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doomedandstoned · 4 years

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Black Spirit Crown Score Big Win With ‘Gravity’

~Doomed & Stoned Debuts~

By Billy Goate

Strong guitars chords carve out a bold landscape to begin the first of five cosmic tales. "Doomstar" sails across the universe as a comet, filled with as much magic as destructive possibility. On a dark night, you can almost make out the whirling, wicked tale of this asto-demon.

Welcome to the evocative domain of Ohio's BLACK SPIRIT CROWN. We first met the Clevelanders on their original four-tracker 'Red Sky' (2017), its sphatik gem "Megalith" added to our 'Doomed & Stoned in Ohio' (2017) compilation and the first and second rounds of Ohio Doomed & Stoned Festivals organized in short, subsequent order. The boys of Black Spirit Crown have long been an integral part of the heavy music scene of The Buckeye State, opening for such greats as Conan, Inter Arma, and The Obsessed.

As with their debut, 'Red Sky' (2017), the vocals are so important to convincing us of the band's bonafides. Guitarist Dan Simone and bassist Chris Martin have a good instinct for singing in harmony, building up a song climatically, and giving it legs so it can express itself in fitting form. The vocals on "Doomstar" are mainly clean, on the order of a Bask, Snail, Chrome Ghost, or Noctum, but the band reveals in the song's second half that it can get as grissly as any Aaron Turner project.

"Saga" belts out a solid punk-tempo -- an interesting and entirely fitting choice for a song about Viking rampage. The runaway development of the middle section felt characteristically Pikelike and I half-way expected him to make a quick guesty on the record. Just then, we hear the hearty hoo-hah! of a crowd and run to rejoin them for the song's remaining verse, which soon fades away into the shadowy labyrinth of memory.

Firey drummering distinguishes the advent of the "Orb." Is this odd visitor here to observe us? Or maybe it is intent on giving us a window into a world besides our own? We scarcely have time to ponder the question before the song whisks us away on its transcendental carpet ride. If you're looking to classify Black Spirit Crown's style (and let's face it, all of us have an inner music critic that does) it would be probably best to think of it as "space doom" or even "cosmic grunge." Certainly, there's some kind of a dreamy psychedelic element at play, bending and stretching each song as it will, sometimes for great lengths of time. Perhaps that element is the orb itself?

We're lucky to have very memorable songs on both of Black Spirit Crown's records. For the first, the clear standout was "Megalith," which in a perfect world would have at least given Black Spirit Crown a summer radio hit. On this record, there is ripe opportunity for another crossover with "Teutates."

Teutates by Black Spirit Crown

Teutates was a Celtic god of the ancient peoples of Gaul and Britain, the protector of their entire community. Black Spirit Crown personify his legend in song: "I hold the world in iron hands, I travel pathways not meant for man." Pretty badass, huh? "Write my name across the sky, in lines of fire 10 miles high." He's nothing if not bold, that Teutates.

After the brisk pace of the last rousing number, we burrow back into the cold comfort of the dark soil to reconnect with those doom roots. Here Black Spirit Crown venture into the smokey den of Monolord, Slomatics, and Windhand. Dan's phantom vocals are undoubtedly suited for both the mood and style of "Gravity," which I'm currently listening to just after dusk and it's absolutely ruling the night. I suppose it could rule regardless of when and where it yields its trance-inducing power. By the end of the record we've become one with the comet, and embraced its final destination, as well.

And now, Doomed & Stoned is pleased to premiere the album, 'Gravity' (2020) in its fullness. Look for my interview with Black Spirit Crown and more insight into the album to follow!

Give ear...

Doomed & Stoned · Black Spirit Crown - Gravity (2020)

A Listener's Guide to 'Gravity' By Black Spirit Crown

Just days before its release, I caught up the core members of Black Spirit Crown, Dan Simone (guitar, vocals) and Chris Martin (bass, vocals) to get the backstory on the album and insight into the spunky songs written for it.

★

I understand that it's been quite a journey leading Black Spirit Crown to this new record? Bring us up to speed.

Dan: So, Gravity is an album that's been about two-and-a-half years in the making. Our initial plan was to start recording in late-2017 with our original drummer, Jesse, but unfortunately he left the band that October, right around when we were going to start. At that point we had three of the songs ("Saga," "Orb," and "Gravity") mostly written and ready to record, and were going to write a couple more songs to go with them as we went. When Jesse left it took a little bit to sort out and secure our next drummer, Alex, and then get him up to speed with our existing material. We brought Alex in mid-January of 2018 with a scheduled show opening for Conan at the very beginning of March, so those first several weeks were a relentless drilling down on our existing material so we'd be ready for Conan. After that, people knew we were back and ready to play so that's what we did, for the next several months we just reveled in it, culminating playing to a totally packed house at the first Ohio Doomed and Stoned Fest. Which ruled. After that, Alex was totally immersed in the existing material and we could turn to writing a bit.

We'd love to get a tour of this place. Care to take us through each of these five rooms?

So let's talk about the songs on the album. I write about space, weird fiction themes and probably unsurprisingly, doom, defined as "death, destruction, or some other terrible fate". I've always been a huge fan of fantasy and science-fiction so that's where most of my subject matter comes from. Giant sentient megalithic rock from space that, in it's agony of being trapped in immobile awareness, broods and looms over all creation slowly gathering power to wield entropy versus order until it grinds all of life to a frozen, dusty halt. Stuff like that, but that was the first album. This second album has five tracks.

Doomstar

Inspired by the star Algol. A star of ill-repute for many civilizations it is named Head of the Ogre in Arabic, Satan's Head in Hebrew, Spectre's Head in Latin, and Demon Star in English. The Chinese name it the Mausoleum, or House of Bones. It is the Gorgon's severed head held by the constellation Perseus. It is a harbinger of mayhem and bloody violence, so why not write a song about someone born under this star? Interestingly, the main riffs for this song came to Chris in a dream, and he showed up to practice the next day with the music pretty much complete. I wish I remembered the actual date, because it would perhaps be interesting to know where that star was in our sky while he was dreaming.

Saga

Vikings. I've pretty much always had a thing for them. I wrote most of this song about 16 years ago, but the band I was in then couldn't play it, and it never really fit anything else I was doing until now. It was still kind of a departure for us at first, as it is significantly faster paced than our earlier material, but it sits really well in our live sets, giving the audience a little punch in the face in the middle of it all. Lyrically it touches on a lot of the stories and themes Norse Mythology, without really diving substantially into any specific one. Those stories were called Sagas. Initially the middle part was supposed to have lyrics, and I was going to delve into some specificity, but I couldn’t decide exactly where to go with it, the stories never really worked within the riffs and structure of the song, and then I realized that whenever I was playing those parts I’d envision grizzled vikings in their dragon boats coursing through raging and icy seas. Pretty much a travel montage out of a movie, and that worked for me so I left it alone.

Orb

This song was originally supposed to be on the first album, but we couldn't really get the second half settled in time so we skipped it. It's about a moon-sized orb of living metal that comes to Earth to help humanity transcend to a higher form of existence. Within the Black Spirit Crown mythology, the Orb is diametrically opposed to the Megalith as agents of Life/Order and Death/Chaos respectively. It fell out of our live sets for quite a while, too, when we initially brought Alex in because we were focused on working on settled songs. I was pretty stoked when we brought it back because I really enjoy the weird psychedelic second half. I love working the wah pedal and delay, and Chris just goes bananas through the whole thing. I'd really like someone someday to get some excellent video of us performing it because I dig playing it so much, but I never feel like I get the whole experience because I get sucked in to playing my part.

Teutates

This is the most recently written song on the album, and the single from it. The comet Toutatis is a large asteroid with a chaotic orbit that passed within 18 lunar distances of Earth in 2012. It is large enough to potentially end life on the planet if it were to impact. It gets its name from the god Teutates from Celtic mythology who was, perhaps ironically, a protector god whose name roughly translates to "Be of the Tribe". We really dug the idea of that duality, this thing that was simultaneously a being responsible for the life and well-being of its worshippers, yet could in a thoughtless moment totally obliterate them. Why shouldn't it, really? The huge vocal harmony near the end always gives me chills. "Be of the Tribe, Give up thy life.."

Gravity

The title track of the album. Look, I tend to write long songs, our shortest song is 5 minutes, and our average - not counting this one - is 8 minutes, but we just write until the journey, the story, finds its end. We don't try to write intentionally long songs. Except for this one. With this song we set out to write a song that could fill a live set on its own, 20 -30 minutes.

Musically, it's a meditation. Waves of droning fuzz that crash and recede. Thematically, it's about a group of star-farers who are woken from hyper-sleep to find themselves abandoned on a barren, high-gravity planet by their A.I. which achieved sentience at some point in the journey and decided it had no need for humans. It's the funerary rite for them as they are crushed and frozen by the weight of the alien atmosphere. The last 7 minutes is their death throes, and it was also a total hoot to record.

In the rhythm guitar parts I hold the same chord for the entire 7 minutes, but we tracked three layers of guitar there so I had to hold that chord for 21 minutes. By the end my fret hand was shaking so violently that I had to hit the chord with my pick hand and then grab my fret hand and hold it in place so I didn't shake off of the neck of the guitar. Chris, of course, was laughing hysterically at my agony.

On top of that is total celestial chaos. Two separate theremin tracks, two separate guitar solos by me (one in the foreground one in the background), clips from NASA of electromagnetic storms in Saturn's atmosphere and other weird radio-telegraphic stuff, some keyboard synthesizer by Chris, and a guest appearance by our good friend Joe Fortunato who is a master of atmospheric guitar-synth alchemy (who also appears on the track Orb). Chris then took what could have been just a total mess of noise, and panned and faded and otherwise produced the hell out of it into a marvelous cacophony, and honestly it's exactly what we'd always imagined it could be.

Chris, take us behind the scenes of this whole thing. What were some of the hurdles you had to overcome to get this puppy on record?

Chris: With respect to the drum parts, we had tried to start the record some time ago with our original drummer, Jesse, but we ended up parting ways right around the time we were set to start. After bringing Alex in and getting him up to speed, we had written a couple more songs and were about ready to start going, but things kind of fizzled out with him and he was gone. Rather than waiting to onboard another drummer, get them up to speed, and delay recording even longer, I decided to program the drum parts.

I compiled all the practice recordings we had and scoured Youtube for live videos of shows with both our past drummers, Then, I basically compared the best parts of their respective versions of each song, transcribed them, and programmed those comps as the drum parts. It was pretty time consuming to get all the little nuances right as opposed to, say, starting from scratch and making fresh parts, but I really wanted these to sound like the parts our drummers had done live, because they helped to make the songs what they are.

Bass tracking was done over a couple days. It was pretty straightforward; my P bass into my pedalboard into my old SVT. Can't really go wrong there. The only exception was the second half of "Orb," where I used the bass rig I learned to play on when I was 12; my dad's old '65 Traynor YBA-1, which I inherited when he died. I had planned on using the bass I learned on too - his old '73 Gibson EB-0 -- but there were some electronics issues when I went to start and I couldn't get the tone I wanted out of it. I didn't want to wait for parts to arrive to repair it, so I went back to the P bass, straight into the YBA-1. Still got that really fat, old school sound I was going for, so it was a win.

Guitars were pretty simple as well; Dan's Les Paul into his pedalboard and the 72 Traynor YSR-1. Live, he runs a Traynor YBA-1 reissue as a second amp to fill out the sound, but the YSR sounded pretty gnarly on its own so we stuck with it. I did also end up blending in a little bit of the little Laney combo I have to get a little more bite and cut. It's a great little amp that's been on everything I've done.

Guitars turned out really nice, didn't they?

