. The van eventually died in Cleveland, where Craig had family. We abandoned it there and used a rental to finish the tour. As for the shows, I wish I could say something distinctive, but I don’t remember much. I do remember that they were almost all at VFWs and the like and it was pretty usual for the VFW members to be there drinking at the bar while a horde of 15-20 year old punk rock kids watched the show, It made for an interesting contrast.
Our next tour was with Swiz and we went across the country. Our show in Houston was memorable because there was maybe 2 or 3 people who showed up. So at Craig’s urging we played in our underwear. Then when we played in Austin probably the next day there was a huge turnout. It was pretty cool to see how the different scenes were put together and to see how local kids could pull it off. I remember that Salt Lake City had an absolutely amazing scene with a great place to play. It was a surprise. Again, I cannot remember specific shows. I guess playing was second in my mind to getting to go to new places and meet new people. If anything we certainly got better on tour.<b> </b></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~What were your day jobs/school/other ambitions and priorities while Shudder was getting off the ground?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I worked at Bob’s Famous for a year or so then moved to working at a Safeway on Macarthur Blvd because the pay was better thanks to the union. I also worked at the Café at the Philips Gallery after I moved near to Dupont Circle. Along the way I was in college at GW where I discovered anthropology, which I majored in with a focus on archaeology. I graduated in 1989 and stayed in DC to play in the band. After a year I went to graduate school at Columbia to start a Ph.D. program. I stayed in the band and commuted with Craig back and forth from NY. The following summer, I guess in 1991, I found a great archaeology project in Annapolis, MD which helped me to make up my mind to choose to stay with archaeology. I dearly miss the band and wish it could have worked out for me to keep playing! However, I finished my Ph.D. and have since published two books, edited another and published more than a dozen articles on my research. I am now a full professor at Montclair State. I am married and I have two kids Dexter, 10, and Hollis, 7, and I have just started playing music again with some people in town. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~can you please share with us a bit about the recording/release/reception of the This is Arson 10" and Curses, Spells, Voodoo, Mooses?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">It was Arson was recorded at a small basement studio that Stuart knew about. It was an 8-track set up. I think we went there because it did not cost too much. Curses was recorded at Black Pond (I think) in Rockville, which bumped us up to 16 tracks. Making these records was part of the process. We wrote the songs, played them out, and went in to record. It was also part of the fun of being in a band, though I did not know to prepare well enough before we recorded Ten Spot, so these sessions ended up just being the best we could do. The studio was also where we could really see how great Craig was. He had total control over his voice and could try out a wide variety of harmonies to sort out what worked and to produce the multilayered vocals that carried our songs. Plus, the more we recorded the better we got because of his help. Really the reception of Arson and Curses was the same as it had been for the shows, we were seen as a little off beat. Craig’s vocals and the lack of a solid hardcore underbelly either attracted or repelled people. There was probably not a lot of people in between. In fact, I think to answer your next question, Curses reflected my desire to get more attention. "Vampire’s Proposal" was my best effort to copy Dagnasty and "Floating" was our only “hardcore” song. Still, while (at least) I was hoping to draw in a bigger crowd, the record and what made us unique is what ultimately allowed us to step up. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~Curses is by far the most musically and lyrically straightforward of the early Shudder albums. What were the band's creative goals and ambitions at this time and how were they beginning to evolve?</b> </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I decided to double check what was on Curses before adding more. What I see is that this is the last record where most of the basic parts of the songs were my work. As I said above, most of our songs were put together based on some chord progression or riff that I brought in and then Craig, Stu and Mike would fill it out on their end. By the time we got to Ten Spot, Craig was much more active in the basic song writing, so the straightforward quality of Curses is really the difference between songs with or without Craig's input early on. Still, the influence of my new wave roots and all of our desire to be something new shows through. If "Vampire’s Proposal" is trying to be Dagnasty then "Take the Child" is more like Joy Division, and "Fresco" and "Luv You Too" are really just jangly things with distortion. Actually we hardly ever played these two songs, which seems too bad in retrospect. At the same time, we all loved to just play loud and fast which is what’s behind "I Grow Cold" and "3 Sisters." After Curses I think we stepped up a level for sure and chased our ambitions to go on tour and actually give the band a real shot. I think we for the first time figured out that we could write good stuff and that we could grow further. That is what you hear on Ten Spot. </span></div>
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<span style="color: #660000;"><span style="font-size: x-large;"><i><b><span style="font-family: Georgia,"Times New Roman",serif;">Mike Russell interview </span></b></i></span></span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~What were your earliest musical memories and when did you begin to play music? any training or self taught? important early influences?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I took piano lessons early on and really got into the tenor sax in grade school. I ended up playing sax in a couple of college bands doing soul/ska/new wave covers and originals. I learned a lot about playing in a group from great musicians R.C. Forney, Mike (V.D.) Vanduser, and Al Duvall in those bands. I then started practicing on my brother's drum set the summer before my senior year. I am a totally self-taught drummer which has its pluses and minuses. My first real drum idol was D.J. Bonebrake of X but thankfully I didn't try to emulate him or I would have just given up.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~Were you a part of any pre-Shudder to Think bands? </b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Stuart invited me to drum in his first band called Stuge (with an umlot) back in 1984, with friends Bobby Jones and Sam Fleming when they were in high school and I was an old 22 year old with an engineering job. Bobby and Sam left for college and I thankfully stuck around as Chris and Craig came in eventually. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~How did all of you meet and when did Shudder form? can you tell us a bit about those early rehearsals? How did the music come together at the beginning?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I'm not sure how Stuart invited Chris to play, who was the guitar player in a band called 3-2-1 or why in hell Chris wanted to play with us since he had real rock guitar chops. But he did and he knew Craig from high school. The early rehearsals were funny since we were still trying to be a hardcore screamer band with a singer who was anything but. Fortunately, Chris came up with some song bits and riffs quickly that worked much better with Craig's style. </span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~In your mind, what were the strengths of each of the other band members in those formative years?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Stuart had/has a great musical memory. I so envied that. Chris was already a great guitar player so he had the skill to be able to play on the edge with speed and passion. If someone hasn't done their PhD paper on Craig's astonishing talent by now, then they should. I think my main strength was that I loved playing with those guys and I wasn't afraid to try to learn as I went along. </span><br />
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~When did Shudder begin playing live? what are your memories of the shows from this era? In your thoughts, when did Shudder really start hitting its stride?</span></b><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">I remember that my kick drum always slid away from me during the early shows. I wasn't much of a finesse drummer, basically hitting as hard as I could. I tried ropes, cinder blocks, whatever, to no avail. We hit our stride when I bought a drum set (from a great DC drummer Eric Wallgren) which seemed to stay put. That was clearly the turning point in the band's history.</span><br />
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~What was your place in the Washington DC hardcore/post-hardcore scene? what kind of reception/acceptance did you receive? pros/cons to coming up in that scene?
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<span style="font-family: Georgia,"Times New Roman",serif;">In the beginning, people were kind but probably a bit put off. We had support from important people like Cynthia Connelly (D.C. Space) and Amanda MacKaye (Sammich Records) who supported us which allowed us to develop a following slowly. </span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~Can you tell us a bit about Shudder to Think's early tours and some of your strongest memories/experiences? thoughts on Shudder's live performances around this time?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">First tour was in a fabulous air-brushed van called the Captain's Quarters . It had a nautical theme complete with a mermaid IIRC. That van ruled until it crapped out in Cleveland two weeks into the tour. Craig's mom arranged a rental van for the rest of the tour....so punk.
Next up was my family's 1977 Econoline 150 that still had the original shag carpet. That carpet almost killed Craig who had some pretty severe allergies. I guess leaving the carpet in and suffering instead of ripping it out was …..so punk.
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~What were your day jobs/school/other ambitions and priorities while Shudder was getting off the ground?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I worked full-time as an electrical engineer with the local power company. We then lined up a long tour with Swiz and I quit my job. Still not sorry about that. After that, I went to school part time to be a math teacher while being a bicycle courier, paper delivery guy, receptionist and office temp. </span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~can you please share with us a bit about the recording/release/reception of the This is Arson 10" and Curses, Spells, Voodoo, Mooses? it is a pop-infused punk masterpiece that still sounds fresh today. </span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Thanks! I have pretty fuzzy memories from then except always being blown away by what Craig and Chris could come up with on the fly with respect to overdubs, solos and harmonies.
