#nostalgia tour warsaw

[nostalgiatour]

nostalgia for a time that never existed, a tour by luke hemmings | warsaw, poland | 05.08.2024 | 📸 @ALTER_ART on twitter

[kindahoping4forever]

LukeHemmings: Nostalgia for a tie that never existed

[sierradeaton]

now i don't wanna close my eyes

[nsuri20]

Ranking Taylor Swift's Surprise Song Combos (International Edition)

Here it is: the final ranking of the International surprise song combos. As a reminder, this is ranking the COMBINATION of all songs played on both guitar and piano together for any given night. In other words, each night of tour only gets 1 spot. Please also keep in mind, I am not taking into consideration the circumstances of the songs - for example when "bigger than the whole sky" was played, "I'll be 87, you'll be 89" line, crazier, hoax or peace being played for the first (and only?) time that I was personally waiting for, Paris in Paris, So Long, London in London, special guest appearances like Ed and Gracie etc. I am simply ranking the combination of all songs played based on how much I liked them.

I'll be posting a cumulative list that combines the US and International lists later on but for now, here is the list! The winning city is: Vancouver! Long Live x New Year's Day x The Manuscript was way too much for me to take. Even though we aren't factoring in closing night vibes, this combination mixed with a song from Debut on guitar was pushed it into the top spot. I'll always have a soft spot for OG Taylor 💚

In 2nd place is Sydney N1 with Should've Said No x You're Not Sorry & New Year's Day x peace. Both combos are devastatingly good and peace has one of what I consider to be Taylor's most heart wrenching lines: "All these people think love's for show, but I would die for you in secret"

In 3rd place is Melbourne N1 with Red & You're Losing Me. I'd love to hear You're Losing Me live one day and Red is another great choice. There was also something so simple and pleasing about getting to hear full songs without the mashups so I think that bumped this one up for me as well.

My show (Warsaw n3) ALMOST cracked the top 10. It came in at #11 with Today Was a Fairytale x I Think He Knows & The Black Dog x exile which i was thrilled to be able to get to hear in person. Out of 87 shows, being #11 is very high. I'm so grateful I was able to be there.

If you can't already tell, I have a thing for nostalgia with a lot of these songs and I have a thing for the really sad, slow songs - they really make you feel some type of way. Anyway, here is the full list:

A Place In This World x New Romantics & Long Live x New Year's Day x The Manuscript

Should've Said No x You're Not Sorry & New Year's Day x peace

Red & You're Losing Me

Come In With The Rain & You're On Your Own, Kid

Cornelia Street & You're On Your Own, Kid

Change x Long Live & The Archer x You're on Your Own Kid

State of Grace x You're on Your Own, Kid & Sweet Nothing x hoax

Come Back...Be Here x Daylight & Teardrops on my Guitar

Tim McGraw x cowboy like me & mirrorball x epiphany

The Prophecy x long story short & Fifteen x You're on Your Own, Kid

Today Was a Fairytale x I Think He Knows & The Black Dog x exile

Sparks Fly x Message in a Bottle & You're Losing Me x How Did It End?

Death by a Thousand Cuts x Babe & Fifteen x You're on Your Own, Kid

Paris & loml

Our Song x Jump then Fall & King of My Heart

Haunted x Wonderland & Never Grow Up x The Best Day

How You Get The Girl & White Horse x coney island

Would've, Could've, Should've x ivy & Forever & Always x Maroon

The Tortured Poets Department x Now That We Don't Talk & You're On Your Own, Kid x Long Live

Teardrops on my Guitar x The Last Time & We Were Happy x happiness

the 1 x Wonderland & I Almost Do x The Moment I Knew

I Don't Wanna Live Forever x Mine & evermore x Peter

Hey Stephen & Maroon

Clara Bow x The Lucky One & You're On Your Own, Kid

Afterglow & Maroon

Tell Me Why & Snow on the Beach

The Albatross x Dancing with Our Hands Tied & This Love x Ours

Getaway Car x august x The Other Side of the Door & this is me trying

long story short x The Story of Us & Clean x evermore

Carolina x no body, no crime & The Manuscript x Red

us. x Out Of The Woods & You're On Your Own, Kid x long story short

I Can Fix Him (No Really I Can) x I Can See You & Maroon x Red

I Can See You x Mine & Cornelia Street x Maroon

Message in a Bottle x How You Get The Girl x New Romantics & How Did It End?