We had Joe Fortunato (Sparrowmilk, Venomin James) come in and add some synth guitar type stuff on a couple songs as well. The intro and outro of Gravity, as well as some of the crazy laser sounds in the outro, is basically him hitting one note on his custom Dunable/EGC hybrid baritone, then manipulating some of his pedals to create some of the most bizarre things we'd ever heard. I just hit record and told him to make noise. We got about 20-30 solid minutes of random sounds. It was pretty crazy. I went through and picked a solid section that fit the whole mood of the song and dropped it in where I wanted it. Outside of that, there's a bunch of theremin and other random stuff Dan put together.

Vocals were fairly easy. Dan tracked all of his quickly, I tracked all my clean ones later that day. When I went to do my screaming, in Doomstar, Saga and Teutates, I got about half done and my chest and throat started hurting, so I took a couple days to rest them before finishing up, thinking it was from being out of practice. Long story short, I ended up with some gnarly respiratory issues that really impacted my breathing and my voice, and it took me about 4 months to get my stamina back up to be able to do vocals again. It gave me some time to mix, but killed me that I couldn't just finish tracking and wrap it up.

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rainydawgradioblog · 5 years

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Rainy Dawg Radio’s Best of the 2010s!

ALBUMS

Palberta - Bye Bye Berta

Palberta is a band that somehow manages to scratch almost every musical itch I have. Nowhere else have I heard a band successfully hold three part harmonies over squeaky atonal guitar riffs and abstract drum thrashing. Although I wouldn’t categorize them as twee, noise rock, post-punk, indie pop, no-wave, or any other genre name for that matter, they distill everything I love from all these types of music and mush it into something beautifully stinky. In my eyes, their 2017 album Bye Bye Berta stands as the definitive statement of what Palberta’s all about. With 20 tracks clocking in at under half an hour, the album wastes no time on filler. Skronky punk riffs burst apart at the seams and a sweet little lo-fi love song comes out of the wreckage, only to be replaced by an abstract tape sample collage. The band also has an incomparable mastery over lyricism, as evidenced by such classics as Finish My Bread (Finish my finish my finish my bread, finish my finish my finish my bread, etc…) and Trick Ya (HEY! Don’t trick me, I’m gonna trick you! HEY! Don’t trick me, I’m gonna trick you!). Highlights include the endearingly ramshackle and stupid pretty “Honey, Baby” and their cover of “Stayin’ Alive” (Jenny’s eating burgers and everybody’s shakin’ and stayin’ alive!)

- Elliott Hansen

Alex G - DSU

Shit if you know me you know I live for that sad bastard indie music. That’s exactly what DSU does best. Probably my most played record of the 2010s, this album’s lo-fi indie rock overfloweth. The opener, After Ur Gone, is on the noisier side of the album’s spectrum along with the squealing guitar of Axesteel and Icehead (peep the scream vocals in his live performances), while songs like the instrumental Skipper exemplify why Frank Ocean tapped Alex for the Self Control riff on Blonde. The emotional core of the record, Sorry, gets right back to the Elliott Smith comparisons that we know and love: lyrics of trauma, drugs and apologies included. My favorite song is Harvey; it smacks me right in the younger brother emo spot, with “run my hands through his short black hair I say / ‘I love you Harvey I don’t care’”. While not as chaotic as House of Sugar, twangy as Rocket, or psychedelic as Beach Music, this record is Alex G comfort music at its finest.

- Max Bryla

Flying Lotus - Cosmogramma

Picture this: J Dilla, Madlib, and Aphex Twin all come together to create an album with little more than some old Coltrane records and an original Xbox at their disposal. The end result is like a trip through the universe. Yet the album comes from the mind of a single individual, who sits in the cockpit with a mischievous grin on his face: Steven Ellison, known professionally as Flying Lotus. The opening track, ‘Clock Catcher’, feels like Ellison slamming his foot onto the ignition so hard that it snaps out of place, shooting into the heavens at the speed of light before the listener can even strap in. Whirling through the stars, the rest of the album is the journey home from the expanse, often melancholic, often wondrous, always changing. From the punchy, off-kilter rhythms of tracks like ‘Nose Art’ and ‘Computer Face//Pure Being’ to the fat synth melodies of ‘Dance of the Pseudo Nymph’, ‘Recoiled’, and ‘Do The Astral Plane’, Flylo is always striking the listener from a different sonic vantage point. You can tell he’s having the time of his life with each of these songs, wanting to share every bit of it with our eardrums. After countless listens, I’m still finding new things about this album to appreciate. A complete masterpiece of cosmic epiphany fuel.

- Trey Marez

Ott. - Fairchildren

People throw so much music at me. And I remember this album was recommended to me back in high school, and I listened to it for the first time in zero-th period -- I think it was someone who went by the name “phryk” on IRC. And dang, it’s still such a good album! In what sense? It’s so well-mixed; that’s the first part. Secondly, it is just a wonderful listening experience from start to finish. If you need a good album of reggae, dub, electronic, here it is. One thing you shouldn’t do with this album: use it to test out speakers at Goodwill. The bass of this album was so good that I bought home a pair of speakers that turned out to be so bad.

- Koi Nil

Car Seat Headrest - Twin Fantasy

Bandcamp has been known for hosting some of our wildest dreams this decade, and when 2011 lobbed William Toledo’s first rendition of Twin Fantasy down my ears my life changed. Emotions are crushed to death in the back of parking lots, the lo-est of fi’s, and lyrics that trigger far and melancholy memories of the early 2010 zeitgeist swarmed with insecurity and Skype calls. The album is Toledo’s first cohesive piece, finally creating work with developed central themes, dedicating the first concept album of his life to falling in and consequently out of love. The album speaks as a mirror to itself, reflecting Will’s own joy and confusion towards falling conservatively and completely in love, until the sobering downward spiral back into isolation. I was only eleven when I let the album own me completely, and am only nineteen as I hold onto it for dear life. Twin Fantasy was never a perfect album, and Toledo recognized this as he re-released Twin Fantasy (Face to Face) in 2018, reinventing the album’s sound with a much higher fidelity, lyrical updates, and redone instrumentals that turn the original into an overture or prologue to be enjoyed separately for more context. Searing solos, cute doo-wop moments, sentimental lyrics, slap-happy drums, fish wearing business suits, dogs, coming out over Skype, smoking, not smoking, nice shoulders, waitresses, the Bible, the ghost of Mary Shelley’s frankenstein, cursive, they might be giant’s rip offs, not knowing SHIT about girls, stealing alcohol from our grandparents and grandparents, bruised shins, cults, fish, getting the spins, and being really really really sensitive to the sunlight. I’d fight for this album, listening to “Cute Thing” as I get RKO’d. Take the time to enjoy the ride, I wouldn’t miss it for the world. (It technically used to be a gay furry album, but now it’s techincally a straight trans furry album.)

- Cooper Houston

Sabaton - The Last Stand

Sabaton is every history teachers dream band. These Swedish power metallers educate the listener about the history of war by discussing various battles, conflicts, and figures. They do this through anthemic choruses, riffs that make your fist pump, and oddly enough synths that work surprisingly well. Since history interests me and I really like metal, Sabaton was pretty much made for me. This album will always have a soft spot in my heart and evoke fond memories as it was one of the first CDs I picked up after getting my license back in 2016. As I gained more independence and freedom as I approached adulthood, this was my soundtrack. This album lived in my CD player during this time as I listened to it over and over again, never once losing its replayability. Ranging from the American battalion that got lost in the Argonne Forest during WWI to Allied and Axis forces joining together to fight at the end of WWII, this album tells of various historical last stands. While this is certainly isn’t the best metal release of the decade, it’s still an extremely solid album. In this case, the sentimentality plays a larger role than anything. While it may not be found on any “Best Album of the Decade” lists, Sabaton’s The Last Stand will always hold a place in my heart and in my car’s CD player.

- Jack Irwin

CONCERTS

07/20/19: What the Heck? Fest @ Croatian Club, Anacortes, WA

Choosing a single favorite concert from the entire past decade seemed insurmountable until I decided to define it by the overall experience rather than exclusively the music. This past summer, I was lucky enough to be one out of barely over a hundred people at the first What the Heck? Fest in 8 years. The festival took place annually from 2001 to 2011, featuring PNW indie legends, K records icons, and all manner of dorky indie folk kids. WTH laid dormant until this past spring, when Phil Elverum (Mount Eerie) announced its return along with the revival of his long-dead initial moniker, the Microphones. I made the trip up from Seattle alone by train and bus, spent a little while wandering Anacortes (the Business was closed :( ) and made my way to the repurposed church which houses the Unknown and the Croatian Club. I ended up seated a few feet from Calvin Johnson in one direction and Kimya Dawson in another. I felt a little out of place at times, like a stranger in the middle of a 90s indie family reunion, but the atmosphere remained consistently welcoming. D+ opened the show, fronted by Bret Lunsford (formerly of Beat Happening), the founder and main organizer of WTH, and backed by Phil Elverum and Karl Blau, who played their own sets later in the night. K Records mainstays Lois and Mecca Normal were on next, delivering stripped down, socially-driven whisper punk/indie pop. Karl Blau led an outdoor sing-along and covered a Pounding Serfs song, who played the next set (their first in [a lot of?] years) for a total of two renditions of “Slightly Salted,” a song I could have listened to in every set that night. Phil hopped back onstage again alongside Lee Baggett to back Kyle Field from Little Wings, an indie-folk favorite of mine, with rambly half-nonsensical lyrics and plenty of soft strummed warm twangly guitars. Black Belt Eagle Scout delivered (comparatively) heavier sounds, coupling slow, soft sung melodies with fuzzed out shoegaze tones, building tension until the Microphones (Phil backed by Kyle, Karl, Lee and keyboardist Nicholas Krgovich) came out for the final set of the night. They opened with what I interpret as a 25-minute rendition of the then-unreleased Belief, which was later shortened to 7 and a half minutes as the opener to the new Mount Eerie record, Lost Wisdom pt. 2. Phil then played a handful of old Microphones tracks alone, including a version of The Glow pt. 2’s title track with reworked lyrics, as well as its closer, My Warm Blood, excerpts from the final Microphones album (confusingly titled Mount Eerie), and what I believe to be another unreleased song. I left with the most limited merch I’ve ever managed to snag: one of two Ziploc bags of lettuce with “the Microphones” and a small K records logo sharpied on the front. I felt bad eating my merch, but it sustained me through the cold Anacortes night as I wandered to and from poorly lit parks, killing time until my 4AM bus back to Seattle.

- Elliott Hansen

03/09/19: Clap Your Hands Say Yeah (Solo) @ Vermillion Gallery, Seattle WA

Was really not sure what to expect from this one going in, but CYHSY’s s/t from 2005 has always been one of my favorite records. I hadn’t ever been to Vermillion in Capitol Hill, but it was hosting CYHSY on a “living room tour”, where Alec Ournsworth (vox, guitar, harmonica[!]) hit tiny spaces around the country. Vermillion sat 40 at most, and I got to check out some cool local art in the space as well. Alec’s trademark voice that (according to p4k) sounds “as if someone were pressing his vocal cords to a fret board and bending them” which is pretty damn accurate. Amongst CYHSY’s greatest hits (In This Home On Ice and Cool Goddess in particular), he also covered Pixies and Tom Waits through lively and exciting banter. Great dude, great music, great venue. My favorite of the 2010’s for sure.

