#Douglas Menagh

[ghostcultmagazine]

ALBUM REVIEW: Melvins 1983  - Working with God - Ipepcac Records

ALBUM REVIEW: Melvins 1983  – Working with God – Ipepcac Records

Working With God (Ipecac Records/Liberator Music) is the 24th release by the Melvins and features their 1983 lineup of Buzz Osbourne, Dale Crover on bass, and original drummer Mike Dillard (although they have been doing a ton of regular Melvins lineup activities with Steven Shane McDonald of Redd Kross). The record encapsulates the Hardcore and Sludge style Melvins have delivered since their…

[doug-man-1989]

Check it out everybody!! I got a website now. You can find all my writing there. 

https://douglasmenaghwrites.com/

[ghostcultmagazine]

ALBUM REVIEW: BIG | BRAVE - Vital - Southern Lord

ALBUM REVIEW: BIG | BRAVE – Vital – Southern Lord

The role of mythology is to inspire both individual and collective growth through storytelling. Myths do that by making sense of the world. Vital (Southern Lord) by BIG | BRAVE is a mythical-sounding album that does just that. Of the colossal yet intimate Vital, the Doom-Sludge trio from Montreal featuring Robin Wattie, Mathieu Ball, and Tasy Hudson says, “This album involves what it means…

[ghostcultmagazine]

ALBUM REVIEW: Bloody Hammers - Songs of Unspeakable Terror 

ALBUM REVIEW: Bloody Hammers – Songs of Unspeakable Terror 

Bloody Hammers are the Hard Rock husband and wife duo Anders Manga (Vocals, Guitar, Bass) and Devallia (Keyboards/Organ). Hailing from Transylvania County, NC, the Gothic-Metal rockers released Songs of Unspeakable Terror (Napalm Records). Of the Horror-Punk record, Manga says, “When the pandemic hit and I realized I’d be stuck at home for a while, I started thinking I needed to dig into a music…

[doug-man-1989]

My list of top albums of the year is up on New Noise. 

[doug-man-1989]

I'm Lindsey Buckingham from Fleetwood Mac. Happy Halloween.

[doug-man-1989]

#Repost @benpassikoff with @repostapp.
・・・
The Viking

[doug-man-1989]

London O'Connor and Me. Separated at birth? 

[doug-man-1989]

Interview with Chris Karloff of Black Onassis

Published by The New Philadelphia on October 24th, 2012

On Wednesday, October 10th, I spoke on the phone with Chris Karloff of Black Onassis. Our conversation took place ahead of their concert at The Mercury Lounge in New York on October 15th, not long after they released “Iso.”

Black Onassis is an electronic rock band in which Karloff plays lead guitar, keyboard, and synthesizers. Karloff was once the lead guitarist, keyboard and synth player for Kasabian. That was a long time ago, but his mark on their debut album is powerful. “After I departed from Kasabian, I moved out to New York,” said Karloff of the inception of Black Onassis. Before Black Onassis, Chris Karloff made music within the context of what he described as “a normal band with a conventional lineup.” He said, “That basically wasn’t really working out.” So he started making different music.

“Two years ago,” according to Karloff, his music became heavily “electronic” and more “collaborative.” It was then that Black Onassis started taking hold. It was in this period and with this kind of music that Black Onassis was born. “It’s a good type of music to be so diverse in,” said Chris Karloff of electronic music. “It can take you absolutely anywhere I find.” He also added, “My heart is still driven by electronic music.”

Karloff also spoke about what he referred to as the “subliminal element” that influences the sound of his music with Black Onassis.

“The sounds around you have a massive effect on what we’re doing,” Karloff said. “In rehearsal rooms you always hear fucking drills everywhere,” he added. “Cars, sirens, and all that sort of stuff. I think it has a massive effect on you sometimes without you even realizing it.” For instance, Karloff used to “live in the country,” so the music he was making was “in tap with nature, sunsets, rivers, and all that kind of stuff.” Now that he lives in the city, his music has become more in tune with the urban sounds, or as Karloff put it, “ugly sounds that are kind of beautiful in a way.”