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~Curses is by far the most musically and lyrically straightforward of the early Shudder albums. What were the band's creative goals and ambitions at this time and how were they beginning to evolve?</b> </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Speaking for myself, I remember just feeling so lucky to be able to play regular shows and have someone interested in putting out our music. I loved touring but we were somewhat limited by school since Chris , Craig and Stuart didn't really take a break. At this point, Stuart was getting to be a good old friend and I was always astonished by the musical ideas of Craig and Chris so I just wanted it to go on as long as possible, realizing how rare and often short-lived those kinds of experiences are. </span></div>
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<span style="color: #660000;"><span style="font-size: x-large;"><i><b><span style="font-family: Georgia,"Times New Roman",serif;">Stuart Hill Interview </span></b></i></span></span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~when did you start playing music?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I started playing bass around the beginning of high school, around 13 I guess. Me and my friend bobby both were kinda like, "oh we should play bass," so I bought a bass and just bascially started playing. I had a couple of friends who played guitar and I had them show me some stuff. That was around the time I started getting into the whole DC hardcore punk scene and started going to see bands and stuff. At that point a lot of the people in the bands that I was going to watch would just be hanging out and I was like, hey, anybody can be in a band... you don't have to be a rockstar. So eventually I started a band. A friend of ours knew a drummer, Mike, who was this older guy. We got Mike to come over and practice one day in my basement. For some reason, he agreed to play drums with us. I'm not sure why, cuz we were terrible. At the time, he had graduated college and he was working full time, so he was probably 23 and we were 16. He just seemed so much older than us, like he was in a different world. So we started playing, and we played a couple of shows and then I met Chris at an ice cream store I was working at. I kinda turned him onto a lot of the indie stuff that was going on in DC. He was in another band, but they were playing a lot of covers, so eventually I talked him into joining our band. Eventually, the other guys in the band went off to college outside of the DC area so it was me, Mike, and Chris at that point. We needed a singer. Chris' girlfriend at the time was in high school and she was going to school with Craig. She was like, "oh I know this guy who can sing and he's looking to be in a band." So we had Craig come over and we played for him and he totally hated our music. But he didn't have anyone else to play with so he was like, "alright..." and he started playing with us. Actually, I didn't like his vocals at all. He freaked me out when he started singing. Fortunately Chris and Mike had more of a musical sense than I did and were like "No, this guy is good. We should definitely do this." So that's kind of how Shudder to Think began.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~what were some of your influences at this time?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">For me, it was a hybrid between the 70's classic rock and punk rock. That's kind of what I was bringing in. Everone else kind of brought in their own take on it. We pretty much had those roots in common. Craig had the most ecclectic taste, and he always has, so he brought in some very varied influences.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~how did the music come together in the beginning? when did you start coming into your own?</b> </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">When Craig joined, we were doing really old stuff, and he was kinda singing that and Chris was writing more songs. Craig didn't bring in stuff for a while, and that was kinda his snobbiness, thinking that we weren't good enough to do his stuff in the beginning. It was mostly Craig's lyrics, tho.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~what were the strengths of each of the band members early on?</b> </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">I guess we all had our own unique approach on what we were playing. Craig has always been the driving, unique factor. Mike was more of a trained musician. He had played a lot of instruments growing up, and he brought his own take on drumming to the table. Mike really helped keep us cohesive. Because of his training, he kept the focus, making sure that the parts made sense, that everyone was in sync, and that our timing made sense together. Chris and I might have been trying to do things a little more standard than the other two. </span><br />
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~what do you remember about the early Shudder performances and the crowd reaction?</span></b><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">We were kind of a mess. It took us a while to get things together. I wouldn't say it was terrible, but it was rough. I think the crowd reaction varied. It was kind of a microcosm of what it ended up being. There were some people who really dug what we were doing and got it from the beginning. Most people were just kinda like, "What the hell are you guys doing?" but we kind of slowly built up a following with people who would come out and see us play. We were opening for a lot of bands, and people who had never heard us before kinda freaked out, but there was that small group of people who would get it, the first time they saw us they got it. Over those formative years we were able to build that core group locally, kind of the same way we started doing it when we started touring. It just kind of grew from there. It never really changed, but just grew to a slightly bigger scale.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~when did shudder begin to hit it's stride?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Probably around the Funeral at the Movies or Get Your Goat timeframe. We started touring more, we had the experience under our belt, and we had done a lot of shows so we had gotten better and Craig was more involved in the writing. We were all getting better musically. Really, when Nathan and Adam joined, that's kind of when we became focused as a full time band. That's really when it all came together, when we started writing for Pony Express Record. We were practicing a lot, and touring a lot. We were all dedicated and focused on the band at that point.</span><br />
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~what was your place in the DC scene and what were the pros and cons of that scene?</span></b><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">We were trying to fit into it, I guess. We were able to talk Ian into putting our records out on Dischord, so that definitely helped solidify us into that scene. The pros were, we got more exposure, we got the built in dischord publicity nationally... the cons were... we were kind of shoehorning ourselves into something we didn't really fit into. A lot of people had an expectation with Dischord records, and we just did not fit that mold, so that was a bit of a hurdle. We got a lot of negative feedback at shows because of that. When you are opening for other bands, you end up with a lot of knuckleheads who don't get it and wanna be assholes about it. Yelling at us, throwing things at us.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~any other ambitions or priorities at that time?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Up through Get Your Goat, chris and craig and i were in college, and Mike was working that whole time. Basically we were touring in the summer, and we would talk Mike into taking his vacation so we could do it. So it really wasn't until we all finished school when we could really focus on it and that was ultimately why Mike and Chris ended up leaving. They kind of had other full time priorities and couldn't dedicate the time to being in the band full time. It was 1991 when I graduated college, and there was a pretty big recession at that point. If I had been able to get a good job, a really good career type job, I probably would have just done that and not continue with the band. But I couldn't really find a job, I was just working at a book store, that kind of thing. So I graduated college and it was a good thing I had a band to fall back on (laughs). Usually it's the reverse. Later in life, I'm glad I had the college degree, so that worked out well for me. But at the time, it kinda made sense to go with Shudder to see where it went.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~memories of recording this is arson and curses?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I think they were both recorded at Inner Ear Studios. I wanna say that Arson was recorded in two days, with one of the days for over dubs. We didn't really have a producer but we had a friend who helped us out, and he recommend that we work with his brother for recording Curses. That was a totally different experience. It was a longer recording process, a bit more formal, but I don't really remember too much. Everything was already written except for "A Vampire's Proposal." There were no lyrics, it was just an instrumental piece, and Craig came up with the lyrics and vocals on the fly. That was pretty cool<b>.</b></span><br />
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things started to get a bit weirder after curses, what was bringing that evolution into the weird and less straightforward?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">It was really Craig's influence and his "why don't we try this" kind of thing. Basically we all thought it was good and we just rolled with it. It wasn't anything we talked about and decided, "let's try to make some fucked up music." It was just kind of what happened. He wasn't necessarily bringing in songs, but he was collaborating and influencing the direction of the songs, moreso than the early stuff.
how had your ambitions been changing by this point? were they out of place with your peers?