- Max Bryla

11/14/18: Milo @ Vera Project, Seattle, WA

Milo, and the ruby yacht house band are poetic alchemists that constantly dish out hefty servings of succulent syllables with each new release. Kenny Segal who does the beats for a few of Milo’s songs (and other hip hop artists) opened by transporting the crowd into the ethereal realm with a few classics from his album: happy little trees. Once Kenny Segal finished, Milo accompanied by the ruby yacht house band jumped on stage. I was close enough that I could make out Milo’s squirtle tattoo on his bicep and waited for his vivid and veracious vocabulary to leave me in a state of decapitation. Crispy, potato chip like static (a Milo-live signature) was consumed ferociously by the crowd as he hit us with one banger after another. About halfway through the set Milo dropped the mic and went off stage into the back room. The ruby yacht house band was left Milo-less; their beat lingering in the air, festering with each hit of the snare. Milo returned a while later, wielding a pair of tap dancing shoes in one hand and a ukulele in the other. He put on the tap dancing shoes on stage, everyone in the audience screaming with his return. Donned with the tap dancing shoes and positioning his ukulele on his chest; he began to dance. Holy shit he was good too. Strumming the uke and tap dancing away I was utterly mesmerized. My eyes glued to his performance. Suddenly, as if stricken by some divine intervention, Milo seized the ukulele by the neck and smashed it against the ground, splintering into a thousand pieces. After his destructive fit, he picked the microphone back up and whispered into it emotionlessly: “Think about that”. I did. The whole experience was transcendental and instantly triumphed as my greatest concert of the decade. You KNOW I snagged a sliver of uke on my way out.

- Rocky Schaefer

08/07/17: Metallica @ CenturyLink Field, Seattle, WA

While Metallica has had its ups and downs throughout their career, they do one thing well, and that is putting on a damn good live show. Metallica built the best line-up I have ever seen, given the popularity of the bands they chose. With them they took Avenged Sevenfold, who I greatly dislike but are still a huge band, and Gojira, one of the best modern death metal bands on the scene. The sheer size of this concert was absolutely and extremely inspiring as Metallica was able to fill up CenturyLink Field, a venue usually reserved for pop artists who draw in thousands of attendees. The amount of people that attended signaled to me that metal is far from dead. While this tour was in support of their newest album Hardwired to Self Destruct, Metallica made sure to incorporate classics into their setlist including “Seek and Destroy,” “For Whom the Bell Tolls,” and “Battery.” James, Robert, Kirk, and Lars delivered a killer concert will tight playing and outstanding individual performances. Being able to see my music hero, James Hetfield, play live was truly a special experience. The one thing that stood out during the performance were the visuals. Each song had a unique and individual video effect on the large screens behind the band which made each song special and memorable it its own way. While I wasn’t close to the stage by any means, the crowd interaction created a unique experience that made me feel much closer than I really was. This concert wasn’t just a concert, but also a life-changing experience. Seeing the band that truly got me into metal, the thing that I rest my individuality on, is something that defined the decade for me and will live with me forever.

- Jack Irwin

SONGS

“You Are Here” - Yo La Tengo

This one I don't think I can fully explain. By miles, this is my most played song of all time. It is the opener of Yo La Tengo’s 15th album, There’s A Riot Going On. The album, and song, starts with the meditative synth line that builds into a pulsing rhythm over the course of the first minute. The rhythm maintains through the rest of the song, as casual guitar strumming is added and another synth that doesn’t sound all that dissimilar to Jonny Greenwood’s Ondes Martenot. My favorite part of the song, though, are the drum fills of the latter half: they crash and roll like the ocean. With or without the title of the song, the audio conveys a degree of presentness and contentedness that I haven’t been able to find elsewhere quite yet. I’d recommend it.

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dweemeister · 5 years

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2019 Movie Odyssey

Welcome to the new decade, to the new year 2020.

This is usually posted on New Year’s Eve, but I was watching the final movie of the 2019 Movie Odyssey last night. For those of you who do not know, the “Movie Odyssey” refers to all films that I have seen for the first time in their entirety - no rewatches. We’re going to go in a different order this week, so some for-fun awards will be posted later this week and the 2019 Movie Odyssey Awards will be on Sunday, January 5. As I go through things like The Irishman, Little Women, 1917, and Parasite, I will be posting some very tardy “Best of 2010s”-related posts. Hey, I may be from the Greater Los Angeles Area, but those Hollywood theaters that show all those prestige movies are far from where I live. I don’t always get to see those movies in a timely fashion. I digress...

The number of short films I saw this year increased dramatically (from 2018′s number of 107 to 2019′s 166) because I was on the 2019 Viet Film Fest’s curatorial committee, in addition to the fact that Turner Classic Movies (TCM) is continuing to show a Metro-Goldwyn-Mayer (MGM) short and a Popeye short every Saturday morning except in Februaries, Augusts, and select holiday weekends. Developments in my professional life - and probably exacerbated by the fact I was on the Viet Film Fest’s curatorial committee and had to see many shorts and the presence of vacation and the 2019 FIFA Women’s World Cup - saw a nosedive in the number of feature-length films and serials watched (108 feature-length films and serials this year compared to 156 last year). The total number of films actually increased, probably because of that uptick in shorts.

In addition to having the privilege of having seen many films made by and/or starring Vietnamese and Vietnamese from around the world and learning more about my heritage, I saw many more documentaries - in short and feature-length form - this year compared to others. But yet again this year (and we’re going to chalk this up to the clashes of professional developments at Viet Film Fest), there is a distinct lack of African and Latin American films for the 2019 Movie Odyssey. Knowing a handful of titles I have in the DVR, the former should be represented this year, but I have to make a better effort on searching for and finding films from Latin America.

Like every year, I thank all of you for being supporters of myself and for this old blog. I didn’t write too many Movie Odyssey reviews last year; if ever a Movie Odyssey review engages one person, that is a wonderful thing. So whether you have read, liked, reblogged, commented on, or shared a review, my thanks. And for those who have talked to me about movies we have both seen, are anticipating, or asking questions about something that appears on this blog, my thanks to you too. This blog, slower though it may be these days, would not be possible without you.

The 2019 Movie Odyssey has closed. With that, the 2020 Movie Odyssey has begun. The movies that comprised 2019′s are listed below. We began with an iconic American gangster film and ended with something different from the Czechoslovak New Wave.

As many of you know, all ratings are based on my imdb rating and half-points are always rounded down. My interpretation of that ratings system can be found here. A 6/10 is considered the borderline between “passing” and “failing”. Feature-length narrative films, serials, documentaries, and short films are rated within their respective spectrums. Without further ado:

JANUARY

Little Caesar (1931) – 9/10

Ventriloquist Cat (1950 short) – 6/10

Let’s Get Movin’ (1936 short) – 6/10

Mary Poppins Returns (2018) – 7/10

Modest Heroes (2018, Japan) – 6.5/10

Tit for Tat (1935 short) – 8/10

The Ascent (1977, Soviet Union) – 10/10

The Lost Chick (1935 short) – 7/10

Little Swee’pea (1936 short) – 6/10

Smokey and the Bandit (1977) – 7.5/10

Spider-Man: Homecoming (2017) – 6/10

The World’s Greatest Athlete (1973) – 4/10

The Last Flight of Noah’s Ark (1980) – 4/10

Barney Bear’s ‘Polar Pest’ (1944 short) – 5.5/10

Hold the Wire (1936 short) – 7/10

Green Book (2018) – 6/10

Hell to Eternity (1960) – 6/10

The Curse of Quon Gwon: When the Far East Mingles with the West (1916 short) – scored withheld; film is partially lost

How to Play Football (1944 short) – 7/10

Gus (1976) – 4/10

BlacKkKlansman (2018) – 9/10

The Great McGinty (1940) – 8/10

FEBRUARY (2019’s 31 Days of Oscar)

Vice (2018) – 3/10

The Informer (1935) – 9.5/10

O Brother, Where Art Thou? (2000) – 7.5/10

Late Afternoon (2017 short) – 8/10

Animal Behaviour (2018 short) – 7/10

Weekends (2017 short) – 8.5/10

One Small Step (2018 short) – 7.5/10

Wishing Box (2017 short) – 6/10

Tweet Tweet (2018 short, Russia) – 6/10

Lost & Found (2018 short) – 7/10

Street Angel (1928) – 7.5/10

Thousands Cheer (1943) – 6/10

Fantastic Voyage (1966) – 6/10

Hale County This Morning, This Evening (2018) – 8/10

Madre (2017 short, Spain) – 7.5/10

Fauve (2018 short, Canada) – 7/10

Marguerite (2017 short, Canada) – 8.5/10

Detainment (2018 short) – 5/10

Skin (2018 short) – 7/10

Henry V (1944) – 8.5/10

Minding the Gap (2018) – 8/10

Black Sheep (2018 short) – 7/10

End Game (2018 short) – 7.5/10

A Night at the Garden (2018 short) – 7/10

Lifeboat (2018 short) – 7/10

Period. End of Sentence. (2018 short) – 8/10

MARCH

What Price Hollywood? (1932) – 7/10

Anastasia (1956) – 7.5/10 (31 Days of Oscar ends)

King of Jazz (1930) – 7/10

How to Train Your Dragon: The Hidden World (2019) – 7.5/10

Captain Marvel (2019) – 6/10

The Chinese Nightingale (1935 short) – 6/10

The Spinach Roadster (1936 short) – 6.5/10

Ginger and Fred (1986, Italy) – 6/10

Wee Willie Wildcat (1953 short) – 6/10

I’m in the Army Now (1936 short) – 5/10

Officer Pooch (1941 short) – 6/10

The Paneless Window Washer (1937 short) – 7/10

Us (2019) – 8.5/10

APRIL

Rock-a-Bye Bear (1952 short) – 8.5/10

Organ Grinder’s Swing (1937 short) – 7/10

The Great White Hope (1970) – 6/10

The African Lion (1955) – 8/10

Yellowstone Cubs (1963) – 7/10

Shazam! (2019) – 7/10

The Flying Bear (1941 short) – 6/10

My Artistical Temperature (1937 short) – 7/10

Ocean’s Eight (2018) – 7/10

The Hick Chick (1946 short) – 6/10

Hospitaliky (1937 short) – 8/10

One Foot in Heaven (1941) – 8/10

MAY

Sons of the Desert (1933) – 10/10

Lonesome Lenny (1946 short) – 7.5/10

The Twisker Pitcher (1937 short) – 7/10

The Country Cousin (1936 short) – 7/10

Barnyard Babies (1935 short) – 6/10

Morning, Noon and Night Club (1937 short) – 6/10

Avengers: Endgame (2019) – 7/10

The Calico Dragon (1935 short) – 7.5/10

Lost and Foundry (1937 short) – 7/10

Detective Pikachu (2019) – 6/10

The Wild Country (1970) – 6/10

I Never Changes My Altitude (1937 short) – 7/10

Murder, She Said (1961) – 7.5/10

Farewell to Dream (1956, Japan) – 7/10

The Human Comedy (1943) – 7/10

A Better Life (2011) – 8/10

Booksmart (2019) – 7.5/10

The Goose Goes South (1941 short) – 6.5/10

I Likes Babies and Infinks (1937 short) – 6/10

The Hound and the Rabbit (1937 short) – 6/10

The Football Toucher Downer (1937 short) – 7/10

Godzilla: King of the Monsters (2019) – 6/10

JUNE

A Rainy Day with the Bear Family (1940 short) – 6/10

Protek the Weakerist (1937 short) – 7/10

Rocketman (2019) – 7/10

The Rookie Bear (1941 short) – 6/10

Fowl Play (1937 short) – 6/10

Let’s Celebrake (1938 short) – 7/10

Hoài (Ongoing, Memory) (2018 short) – 7.5/10*

Pelvicachromis (2018 short, Germany) – 6.5/10*

Screen Time (2019 short) – 5/10*

The Bridge Between Vietnam Traditional Music and the World (2018 short, Vietnam) – 6/10*

Journey of Wanderers (2019 short, Vietnam) – 7/10*

Toy Story 4 (2019) – 8/10

The Homeless Flea (1940 short) – 6/10

Learn Polikeness (1938 short) – 6/10

Abandoned Ones (2017, United Kingdom) – 8/10*

Jasmine Lane (2019 short, France) – 7/10*

Cosmic Beauty (2019 short) – experimental film; score withheld*

Blue Noise (2018 short) – experimental film; score withheld*

The Undeniable Force of Khó Khăn (2018 short) – experimental film; score withheld*