Karloff discussed the collaborative element to the sound of Black Onassis, which figures importantly to the group’s sound.

“You see things in a different way when you work with different people,” said Karloff on the topic of artistic collaborations. “You learn a lot.”

Black Onassis has no lead singer. Instead, the group works with different vocalists. The singing was pre-recorded for their performance at The Mercury Lounge on October 15th, whereas the instrumentals were performed live with the lineup Karloff was working with that night.

“Sometimes when you pin to one singer,” Karloff said, “even though with some bands it works out amazingly, I find sometimes you can be limited. I’ve never worked with female vocalists before,” Karloff added. “The tones and the voice and everything is completely different.” Some songs feature no singing at all. “Iso,” for example, is an instrumental track.

Karloff also discussed the influence of the other senses on his music, particularly the importance of music’s “visual element.” Karloff referred to the fusion of sight and sound as a “perfect marriage in terms of stimulation. “ Nowhere was this more apparent than at their concert.

When Black Onassis performed on the 15th of October, their music was accompanied by sights and moving images provided by Ghost+Cow Films. The two groups held a mirror up to each other. The “marriage” of sound and sight in this case was almost cyper-punk or science fiction in look and feel. I recall some images of a runner and another image of a brain. One could almost imagine visuals such as these in a film such as The Matrix or Blade Runner, perhaps even A Clockwork Orange.

As of October 15th, Black Onassis had no future plans for other shows. On that night, Deluka and We Run joined them. Chris Karloff listened to and watched We Run open for Black Onassis among the gathering crowd in the audience.

Black Onassis is currently working on their debut album. It’s still a work in progress for now, but it won’t be for very long. Some songs like as “Iso,” “Brain” and “Innocence Blitz” are available online now. The rest, some of which were played at The Mercury Lounge, will be released on their debut album.

[doug-man-1989]

In our first episode, we break down why Qui-Gon Jinn is ultimately a failed character in the Phantom Menace.

[doug-man-1989]

Album Review: Velociraptor!

Published by The New Philadelphia on September 19th, 2011

Serge Pizzorno said that Velociraptor!, Kasabian‘s latest album, is “epic.” The question is: Well, is it? Is Velociraptor! an epic album? IsVelociraptor!, as some have claimed, a modern day classic?

Kasabian welcome us into Velociraptor! with “Let’s Roll Just Like We Used To.” This is an amusing opening track title for the new album considering that the song feels like it was recorded in the 1960s. It could have been featured in a Bond film. There are moments when it feels as if singer Tom Meighan is channeling Frank Sinatra. This song belongs in an episode of Mad Men. It tells us: “Raise your glass to the ones who have passed, the ones that got away. They’re at it again, let’s roll just like we used to in fields when we were young, our hearts got lost in the circles. We had it all, a rise and fall.”

“Let’s Roll Like We Used To” is also comical as the record feels like a sequel to their eponymous debut record, more so than Empire or West Ryder Pauper Lunatic Asylum. Velociraptor! could have been the album Kasabian followed their debut with. If one did not know the order in which Kasabian released their albums, they might say that Velociraptor! is the second record Kasabian released. Regardless, this Kasabian album, like every other Kasabian album before it, calls to mind a basic theme to be free, as individual, for ourselves, and from those who wish to control us and our destinies. Like Empire, West Ryder Pauper Lunatic Asylum, and their debut, however, Velociraptor! is an album with a self-contained, musical, and lyrical world.

When making Velociraptor!, Serge said, “a spirit came down and sort of took over the job…a spirit from somewhere wrote that the album.” “Days Are Forgotten,” the second track off Velociraptor!, feels like it could have been written by the same spirit that chose Led Zeppelin to be their vessel. The screaming throughout “Days Are Forgotten” is quite similar to that Viking battle cry to Valhalla throughout “Immigrant Song.”