It did seem that we were trapped in that scene a little bit. We definitely had asperations in getting music out on a much larger scale, and it seemed like it was more of a question of not if but when it would happen. </span></div>
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<span style="color: #660000;"><span style="font-size: x-large;"><b><span style="font-family: Georgia,"Times New Roman",serif;"><i>Craig Wedren interview</i></span></b></span></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: large;"><i><span style="font-size: small;">(Note: this is a complete transcript of a fantastic and in-depth phone conversation with Craig from December 2013.)</span></i></span></span><b><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: large;"><i><br /></i></span></span></b></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~What were your earliest musical memories? </span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I was always pretty obsessed with music. I didn't realize it except in retrospect. I come from a family of avid music lovers, but no professional musicians. Actually, that's not totally true. My grandfather played trumpet in a sort of wartime big band in Ohio called The Four Kernals of Corn and he used to ride the Ohio rails and played for the ladies. My dad played a little clarinet in high school, but nobody was really serious about music, except that everybody was just kind of obsessed with music without really knowing it. My grandfather was way into classical and opera, and my mom was just like a pop and rock music sponge, and my dad loved big band and early rock and roll... sort of where the two crossed over... sort of the Bill Haley and Frank Sinatra zone... so I had really good music, not terribly deep or obscure music around me all the time, pretty much the popular stuff, be it classical, opera, rock and roll, or big band, but there was just a real joy surrounding music in my family from both sides. My dad and I would dance around in our underpants listening to Little Richard. I remember that when I was probably 5 or whatever and, y'know, that's awesome five year old music cuz it's just SCREAMING and fast and punk as fuck. And then I remember riding around with my grandfather when I was maybe seven or so and he was teaching me about rhythm. I remember he was playing something classical in his car but he was just sort of asking me if I could find where the pulse was in the music. Then my mom, who was in her mid 20's in the early 70's, was fully listeing to FM radio. I was driving around with her so I was just sponging it all up, and we would both sing along to the radio. She has a really nice voice. My mom's side of the family have pretty nice voices, but, again, nobody took it seriously... not like they would go off and become a singer with it. It was just something that they loved. But interestingly, it wasn't something... in my 30's it was something i started to regret.. but we were never a family that would sit around and play music together. It wasn't like that unless it was a Jewish holiday and we would sing Hanukkah songs or Passover songs or whatever it was. My grandmother would do blessings over the candles on Shabbat and she had a really pretty voice, but it was never, like, "let's hang out around the piano and all sing together." Everybody was just a little too self conscious or not particularly confident in their musical skills. In retrospect, it would have been an awesome singing and jamboree family, but it just wasn't everybody's disposition.</span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~When did you realize you wanted to be a musician? </span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">So as a kid, there was recorded music everywhere, and i literally knew every breath, drum fill, and mistake of any popular song on the radio throughout the 70s and maybe the first few years of the 80s. I wasn't aware of it at the time, but I was just kind of filling myself up. Then I got some of the records as I got older...The Doors, Elton John, Carol King, Jim Croce, I was a huge Bee Gees fan, too... and when I was about seven, I finally discovered KISS, so that was a big change for me. It was KISS and Elton John for a little while. I'm trying to think of the first time I heard... it was either "Anarchy in the UK" or maybe it was "Blitzkrieg Bop" by The Ramones or "Clash City Rockers" or something... I remember some video, it must have been "Anarchy," and it changed my life. It was the Beatles-on-Ed-Sullivan moment for me. It was that electrifying moment that so many people had, so many kids, particularly boys my age had when they first heard the Sex Pistols and The Ramones and The Clash. I already knew that I wanted to make music when I was about 9 after I had gotten through the "I wanna be a fireman, I wanna be a baseball player" phase, then it was "I wanna be a rockstar." At a certain point, I realized that these rockstars who I worshipped, namely KISS, were not gods, they were just dudes. Dorky jewish dudes, which I could certainly relate to. So when I was 9 or 10, I just made it known to everybody in my family that I was going to be a rockstar. It wasn't a musician at that point, maybe I said musician, but it was just, like, I wanted to be a superhero combined with heavy metal, which is exactly what KISS was, or even what Black Sabbath was to me.</span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~At what point did you begin to play with other musicians? </span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">When I hit about 12 years old, which was a little after or around the time that I first heard Sex Pistols or The Clash, that's when everything sort of blew wide open. I mean, I had been listening to whatever was popular... New Wave, Pretenders, Blondie... whatever was on the radio... but I didn't know anybody with access to the underground. So it was really only what crossed over that I was aware of. Then, for my bar mitzvah, my mom got me a microphone, my first Shure 58 mic, which I still use. Everybody does. And I joined my first band which was called the Immoral Minority with a friend of mine, my first sort of guitar foil-slash-best friend whose name was Scott Harbert. I was fairly outrageous and starting to become fairly flamboyant in my mode of dress and, y'know, it was the early 80s so things were getting super androgynous and super new wave-y. I was living in Cleveland, going to an all boys, very traditional prep school and kinda dressing like Boy George meets.. sort of like where New Romantic and punk rock kind of crossed over. But again, it was via Cleveland so it was kind of a collaged catch-as-catch-can version of it. It wasn't like a New York City or a London version of it. We just didn't have access. Again, there was this whole scene of being kind of sheltered from the source. So i would just kind of smell it in the air or sense it in the ether and that made it all the more titilating and forbidden. It was some sort of mysterious forbidden zone that i wanted to access. So I became sort of challenging the way that I dressed and basically my friend Scott, the guitar player in Immoral Minority, was a real real true prodigy. There is actually a video online that my friend David Wain directed when we were like 13 years old and it's a song called "Something Girl," which was Immoral Minority's first original song. I'm the only one in it, I don't know where the rest of the band is, but the video is online somewhere. That's the first original song I ever sang. But the music was written by Scott Harbert and you can hear his sick flying fingers all over the song. This guy Jeff Golenberg who's now an agent in Los Angeles who reps Will.i.am and Slash... he had a drum kit and a PA and a practice space, so he was the drummer, and this guy Matt played bass, and I had... I dunno... i had whatever a frontman is supposed to have. I had this really cool falsetto and this really big open vowel, tremulous, kinda operatic part of my voice, both of which are still the strongest parts of my voice... certainly the most emotional... but I didnt really have a lot of other parts of my voice. Those are sort of my two gifts. This real nice... well, it's not nice cuz some people hate it... but this distinct falstetto and this big, belting tenor part of my voice. I was just imitating singers whom I loved and whose songs we were covering.</span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~What were your early experiences with performing live and what kind of music were you playing at this time? </span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Again, what was beautiful about living in Cleveland at the time, and Cleveland is a very, very music obsessed town, is we didn't distinguish between the Bee Gees and the Dead Kennedy's. It was all the same. It was just music that obsessed us. So we would play it all. We would play a Van Halen cover, an original, a Sex Pistols song, a Journey cover, and then just make noise for a little while. Everything was equal. It was similar to what Nathan experienced growing up in Seattle, i think. It was Def Leppard... awesome... throw it in there. We were obsessed... used to dress like Joe Elliot, the singer of Def Leppard.... The Germs... awesome, throw it in there. Completely great music to mosh around the bedroom with. So it was all one thing to us and I think that openness and truthful love of whatever struck us is what we brought to Shudder to Think. I feel it was part of what made the band so unlike other hardcore bands, or any bands for that matter, in DC or any other big cities. In any First World, sophisticated big cities that actually have access, there is a conservatism and a feeling that black is cool, white is not. And I don't mean that in terms of skin color. It's like X is cool, Y is not. And we were like X and Y are both totally cool, or both X and Y suck, or if you mix X with Y, you get Q. Isn't that weird? Let's do that. It was just all fair game for us. So that was my first band, the Immoral Minority, and I was in a bunch of other bands in Cleveland, one really good new wave band called Freudian Slip and it was super awsome and we used to win lots of Battle of the Bands. I was always in one of the two or three big cover bands on the east side of Cleveland in the suburbs (laughs), so it was kinda like a scene. It was Cleveland in the 80s and so ya just show up and play whatever. You would play Duran Duran, you would play The Cars, then you would play Stray Cats, whatever it was, people were fine with it. If you were 13-15 years old in the suburbs and you didn't have much to do, it didn't matter who was playing on stage or what they were playing, you were just psyched. You get to go to the ice rink and there's somebody playing Led Zeppelin. Great! Or the Go-Go's. Awesome! I just don't think anybody cared because it was much more about just trying to make out with girls or boys or whatever. I could be waxing rhapsodic, but I think that's how it was. However, once we hit about fourteen or fifteen years old, then we started having more knowledge of and access to the so called underground. College radio. R.E.M. The Replacements. The Violent Femmes. 4AD records. Weirder labels than that... Ralph Records, SST Records... so we were starting to become obsessed with the subculture and starting to shun and scorn the mainstream. Our timing couldn't have been better. Pretty much by '85 or '86, radio was starting to get pretty weak. In the early 80s it was pretty great. I really think that popular radio in the early 80s was the last bastion of progressive white music, cuz there would be alot of progressive black music in the late 80s/90s when hip hop started to get really interesting on the production end. But in terms of popular music made by white people, it got pretty crappy by the end of the 80s. And then the whole hair metal thing came in which was a pure retread, although i do love Guns 'N Roses and a few other bands. And then the whole alternative thing... the popular end of most alternative music was really very conservative and beige and hetero and classic rock based. Not very progressive, even tho there were some great bands. And certainly once you got under the radar there were all sorts of bands, all sorts of weirdos making music, so it's not like there wasn't great music there, but in terms of mainstream music, i think the early 80's were sort of the end of the fun. And then you had to go underground, which is what we did.