Push (2018 short) – 7/10*

Sorge 87 (2017 short, Germany) – experimental film; score withheld*

Embarko (2019 short) – 5/10*

Tiger Child (2019 short) – 5.5/10*

The Wedding Dress (Áo Dài) (2019 short) – 5/10*

Thanksgiving (2018 short) – 7.5/10*

Little Father (Petit Père) (2017 short, France) – 6/10*

While I Breathe, I Hope (2018) – 7/10*

The House Builder-Upper (1938 short) – 7/10

Edge of Tomorrow (2014) – 7.5/10

Creed II (2018) – 7/10

JULY

The Garden of Mr. Vong (2017 short, Germany) – 7.5/10*

Made in Vietnam (2017) – 7/10*

The Mechanical Butcher (1895 short, France) – 6/10

Lively Pillow Fight by Children (1898 short, France) – 7/10

Win My Baby Back (2019, Vietnam) – 5/10*

In Full Bloom (2019 short) – experimental film; score withheld*

Flagged (2017 short) – 6.5/10*

An American Family (2018 short) – 6/10*

Two Paper Nightingales (2019 short) – 6/10*

The Kite Under the Rain (2018 short, Thailand) – 6/10*

Table Stakes (2019 short) – 6/10*

Alexa and May (2018 short) – experimental film; score withheld*

Tôi là thằng khốn (Miserasshole) (2018 short, Vietnam) – 4/10*

Influencer (2018 short) – 5/10*

Pure, Like Flower (2019 short) – 2/10*

Searching for the None (2018 short) – 7/10*

Hiệu (2018 short) – 8/10*

The Man with the Wooden Face (2017 short, Vietnam) – 4/10*

Finding the Virgo (2018) – 6.5/10*

Thạch Thảo (2018, Vietnam) – 6/10*

Tundra (2018 short, Canada) – 7/10*

The Colors You Can’t See (2019 short) – 6/10*

Touching the Moon: The Ngo Thanh Van Story (2019 short, Vietnam) – 5/10*

Cold Fish (Cá Đông) (2018 short, Vietnam)* - experimental film; score withheld

Gold (2018 short) – 5.5/10*

The Immortal (2018, Vietnam) – 6/10*

Le Van Khoa: A Lifetime of Arts (2018) – 6/10*

No More Than This (2019 short) – experimental film; score withheld*

Little Sunny (2018 short, Vietnam) – 7/10*

Song Lang (2018, Vietnam) – 8/10*

Roommate (2018 short, Vietnam) – experimental film; score withheld*

The Bloody Hand (Bàn Tay Máu) (2019) – 6/10*

Ephemeral (2018 short) – experimental film; score withheld*

New Year’s Dream (2019, Vietnam) – 5/10*

Sister 13 (2019, Vietnam) – 6/10*

The Moment (2018 short) – 5/10*

Ramadan (2018 short) – 7/10*

American Girl (2018 short) – 5/10*

Red Thread (2019 short, Canada) – 6/10*

Like an Old House (2017, Vietnam) – 6.5/10*

If Beale Street Could Talk (2018) – 8/10

Walk Run Cha-Cha (2019 short) – 8/10*

Picking Things Up (Nối Lại Tình Xưa) (2019 short, Canada) – 6/10*

Seadrift (2019) – 7/10*

Big Chief Ugh-Amugh-Ugh (1938 short) – 4/10

I Yam Love Sick (1938 short) – 6/10

It’s Always There (2019 short, Vietnam) – 7/10*

Scandal Sheet (1952) – 7/10

Poultry Pirates (1938 short) – 5/10

Plumbing Is a ‘Pipe’ (1938 short) – 6/10

Tom Turkey and His Harmonica Humdingers (1940 short) – 6/10

The Jeep (1938 short) – 8/10

AUGUST

Pavarotti (2019) – 7/10

Overlord (1975) – 8/10

The Perils of Pauline (1947) – 6/10

The Moon-Spinners (1964) – 7/10

Dr. Mabuse the Gambler (1922, Germany) – 7.5/10

The Littlest Horse Thieves (1976) – 7/10

Once Upon a Time in Hollywood (2019) – 8/10

Design for Living (1933) – 7/10

Barnali (1963, India) – 7.5/10

The Whales of August (1987) – 7.5/10

SEPTEMBER

The Farewell (2018) – 8.5/10

Fun and Fancy Free (1947) – 5/10

Donald’s Tire Trouble (1943 short) – 7/10

The Uninvited Pest (1943 short) – 6/10

Bulldozing the Bull (1938 short) – 6/10

The Love Bug (1968) – 6/10

The Old Pioneer (1934 short) – 5/10

Mutiny Ain’t Nice (1938 short) – 7/10

La Pointe Courte (1955, France) – 7.5/10

The Happiest Millionaire (1967) – 6/10

The Art of Skiing (1941 short) – 7/10

Ad Astra (2019) – 8.5/10

Goonland (1938 short) – 8/10

The Peanut Butter Falcon (2019) – 6/10

Toyland Broadcast (1934 short) – 5/10

A Date to Skate (1938 short) – 7/10

OCTOBER

Joker (2019) – 8/10

Two Little Pups (1936 short) – 7/10

Cops Is Always Right (1938 short) – 7/10

Growing Home (2019 short) – student film; score withheld*

Come Again (2019 short) – student film; score withheld*

Hard (2019 short) – student film; score withheld*

Love Your People (Thường dân) (2019 short) – student film; score withheld*

Returning (2019 short) – student film; score withheld*

The Tree Surgeon (1944 short) – 6/10

Customers Wanted (1939 short) – 6/10

House of Usher (1960) – 7.5/10

The Wayward Pups (1937 short) – 6/10

Leave Well Enough (1939 short) – 6/10

Horror Hotel (1960) – 7/10

The School for Postmen (1947 short) – 7/10

The Hockey Champ (1939 short) – 7/10

Kuroneko (1968) – 8.5/10

The Pups’ Picnic (1936 short) – 6/10

Wotta Nitemare (1939 short) – 7/10

The War of the Worlds (1953) – 8/10

NOVEMBER

Ghidorah, the Three-Headed Monster (1964, Japan) – 6.5/10

Woodstock (1970) – 10/10

Happy-Go-Nutty (1944 short) – 7/10

Ghosks Is the Bunk (1939 short) – 7/10

Victor/Victoria (1982) – 9/10

Pain & Glory (2019, Spain) – 7.5/10

Honeyland (1935 short) – 6/10

Hello How Am I (1939 short) – 7/10

The Lighthouse (2019) – 8/10

Jour de Fête (1949, France) – 7.5/10

Ford v Ferrari (2019) – 8/10

Jitterbug Follies (1939 short) – 6/10

It’s the Natural Thing to Do (1939 short) – 7/10

Frozen II (2019) – 6/10

Little Cheeser (1936 short) – 6/10

Never Sock a Baby (1939 short) – 6.5/10

A Beautiful Day in the Neighborhood (2019) – 8/10

The Red Badge of Courage (1951) – 7.5/10

The Westerner (1940) – 8.5/10

Sitting Pretty (1948) – 7/10

DECEMBER

An Autumn Afternoon (1962, Japan) – 9/10

Little Buck Cheeser (1937 short) – 6/10

Shakespearian Spinach (1940 short) – 6/10

Bobby Bumps and His Pointer Pup (1916 short) – 7.5/10

Bobby Bumps’ Fly Swatter (1916 short) – 6/10

Bobby Bumps Gets a Substitute (1916 short) – 5/10

Bobby Bumps Helps a Book Agent (1916 short) – 5.5/10

Bobby Bumps Adopts a Turtle (1917 short) – 6/10

Bobby Bumps at Fido’s Birthday Party (1917 short) – 6/10

Bobby Bumps Starts for School (1917 short) – 7/10

Bobby Bumps, Chef (1917 short) – 7/10

Bobby Bumps. Surf Rider (1917 short) – 6.5/10

Bobby Bumps at the Dentist (1918 short) – 6.5/10

Bobby Bumps Caught in the Jamb (1918 short) – 6/10

Bobby Bumps’ Last Smoke (1919 short) – 8/10

Bobby Bumps in Hunting and Fishing (1921 short) – 5/10

Bobby Bumps in Their Master’s Voice (1921 short) – 7.5/10

Mama’s New Hat (1939 short) – 7.5/10

Females Is Fickle (1940 short) – 5/10

Knives Out (2019) – 8/10

Niagara (1953) – 7/10

Pitfall (1962, Japan) – 7.5/10

The Screwy Truant (1945 short) – 7/10

Stealin’ Ain’t Honest (1940 short) – 6/10

Star Wars: The Rise of Skywalker (2019) – 5/10

The Holly and the Ivy (1952) – 8/10

The Racket (1928) – 7/10

Knute Rockne, All American (1940) – 7/10

Jewel Robbery (1932) – 7.5/10

The Vikings (1958) – 6/10

Something Different (1962, Czechoslovakia) – 7.5/10

#My Movie Odyssey

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sweetblahg · 5 years

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Elkhorn + Charles Rumback: Elastic 2019

Elkhorn’s first midwest run! Once again benefiting from Milwaukee Psych Fest runoff, the mighty ‘horn “finally” came through town on a “spring” sunday evening...ok those nonairquotes are dumb, Elkhorn is a relatively new band and it’s hard to tour outside of your geographic area + we had one of those classic springWinterStorms. Neither the snow nor some tv show everyone else likes to watch could keep these dudes from bringing straight heat to Elastic. Elkhorns Drew Gardner & Jesse Sheppard have been expanding their sound lately, adding other guitarists and percussionists as situations call for/allow, shepherding (terrible...sorry, Jesse) the duo from the confines of ‘guitar musics’ into a cosmic zone that feels limitless...all while maintaining the inherent Elkhorn-ness that continues to turn heads into believers. This is evident on their zen’d new doublealbum Elk Jam / Sun Cycle (where the pair are joined by Willie Lane on guitar and Ryan Jewell on percussion) and was inescapable on that snowy sunday when Chicago percussion ace Charles Rumback joined the duo for the first time ever. Most appropriate for this first-time meeting of the minds, only one of these jams has been released - Song of the Son on the aforementioned Sun Cycle. The opening Raga > Distances, while technically two songs, plays as one flowing multi-section suite that I hope gets studio treatment sooner than later. The closing number, Train, is one that they try to play whenever they encounter a capable drummer, and Rumback really shines on it. Dig. Elkhorn + Charles Rumback 4.14.2019 @ Elastic Arts Chicago, IL Raga > Distances Song of the Son Train Jesse Sheppard - 12string acoustic guitar Drew Gardner - electric guitar Charles Rumback - percussion stream download previously on tehBlahg: McCombs/MacKay/Rumback: Constellation 2017