“Goodbye Kiss” is the next song off Velociraptor!. Tom Meighan said on Zane Lowe’s radio broadcast that this is “a love song” and “a heartbreaker.” “A lot of people are going to break up to it,” Tom Meighan said. “And probably get married to it.”

“La Fée Verte” is an absinthe ballad by Kasabian. “La Fée Verte” is French for The Green Fairy, the fairy-muse who visits artists in the depths of an absinthe trip. “La Fée Verte” is also the name by which absinthe drinkers refer to the beverage itself, which is green colored, liquorice-flavored, and highly alcoholic. Typically imbibed with water, sugar, and ice, the effects of “La Fée Verte” are typically uplifting, removing the shadows and fog and confusion clouding our perception. The singer-speaker in “La Fée Verte” begins his tale with a question: “Oh Green Fairy, what you done to me?”

The singer-speaker makes reference to “Lucy in the Sky With Diamonds,” the infamous song by The Beatles, when he says that he sees “Lucy in the sky telling me I’m high.” His absinthe-induced journey takes him to “Dali in the street” and “policemen in his bed.” He speaks of places “where insects run the show.” He sees “sound and vision turning inside out.” He asks us: “How does it feel to live your life where nothing is real?” He then asks for someone to pass La Fée Verte.

“Velociraptor!,” according to the chorus, is about a Velociraptor who’s “gonna find ya, he’s gonna kill ya, he’s gonna eat ya.” Listen to this one with the volume all the way up. This track is loud and fast and deserves to be listened to on big speakers. Listen to every song on this album on big speakers, but especially this one. It would make a great music video with Noel Fielding of The Mighty Boosh to star as The Velociraptor, which would be logical given Noel Fielding’s collaboration with Kasabian as Vlad the Impaler in “Vlad the Impaler.”

Next up is “Acid Turkish House (Shelter From The Storm).” “Shelter From The Storm” is also the name of a Bob Dylan song. If George Harrison, The Quiet Beatle, could hear “Acid Turkish House (Shelter From The Storm),” he would be proud. He maybe would have joined Kasabian on stage at a live performance to jam with them on this number, maybe with sitar, maybe sitting on a carpet with bare-feet. In the song, the speaker asks: “Is there a place for me in The History?” There is no answer to this question in the song. If there was an answer, then it might be both “yes” and “no.”

“I Hear Voices” is straight up electronic rock-and-roll. Here, the fine production efforts of Dan the Automator is clear. This song, in terms of production, sounds like a throwback to The Berlin Trilogy by David Bowie and Brian Eno.

“Rewired” is a brilliant, groovy, and unpredictable rock number. Don’t try to guess where this song is going because Kasabian are one step ahead of us all. This song and all of its twists and turns might even change the way you listen to music.

“Man of Simple Pleasures” may be one of the most uplifting songs on Velociraptor! It may be the most beautiful, lovely, and serene song on the album. It sounds like it could be part of a Sergio Leone soundtrack for a Western starring Clint Eastwood. This song, without grinding any axes, is an indictment against those who play us for a “fool.” The singer-speaker of the song tells us: “Let the righteous guide you home to where you belong.”

Then, there’s “Switchblade Smiles,” the song Zane Lowe said was “the sound of people marching off into oblivion.” This would be perfect for a Marvel superhero flick, like a sword fighting scene in the upcoming Deadpool film starring Ryan Reynolds. This singer-speaker says at one point: “Ring around the roses, a pocket full of poses.” The singer-speaker also tells us: “More violence is coming, it’s coming, it’s coming.”

Is the singer-speaker promising more violence? Or is he threatening us with it?

The only track off Velociraptor! I didn’t listen to was “Neon Noon.” That’s because I’m saving that one for the listening party, when the whole album is played straight through in its entirety with friends, and hopefully, La Fée Verte.