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"> <i><span style="font-size: xx-small;">craig wedren: bottom, middle david wain: top, left</span></i></span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~Did you have any vocal training? </span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I had a little bit. My family is fairly conservative, midwestern, and very puritanical in terms of work ethic, which is another thing that other members of Shudder to Think had in common, particularly Nathan and I. We were very puritanical in our work. Stuart too. When I told my family I wanted to be a singer, they were like, "Ok, you have to take lessons." At a certain point I was like, "I wanna play guitar." "Ok, you have to take lessons." I was a punk, I was lazy about it but I actually really enjoyed singing lessons mainly because the guy they sent me to was crazy, and probably had dementia or alzheimer's by the time I was working with him. When my mom was a kid, this notorious choir teacher at one of the synagoges in Cleveland was the only professional voice person they knew. So we used to go over to his house once a week and all I remember is his big face and his bright shining eyes and meaty fingers banging on the piano, just getting me to belt stuff out. I don't even remember anything about it except that he was very old, a little bit crazy, and super fun to be around. He had these weird catch phrases, like "Take your bel canto and make it a can-belto." Bel canto is an opera singing term (laughs). If he had been living in New York he would have been a Borscht Belt character. I don't know if I learned anything or not, but I had a very fun time quote-unqote studying with him. On the early Shudder to Think stuff, you can hear where I'm sort of figuring out my vocal style, but I had my whole vocal thing together, basically by the time I was 16 or so. When I went to college at NYU, I was in the experimental theater program and voice was a mandatory part or the curriculum. so I studied voice in college and I learned a TON there about breath and focus and presence and I actually started paying attention to and developing, which continues to this day, different parts of my voice that heretofore had been ignored or that I never knew existed. I still do not have a very strong, even tho I have a low speaking voice, I do not have a very strong, powerful, or emotive low or middle range when I'm singing. So that's something I still continue to work on. The reason for that is when I was starting to sing in bands, and singing to the radio in the 70s, I'd be singing along to Freddye Mercury or I'd be singing along to Ozzy Osbourne, or I'd be singing along to Chicago or Journey, or god knows what, and so many of these men, and women obviously, had very high pitched voices. That was not an era of baritone singers. So when I started playing in bands when I was like 12 or 13 years old, the fact that the songs we were covering all had pretty high pitched singing requirements combined with the fact that I was trying to sing through an amplifier, my first P.A. was a fender twin, I was trying to be heard. So I'm singing out of a fender twin with my bar mitzvah mic, and Scott from Immoral Minority has a Marshall half stack and we are playing Black Sabbath songs. I am not only singing incredibly high in my register, but I'm having to scream just so I can be heard above a whisper. So very early on I developed super strong high belting parts of my voice. To this day I'm still trying to fill in the gaps with other more subtle muscles. So when I went to college I started studying voice a little more but it was more experimental. I had this amazing teacher who is still in New York and is just an incredible artist in her own right named Lisa Sokolov. She was amazing because she was much more about... and this resonates to this day with me, not just with my voice but with everything that i do creatively and musically and just living in life... finding one's own authentic voice, to ignore cultural ideas about what is and isn't pretty or quote-unquote good and to communicate with that voice, from that place, at all times. Because truth and authenticity, weird as it may sound, always penetrates. So that was a big thing that i learned from her. The other biggest thing I learned my first year of college was how to start breathing technically from a lower part of my body cuz we tend to breathe up in our chest and you need to start learning to breath way down below your belly if you want to sing for the rest of your life without blowing it out. So that was a huge development point for me. Then I started studying with a guy named Neil Semer who also was a teacher around New York. His was much more about traditional technique. I think he worked a lot with more Broadway, choir, and maybe some opera people, but he was great. By the time I got to the more traditional vocal technique stuff, I already had such a weird unique style of my own that I didn't really feel like I was in danger of losing myself I guess. So that was my training. I kinda wanna find somebody to study with now, cuz I think that aging voice.. once you hit maybe 40... I'm fascinated by people's voices from age 40 and up because we really generally only hear young people sing. Especially now, we hear teenagers and people in their 20s, in pop music anyways. But in opera for instance, one's voice doesn't fully ripen until your 30s and 40s and I'm just interested in the Lisa Sokolov notion of true singing into old age. Obviously it's important to me. And I'm just kinda fascinated by what happens to peoples voices as they age both physically and biologically and psychologically as you have children and your priorities change. One's voice is a reflection and projection of one's being, right? So whatever you are thinking and whatever you are feeling and whatever you are doing is ideally coming through in your speech. And what you are doing and what you are thinking at age 40 is so totally different than age 20 or age 10 or age 16. It, along with everything else along with life, changes your voice. So I'm very interested in that.</span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~How did Shudder to Think form?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">When i was 16, I moved to Washington DC, which was perfect timing, cuz I was ready for First World urban utopia/dystopia,.. that is where my head was at. I went to a place called the Field School which was very progressive. Two really beautiful houses across the street from each other just up from Dupont Circle where all the embassies are in DC. Nathan was there too, and Chris Matthews had gone there, but he graduated the year before I came. I had just been kicked out of a band and I was really, really miserable. I mean, my whole identity as a teen was wrapped up in being in a band, being the lead singer, and I just lived and breathed music and girls, basically. So, I really was out of sorts cuz i had recently uprooted myself from Cleveland, moved to Washington DC, and had been in a band called The Red Room and they kicked me out. I remember answering the ad for Red Room which was "a lead singer wanted for a cross between XTC and Chilli Peppers." This was '85 or '86 and I was like, "awsesome, I can do that." Y'know, I don't really sing like either of those guys, and I'm sure something was weird about it. So I was kinda down on my luck and really didn't know what I was going to do. I was in this play at school with Chris' girlfriend, he was a freshman at George Washington University, and she was like "Hey my boyfriend's in a band. He's a guitar player, and their singer just went off to college. You should try out." I was like, "Cool! Gimme his number." She gave me a cassette of the band and it was just like boom bap boom bap boom bap DC hardcore with shouting and vaguely political lyrical content. It wasn't really where my head was at or what I was interested in cuz I was always much more melodic. I've never been much of a screamer. And I was never strictly into hardcore music, in fact most hardcore punk to me felt very limited and limiting. Obviously not everything, I mean, Black Flag, Germs, there are all sorts of hardcore bands that I love. Bad Brains, obviously, and a handful of DC bands... Minor Threat, Rites of Spring, I mean, these were some of my favorite bands. But as a genre, a.) it felt very male and I was like "Why would you wanna play music for a bunch of dudes?" and b.) I think growing up with ... like I said, my family was all very very musically attuned, but I come from a melody family. I guess a rhythm and melody family. On my mom's side, everyone was always attracted to beautiful melodies and beautiful voices... opera, and the more melodic end of 70s fm radio, and that's what I sang along to growing up so a lot of hardcore didn't make a whole lotta sense to me. I certainly had no aspirations to front a hardcore band, at least not in a traditional way. But I needed a band. I didn't have anything to do. And I didn't have any friends yet in DC so it was really lonely. I remember I would go home to my dad's apartment where I was living and just put on my headphones... that was the year that the album "Steve McQueen" by Prefab Sprout had come out... Pre Fab Sprout is one of my favorite unsung legendary bands... so I would just sit there listening to that record, pining for my friends and my home and what I sort of felt was my lost identity which at the time was wrapped up in being in a band. So I thought, fuck it, I'll audition for this band, which was called Stuge, and it had umlats over it. That band was Stuart Hill, Chris Matthews, Mike Russell, and their lead singer had gone away. I went to the audition space, there are probably pictures online somewhere with what we all looked like... Mike looks exactly the same as now, except his hair is gray. Stu looks like a completely different human being. He was smooth-faced... still had his baby fat... this little DC hardcore dude. And Chris, I'm not sure if he had his dreadlocks yet, but they were on their way. So I'm sort of singing and I learned a few of their songs and, to quote Black Flag, "They hate us, we hate them, we can't win." They didn't like me, I didn't like them, but by the end of the rehearsal I was the singer in the band anyways (laughs). At first it was just like a weird, ill fit. We were just a bunch of awkward dudes. But we needed each other. Very, very quickly, however, it became clear to all of us that there was a little seed of something extraordinary and special in there. Something unique, certainly, even if it was very wobbly and messy and unfocused for a little while. There's just something about putting my vocal style on top of this music that turned it into something else. All of us were, I guess, sophisticated enough, for lack of a better word, or savvy enough about music in general as opposed to hardcore music specifically, or punk rock specifically, or even underground music specifically to recognize that, whoa, this could actually be a great band. So that was how that started.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~When did Shudder to Think become Shudder and not Stuge, both creatively and the name change?</b></span></div>
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Creatively, it was pretty instant. I started singing the existing songs, but I couldn't sing them the way the old singer was singing them, so I just sang them like me. I naturally found melodies for them and was singing in all the different ways that I like to sing, so it started sounding like Shudder to Think pretty early. You can hear on Curses, our first record, a few older Stuge songs, "Let it RIng" and maybe "I Grow Cold." I wrote the "I Grow Cold" lyrics and the vocal melody, but I feel like the music for that might have been something that predated me. The band name didn't change until we had our first gig, which I think maybe was at DC Space, a beautiful club deserving of its own documentary. We were sitting in a car either going to or coming from practice and I remember I was in the passenger seat and Mike Russell was driving and he was like "Ah man, we have to come up with a name." and he said, "I shudder to think we'll just be another boom-bap hardcore band." At that point I was up for thinking beyond hardcore and I was like "Hey! Shudder to Think! that's a good name, let's do that!" and they were like, "Yeah that's fine, let's use that for this first gig and we can change it later." And then it just stuck. I like it. It doesn't really sound like anything else, which I think is appropriate for us.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~How did the music and lyrics come together in the beginning?</b>