I Don't Wanna Live Forever x imgonnagetyouback & Don't You x loml

Stay Beautiful & Suburban Legends

Come Back..Be Here x The Way I Loved You x The Other Side of the Door & Fresh Out The Slammer x High Infidelity

Safe & Sound & Untouchable

Is It Over Now? x I Wish You Would & Haunted x exile

Foolish One x Tell Me Why & This Love x Call It What You Want

Guilty as Sin? x Untouchable & The Archer x Question...?

Mine x Starlight & I Don't Wanna Live Forever x Dress

Hits Different x Death by a Thousand Cuts & The Black Dog x Come Back...Be Here x Maroon

Sparks Fly x gold rush & False God x Slut!

I Forgot That You Existed x This Is Why We Can't Have Nice Things & I Hate It Here x the lakes

This Is What You Came For x gold rush & The Great War x You're Losing Me

It's Nice to Have a Friend x dorothea & Haunted x exile

right where you left me x All You Had to Do Was Stay & Last Kiss x Sad Beautiful Tragic

Speak Now x Hey Stephen & this is me trying x Labyrinth

imgonnagetyouback x Dress & You Are In Love x cowboy like me

London Boy & Dear John x Sad Beautiful Tragic

Mr. Perfectly Fine x Better Than Revenge & State of Grace x Labyrinth

I Forgot That You Existed & Sweet Nothing

Sparks Fly x I Can Fix Him (No Really I Can) & I Look in People's Windows x Snow on the Beach

Is It Over Now? x Out Of The Woods & My Boy Only Breaks His Favorite Toys

Sweeter Than Fiction x Holy Ground & Mary's Song x So High School x Everything Has Changed

Would've, Could've, Should've x I Know Places & tis the damn season x Daylight

Mr. Perfectly Fine x Red & Getaway Car x Out of the Woods

Fresh Out The Slammer x You Are in Love & ivy x Call It What You Want

The Very First Night & Labryinth

The Bolter x Getaway Car & All of the Girls You Loved Before x Crazier

closure x A Perfectly Good Heart & Robin x Never Grow Up

Death by a Thousand Cuts x Getaway Car & So Long, London

Paper Rings x Stay Stay Stay & Better Man x it's time to go

Clara Bow x mirrorball & New Year's Day x Suburban Legends

Superstar x invisible string & Slut! x False God

My Boy Only Breaks His Favorite Toys x This Is Why We Can't Have Nice Things & False God x 'tis the damn season

us. & Out of the Woods x Is It Over Now? x Clean

Better Than Revenge & Slut!

Is It Over Now? x Out Of The Woods & End Game

Dear Reader & Holy Ground

Superman & The Outside

I Love You, I'm Sorry x Last Kiss & The Tortured Poets Department x Maroon

Guilty as Sin? & Say Don't Go x Welcome to New York x Clean

I Did Something Bad & My Boy Only Breaks His Favorite Toys x coney island

Now That We Don't Talk & Innocent

The Alchemy x Treacherous & Begin Again x Paris

Ours x the last great american dynasty & Cassandra x mad woman x I Did Something Bad

Glitch x Everything Has Changed & Chloe or Sam or Sophia or Marcus

Run x the last great american dynasty & Dear Reader x Nothing New

Everything Has Changed x End Game x Thinking Out Loud & King of My Heart x The Alchemy

thanK you aIMee x Mean & Castles Crumbling

Eyes Open & Electric Touch

Dancing with Our Hands Tied & Bigger Than The Whole Sky

I Think He Knows x Gorgeous & Peter

Say Don't Go & it's time to go

ME! & So It Goes…

That's it for international! Tell me what you think in the comments (but remember this is MY list). What songs did your city/night get? Full consolidated list coming soon!

Tay - none of these combos or songs are bad, we all just have our preferences! Did you have a fav to play or should we just assume it was YOYOK or Maroon based on stats? lol

xx n

[girlyandunruly]

2022: Hard time balancing work with a well-lived life.

I felt overwhelmed constantly with how much responsibility I have and still trying to maintain our house chores, errands, cooking, exercising, my hobbies, trips and social life. After pandemic period I wanted to get back to “normal” but seems I can’t go back to who I was. The amount of planning and coordination it takes to do anything has been getting to me. I made too many plans, I traveled almost every month of the year (by plane) and a few months multiple times. Normally this would be fun, but going from not traveling at all for a year, to doing so many trips, it messed with the routine I had established. At the beginning of 2022 I had felt that so much time was wasted during the 2-year pandemic that I needed to catch up, but I over did it. So, for 2023 I’ll focus on not doing too much, only the necessary. I already said “No” to a friend inviting me to Arizona in March. That’s a start!