Let’s Roll Just Like We Used To – Kasabian

[doug-man-1989]

Published by The New Philadelphia on March 8th, 2011 Until this Dum Dum Girls show, I had never been to an all-girl group performance. I’d seen some performers in the past at coffeehouses and whatnot, but not here, not at The Bowery Ballroom, not from a group of musicians such as these. This all happened Friday March 4th, 2011.

Each member of the Dum Dum Girls wore a black dress and stockings. One of the guitarists in the group looked like Triana Orpheus from The Venture Brothers. She had short black hair extending down to her jaw, forming a line almost connecting with her chin. This guitarist also had on a necklace, a short dress with short sleeves, and darker, striped stockings.

There was also the lead singer and guitarist, Dee Dee (aka Kristin Gundred). She had bright red lipstick, black-and-white stockings with vertical stripes, a gold necklace, and dark hair with long bangs. Before the show, she was walking around outside the Bowery, where I was able to meet her.

Dum Dum Girls played an eclectic mix of songs from I Will Be and He Gets Me High, combining raw power with a metallic edge. They performed “Jail La La,” a song that Dee Dee introduced as “an old one.“ During this song, members of the crowd sang along with the girls during the chorus: “Someone tell my baby / Ore else he wont know I need saving.” Some substituted the “he” for a “she.” They treated audience members to a heavy live rendition of “He Gets Me High,” a song which showcased the grit and distortion of the bassist’s playing. The group also played “Bhang, Bhang, I’m a Burnout,” “Everybody’s Out,” and when they finally came out for an encore, their cover of “There is a Light That Never Goes Out.”

When the show ended, some audience members remained at the Bowery for drinks at the bar, near the coat check and merchandise table. There were a lot of young women in the crowd that night. Like Dum Dum Girls, most of these ladies also wore black dresses and stockings.

Members of the dispersing crowd also included comedian Aziz Ansari, who at the time was talking with Yeah Yeah Yeahs guitarist Nick Zinner. Both were approached by a fan or two on their way out, one of whom mentioned that he recognized Aziz from his performance at Bonnaroo.

On my way out of the Bowery, standing near the back entrance, I noticed the fire-haired bassist for Dum Dum Girls standing around chatting with some guys. At one point, she and I ended up talking. She introduced herself as Bambi, and I thanked her before I left.

[doug-man-1989]

'The Mole' on The New Philadelphia

Published by The New Philadelphia on February 26th, 2011

On January 31st, Trentemøller released his very own remix of the Chimes & Bells song “The Mole.” The fact that both Chimes & Bells and Trentemøller are from Denmark had already lent these artists common ground. With this remix however, there now exists an even greater connection between the musicians than simply their country of origin.

There are a number of elements in original version of “The Mole” that Trentemøller preserves in his take on the song. This includes upholding the original’s overall orchestral, symphonic quality. Even with elements of jazz and funk, achieved through the emphasis of certain guitar riffs and beats, Trentemøller’s remix maintains the tone and feel of the Chimes & Bells original. He also preserves a similar, gradual buildup. Music by Chimes & Bells is often slow in terms of song progression; even in shorter songs, they pace themselves. With Trentemøller at the helm though, Chimes & Bells have even more time on their side. The remix runs nearly eight minutes long, almost twice the length of the original. Despite this fact, Trentemøller doesn’t over-prolong the length of “The Mole.” On the contrary in fact, he gives listeners a chance to experience the song more deeply.

Listening to this remix, one has the impression that Trentemøller has a genuine respect and admiration for Chimes & Bells. In his remix, he features the lyrics, “Please blame it on all the things I stole,” repeat themselves over and over again. There are more lyrics than this in the Chimes & Bells original, a lot more in fact, but these are the ones that appear most prominently. This could reflect a self-conscious effort on the part of Trentemøller to praise both Chimes & Bells and their song. Regardless of whether or not this was his intention, his rendition of “The Mole” is more than just a tribute or homage to the group. If anything, Trentemøller’s remix is like a great cover or a love letter to the original by Chimes & Bells.