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<span style="font-family: Georgia,"Times New Roman",serif;">Chris would come in with guitar stuff and we would just jam it out. I think I wrote a couple of little bits on Ten Spot, I wrote the song "Yes," and then I wrote the song "Lies about the Sky" on Funeral at the Movies, and other than that everything else was very much a band. Chris with guitar parts and the rest of us filling in our parts. And the way I always worked is we would have band practice, we would work on the instrumental song structures and I would just sort of start humming and mumbling along whenever a little piece fell in and felt right and then we would just record all of our rehersals. These old rehersal tapes, which I'm sure exist somewhere, would be all of these recognizable songs with me being like [sings phonetic nonesense] , just sort of literally making mumbled sounds around the scales and the riffs until a hook would lock in, or a vowel sound would lock in, and I would usually have whole melodies before I would even start with words. Then I would fill in the melodies and sort out the sounds I was making. Lots of "oooh's" and "oooo's" with words, which is maybe why my lyric style developed in a more impressionistic or abstract way, cuz I was filling my own mouth with words, not writing words, and then creating music out of them. It just seemed like the natural way. I think about early REM. that all sounds very natural like he's just being phonetic about it or I think about the Cocteau Twins which didn't have any lyrics early on. Liz Frasier was a huge influence and inspiration for me and my singing. But it just felt like the obvious way to do it. It's actually only in the past few years that I've even begun to experiment with words first, which is fascinating. It's completely different. I'm finishing a record right now with a classical composer friend of mine named Jefferson Friedman and the way we set it up we were like, "Ok, I'm gonna write words, give him the words, he's going to write the music and then I sing." So singing these words... I'm having to relearn how to sing words that I would never put together naturally if I were starting with breath and melody. It's changed the music. I'll be curious what people think, if anybody notices.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~What do you feel were the other band members strengths?</b> </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Mike was the oldest so he had some maturity and a car, and he had a really sweet motorcycle and also there was a kind of almost, he might disagree with me, but there was almost a jazz touch to his playing. There was something about his flow. I love his drumming so much, he's such a natural drummer. He has, and has always had, a very sophisticated intelligence to his touch, to his feel, and it kinda floats even when the beats are hardcore beats. You can really hear it on "Pebbles," when he plays the ride at the beginning, or "Lies About the Sky." his drumming in certain ways reminds me of DJ Bonebreak from X who is one of mine and everyone else in Shudder to Think's all time favorite bands. DJ Bonebreak was a punk rock drummer but with pure elegance with jazz and sophistication. There was a classicism to it. So on some level Mike had that even tho it was untrained. Stuart... i mean, Stuart started the band! In a weird way he was the least likely musician in the bunch. He wanted to be in a punk rock band and he wanted to play bass and all of his friends were in bands so he started a band which bacame Shudder to Think. Stuart was always a nuts and bolts organizer, and I was terrible at that stuff when I was a teenager cuz I was a spoiled horny lead singer. I've since had to learn how to kinda tighten up the screws. Stu was really the organizational guy. He would book the shows and he would settle up with the club managers and he would organize band rehersals. He was mom in a big way. There was also something he had, something about the way that he played. That was his personality in the band, but in terms of his playing... I dunno... I just picture him as a kid and he became a much more sophisticated bass player later, but there was something about the way he used to dig in and play melodies on his bass which probably has it's root in Rites of Spring, like Mike Hampton's style of melodic, chordal bass playing. But Stu was much more of a downstroker, so he would really, like, hit it really hard. And then Chris was the songwriter. Chris was a classic... in a weird way he was just like a messy classic rock songwriter, like if you took the classic rock-ness of Pete Townsend with the sort of smearines and the chaos of somebody like Keith Lavine from PiL. He was the songwriter. And then he and I became the songwriters cuz he would have guitar parts and I would make up vocal parts and I think as oppossed to a lot of other bands, it was always very much about that. Our songs had to work with just an acoustic guitar and voice, or a piano and a voice, otherwise it wasn't a good song. And that sort of speaks to our puritanical, classicism thing.</span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~What are your memories of Shudder to Think's earliest live shows and when did you feel things really started to click?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">I'm going to say it took 2 years. I don't know why that pops into my head, but I'm going to say two years. I mean, people REALLY didn't like us at first. They didn't get it. This still happens to me, but when I'm working on a piece of music, I hear what it can become. But oftentimes when I play if for somebody they just hear an unformed mess. I'm sure there was a degree of that in Shudder to Think where we knew what we were becoming, we sensed it, and we heard where we were headed. I doubt that communicated to audiences. I'm sure it was a much messier or at least a much more hit or miss thing. But it took a couple years. I remember for some reason, I flash back to a club called the Barbecued Iguana which was there in DC for a few years. I remember a show there where suddenly it was very clear to us that we had our own thing going on and people were starting to get really into it. People weren't starting to freak out yet... by around pony express record, our audiences were deep. People who liked us, REALLY liked us. And we felt that way about our music, we felt that we were doing something that was... well, I guess the way I feel about music and art and things in general is if I have a certain feeling about it, than I trust and hope somebody else out there will have the same feeling. So we had this very passionate feeling like, whoa, something exciting is percolating. But it took about 2 years before we started seeing that look of recognition reflected back from the audience. When we were going on tour, when we left DC, it sucked. Because we were playing hardcore shows with hardcore bands and we would play at, like, the Moose Lodge in rural Pennsylvania and there would just be a bunch of short haired, crew cut, conservative muscle dudes and they did NOT like it. At all. It was very, very discouraging and very difficult because we felt like, hey, we should be as big as The Cure! We should be as big as Echo and the Bunnymen! We weren't thinking about whatever hardcore band was popular at the time, we were just thinking about music.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~What was your place in the DC hardcore/post-hardcore scene? What were the pros and cons of that scene?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">In retrospect, it was great. I mean, what a beautiful thing, and certainly it flowered into something much more diverse and unique than its legend. At the time, there was this sort of leaden stigma attached to DC hardcore because it had a very specific... again, in DC it was pretty cool and colorful and lots of different kinds of bands and lots of different kids of people, but once you got out of DC, peoples' perception of DC hardcore was very narrow and very conservative and that was difficult for us. We were always trying to shed that and to convince people or prove that we were something else. Yes, we were from this place, but we were our own creature. So it cut both ways because, on the one hand, it was an extremely fertile, creative time and place and community in DC itself, so that just felt great. Once we got some momentum... the first couple years we were like "Nobody likes us, everybody hates us! They just like hardcore music and we're not cool enough! whatever! what do they know anyway?!" Once people started liking us, we were like, "This is great! What a great place! What a great scene! So many wonderful people! So many wonderful bands!" So we were really grateful and proud and very fortunate.</span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~When did Shudder really start to tour and spread out from DC and New York? </span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Pretty quickly. We formed in late '86 and our first tour was late '87, early '88, something like that. We went out. I don't remember what the first dates were. I moved pretty quickly to New York to go to school but on vacations and weekends we would play shows and over the summer we would tour. I have pictures from that first tour, it was brutal.</span></div>
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~Were there other jobs and priorities at this time?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">We were all in school and we all came from pretty education-minded families so there wasn't a whole lot of fucking around. We were either in school or playing music. Everybody had jobs. The summer between senior year of high school and college I ran an ice cream stand in Georgetown and Nathan worked there and Chris Matthews worked there, so that was kind of a fun moment. But in general it was like, ice cream shop, delivering roses, restaurant, everyone was in college. I don't remember anything particularly memorable. Mainly we were all going to school and then rehearsing and then recording and touring every second that we could. Again, there was a logistics thing cuz I was in New York but it was just an Amtrak ride away and most of the lyrics on all of the Dischord records were written on that route. I would take the train to DC, we would rehearse, make cassettes of rehearsals, I would take the train back to New York, listen to the tapes, watching the trees go by and write the lyrics. So we had an interesting rhythm to the way we were working. And I certainly wanted it to be full time. Everybody had different feelings about it, y'know? And the more serious it got and the more full time the commitment became, it really forced everybody to decide "Is this what I had in mind for myself?" For me, it was no question. It was. And for everbody else, the answers varied.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><b>~What are your memories of recording <i>Arson</i> and <i>Curses</i>?</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">That is a relatively straightforward record. One foot was still in what we had been and one foot was in what we were becoming. But I think, just as songs, those are really strong songs. I swear to God I don't even remember where we recorded those, I don't remember the experience AT ALL. It's so weird. It's like a weird mystery record. Here's what I remember about Curses: I remember making the art on my dad's floor with Chris, right? So I remember designing the album art, I don't remember where we recorded it, or when, or what that was like. I remember recording with this guy Chris Biando in his basement in, I think, Virginia or Maryland, but I think that was for Ten Spot. Not Curses. And I definitely don't remember where we recorded It Was Arson. One thing that was interesting about the Arson single, which came out before Curses, is it's a much weirder offering than Curses. It's darker and almost like industrial at times. And the production is weirder on that single. My vocals are weirder... everything just seems more goth or something. Yeah, I don't remember recording those records at all. I don't remember recording them, don't remember mixing them. I have no clue. (laughs) You know who remembers? Stuart, Mike, and Chris. They will remember. </span><br />
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<b><span style="font-family: Georgia,"Times New Roman",serif;">~Very soon, leading into your Dischord albums, the straighforwardness of the music would begin bending. How was the creative process evolving?</span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">That's such an interesting question. I'm sure... I don't know if I was bossy, but I was wildly enthusiastic about whatever I was enthusiastic about. We recorded Curses before I went to school. When I went to school, I was living in New York, I was studying experimental theater and within that there was a lot of experimental music. So I was starting to get into John Coltrane, I was starting to get into John Cage, I was listening to much more difficult, freer, experimental and in some cases very fractured music. So where there previously had been little access to the forbidden, bleeding, beating heart of the underground, I was now sort of living dead center in it and with seemingly unlimited resources like teachers, friends, people on the street, and college radio was starting to explode... it was all sort of coming together so... and I totally speak for myself... but the things that I was interested in were becoming much more surrealistic, impressionistic, experimental and much more about pushing the boundaries and breaking free of what had come before. It was like our favorite things that came before us, what can we do that only we can do? And that increasingly became the Shudder to Think mandate. Ok, this might be a good song, but is this a song that only we could produce? I'm sure it was partly conscious and partly just natural for where we were at, but that became part of our gestalt. It was also a more psychedelic moment. For some reason I remember there being a lot of acid... just things in general, were more psychedelic in that moment. So it was pulling apart in a thrilling way. That mindset, that whole frame of mind of off-kilter-ation... delicious discomfort.. being a little off balance... was always very appealing to me and it was increasingly reflected and expressed in the underground at that time. We were connecting to a much broader palette, both aesthetically and philosophically by virtue of geography, and where we were living. I was living in New York, and they were living in DC.. and because we were getting older and because we were getting more popular , we had access to more stones ripe for unturning. So it just became more about art and less about what we had grown up with. </span><br />
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<br />
<i>HEAD MEDICINE would like to graciously thank Craig Wedren, Stuart Hill, Chris Matthews, and Mike Russell for
their time and effort, as well as Marco LaGamba for the advice and
Shudder knowledge and insight. thank you, guys. and thanks to you, for reading all of this. we hope you enjoyed it.</i><br />
<br />
~writing and interviews by <a href="https://www.facebook.com/briankoschak" target="_blank">Kojak</a><br />
<br />
<span style="font-size: large;"><i><b><span style="color: #990000;">Stay
tuned for future installments of "Hold Back the Road That Goes... The
Story of Shudder to Think." This is a planned multi-chapter project
that will preserve, in one place, the oral history of this great band.