Though overwhelmed with preparations and airport madness, the moment I’m at my destination I forget all about the treacherous journey and have the best time. Memories that stay with me forever, even the bad ones are good lessons learned and make me laugh now. Travel recap:

JANUARY:

Spent a week in Vail working and snowboarding with Kevin.

FEBRUARY:

Kevin took me to Mexico (Holbox and Playa del Carmen) for my 37th birthday.

MARCH:

Birmingham, MI for Luka’s baby shower that my mom and I hosted.

APRIL:

I traveled to Fort Worth, TX to attend a conference where Barr Engineering was one of the sponsors and I attended as the only representative.

JUNE:

Poland road trip with my mom. Drove over 700 miles between Warsaw, Krakow, Auschwitz, Wroclaw, Poznan and Gdansk. Every town was adorable and Auschwitz was heartbreaking but a must see.

JULY:

Taos and Santa Fe, NM for 4th of July. 

Birmingham, MI for Demi’s 3rd birthday and meeting new nephew Luka.

AUGUST:

Portugal road trip for our 4 year wedding anniversary.

SEPTEMBER:

Rock climb with Mary at Redmond, OR.

OCTOBER:

Minneapolis, MN for work training where I did an ESG presentation.

Cabo, Mexico for Pearl and Owen’s wedding.

Scottsdale, AZ for Elizabeth and Jeff’s wedding.

NOVEMBER:

Nashville, TN for a conference where I was the only Barr Engineering representative.

Flagstaff, AZ for Thanksgiving with Kevin’s family: his dad, Justin and (very pregnant) Vanessa.

DECEMBER:

Houston for Christmas with the family. We had a flight back to Denver scheduled for Dec 26 on Southwest but after a winter storm a few days prior to the date, SW cancelled almost all of their flights. It was chaos, we couldn’t find a flight back on any airline until 3 days later so we decided last minute to rent a pickup truck and drive 15 hours from Houston to Denver. And so glad we did because SW kept cancelling flights days later and our luggage would probably be lost.

The times I wasn’t traveling but stayed in Denver were memorable:

   1. Danny Elfman’s music from the films of Tim Burton

   2. Marijuana Mansion tour for my birthday.

   3. Denver Derby was back, and I created a gnome themed hat!

   4. Hosted adorable girls tea party at Babe’s Tea Room.

   5. Had 90s nostalgia with Kate at the F.R.I.E.N.D.S set

   6. I hosted Elizabeth’s bachelorette celebration

   7. Best of all, our annoying neighbors got two adorable kittens this year and they started hanging out in our front yard a lot. They would come visit us every day that we started buying cat toys, catnip and snacks. After a few months, the cats now hangout inside the house and we consider ourselves co-owners.

We finished big renovations in the house:

The back parlor was completely renovated (floors, roof, ceilings, electrical, walls).

Front porch concrete and posts redone.

New front door.

The outside of the house repainted.

I think we are finally done with house upgrades. 2023 will be the first year of just regular maintenance and no more weekends of long hours at Home Depot.

Baby news!

My brother and Tracey had their healthy baby boy Luka on May 19, 2022.

Kevin’s brother Justin and Vanessa got pregnant with a boy, due in February 2023.

Last but not least WORLD CUP MADNESS. It was a bit strange to have World Cup games in November/December but it brought a lot of fun exciting times even though Netherlands ended up losing against Argentina. The dutch boys fought to the end, 2-2, going to penalty kicks -where they never win on penalties UGH the curse-  but the game was rated top 3 most exciting games of the WC. Watched probably 80% of all games, I even took days off from work to just watch games all day, can’t wait for Euro Cup! #futbolislife

We ended the New Years celebrating with Elizabeth and Jeff. And after-party with Dylan and Holly. Too much fun. Grateful for these friendships <3

Our 2022 Adventures recap video:

[mcrmadness]

TIME FOR THE DÄ SPECULATIONS (by mcrmadness)

So I told you I would come here to speculate and write down my thoughts and here I am now. Enjoy.