#elkhorn #chicago #elastic arts #Charles Rumback

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white-manz-whore · 5 years

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concerts

july 5, 2015 : on the road again tour - one direction

august 20, 2016 : future now tour - nick jonas demi lovato

may 31, 2017 : digital drug tour - black bear

november 5, 2017 : dagny / lany

april 11, 2018 : iheartradio studio - bazzi

april 11, 2018 : never be the same tour - bazzi and camila

april 26, 2018 : beerbongs & bentleys tour : sob x rbe / 21 savage / post malone

may 1, 2018 : roxy tour - pretty much / khalid

july 6, 2018 : cosmic tour - bazzi

august 2, 2018 : flicker tour - maren morris / niall horan

august 12, 2018 : pray for the wicked tour - hayley kiyoko / p!atd

december 20, 2018 : tourpointfive - kayo genesis / buddy / aminé

february 5, 2019 : the broken hearts club tour - gnash

april 27, 2019 : abioor tour - no rome / the 1975

may 11, 2019: fygu fest - malachi / blackbear / lil yatchy

june 19, 2019 : lany / sasha sloan

july 2, 2019 : phases tour - chase atlantic (haaa sike bitch they hate portland and cancelled their show)

september 29, 2019: cigarettes after sex

september 19, 2021: papi juancho tour - maluma

november 5, 2021: creme de la creme tour - mavi, baby face ray, jack harlow [portland]

november 7, 2021: creme de la creme tour - mavi, baby face ray, jack harlow [eugene]

november 8, 2021: love on tour - harry styles

february 28, 2022: el ultimo tour del mundo - bad bunny

march 11, 2022: justice tour - jaden, justin bieber

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roadiecrewmag · 6 years

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Roadie Crew: ed. 238 destaca paixão de Dee Snider pelo metal A edição #238 (novembro, 2018) da revista ROADIE CREW traz na matéria de capa uma entrevista com o ex-Twisted Sister Dee Snider, que atualmente promove o álbum "For the Love of Metal". "Eu sou um headbanger e a música de hoje não deixa dúvidas com relação à minha convicção disso. Amo música pesada! É a coisa que, para mim, mais dá prazer em tocar", declarou o vocalista. Essa edição vai estar de volta em todas as bancas do país após alguns problemas com a distribuidora. Entrevistas: Ace Frehley Behemoth K.K. Downing (ex-Judas Priest) John Corabi Tokyo Blade Jinjer Kingdom Come Korpiklaani Light The Torch Riverside MX Baranga Warrel Dane (*) (*) Entrevista com os músicos brasileiros Thiago Oliveira, Johnny Moraes, Fabio Carito e Marcus Dotta, que gravaram o álbum "Shadow Work" com o saudoso vocalista americano Warrel Dane, falecido em 13 de dezembro de 2017, em São Paulo Seções: Cenário: Conception, Axecuter, Cosmic Rover, Dysnomia, CaSch, Angra Fest, Sacrificed e Karyttah ClassiCrew: Beatles, Scorpions e Slipknot Playlist: Amilcar Christófaro – 10 anos de Hellbound (Torture Squad) Collection: Paul Di'Anno Eternal Idols: Ed King (Lynyrd Skynyrd) Hidden Tracks: Baby Tuckoo Blind Ear: André Mellado (Woslom) Front Cover (Marcelo Vasco): Motörhead - Orgasmatron Background: Rush (Parte 1) Profile: Sérgio "Baloff" Borges (Headhunter D.C.) Pôsteres: Exosrcist e Hammerfall Colunas: A Look At Metal (Claudio Vicentin), Brotherhood (Luiz Cesar Pimentel), Stay Heavy (Vinicius Neves/Cintia Diniz), It's Only Rock'n'Roll (Antonio Carlos Monteiro) e Campo de Batalha (Ricardo Batalha) Para adquirir pelo site acesse https://roadiecrew.com.br/roadie-shop ou entre em contato pelo telefone (11) 5058-0447 Facebook - https://www.facebook.com/roadiecrewmag Instagram - http://instagram.com/roadiecrewmag Twitter - http://twitter.com/roadiecrewmag Tumblr - https://roadiecrewmag.tumblr.com/ Toplinkmusic Produçoes Artisticas BEHEMOTH! Ace Frehley John Corabi Jinjer Korpiklaani Light The Torch Riverside Baranga Rock Tokyo Blade Warrel Dane Brasil (em São Paulo, Brazil) https://www.instagram.com/p/Bqf0FFGnsul/?utm_source=ig_tumblr_share&igshid=iuxd4yekmdkq

#238

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britesparc · 4 years

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Weekend Top Ten #473

Top Ten Deleted or Restored Scenes

This week I watched Zack Snyder’s Justice League, which is obviously distinct from Joss Whedon’s Zack Snyder’s Justice League, which I saw in 2017. One of the ways it’s different is that it’s literally twice as long. Another is it’s been much more warmly received by fans and critics, rather than greeted with ferocious opprobrium like the earlier, allegedly studio-mandated version.

The road that led us to this moment, with this expensive re-edit of an earlier, unsuccessful film, is long and tumultuous, as well as tragic on a number of levels. Personally I was one of the few who actually had a good time with what I suppose we might as well call Whedon’s League; it weirdly felt cheap and inconsequential, but after two overwrought, self-important, and joyless exercises in grimness and misery, it was a breath of fresh air. It was like the feature-length pilot of a superhero TV series that, y’know, is starting off on slightly shaky ground, but there’s enough there to enjoy: the banter between the characters, the hints of future plot arcs, the general tone of daffy adventure. To quote Aquaman from that film (but not from the Snyder version): “I can dig it.” The new edit feels a lot more epic, more like a proper movie; the much-slowed pace allows all the characters room to breathe. We get some great moments, such as a heroic introduction to Barry Allen as he rescues his future girlfriend from a car crash, and a cute little scene of Alfred teasplaining to Diana. The plot is detailed a lot more thoroughly (albeit in a scene of incredibly clunky exposition), and we spend more time with Steppenwolf, learning more about his relationship with Darkseid and why Earth is so cosmically special. All told, it’s an improvement, even if the second half resolves into basically the same CG-heavy punch-fests as the theatrical cut; here the action is a little bit more coherent, but it’s a hell of a lot slower and as such (in my opinion) often a bit more boring. Plus I personally found the Cyborg story a bit of a drag; he’s a very dour character, moping over his lost life and bombarded by tragedy, and we get very little of the verve of his comic characterisation, and absolutely none of his animated counterpart’s sense of fun. In fact, the thing that I always butt up against is that for the most part these characters feel utterly divorced from their source inspiration; Superman looks and acts nothing like Superman, Batman is incredibly one-note. Flash and Aquaman are more successful in giving a new spin on those characters, even if Barry Allen is basically just Wally West. Only Wonder Woman looks and feels like what we collectively imagine Wonder Woman to be, and is by a country mile the best thing in the film.

I don’t really want to be too negative about it though, even if that was me just being negative for a very long paragraph. At the end of the day, I just do not get on at all with Zack Snyder’s interpretation of the DC Universe, to the point where I feel aggrieved at missed potential (treating the New Gods as just random conquering aliens!) and do not see anything of characters I love (Superman wearing black is not cool in any way shape or form). However. The existence of the “Snyder Cut” and the fact it ended up as a film that we can watch if fascinating, and it’s gotten me thinking of other films where we know additional material exists. Probably the earliest example of this I can remember is Biggs Darklighter in Star Wars; I remember seeing a grainy low-res version of that scene on the Making Magic behind-the-scenes CD-ROM that came out around the time of the Special Editions. Since then, as my knowledge and interest in film has grown, the existence of deleted or alternate scenes, or even entire cuts of movies, has grown and grown. Some of these have a kind of mythic status; others are curios. I remember reading the “removing the chip” scene in the Terminator 2 comic adaptation, so getting to watch that in the Special Edition DVD years later was fascinating. And, of course, you have The Lord of the Rings, which has spun deleted and alternate scenes into additional material for a whole other set of movies – the Extended Editions, which to my mind are the definitive versions of the films (even if Peter Jackson considers the theatrical cuts to be “official”).

And let’s not even get started on Anchorman: Wake Up, Ron Burgundy, which probably is a Top Ten all of its own.

So what we have here, then, are my ten favourite deleted scenes. Sometimes it’s just that I like the scene; sometimes it’s that I genuinely think it adds a great deal to the film overall. Some of these are now common knowledge, or part of a longer cut or special edition; some retain a sense of mystery. At least one I’d never seen before! But they are all very, very cool in their own right, and testament to the difficulty and organic nature of film production.

The Death of Saruman (The Lord of the Rings: The Return of the King, 2003): despite the theatrical King already heading well into three hours, it’s a shame Peter Jackson and co couldn’t find room for this scene, tying up Saruman’s story. It gives Christopher Lee one more moment to shine, spitting insults and attempting to divide the assembled heroes with his wizardly words, before he receives his comeuppance via beleaguered servant Wormtounge. It’s a great death, homaging one of his Hammer Horror deaths, and I genuinely feel the film is a poorer without it. It’s an excellent addition to the Extended Edition, and restores Lee’s visage to the beautiful end-credit portrait section where it belongs.

Removing the Chip (Terminator 2: Judgement Day, 1991): another scene now part of an extended Special Edition, this was mythical for a while; it seemed we knew about it even in ’91. In order to learn new things and adapt his programming, Arnie’s T-800 has his brain chip removed, basically; but once Linda Hamilton has taken it out of his head, she wants to destroy it and kill the Terminator while she has a chance. This is great characterisation, but the fact that the T-800’s ability to change and grow is referenced a couple of times in later scenes (“Are we learning yet?”) makes its absence feel all the greater.

Luke and Biggs (Star Wars, 1977): talking about “mythical”, this is one of the doozies. “Did you know there was a scene where Luke met his friend Biggs on Tatooine and they talked about joining the Rebellion?” – it was the stuff of legends. It foreshadows the later scene of Biggs at the Rebel base and gives his death more weight. However, I can understand its removal; it’s rather long and comes at a time when the film needs a lot of momentum to just get the droids to Luke and the adventure to really start. Plus Luke’s teenage friends ripping on him for claiming to have seen a space battle feels a bit atonal with the rest of the film at that point (funny as it is).

The Spider-Walk (The Exorcist, 1973): this one was another widely discussed with my friends (not in 1973, obviously), after its appearance in (I think) Mark Kermode’s documentary about The Exorcist. A supremely creepy scene where the possessed Regan walks on all fours, upside down, down the stairs. William Friedkin said the emotional intensity of it comes at the wrong moment in the film, and he’s probably right, but taken on its own terms it’s a really disturbing visual.

The World Trade Centre (Spider-Man, 2002): I guess this counts as a deleted scene, as it was supposed to form part of a montage in the middle of the film, but most people who saw it at the time will think of it as a banned trailer. Basically, Spider-Man traps a helicopter full of criminals in a giant spider web spun between the towers of the World Trade Centre. I remember watching it, and awing at it, when at university in 2001. Following the terrorist attacks of 9/11, the trailer and scene were understandably shelved. I’m not sure if it’s available officially even twenty years later, which I think is a shame; it’s a fantastic scene (apparently one not directed by Sam Raimi, though) and the final image is actually both moving and powerful.

Pig Headed (Who Framed Roger Rabbit, 1988): something that I’m not sure is quite as prevalent today is film fans discovering deleted scenes by reading officially-licensed adaptations, whether that’s books or comics. This scene I read in the Roger Rabbit comic adaptation. Bob Hoskins’ Eddie Valiant is assailed by the bad guys and dumped in the street with a bag over his head; when he removes the bag, this toon-hating ‘tec discovers to his horror they’ve given him an animated pig’s head. He promptly rushes home and attempts to wash it off in the shower. It’s both funny and a little disturbing, and leads nicely into the scene with Jessica Rabbit in his apartment, but I kinda understand why they cut it. For one thing, I think it raises some disturbing questions about what constitutes a “live” toon and ways to “kill” one other than the film’s Dip.

The Smart Guns (Aliens, 1986): that Jim Cameron really does like his Special Editions; I could have added something from The Abyss here, too. This scene is iconic, and to be honest it’s only recently I discovered it was part of the Special Edition; to me, Smart Guns and Aliens go hand-in-hand, so I must have watched the ol’ Spesh Dish quite early on. These are some awesome automatic gun emplacements, turrets that seek out and shoot anything that comes near. That’s cool in and of itself, but the tension as the crew watches the ammo count drop ever lower, and the Aliens keep coming, is masterful.