follow <a href="https://www.facebook.com/kojakheadmedicine" target="_blank">HEAD MEDICINE on Fakebook</a> and <a href="https://twitter.com/bkojak" target="_blank">Twitter</a> for future updates</span></b></i></span><br />
<br />
<span style="font-size: small;"><i><b><span style="color: #990000;"> </span></b></i></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><b><i>NEXT: Hold Back the Road That Goes... The Story of Shudder to Think - Part Three: The Dischord Years</i></b> </span><br />
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Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-5416346298625242515.post-32055401517209539012015-01-07T00:10:00.000-08:002015-08-24T08:36:10.449-07:00Head Medicine's Best Music of 2014<br />
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2014 was an amazing year for new music, possibly the most inspired year of the past decade. be leery of anyone who would say otherwise; they obviously are not digging deep enough. a ridiculously wide array of tunes was released from long standing legends on down to the newest hatchlings on the scene. pure creativity and originality could be found literally everywhere. i know there are countless albums that would have been on my list had i heard them, but it was impossible to keep up with everything. so this is simply a list of the best music i did have the pleasure of hearing in 2014. ~kojak</div>
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<span style="font-size: large;"><i>~</i></span><u><span style="font-size: large;"><i>ARTIST OF THE YEAR</i></span></u><span style="font-size: large;">~</span><u><span style="font-size: large;"> </span></u></div>
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<span style="font-size: large;">Morgan Delt<i> </i></span></div>
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<span style="font-size: x-small;">photo by <a href="https://www.flickr.com/photos/unique-annique/" target="_blank">Annique Johnson</a></span></div>
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As 2014 began, <a href="https://www.facebook.com/morgandeltmusic" target="_blank">Morgan Delt </a>was creating music alone in almost complete obscurity in his Southern California home. By the end of January, his self-titled debut album would be released by Trouble In Mind Records (<a href="http://headmedicine.blogspot.com/2014/05/down-hatch-with-morgan-delt.html" target="_blank">full Head Medicine review HERE</a>) and it was an instant psych classic. The 36-year old self-professed musical hermit soon put together a band and began to play live for the first time. Later that spring, Delt's sixth live show ever was on the mainstage at the Austin Psych Fest, and by the summer he was handpicked to open a series of concerts for the Flaming Lips, no less. By Halloween, with probably a dozen live performances total under his belt, Delt was onstage collaborating with the Lips on national television on the Jimmy Kimmel Show, sharing a rainbow costume with Wayne fucking Coyne, singing lead vocals on "Lucy in the Sky with Diamonds." All of that in the span of ten months. Few creative hermits have the guts to throw themselves out as far as Morgan Delt did in 2014, and his success is inspiring. Delt was an easy choice for Head Medicine's 2014 Artist of the Year.</div>
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<span style="font-size: large;"><i>~</i></span><u><span style="font-size: large;"><i>ALBUM OF THE YEAR</i></span></u><span style="font-size: large;"><i>~</i></span></div>
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<span style="font-size: large;"><i>(tie)</i></span></div>
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<span style="font-size: large;"><i> </i>Goat - <i>Commune </i></span></div>
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<span style="font-size: large;">Morgan Delt - <i>Morgan Delt</i></span></div>
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<span style="color: #660000;"><b>Goat
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Commune</i></b></span><br />
<span style="color: #660000;"><b>(Rocket Recordings/Sub Pop)</b></span><br />
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<a href="https://www.facebook.com/goatsweden" target="_blank">Goat</a>'s sophmore album, <i>Commune</i>, might have been my most anticipated album since Queens of the Stone Age's <i>Songs for the Deaf</i>, and it did not disappoint. A stunning, wide-reaching travelogue for the adventurous musical explorer. (<a href="http://headmedicine.blogspot.com/2014/09/goat-commune-rocketsub-popstranded-2014.html" target="_blank">full Head Medicine review </a><a href="https://www.blogger.com/blogger.g?blogID=5416346298625242515" target="_blank">HERE</a>)<br />
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<br />
<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=3225724997/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 753px; width: 350px;"><a href="http://rocketrecordings.bandcamp.com/album/commune">Commune by Goat</a></iframe>
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<i>We spoke with Goat about 2014 and what lies ahead in 2015:</i><br />
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<b>Head Medicine: Goat went out on their <a href="https://www.youtube.com/watch?v=JaR0GZMWbr0" target="_blank">first extended European tour</a> this year soon
after <i>Commune</i> was released. even though these were some of the very
first times the <i>Commune</i> material was played live, Goat had already begun
experimenting with arrangements and extended jams. What was the
process of turning the newly recorded <i>Commune</i> material into a live
performance? </b><br />
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Goat: With most songs it wasn't a problem but with a few we didn't have the
time to get it right so we left them for now. We'll see if we pick them
up another time. The process of rehersing them and arranging them was fun
though. What works when you record won't necessarily work the same way
live but it's nice to make different things out of a song.<br />
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<b>HM: Were there any shows that stood out, where either your performance or the crowd or venue was a step above?</b><br />
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Goat: I think we had a fun night in Birmingham, and London at the Roundhouse
was special to. But I think we all agree that all the shows on the tour
and the Scandinavian shows in the end of November were our best shows
ever. And the crowd was amazing every night. We are truly spoiled, ha
ha!<br />
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<b> </b><br />
<b>HM: It seems that there is a near-psychic connection between the guitarists
of Goat and the way their lines swirl around each other. i think they
might be the best guitar duo out there right now. i know that there is
a revolving cast of musicians behind the scenes, but are the two lead
guitarists on stage mostly the same lead guitarists on Commune? </b><br />
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Goat: they have both been playing most of the shows together, apart from one
or two I think. And they have definitely found a way to combine their
playing into something extraordinary. It has grown forth. But it is not
always them playing on the records.<br />
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<b> </b><br />
<b>HM: Recently Goat released their first ever video for "Hide from the Sun."