First of all: I feel like these men have been diving into nostalgia here. Already the way they named the tour, “In the Ä tonight”. Some time after that I happened to read some sort of an interview article and apparently the song that was playing when Bela and Farin met was called “In the air tonight” (personally I know nothing about the song, I don’t even know how it sounds like.) which made me feel like... okay they’ve done it again, they’re getting sentimental over their past?

Then comes this single and its cover is the same as what was the cover of their only EP for Soilent Grün. I feel like I’m connecting some dots here but at the same time... you can never really connect the dots with die ärzte. (ä would have a line instead of three dots then wait what)

Now they apparently are giving us some sort of puzzle images and I’m not exactly sure what to think of them. The newest photo there? Is that an old one? Maybe of one of them? Or is that just some random photo made to look like an old one? Is that from any of them or just some totally, totally random photo having nothing to do with them at all? Are we supposed to read something between the lines from the text on this guy’s chest? I guess we’ll have to see how this week goes but I feel like this could again support the nostalgia thing here. Them just releasing a single and not doing anything about it before that would have not been like them anyway.

I’m also thinking about the sound clips on their website because those are music genres. We all know that dä has made music probably from pretty much every genre in the world.

Based on all this I started to think if they are trying to make either some sort of a homage to their own band history. Or then they might just feel nostalgic for no bigger reason. We all know how many times these guys (well mainly Farin) have told the same stories over and over again. I have read about some same incidents from numerous articles and they still keep bringing them up on stage all the time too. They were also feeling very nostalgic at the Miles and More tour, from what I could understand (as I still am not fluent in German) they were talking about old songs and such and they also played this one very old unreleased song (”Klaus, Peter, Willi und Petra”) on each Miles and More concert. Here’s a video of that song filmed by me from the concert in Warsaw, Poland:

In 2012 they already made something similar with the zeiDverschwÄndung animation video, it had so much fan merch and photos and whatnot that you have to sit and pause and stare at each image for a moment to even see everything that is there. Maybe they’re kinda doing something like that again?

Another thing to come to my mind is that Bela seemed to be very hyped by Rammstein last year - I have seen so many videos where he just mentions them. In the Rock am Ring live he and Farin both talked about the new Rammstein video versus their sock puppet video, and after the concert Bela again mentioned Rammstein because of the tiny special effect sparks coming down from the ceiling. I can’t link these because the videos are not up but I have the clips on my computer. I also found one Miles and More tour video where Bela was asking the audience to applaud at different things and he also asked them to applaud Rammstein.

I also feel like them opening their concerts with the infamous theme song from 2001: A Space Odyssey off-key was maybe to parody Rammstein. I noticed this when I was to the Rammstein concert and they started it with some classical, non-Rammstein composition (I don’t know which composer that was, but here’s one video of it that I found). Talking of this and nostalgy, I also figured that dä actually used  the Space Odyssey theme as their opening song already back in 1987:

And the off-key version seems to be a meme from several years back. I bet one of them just stumbled upon it and found it hilarious :D Here’s what it looked and sounded like in Warsaw (again filmed by me):

So. What do YOU think? Can we get a conversation around it? Or am I gonna just have a monologue on Tumblr as always? (Probably just gonna have a monologue as always </3)

[stephaniemarlowftw]

DRAB MAJESTY FALL INTO THEIR PRIME AND “OUT OF SEQUENCE”

Watch the new music video for the latest single to precede the July 12 release of Modern Mirror.

The release of Drab Majesty’s shimmering new album Modern Mirror is tomorrow, and the intergalactic duo is marking the occasion with a fourth and final single. The track, album closer “Out Of Sequence,” encapsulates the echoic, otherworldly undertones that pervade Modern Mirror. The world will get to hear Drab Majesty’s synth-fueled masterpieces in a live setting starting July 24, when the band embarks on a lengthy US and European tour. A full itinerary can be found below.

Watch the dangerously trippy “Out Of Sequence” video now via Paste Magazine.

Modern Mirror  was recorded after a spat of intense touring alongside The Smashing Pumpkins and Deafheaven, leading Deb and Mona to decamp to the sun-bleached landscapes of Athens, Greece. Inspiring their most ambitious work yet, the picturesque landscapes and mystical beauty of the country fuels the album’s eight blissed-out tracks. The album even draws inspiration from the myth of Ovid’s “Narcissus”, using its premise as groundwork for a modern reinterpretation. 