Finding the Crew (Alien, 1979): speaking of deleted scenes from an Alien movie, what about this doozy? Now included as part of an extended/director’s cut of the film (Ridley Scott’s another one of those who likes tinkering with his back catalogue), it’s a cool and incredibly creepy scene, but one that doesn’t make a lick of sense given the subsequent direction the franchise took. Ripley, near the end of the film, discovers the crew all gunked up in cocoons, and in the process of being turned into Alien eggs. Obviously this has been retconned, with Cameron concocting the Alien Queen in the sequel, but the scene on its own is very powerful. It’s also, incidentally, the first time we hear a strung-up human say “kill me” in an Alien film, aware that their fate is going to be so much worse than death.

Principal Ford (E.T. the Extra-Terrestrial, 1982): I thought this was more-or-less mythical until I searched for it on YouTube this week. After Elliot frees the frogs in his science class, he’s brought before his principal, who believes the young boy is off his tits. He spouts some cringy commentary about drug use, peers out of his blinds, and is oblivious to E.T. psycho-kinetically raising Elliot’s chair off the ground. The twist is, despite never seeing his face, the principal is in fact played by Harrison Ford (presumably doing a favour not just to Spielberg but his then-wife, screenwriter Melissa Mathison). It’s a funny scene, and I think it could still be added without straining anything (unlike the bath scene that was briefly re-inserted), but as the film is practically perfect in every way, why mess with it? Steve knows what he’s doing.

Sergeant Candy (Terminator 3: The Rise of the Machines, 2003): unlike the deleted scene from T2, this is neither useful character work or important plot-building. Rather, it’s one big gag, and in that sense I guess your mileage may vary on whether it’s worthwhile or not. A bunch of army and intelligence brass watch a video about the development of the cybernetics program, and we are introduced to Sergeant Candy, a soldier who will serve as the template for (essentially) the Terminators. He’s, obviously, Arnie, but the gag is he has an incredibly strong Southern accent, something that one of the assembled brass criticises, and then… well, I’ll save the punchline for if you wanna watch the link. I think it’s funny, and in-keeping with the slightly more frivolous tone of the first two-thirds of T3. It’s probably just as well they removed it, but on the other hand, there’s as much stuff in that film that doesn’t work as stuff that does, so maybe they should shove it back in just for the lols.

There we are; ten fun or important deleted scenes. Surprised/disappointed that I never had room for the famous “Octopus Scene” from The Goonies (which, like T2’s chip scene, is a cut moment that’s actually referenced later on!). maybe in a few years I’ll come back and do a Special Edition of this list, and include, like, fifteen items or something.

#top ten #movies #special edition #directors cut #justice league #zack snyder's justice league #aliens #lord of the rings #terminator

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sinceileftyoublog · 6 years

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Live Picks: 5/11-5/20

Jess Williamson; Photo by Kari Rosenfeld

BY JORDAN MAINZER

I’ll be in London from tonight until the 19th, so I wanted to get you covered until the 20th!

5/11: Shabazz Palaces, Empty Bottle

When we saw Shabazz Palaces at Riot Fest last year, we noticed the headiness and understated nature of the set in comparison with other sets at the festival. Seeing them in a small venue, in contrast, is ideal.

Experimental hip hop band Leaf Set opens. Jill Hopkins of Vocalo Radio DJs before the show.

5/11: Kem, Anthony Hamilton, & Eric Benet, Wintrust Arena

The R&B Super Jam tonight at Wintrust Arena features a diverse lineup. There’s quiet storm artist Kem, who mixes spirituality and love on albums like Intimacy. There’s the best known, neo soul singer Eric Benet. And then there’s Anthony Hamilton, whose Back To Love remains one of the best R&B albums of the decade and who often finds himself collaborating with hip hop artists, unlike the other two. Whether they play together or alone or a mix of both, it’ll be sure to be a great show.

5/11: Loma & Jess Williamson, Schubas

Loma, the band consisting of Shearwater’s Jonathan Meiburg and Emily Cross and Dan Duszynski from Cross Record, has only their self-titled debut, which we enjoyed very much. In a headlining set, they should be able to play most or all of it. The extent to which they replicate live an album that’s loaded with effects and nature sounds is to be seen.

Jess Williamson follows up 2016′s great, stark Heart Song with something much more expansive. Cosmic Wink, out today, is her Mexican Summer debut. It’s inspired by her move from Texas to California, new love, and the death of her dog. “When I don’t know what home is, I can turn into your arms,” Williamson sings on album closer “Love On The Piano”. It’s a sweet sentiment, but the rest of the album, despite the romance, still has those Texas high and lonesome qualities--it was recorded there, after all. Opener “I See The White” recalls some of the more melancholy tracks on Angel Olsen’s My Woman, while the Rhodes-laden “Wild Rain” is desolate and emotive.

Williamson will also be doing an in-store performance and signing at Shuga Records at 5 P.M.

5/11: Bing & Ruth, Constellation

The last time we saw ambient classical collective Bing & Ruth, they put us in a trance playing their great No Home of the Mind. Sine then, they’ve released an EP, Dorsal, as well as a single, the gorgeous “Quebec (Climber)”, released as part of the upcoming Stadiums & Shrines 10th anniversary compilation Dreams.

TüTH, the industrial project of Disappears bassist Damon Carruesco, opens. Brent Heyl DJs before the show.

5/11: Meat Wave, Catapult Records & Toys

Here’s what we wrote about Meat Wave when they opened for Hot Snakes at Thalia Hall back in March:

“If you’ve read us for the past few years, you know we love the songs and shows ever-ascending local heroes Meat Wave, having covered three different sets of theirs. Their last full-length release was 2017′s The Incessant, but earlier this year, they released two new songs, one-minute stomper 'Shame' and creepy slow-burner 'Dogs At Night'. Subtle, but still just as pummeling; their set should contain a lot of the latter, and not much of the former. Be thankful for that.”

Local two-piece punk band Drilling For Blasting and UK grunge band Strange Planes open.

5/11 & 5/12: Lizzo, Aragon

I’ve been a fan of Minneapolis hip hop artist Lizzo since her 2013 debut Lizzobangers, which she followed up in 2015 with Big GRRRL Small World. The former established her as a dexterous, hyperactive MC with a feminist tilt. She showed off her singing chops on the latter. But her 2016 EP Coconut Oil and tracks she’s released recently see her going in many different directions. The title track to the former is soulful and infused with gospel, while new tracks like “Truth Hurts” and “Fitness” are some true Lizzo bangers.

Fleetwood Mac worshipers Haim headline.

5/12: Helen Money, Hungry Brain

Cellist Alison Chesley is classically trained, but that’s right where formality ended. She started Verbow with Jason Narducy and then, after Verbow broke up, was a session musician in Chicago. But it wasn’t until her first solo album Helen Money and her subsequent adoption of the moniker that she truly started pushing the cello to its limited. Fast forward to 2016, and Chesley released her magnum opus Become Zero. Featuring Neurosis’ Jason Roeder and Rachel’s Rachel Grimes, Become Zero is a true mash of genres, bending the lines between experimental noise and metal while Chesley used digital processing for the first time. It was to great effect, as she made an album as full of sorrow and empathy as harsh soundscapes.

She plays with Peter Maunu and Carol Genetti, who play an opening set of their own.

5/12: Moritz von Oswald, Smartbar

Moritz von Oswald was one of the most influential 90′s dub techno producers, having done great work with both Basic Channel and Maurizio. Over the past 10 years or so, he’s branched out under his own name, whether with Detroit pioneers Carl Craig and Juan Atkins, by himself, or with the Moritz von Oswald Trio, his project with Sun Electric and Vladislav Delay. (I’m particularly fond of their album Fetch.) The Hamburg master should give a fantastic DJ set.

Deep techno DJ Olin and TEXTURE Detroit resident and founder Soren and Jacob Park open.

5/12: Speedy Ortiz, Subterranean

In 2015, Speedy Ortiz followed up their great debut Major Arcana with the even better Foil Deer. Supporting that album, they improved tenfold as a live band. When they went to record what would become their third album Twerp Verse, the 2016 U.S. presidential election happened, and they scrapped the strictly personal stuff and went political. Sadie Dupuis and company have always been political from a social and feminist perspective, but not so outspoken as on Twerp Verse. Musically, the album is consistent with Dupuis’ solo project Sad13, embracing the synth and Dupuis’ ever-improving voice over the wiry guitars for which the band first became known.

Local hero Nnamdi Ogbonnaya and Ohio band Didi open.

5/12: Vijay Iyer Sextet, Constellation

Vijay Iyer is captivating by himself and in duo form. So performing his sextet material (last year’s great Far From Over) with a steady band (besides a set of rotating drummers) should be a captivating live show. The band includes horn players Graham Haynes, Steve Lehman and Mark Shim alongside bassist Stephan Crump and drummer Marcus Gilmore.

There are two shows: one at 8:30 P.M. and one at 10:00 P.M.

5/13: Bill MacKay & Ryley Walker, Cafe Brauer

They’ve already turned upside-down one wholesome holiday. Whose to say they won’t do it at Mother’s Day Brunch at the Lincoln Park Zoo? Over/under on Walker banter about yoga pants stands at 2 jokes.

Walker’s release shows for his new record Deafman Glance, out next Friday, are on 5/18 and 5/19. We previously wrote that Deafman Glance is “an arty record, subdued, embracing of free jazz and minimal synth music as much as folk.”

5/13: Obituary, Pallbearer, & Skeletonwitch, Metro

Obituary’s self-titled album, released last year, wasn’t just a return to form. It’s one of their best records, one that stands to refine the death metal tropes the band has been exploring from the get-go, from the swirling riffs of “Kneel Before Me” to the stomping “Lesson In Vengeance”. The songs should sit well beside the band’s catalog.

Last year, Pallbearer followed up their breakout album Foundations of Burden with the divisive Heartless. We liked but didn’t love Heartless. Either way, whatever you think of the band, they’re becoming better and better live. They just released a new single, “Drop Out”, and mini-documentary to go along with it, as part of Adult Swim Singles Program. It’s your typical track from the Arkansas band: lead singer Brett Campbell goes full-on Ozzy Osbourne, while the divide between the sky high electric guitars and guttural electric bass is larger than ever.

Despite turning over band members quite a bit, Ohio metal band Skeletonwitch is remarkably consistent, from 2011′s great Forever Abomination to 2013′s Serpents Unleashed. They release their sixth full-length Devouring Radiant Light in July and have released a single, the epic and black “Fen Of Shadows”. It showcases new vocalist Adam Clemans (who first appeared on their 2016 EP The Apothic Gloom) while reminding you why you’ve always loved the band: the dynamism between guitarists Nate Garnette and Scott Hedrick.

German thrash metal band Dust Bolt opens.

5/14: Damien Jurado & The Light, Lincoln Hall

Singer-songwriter Damien Jurado has been popping up here and there since the 90′s to release an occasionally jaw-dropping, brilliant record, like 2003′s Where Shall You Take Me? or the trilogy of Maraqopa, Brothers and Sisters of the Eternal Son, and Visions of Us on the Land. A week ago, he released his 13th studio album, the gentle The Horizon Just Laughed. While it might not have the psychedelic leanings of his best work (save for “Silver Timothy” sibling “Florence-Jean”), it’s sparse and gorgeous nonetheless.

Afro-folk singer-songwriter Naomi Wachira opens.

5/15: Justin Townes Earle & Lilly Hiatt, SPACE

Justin Townes Earle played City Winery back in February. Here’s what we wrote about him then:

“The Justin Townes Earle of 2018 may not be as exciting as the same singer-songwriter who released the mighty one-two punch of Midnight at the Movies and Harlem River Blues almost 10 years ago, but he’s got so many good songs across his discography that it’s almost better to see him live than take a deep dive into his discography. He quietly released his 7th album, Kids in the Street, in 2017, and it’s probably his best since Harlem River Blues, but you know the crowd’s gonna cheer the loudest for 'They Killed John Henry' and 'One More Night in Brooklyn'.”