How did that come about? was it a collaboration where Goat was
creatively involved or was it the director's vision? would you like to
have more videos made in the future?</b><br />
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Goat:<b> </b>we were not involved at all. But we did see the finished version and
we wanted to change it so they did remake it a little bit. But that
was all we participated in the making of that. Personally I think it's a
funny little piece of film. I don't know about videos really.. It's a
way for the labels to sell records and if they wanna do it it's fine by
us as long we get to say something before it become official.<br />
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<b>HM: <a href="http://mrtzc.ch/goat_dig_my_grave_1s.html" target="_blank">"Dig My Grave"</a> was a bonus 7" track that went along with the <i>Commune</i>
vinyl. it has a looser, more relaxed feel to it that stands out from
the mostly intense sounds you guys have made in the past. not only
should that have been on the record, it should have been a single! was
that an outtake or was it recorded after <i>Commune</i> was done? if it was
an outtake, was it not included because there wasn't room for it or
because it didn't fit in sonically with the rest of the album? </b><br />
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Goat: it was actually one of the firsts songs we did for the album, but it
didn't fit in. And it's not really tightly played either. Happy you like
it though! I like the solo in the second verse.<br />
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<b>HM: When Goat isn't touring or formally recording, how often do you guys get
together and plug in and jam? are any ideas brought into these jam
sessions to work on, or is it mostly loose and spontaneous?</b><br />
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Goat: it depends. Someone is there in the studio I'm sure but we also need to
find time of playing music. Especially directly after tours. Creativity
needs room to breathe.<br />
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<b>HM: any </b><b><b>writing/recording/touring </b>plans for 2015? i see there is a short
Italian tour in May, are there any plans for more shows through the
year? what are the chances of a US appearance in '15?</b><br />
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Goat:<b> </b> we might not go back to the US in 2015 unfourtunately... But we have other
plans. They will be announced during the year. But we have rebuilt our
studio so recordings will be made. <br />
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<span style="color: #660000;"><b>Morgan Delt
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Morgan Delt</i></b></span><br />
<span style="color: #660000;"><b>(Trouble in Mind)
</b></span><br />
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the ghost of 60s California psychedelia. a swirling hallucinogenic fever dream from the first note to the last. classique. (<a href="http://headmedicine.blogspot.com/2014/05/down-hatch-with-morgan-delt.html" target="_blank">full album review HERE</a>)<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=3614106843/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 786px; width: 350px;"><a href="http://morgandelt.bandcamp.com/album/morgan-delt-2">Morgan Delt by Morgan Delt</a></iframe>
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and don't forget the killer non-album b-side "Black Tuna Gang"<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=1125459042/size=small/bgcol=ffffff/linkcol=0687f5/track=2202675790/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="http://morgandelt.bandcamp.com/album/barbarian-kings-b-w-black-tuna-gang">Barbarian Kings b/w Black Tuna Gang by Morgan Delt</a></iframe>
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and here's a new Morgan Delt song from the <a href="http://soniccathedral.bandcamp.com/album/psych-for-sore-eyes-2" target="_blank">Psych For Sore Eyes 2</a> compilation<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=2664436952/size=small/bgcol=ffffff/linkcol=0687f5/track=1011356868/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="http://soniccathedral.bandcamp.com/album/psych-for-sore-eyes-2">Psych For Sore Eyes 2 by Morgan Delt</a></iframe>
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<span style="font-size: large;">~<i><u>The Next Best</u></i>~</span></div>
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<span style="color: #660000;"><b>Budos Band
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Burnt Offering</i></b></span><br />
<span style="color: #660000;"><b>(Daptone Records)
</b></span><br />
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These <a href="https://www.youtube.com/watch?v=NuOKhfNq-lE" target="_blank">blaxploitation afrobeat masters</a> have taken their music to a different place on <i>Burnt Offering. </i>a dark, almost metal sound has been introduced to their swanky style, and it is a perfect match. everything <a href="https://www.facebook.com/TheBudosBand" target="_blank">Budos Band</a> has ever done has been fucking GREAT, in case you didn't already know.<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=2270343272/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 786px; width: 350px;"><a href="http://thebudosband.bandcamp.com/album/burnt-offering">Burnt Offering by The Budos Band</a></iframe>
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here's a brilliant horror movie montage set to "Aphasia."
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/gAN3WFnYG-o" width="560"></iframe>
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<span style="color: #660000;"><b>Kikagaku Moyo
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Forest of Lost Children</i></b></span><br />
<span style="color: #660000;"><b>(Beyond Beyond is Beyond Records)
</b></span><br />
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These flourishing psych masters from Tokyo have made an immediate impact in a very short amount of time. <i>Forest of Lost Children</i> is an album of shocking scope and vision, with an unpredictable mix of styles seemlessly assembled together. There is swirling sitar, blazing fuzzed out wah guitar, meditative acoustics, soulful blues, and heavy prog rock all jammed together. Live,<a href="https://www.facebook.com/kikagakumoyo" target="_blank"> Kikagaku Moyo</a> must be seen to be believed. i was lucky enough to catch their set at the Austin Psych Fest this past summer, and everyone who was there knew we witnessed something pretty special. KEY TRACKS: "Smoke and Mirrors," "Streets of Calcutta," "Hem"<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=3998582077/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 654px; width: 350px;"><a href="http://geometricpatterns.bandcamp.com/album/forest-of-lost-children">Forest of Lost Children by 幾何学模様/Kikagaku Moyo</a></iframe>
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<span style="color: #660000;"><b>Sleepy Sun</b></span><br />
<span style="color: #660000;"><b> <i>Maui Tears</i></b></span><br />
<span style="color: #660000;"><b>(Dine Alone Records)</b></span><br />
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If this isn't <a href="https://www.facebook.com/SleepySun" target="_blank">Sleepy Sun</a>'s <i>OK Computer</i>, than i'm pretty confident it is <i>The Bends </i>and a sign of even greater things to come<i>. </i> A near masterpiece, <i>Maui Tears</i> is classic rock of the 21st Century. KEY TRACKS: The Lane, Words, Slowdown, Galaxy Punk, Maui Tears (full Head Medicine review <a href="http://headmedicine.blogspot.com/2014/04/sleepy-sun-maui-tears-dine-alone-2014.html" target="_blank">HERE</a>)<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/GfESMp9QOgk" width="560"></iframe>
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the video for "The Lane," directed by Ron Robinson
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/GGxnCQ2w3sA" width="560"></iframe>
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<span style="color: #660000;"><b>Tobacco
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Ultima II Massage</i></b></span><br />
<span style="color: #660000;"><b> (Ghostly International)</b></span><br />
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<a href="https://www.facebook.com/maniacmeat" target="_blank">Tobacco</a> is the sound of the future, and it is terrifying. <i>Ultima II Massage </i>sounds like back alley Blade Runner sex club muzak, with people humpin on smokin' hot sex bots and dosing on alien secretions. as perverted, twisted, and broken as it gets. <br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/A79zhL9sPkI?list=PLvhE8Lb6Uyp7GA5uUd7AlaxasNYa_lnKS" width="560"></iframe>
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<span style="color: #660000;"><b>Khun Narin's Electric Phin Band
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Khun Narin's Electric Phin Band</i></b></span><br />
<span style="color: #660000;"><b>(Innovative Leisure)</b></span><br />
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The fact that this album even exists is pretty extraordinary. <a href="https://www.facebook.com/pages/%E0%B8%82%E0%B8%B8%E0%B8%99%E0%B8%99%E0%B8%A3%E0%B8%B4%E0%B8%97%E0%B8%A3%E0%B9%8C%E0%B8%A8%E0%B8%B4%E0%B8%A5%E0%B8%9B%E0%B9%8C%E0%B8%9E%E0%B8%B4%E0%B8%93%E0%B8%9B%E0%B8%A3%E0%B8%B0%E0%B8%A2%E0%B8%B8%E0%B8%81%E0%B8%95%E0%B9%8C/268450113232690" target="_blank">Khun Narin's Electric Phin Band</a> (aka Khun Narin Phin Sing) are a group of street musicians from deep rural Thailand, and their existence was only known after a couple of iphone videos surfaced on Youtube in 2012. To the ears of foreigners, Khun Narin is some of the most delicious reverb-drenched psychedelia available, but the band is simply playing their version of traditional Thai folk music. The group is almost completely isolated from any Western psych music, new or old. This is a beautiful and transcendent field recording of Khun Narin's Electric Phin Band in their native surroundings in rural Thailand. The feel good story of the year. (full Head Medicine review <a href="http://headmedicine.blogspot.com/2014/01/khun-narin-phin-sing-thai-psychedelia.html" target="_blank">HERE</a>)<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=1036404974/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 588px; width: 350px;"><a href="http://khunnarin.bandcamp.com/album/khun-narins-electric-phin-band">Khun Narin's Electric Phin Band by Khun Narin</a></iframe>
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<span style="color: #660000;"><b>Steve Gunn
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Way Out Weather</i></b></span><br />
<span style="color: #660000;"><b>(Paradise of Bachelors)</b></span><br />
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<a href="https://www.facebook.com/therealstevegunn" target="_blank">Steve Gunn</a>'s <i>Way Out Weather </i>is dusty sunset, big sky Americana at its finest. Endless horizons of repetitive and soothing guitar from Gunn with a masterfully subtle touch from his backing band. the album's final track, "Tommy's Congo," steps out into a more ominous realm. <br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=1627620496/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 522px; width: 350px;"><a href="http://paradiseofbachelors.bandcamp.com/album/way-out-weather">Way Out Weather by Steve Gunn</a></iframe>
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here's a short film by Serbian director <a href="http://vimeo.com/nikolalezaic">Nikola Ležaić</a> inspired by "Tommy's Congo."