Each song on Modern Mirror is a crucial part of this fantastical narrative, in which the listener’s own self-identity has become warped and dissociated through rapidly expanding technology, losing touch with the origins of their own personalities. While its inspirations are myriad, Modern Mirror is ultimately a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems – a seemingly classic tale delivered unblinkingly through the frame of the modern world.

Marking the band’s most collaborative effort to date, Modern Mirror was produced by Josh Eustis (Telefon Tel Aviv), mastered by Dave Cooley, and includes appearances from Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air).

Modern Mirror will be released this Friday on Dais Records. Pre-orders are available here.

Catch Drab Majesty on the road this summer and fall, and stay tuned for more dispatches.

Modern Mirror — Track Listing: 

1. A Dialogue

2. The Other Side

3. Ellipsis

4. Noise of the Void

5. Dolls in the Dark

6. Oxytocin

7. Long Division

8. Out of Sequence 

DRAB MAJESTY — NORTH AMERICAN HEADLINE TOUR:

July 24 - San Diego - Music Box ^

July 26 - LA - The Fonda Theatre ^

July 27 - Phoenix - Crescent Ballroom ^

July 28 - Santa Fe - Meow Wolf ^

July 30 - Dallas - Deep Ellum Art Co ^

July 31 - Austin - Mohawk ^

August 1 - Houston - White Oak ^

August 2 - New Orleans - One Eyed Jacks ^

August 3 - Atlanta - The Masquerade (Hell) ^

August 4 - Nashville - Exit/In ^

August 6 - Durham - The Pinhook ^

August 7 - Richmond - The Broadberry ^

August 8 - Washington DC - Union Stage ^

August 9 - Brooklyn - Music Hall Of Williamsburg ^

August 11 - Philadelphia - Underground Arts *

August 13 - Boston - The Sinclair *

August 14 - Montreal - Theatre Fairmount *

August 15 - Toronto - Velvet Underground *

August 16 - Detroit - El Club *

August 17 - Cleveland - Now That’s Class *

August 19 - Chicago - Thalia Hall *

August 20 - Minneapolis - Fine Line *

August 22 - Denver - 3 Kings Tavern *

August 23 - Salt Lake City - Urban Lounge *

August 24 - Boise - Visual Arts Collective *

August 26 - Seattle - Neumos *

August 27 - Vancouver - The Astoria *

August 28 - Portland - Wonder Ballroom *

August 30 - San Francisco - Great American Music Hall * 

^ w/ Body of Light, HIDE

* w/ Body of Light, Xeno & Oaklander

DRAB MAJESTY — EUROPEAN HEADLINE TOUR:

September 18 UK, London - Dingwalls %

September 19 UK, Manchester - Soup Kitchen %

September 21 UK, Leeds - Wharf Chambers %

September 22 UK, Cardiff - Clwb Ifor Bach %

September 24 FR, Paris - Petit Bain %

September 25 FR, Lille - L'Aeronef  %

September 26 NL, Nijmegen - Merleyn %

September 27 BE, Antwerp - Het Bos %

September 28 NL, Utrecht - DB´s %

September 30 DE, Köln - Bumann & Sohn %

October 1 DE, Wiesbaden - Schlachthof %

October 2 DE, München - Ampere %

October 3 DE, Leipzig - Conne Island %

October 4 DE, Hannover - Bei Chez Heinz %

October 5 DE, Berlin - Bi Nuu %

October 11 GR, Athens - The Temple

October 15 DE, Hamburg - Übel & Gefährlich #

October 16 DK, Copenhagen - Vega #

October 17 SE, Gothenborg - Musikens Hus #

October 18 NO, Oslo - BLA #

October 19 SE, Stockholm - Fristaden #

October 20 SE, Malmo - Plan B #

October 22 PL, Poznan - Pod Minogą #

October 23 PL, Gdansk - B90 #

October 24 PL, Warsaw - Hydrozagadka #

October 25 CZ, Prague - Klub 007 #

October 26 SK, Bratislava - Kulturák klub #

October 28 HU, Budapest - Dürer Kert #

October 29 AT,  Wien - Arena #

October 30 SL, Lubijana - Gromka #

October 31 IT, Vicenza - Vinilie #

November 1 CH, Martigny - Caves du Manoir #

November 2 IT, Ravenna - Bronson #

% w/ SRSQ

# w/ Body of Light

[gigsoupmusic]