Nashville singer-songwriter Lilly Hiatt recruited a new band for her third album Trinity Lane, and it’s her best record yet. With John Condit on guitar, Robert Hudson on bass, and Allen Jones on drums and production by Michael Trent of Shovels & Rope, Hiatt has found the perfect sound for sad stories like “The Night David Bowie Died” and honky tonk jams like “See Ya Later” alike.

5/16: Asking Alexandria, The Forge

Back in January, Asking Alexandria co-headlined the Riviera with Black Veil Brides. They co-headline The Forge with Black Veil Brides this time. Here’s what we wrote about them then:

“British metalcore band Asking Alexandria perhaps peaked with 2016’s The Black. While their new self-titled album, released last month, is an interesting departure in their sound, opting for more straightforward, melodic hard rock, it makes you miss the band’s louder moments.”

Scottsdale metalcore band Blessthefall open.

5/16: Rival Consoles, Empty Bottle

Persona, the latest album by Rival Consoles, is purportedly inspired by the Ingmar Bergman film of the same name. What’s more obvious is its obsession with perception, space, light, and darkness. His use of analogue-heavy synths, acoustic and electric instruments, and effect pedals creates a sonic world that travels faster than the speed of light between beauty and ugly. Songs titled like “Unfolding” do what their title suggests, slowly developing into a beat. The title track skitters, “Memory Arc” attacks like a monster, and “Phantom Grip” loops ominously. And then there’s Nils Frahm collaboration “Be Kind”, a truly light moment on a record, and one that exemplifies the spirit of shared label Erased Tapes.

Local experimental acid house project Africans With Mainframes opens.

5/16: Jean-Michel Blais, Constellation

Quebec composer and pianist Jean-Michel Blais has been slowly rising over the past few years. His debut album II was followed by an especially inspired collaboration with CFCF on last year’s Cascades EP, four tracks of original material and one John Cage rework. Today, he releases his second solo effort Dans ma main, which sees him combine his usual piano-led intimacy with synthesizer textures.

5/16: Power Trip & Sheer Mag, Reggie’s

Dallas thrash metal band Power Trip just released a collection of their earliest non-LP recorded material, showing the raw areas from where they came. 2013′s Manifest Decimation was their debut, but it was last year’s Nightmare Logic that brought them beyond the metal spheres to spots like a co-headlining tour with Sheer Mag.

As a live band, Sheer Mag stood out even before they released their best songs. Now that they’ve released the tracks, they’re on top of the world. Last year’s proper debut Need To Feel Your Love was an effective juxtaposition of 70′s radio rock with radical politics, accessible and loud enough to land on our top albums of the year list.

Orange County hardcore band FURY and DC punks Red Death open. The same bill plays Empty Bottle on 5/19.

5/17: Prong, Bottom Lounge

Groove metal legends Prong are still going strong. Albums like the excellent Carved Into Stone and last year’s Zero Days show that the band is still capable of telling a musical story from start to finish while making room for meaty riffs and complex arrangements, holding up alongside their 80′s and 90′s work.

New York alt metal band Helmet co-headlines.

5/17: Josh Rouse, SPACE

Josh Rouse’s best record is 1972, which combined 70′s songwriting and production techniques with personal, political songwriter. Love in the Modern Age is the 80′s equivalent. Is it as successful? Of course not. But the similarity between the two albums makes me think Rouse will play lots of 1972 favorites.

Synth pop singer-songwriter Deanna Devore opens.

5/17: Marc Ribot, Art Institute of Chicago

Marc Ribot is one of the most creative guitarists around. I’ve seen him do a one-man score to Charlie Chaplin’s The Kid, play with his Ceramic Dog band, and jam with Los Lobos’ David Hidalgo. This time around, he’s doing an in-gallery solo performance at the Art Institute of Chicago in response to the paintings of Ivan Albright, presented in association with the exhibition Flesh: Ivan Albright at the Art Institute of Chicago.

5/17: Wye Oak, Thalia Hall

The Louder I Call, the Faster It Runs completes Wye Oak’s transition from raw, guitar-and-drums folk band to expansive synth rockers. Front woman Jenn Wasner’s pop project Dungeonesse and solo project Flock of Dimes as well as Wye Oak’s previous two albums, Shriek and Tween, are clear predecessors to the new record, the band’s best since Civilian. Natural and unbridled, it shows the least restrained version of Wasner and percussionist Andy Stack. The title track’s interweaving arpeggio synths and squawking guitars are the perfect soundtrack to a song poking fun at those trying to find order within chaos. The vocal-driven, cinematic “My Signal” and layered, washy “You Of All People” round out the album’s highlights.

Philadelphia indie rockers Palm open.

5/17: Charly Bliss, Empty Bottle

Charly Bliss frontwoman Eva Hendricks told us regarding the band’s live show, “Our live show is probably the most important aspect of making music for us, so we always want our shows to be as satisfying and fun as possible!” Their debut album Guppy (one of our favorites of 2017) was already fun and continues to satisfy well into 2018. There’s a reason this show is sold out.

Punk band Skating Polly opens.

5/18: Objekt, Smartbar

We haven’t heard much from avant techno genius Objekt since his great 2014 debut Flatland--apart from a few singles here and there. Maybe he has new material. What better place to debut it than Smartbar? Mixes of his old material works, too.

Pre-party for the Movement festival in Detroit. Stripped-down techno DJ Helena Hauff headlines. Local busy and prolific DJ Justin Aulis Long opens.

5/18: Raekwon the Chef, Promontory

Raekwon is responsible for some of the best rap albums ever, whether as a member of the Wu-Tang Clan or solo. Next Friday, he’ll be playing solo hits and Wu Tang Clan songs with the Mo Fitz Band backing him up. Though he may start with tracks from his most recent album The Wild, he should eventually delve into 36 Chambers and Cuban Linx classics, perhaps even performing for other Wu-Tang members, dead or alive.

Raekwon also is somehow playing another set this night at Bourbon on Division. DJ Ryan Ross opens that one.

5/18: Fever Ray, Metro

A Fever Ray show is not to be taken lightly, since Karen Dreijer doesn’t play very often, either as a part of The Knife or with her solo project. Plunge, last year’s follow-up to 2009′s self-titled album, was a stunning achievement. It was one of our favorite albums of last year due to its outspoken politics, frank sexuality, and chaotic beats. She revealed her live band members in a video for standout “IDK About You”.

There are two shows: one at 6:00 P.M. and one at 10:00 P.M.

5/19: TesseracT, Metro

British band TesseracT prove that djent prog metal can actually be tasteful in addition to good. Their masterpiece, 2013′s Altered State, was cohesive and actually beautiful at times, particularly thanks to vocalist Ashe O’Hara. Over the past two albums, including last month’s Sonder, the band has reunited with old vocalist Daniel Tompkins. While his vocals are more cliche whiny than O’Hara’s, the band’s instrumentation remains vital.

Australian metal guitarist Plini and rockers Astronoid open.

5/19: Pig Destroyer, 3 Floyds

Alexandria grindcore masters Pig Destroyer last left us in 2012 with their opus Book Burner. It was fast, violent, and truly dangerous-sounding. Next Saturday, they’re one of many bands playing 3 Floyds’ Dark Lord Day, which we’ve covered twice. To a drunk crowd wanting to hear favorites, expect them to...well...bounce all over the place.

Death metal band Dying Fetus headlines. The abrasive Revocation, blackened thrashers All Hell, jazz-metal outfit Brain Tentacles, and blackened doom two-piece Canyon of the Skull also play.

5/19: Elizabeth Cook, City Winery

Two years ago, we caught singer-songwriter Elizabeth Cook admirably perform songs from her latest release Exodus of Venus, an album inspired by death and tragedy. Over the past year or so, however, she’s been performing lots of new songs that should be out on a new record this fall. She should pepper them into her back catalog next Saturday.

Singer-songwriter Caleb Caudle opens.

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nothinglefttolearn · 7 years

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By some cosmic accident a comic of mine was chosen for Best American Comics 2017. It's my first time seeing my work published and in the wild. After a year of being ignored by comics fests, most stores, and 90% of critics that I'd sent review copies to, I'd pretty much given up on comics--it's really hard to continue making work when you don't know if it'll ever have a home in the world. Thanks to Copacetic Comics (Pittsburgh), Desert Island (Brooklyn) and Quimby’s (Chicago) for being the rare stores that actually live up to words like independent and DIY and truly give everyone a chance, and to @kartalopoulos and @bkatchor for being the type of people who go out of their way to consider that kind of work. Pretty amazing to see a book with a 5 page long dick joke in a fucking Barnes and Noble, and to be a part of that book with some of my comics idols. Reason enough to keep at it for now.

SPORGO #1 available in its original from here

-nll-

#nothing left to learn #laura pallmall

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drummer-in-love · 8 years

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#otus #ian mason #herre 74 #gasteiz #cosmic fest 2017 #cosmic tentacles

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almightyrayzilla · 7 years

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GODZILLA VS BIOLLANTE (1989) 24x36 canvas; acrylics Completed 7/5/2017 Here it is - my biggest piece ever, both physically and in ambition. This is the Big Painting that I started back in May. It made its public debut at G-Fest XXIV, where it won 3rd place in the art contest (trust me, EVERYONE was shocked by that, but it was still quite the talk of the show), and all fifteen of the 24x36 posters I brought with me sold out! I don't like bragging about my art, but this is my best work yet. Especially after getting the posters made, I truly am proud of this piece. As some of you know, GODZILLA VS BIOLLANTE is my personal favorite Godzilla film. In fact, it was the second G-film I ever saw; naturally, as I did with COSMIC MONSTER, I had to pay tribute to my first experience with it 20 years ago. Aside from having a newfound love for the medium, I specifically made this a painting to also pay tribute to the late Noriyoshi Ohrai, who you may know as the artist behind the concept posters for the Heisei and Millennium Godzilla films, including BIOLLANTE. Well, that artwork was also used for the VHS cover on the copy I first saw it on, and little me back in 1997 was blown away on first glance. And, of course, the roses on the surrounding landscape is in reference to a deleted scene from the film. I'm not gonna lie, I seriously got emotional after finishing it. Not just for the nostalgia I mentioned above, but it was such a fantastic experience to make this. There's a very relaxing aura about paintings, which is present even during the creative process. But more than anything, I've realized I'm artistically capable of more than I had once thought. I think it was made at the right time, too. No, not because it was done in time for a convention. A couple years ago, I would have bitten off more than I could chew. Just compare it to the Godzilla/Biollante piece I made back in 2011 -> http://almightyrayzilla.deviantart.com/art/gojira-tai-biorante-colors-194327739 But as it is, I pushed the boundaries of my comfort zone. I had the canvas for quite some time, long before I started work on it in May, and I made the initial concept sketch around New Year's. I was waiting until I had the SH Monsterarts Godzilla 1989 to use as reference. Hell, I was contemplating recording videos of my sessions to make a speedpaint video. I was an absolute nervous wreck about doing this and came EXTREMELY close to chickening out. But I'm so glad I didn't. *I didn't record videos of my progress, as that would have been too much for me to pull off. But I did take photos after each session, and I'll get around to posting those soon. Rest assured this won't be the last big painting from me. Next year - or perhaps later this year - I can look back on this and say, "If I can do that, I can do this".

#godzilla #biollante #godzilla vs biollante #kaiju #painting #acrylics #g-fest xxiv #AlmightyRayzilla #Ray Fromme

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magicjesuscup · 5 years

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Another thing for my reference

I made note of all of the servants who have had their rerun event already, which ones haven't, and which servants are going to have a new event. I was just curious to see how many of the event servants I had (I knew I was missing a few). I also added the CEs of past events so I could use this to get rid of CEs that I haven't used outside of the event. Fun Fact: There are going to be 13 free event servants in 2020; 8 will be through rerun events and the other five will be new. It’s under the thing so anyone who doesn’t care doesn’t have to scroll through a wall of text.