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/pGdmrAT2pjU" width="560"></iframe>
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<span style="color: #660000;"><b>Mark Lanegan
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Phantom Radio</i> and the <i>No Bells on Sunday </i>EP</b></span><br />
<span style="color: #660000;"><b>(Vagrant)</b></span><br />
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Though not as brilliant as its predecessor, <i><a href="http://headmedicine.blogspot.com/2012/10/review-mark-lanegan-band-blues-funeral.html" target="_blank">Blues Funeral</a>, Phantom Radio </i>is still another solid entry into <a href="https://www.facebook.com/MarkLanegan" target="_blank">Mark Lanegan</a>'s seemingly endless catalog. Lanegan continues experimenting with 80s electronic pulses and on tracks like <a href="https://www.youtube.com/watch?v=5ncc5B3TdDU" target="_blank">"Torn Red Heart"</a> and <a href="https://www.youtube.com/watch?v=j1QQ0bNgAEQ" target="_blank">"Waltzing in Blue"</a> he finds some of his most beautiful songs yet. <a href="https://www.youtube.com/watch?v=bQnfgZr8JIc" target="_blank">"Sad Lover"</a> from <i>No Bells on Sunday </i>is a surprising deja vu to his late 80s, SST-era Screaming Trees sound. <br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/videoseries?list=PLflM8Flg1B-ROodDkL53mEPVm1kPzVkFi" width="560"></iframe>
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<span style="color: #660000;"><b>Robert Plant and the Sensational Space Shifters
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>lullaby and... THE CEASELESS ROAR</i></b></span><br />
<span style="color: #660000;"><b>(Nonesuch)</b></span><br />
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While Jimmy Page and John Paul Jones sit around waiting for their phones to ring, <a href="https://www.facebook.com/robertplant" target="_blank">Robert Plant</a> continues to wander his own path. One of Plant's greatest strengths has been surrounding himself with talented musicians, and the Sensational Space Shifters is his most eclectic band to date. Led by his longtime partner <a href="http://www.performing-musician.com/pm/nov09/articles/justinadams.htm" target="_blank">Justin Adams</a> on guitar, with Portishead's John Baggot on keys, guitarist Skin Tyson, bassist Billy Fuller, and Gambian ritti fiddler Juldeh Camara, the Space Shifters allow Plant to navigate a wide variety of international sounds and textures. Thank God Jimmy Page has been remastering and archiving the Zeppelin catalog, cuz Plant sure as hell never would. His restless creativity wouldn't allow it.<br />
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<iframe width="420" height="315" src="https://www.youtube.com/embed/6IL4HxFLeX4" frameborder="0" allowfullscreen></iframe>
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<span style="color: #660000;"><b>All Them Witches
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Lighting at the Door</i></b></span><br />
<span style="color: #660000;"><b>(+180 Records)</b></span><br />
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Any band that considers themselves to be <a href="https://www.facebook.com/allthemwitches?ref=br_tf" target="_blank">"psychedelta blues"</a> is right up my alley. thick and swampy stoner blues rawk, kinda where Melvins and Kyuss meet up with the early Black Keys albums. KEY TRACKS: "When God Comes Back," "The Marriage of Coyote Woman," "Charles William"<br />
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<iframe width="560" height="315" src="https://www.youtube.com/embed/eC6O4OlHE8Q" frameborder="0" allowfullscreen></iframe>
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<span style="color: #660000;"><b>Wovenhand
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Refractory Obdurate</i></b></span><br />
<span style="color: #660000;"><b>(Deathwish inc)</b></span><br />
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David Eugene Edwards continues his Old Testement/vengeful God-style of songwriting he made with the legendary <a href="https://www.youtube.com/watch?v=AZVNNkHwseg" target="_blank">16 Horsepower</a>, but has now pushed it into a far heavier and more punishing direction. i will admit i am not as familiar with <a href="https://www.facebook.com/pages/Wovenhand-official/189495264425563" target="_blank">Wovenhand</a>'s past albums as i should be, but <i>Refractory Obdurate </i>is easily the strongest and most compelling work i've heard out of Edwards in quite a while. He is wielding his words and music like a sledgehammer this time around.<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=999453258/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 786px; width: 350px;"><a href="http://deathwishinc.bandcamp.com/album/refractory-obdurate">Refractory Obdurate by Wovenhand</a></iframe>
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<span style="color: #660000;"><b>Earth
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Primitive and Deadly </i></b></span><br />
<span style="color: #660000;"><b>(Southern Lord)
</b></span><br />
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for over 20 years, Seattle's <a href="https://www.facebook.com/thronesanddominions" target="_blank">Earth</a> has been making heavy, monolithic mood music that lumbers at a glacial pace. <i>Primitive and Deadly </i>doesn't stray too far off script, but it may be their most focused and concise album to date. For the first time, Dylan Carlson has brought in vocalists to sing on an Earth album, enlisting his old friend Mark Lanegan no less to sing on two tracks. <br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=4020844749/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 621px; width: 350px;"><a href="http://earthsl.bandcamp.com/album/primitive-and-deadly">Primitive And Deadly by Earth</a></iframe>
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<span style="color: #660000;"><b>Dwellers
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Pagan Fruit</i></b></span><br />
<span style="color: #660000;"><b>(Small Stone)</b></span><br />
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sun scorched, peyote-fueled desert blues out of Salt Lake City. since their debut in 2012 with <i>Good Morning Harikiri, </i><a href="https://www.facebook.com/dwellersband" target="_blank">Dwellers</a> has dug down even deeper into their hazy atmospherics. Guitarist Joey Toscano is always in full command of his leads even as he spirals out into the sun, never losing track of where he has been or needs to get to. the addition of mellotron and cello works beautifully, and adds a new layer to their expanding sound.<br />
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<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=4008320681/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 753px; width: 350px;"><a href="http://dwellers.bandcamp.com/album/pagan-fruit">Pagan Fruit by Dwellers</a></iframe>
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<span style="color: #660000;"><b>Spoon
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>They Want My Soul </i></b></span><br />
<span style="color: #660000;"><b>(Loma Vista/Republic)</b></span><br />
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<a href="https://www.facebook.com/spoontheband" target="_blank">Spoon</a> had a string of great albums going there for a while, but dropped off of my radar completely after a couple of toothless, standard indie rock records. Luckily a friend picked this up, cuz i never would have on my own. There is some fantastic stuff here, and "Inside Out" is one of their best songs. It's nice to see Spoon relevant again. KEY TRACKS: "Inside Out," "Knock Knock Knock,"Outlier,"<br />
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<iframe frameborder="no" height="450" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/45384226&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe>
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here's a tripped out video for "Inside Out," featuring the photography of Todd Baxter and edited by Mau Morgó<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/IpT5SBg1Mmk" width="560"></iframe>
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<span style="color: #660000;"><b>Sturgill Simpson
<i> </i></b></span><br />
<span style="color: #660000;"><b><i>Metamodern Sounds in Country Music</i></b></span><br />
<span style="color: #660000;"><b>(High Top Mountain)</b></span><br />
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There is hardly a more predictable and mind-numbing genre out there than modern country, but Kentucky native <a href="https://www.facebook.com/sturgillsimpsonmusic" target="_blank">Sturgill Simpson</a> is out to change that. He is tapping into the sound of classic Outlaw country icons like Waylon Jennings and Merle Haggard, but is bringing a unique social consciousness and metaphysical introspection with his lyrics. "Turtles All the Way Down" is one of the best songs of the year, with lyrics illustrating Simpson's mind-expanding experiences with DMT: <i>"There's a gateway in our mind that leads somewhere out there beyond this plane/Where reptile aliens made of light cut you open and pull out all your pain."</i> the album closer "It Ain't All Flowers" is probably the trippiest honky tonk song ever. By turning his back on the country music establishment, Sturgill Simpson is successfully peddling his wares to people who would normally never be caught dead listening to country music.<br />
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i found this stripped down performance to be a good introduction to Simpson's work.
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/w5cMqD0WqYE" width="560"></iframe>
<iframe seamless="" src="http://bandcamp.com/EmbeddedPlayer/album=2954949496/size=large/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 753px; width: 350px;"><a href="http://sturgillsimpson.bandcamp.com/album/metamodern-sounds-in-country-music">Metamodern Sounds In Country Music by Sturgill Simpson</a></iframe>
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please feel free to post links to any albums i tragically overlooked and i'll give em a try!<br />
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~by <a href="https://www.facebook.com/briankoschak" target="_blank">kojak </a><br />
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<br />Unknownnoreply@blogger.com1