MUSICIAN AND ACTOR MICHAEL MALARKEY RELEASES NEW ALBUM ‘GRAVERACER’ AHEAD OF UK AND EU TOUR

Singer-songwriter-actor Michael Malarkey releases his second full length album ‘Graveracer’ as a DL and limited gold LP Vinyl via Cap on Cat/Kartel. This is alongside an extensive UK and European tour, including a headline show at London’s Bush Hall tonight. Best known as the charismatic Enzo in the CW’s television series The Vampire Diaries and Captain Michael Quinn in Robert Zemeckis’ executively produced Project Blue Book for History. The British-American talent has simultaneously cultivated a body of work that established him as a distinctive and captivating crossover talent, winning over audiences in both the music and acting arenas.  Written in 2018 between Puerto Rico and Vancouver whilst Michael was working on both the 50 Cent-produced crime drama The Oathand Project Blue Book, during a time of physical and emotional turbulence – Michael, the cast and crew were evacuated from Puerto Rico during the build-up of Hurricane Maria – an experience that has bled into the artist’s lyrical imagery through the record, perfectly depicting the tense feelings coming from the fragile balance of work and home. “During the time I was working on the record, I escaped two hurricanes - as well as a third, I suppose, my own personal one. This record is my Odyssey in a way. It’s the journey back home after being ravaged in the seas of your own mind and finding the strength to carry on after the storm. I was left with a feeling of freedom and I found it through these songs,” reveals Michael. Malarkey deep, soothing baritone vocals unveil an earth-toned spectrum of emotions. There is a vacillation between gentle frustration, heartbroken uncertainty, ghostly perseverance and subtle swagger. Instrumentally, it is diverse in the same way; emotive strings, and minimalist piano quietly back Michael’s acoustic guitar playing in tracks like ‘Sea of Red’. Overall, there is a straightforward, heartfelt honesty in both words and tone. ‘Graveracer’ is reflective without nostalgia, forward-thinking without urgency, deeply rooted in the present: a raw vignette, a portrait of one human as a work in progress, as we all are. Recorded at Tesla Studios in Sheffield, UK and produced by Michael and ‘death gospel’ maverick singer-songwriter A.A. Williams, ‘Graveracer’ is a visceral body of work and a masterful culmination of the last few years of Michael’s musical development, drawing together the strength of his unique live performances and influences in what is one of the most captivating releases of the year. Previously releases, including the debut album ‘Mongrels’, have seen support across respected international publications including Metro, Billboard, Classic Rock and The Guardian. With a new album on the way, a headline UK and European tour and a new season of Project Blue Book airing in the UK in Winter 2020, Michael is set to make his mark as one of the most inspiring artists of his generation. 2020 Tour Dates - Michael UK and EU tour will come to London’s Bush Hall on 10th January and will end on Feb 8th in Madrid. For full dates and tickets please visit Michael Malarkey Official. Jan 10 UK London, Bush Hall  Jan 11 FRA Paris, Cafe La Danse  Jan 13 BEL Antwerp, Zappa  Jan 14 HOL Amsterdam, Melkweg  Jan 15 GER Cologne, Luxor  Jan 17 DEN Copenhagen, Little Vega  Jan 18 SWE Stockholm, Nalen Klubb  Jan 19 NOR Oslo, Parkeateret  Jan 21 GER Hamburg, Nochtspeicher  Jan 22 GER Frankfurt, Das Bett  Jan 23 GER Berlin, Bi Nuu  Jan 24 POL Warsaw, Proxima Jan 25 CZE Prague, Roxy  Jan 27 HUN Budapest, Durer Kert  Jan 28 AUS Graz, Orpheum  Jan 29 SLOV Bratislava, Randal Club  Jan 31 ITA Milan, Gate Feb 01 GER Munich, Strom  Feb 03 UKR Kiev, Caribbean Club  Feb 07 SPA Barcelona, Antiga Fabrica Estrella Damm  Feb 08 SPA Madrid, Moby Dick  Read the full article

[thejohnpark]

Continuing the nostalgia bands tour of 2018. Supporting all the bands I use to see in basements. He was carrying a glitter fanny pack where he kept essential oils and mist that he would periodically rub on his wrists throughout the show. #savestheday use to open for hardcore bands. This is the new hardcore. (at Warsaw Concerts) https://www.instagram.com/p/BqL-5iNFdjaMAs7_nXyLLnZPaVGzJg66u047UI0/?utm_source=ig_tumblr_share&igshid=io5vubrcm95p

[onestowatch]

Q&A: The Night Game Releases “Do You Think About Us” From Forthcoming Album - And It’s About a Real Girl

Last year around this time, I headed to the Roxy Theatre in Hollywood to catch a show for a band called The Night Game. Admittedly, I didn’t really know who The Night Game was at the time, but I ran into several of my hard-to-impress music friends during the opening act, who filled me in that this mysterious musician was the best thing they’d seen in a while. Chatterings of Mr. Night Game spread through the audience while we awaited his set, hearing mention of “He’s best friends with John Mayer,” to “He used to be in an emo band, but not sure which one...”