Nero Fest - No Welfare Servant

Year 1: (July 06, 2017 - July 19, 2017)

5* Nightless Rose

Year 2: (September 13, 2018 - September 26, 2018)

5* Joint Recital

5* Princess of the White Rose

5* Glory Is With Me

4* Original Legion

3* Howl at the Moon

Year 3: (August 29, 2019 - 23:59, September 11, 2019)

5* Cheer for Master

5* Divine Three-Legged Race

5* Battle Olympia

4* Food Colosseum

3* Muscle Cavalier

Past Servants/Events

No Welfare Servant

Moon Festival

Original: August 17, 2017 - August 23, 2017

Rerun: January 17, 2019 - January 23, 2019

5* Moonlight Fest

5* Moon Goddess' Bath

4* Moony Jewel

3* Mooncell Automaton

Elizabeth Bathory (Halloween)

The Adventure of Singing Pumpkin Castle Mad Party 2017

Original: October 17, 2017 - October 31, 2017

Rerun: October 04, 2018 - October 17, 2018

5* Halloween Princess

5* Maid in Halloween

5* Little Halloween Devil

4* Halloween Arrangement

3* Trick or Treat

3* Jack-o'-Lantern

Oda Nobunaga

Gudaguda Honnoji

Original: November 08, 2017 - November 23, 2017

Rerun: March 12, 2019 - March 27, 2019

5* GUDAGUDA Poster Girl

5* Guda-o

4* After-Party Order!

4* Nobbu

3* Fate GUDAGUDA Order

3* Okita

Artoria Pendragon (Santa Alter)

Almost Weekly Santa Alter

Original: December 01, 2017 - December 10, 2017

Rerun: November 14, 2018 - November 20, 2018

5* Holy Night Sign

5* Present For My Master

4* March of the Saint

3* Lightning Reindeer

Artoria Pendragon (Lily)

Saber Wars - Lily's Cosmic Winter Rebellion: The Caliburn Awakens

Original: Jan. 04, 2018 - Jan. 18, 2018

Rerun: March 13, 2020 - March 26, 2020

5* Purely Bloom

5* Star of Altria

5* The Crimson Land of Shadows

4* Mikotto! Bride Training

4* CE EXP Card: Mysterious Substance α

3* Trueshot

3* CE EXP Card: Mysterious Substance β

No Welfare Servant

Chocolate Lady's Commotion

Original: January 25, 2018 - February 02, 2018

Rerun: February 07, 2019 - February 20, 2019

5* Street Choco-Maid

5* Melty Sweetheart

4* Kitchen Patissiere

3* Valentine Dojo of Tears

Ryougi Shiki (Assassin)

The Garden of Sinners/The Garden of Order

Original: February 08, 2018 - February 21, 2018

Rerun: February 18, 2020 - March 01, 2020

5* Decapitating Bunny 2018

5* Threefold Barrier

5* Grand Puppeteer

5* Mature Gentleman

4* Summer's Precognition

4* Chorus

4* Mystic Eyes of Distortion

4* Vivid Dance of Fists

3* Repeat Magic

3* Sprinter

No Welfare Servant

Da Vinci and the 7 Counterfeit Heroic Spirits

Original: April 04, 2018 - April 13, 2018

Rerun: January 10, 2020 - January 19, 2020

5* Maiden Leading Chaldea

5* The Merciless One

5* The Scholars of Chaldea

4* Gentle Affection

4* Art of the Poisonous Snake

4* Art of Death

No Welfare Servant

The Demonic Capital Rashomon

Original: May 16, 2018 - May 30, 2018

Rerun: May 22, 2019 - May 30, 2019

5* The Wandering Tales of Shana-oh

5* Golden Captures the Carp

5* A Fox Night's Dream

4* Burning Tale of Love

3* Reciting the Subscription List

No Welfare Servant

Sanzang Coming to the West

Original: May 31, 2018 - June 13, 2018

Rerun: April 10, 2020 - April 20, 2020

5* The Classic Three Great Heroes

5* Divine Princess of the Storm

5* Ox-Demon King

5* Go West!!

4* True Samadhi Fire

3* All Three Together

Sakata Kintoki (Rider)

The Great Tale of Demons: Onigashima

Original: June 14, 2018 - June 27, 2018

Rerun: June 06, 2019 - June 20, 2019

5* Golden Sumo: Boulder Tournament

5* Hot Spring Under the Moon

5* Dumplings Over Flowers

4* Faithful Companions

3* Hidden Sword: Pheasant Reversal

Scathach (Assassin)

Chaldea Summer Memory/Chaldea Heat Odyssey

Original: July 26, 2018 - August 14, 2018

Rerun: July 12, 2019 - July 28, 2019

5* Summertime Mistress

5* Pirates Party!

5* Chaldea Lifesavers

5* Knights of Marines

4* Twilight Memory

4* Meat Wars

3* Shiny Goddess

3* Shaved Ice (Void's Dust Flavor)

Elizabeth Bathory (Brave)

Super Ghouls 'n Pumpkins -The Seeds of Adventure-

Original: October 25, 2018 - November 08, 2018

Rerun: September 19, 2019 - October 02, 2019

5* Hero Elly's Adventure

5* Dangerous Beast

4* Wizard & Priest

4* Witch Under the Moonlight

3* Mata Hari's Tavern

3* Count Romani Archaman's Hospitality

Jeanne d'Arc (Alter) (Santa Lily)

The Little Santa Alter

Original: November 27, 2018 - December 05, 2018

Rerun: November 12, 2019 - November 21, 2019

5* Holy Night Supper

5* A Moment of Tranquility

4* Reading on the Holy Night

3* Saint's Invitation

Chacha

Gudaguda Meiji Restoration

Original: March 28, 2019 - April 10, 2019

Rerun: May 8, 2020 - May 19, 2020

5* Fortress of the Sun

5* Wolves of Mibu

5* Demon King of the Sixth Heaven

4* GUDAGUDA Meiji Restoration (CE)

4* A Stroll in the Spring Breeze

3* GUDAGUDA Recruitment

3* The Flower of High Society

Paul Bunyan

All the Statesmen! Learning with Manga: The History of the American Frontier!

Original Run: July 04, 2019 - July 17, 2019

Rerun: July 3, 2020 - July 17, 2020

4* Learning With Manga! FGO

Ishtar (Rider)

Dead Heat Summer Race! ~The Ishtar Cup of Hopes and Dreams 2019~

Original Run: July 29, 2019 - August 20, 2019

Rerun: July 17, 2020 - August 1, 2020

5* Seaside Luxury

5* Dive to Blue

5* Midsummer Moment

5* Summer Little

4* King, Joker, Jack

4* White Cruising

3* Chaldea Beach Volleyball

3* Sugar Vacation

Servants with an Upcoming Rerun Event

Irisviel (Dress of Heaven)

Fate/Accel Zero Order (April 2018)

Rerun TBA 2020

Mecha Eli-chan Mecha Eli-chan MKII

Halloween Strike! Demonic Climb - Himeji Castle War (Oct. 2019)

TBA 2020

Attila the San(ta)

Merry Christmas in the Underworld (Dec. 2019)

TBA 2020

Chloe von Einzbern

Fate/Kaleid Liner Prisma Illya [End Sacrifice] - Prisma Codes (Aug. 2018)

Rerun TBA 2021

B.B.

Abyssal Cyber Paradise, SE.RA.PH. (April 2019)

Rerun TBA 2021

Sakamoto Ryoma

GudaGuda Legend of the Imperial Capital Grail: Far East Demonic Front 1945

Rerun: 2021

Jeanne d'Arc (Berserker Alter)

Servant Summer Festival

Rerun: 2021

Seig

Fate/Apocrypha: Inheritance of Glory (April 24, 2020 - May 7, 2020)

Rerun: TBA 2022

Upcoming Servants

Shuten Doji (Caster)

TBA 2020

Quetzalcoatl (Samba/Santa)

TBA 2020

Gray

TBA 2021

Nagao Kagetora

TBA 2021

Katsushika Hokusai (Saber)

TBA 2021

Nightingale (Santa)

TBA 2021

#Fate/Grand Order #References

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happymetalgirl · 5 years

Text

Rings of Saturn - Gidim

If ever there was a band that earned the gratuitously intricate cosmic album covers gracing their albums, it would be the extreme alien sci-fi techdeath overlords Rings of Saturn, whose absurdly technical deathcore has transcended its studio-exclusive origins to become a fully fledged touring band project. Indeed, the band’s focus has always been first on dazzling with the sheer unbelievability of their performances (many of which aren’t purely live and unfiltered), then the brutality, then the songwriting. Knowing this and knowing not to expect catchy riffs or breakdowns is key to going into a Rings of Saturn project. Granted, that doesn’t excuse them from criticism of they put out a dull forty-five minute wank-fest. It’s just an adjustment of listening approach, knowing that the band is going more for that wow factor through technical performance channels and that the songs are going to be constructed to showcase that first and foremost rather than a sick fucking breakdown bro. And the band have come through with plenty of infectious techdeath bangers like the “Bleed”-imitating “Natural Selection” and the chaotic groove of “Senseless Massacre”, as that pursuit of technical extremeness sometimes takes them toward similarly tasty compositions.

While the band have stuck to essentially the same style of technical detahcore since their inception, on Gidim here they sought to make a record as comprehensive as possible in terms of the varying degrees of the -core in their sound and in terms of how synthetically technical the band’s sound can be. And While Ultu Ulla wasn’t my favorite Rings of Saturn albumwhen it was released back in 2017, I have since developed more admiration for what they did outside my favorite album of theirs, Lugal Ki En, on their very deathcore-focused debut, Embryonic Abnormality, and their hypertechnical sci-fi sophomore album, Dingir. So I was actually quite curious to see how Rings of Saturn would approach an intentionally well-rounded and career-spanning album on their fifth LP here, and I can say I have been enjoying the results.

Gidim is pretty much what I would have expected of a Rings of Saturn album created under the premise it was. Rings of Saturn showcase their astute creativity with what is often misconstrued as wankery with the warped djentiness of “Tormented Consciousness” and their fresh approach to guitar dissonance during the breakdown of “Face of the Wormhole”. The band further demonstrate their continually growing abilities to dazzle with creatively insane instrumental technicality on songs like the perpetual guitar soloing of “Pustules”, the notably bass-tasty “Hypodermis Glitch”, and the indulgently melodic and eventually compounding “The Husk”, while tapping into that knack for filthy, tech-flaired breakdowns that the band grew up and out from. Their connection with their roots comes through in the bursts of rapid finger work amid the slowed-tempo breakdown on the opening track, “Pustules”, the super-tuned-down “Bloated and Stiff”, and the more classic deathcore breakdowns of “Divine Authority”, “Genetic Inheritance”, and the particularly dissonant “Hypodermis Glitch”.

The band do slip into cruise control occasionally on self-serving “Mental Prolapse” and the closing instrumental title track, but for the most part, Rings of Saturn provide a pretty impressive overview from track to track of what makes them such a revered name in technical deathcore. My only unfulfilled wishes/expectations of this album are that the band would have been more consistently inventive in their stringed technicality, highlighting what makes them stand out apart from the rest of the techdeath crowd, and that they would have perhaps indulged in some lengthy progressive techdeath epic just to see where such a song would take them. While I wish I had more songs to laud for more than the usual extreme technical proficiency, there’s much more to love on Gidim than there is to complain about the boredom of.

doodeedoodleedeeloodeedeedeeloodeedeedooleedalooleedalooleedloo/10

#Rings of Saturn #Gidim #techdeath #technical death metal #death metal #deathcore #extreme metal #technical deathcore #metal #heavy metal #new music #new album #album review

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