Looking around, I wondered how someone I’d never heard of could sell the place out and manage to bring all the hipster musicians boys to Hollywood all the way from Silverlake — this dude must be something special.

The stage was covered in a thick haze, and when The Night Game finally took the stage, he was only lit in silhouette and appeared to be a tall, slender guy with a mullet. His guitar player was sporting a nascar jacket and a cowboy hat, and he was legitimately one of the best guitar players I’d ever seen. For a moment, I wondered if this was a Bruce Springsteen tribute band, but just then, they started to play their single, “The Outfield,” and my friend leaned in and said, “You know that’s Martin Johnson from Boys Like Girls, right?”

Over the next few months, I would listen to the new singles by The Night Game, “Kids in Love,” “American Nights,” never fully making the connection to the former Boys Like Girls vocalist in terms of recognizability. I would later find out that this was done on purpose — since the brand’s aesthetic was initially born out of trying to trick people into NOT knowing it was him, in an effort to simply let the music speak for itself.

After almost a year of ultimately confusing most listeners, and having fully knocked his mid-2000’s “affected emo vocals” of the past, The Night Game unknowingly created one of music’s best executed identity coos ever — and the mysterious one will release his debut album on Sept. 7, followed by a hefty tour in both the US and Europe. Today, he released one of the stand out tracks from the album titled, “Do You Think About Us?” featuring Caroline Polachek from Chairlift. If you’re at all a sap, this song will definitely make you cry for the boyfriend (or girlfriend) you don’t even have.

The new single is rumored to be about a real girl in young MJ’s life — who also makes lyrical appearances in various other songs throughout the album. As far as the connection between the old “emo Martin” and the new “Night Game” Martin, there’s no doubt that there’s obvious musical growth in every way possible — and we’re loving all of it. In the end, MJ claims his return to the spotlight was because he wanted to sing again but mostly it was a way to “see if I could love music again…” If that statement doesn’t break your heart, you’re likely not human.

Take a listen to “Do You Think About Us?” and peep our Q&A with Martin Johnson of The Night Game below.

OTW: The sonic vibe of "Do You Think About Us"  is still in the same ‘80s vein as all your other songs so far — but with slightly more synth production. How did you land on the production you've used in the final version?

Martin: It’s funny — a lot of journalists are talking about this “80’s vein.” I suppose it was the choice to make most of the album’s sounds with analog synths and drum machines as opposed to simulations in the box with midi. The choices were less about finding the right sonic brand and more about how the song makes you feel...like, “Is that guitar part saying something or is it just filling space?” Francois (the albums’ co-producer) and myself wanted to put in the time to be respectful to the stories. On “Do You Think About Us?” the verses are a bit sad and melancholy; the vocal is wet in reverb and it feels like another time — Maybe in the past, with a bit of longing and nostalgia. Then the hook dries up and gets a lot louder,  and almost feels like a BPM jump — which sort of makes it go into the “Now;” [it] jumps out of the fantasy of what could have been, and becomes a direct question to a lost lover.

OTW: How does the song tie into some of your previous songs like "The Outfield" and "American Nights"?

Martin: I suppose there are some big broad stroke themes on this album: sports, sex, nostalgia, loneliness and searching for love/lost love (sometimes in the wrong places); searching for the American dream (what is it exactly? is it just a mirage?). I think this song fits into the sex, nostalgia, and searching “boxes,” but could probably also fit into the sports box depending on what type of sex you’re having.

OTW: We were lucky enough to preview the album which comes out on Sept. 7. There are references to remembering "being 18" in other songs on the album.... is there a specific person this song is about?

Martin: Depending on the day, it’s more the “being 18” than it is the girl, but yes, there is a specific girl for this one. She just had her second kid and is very in love with her husband — I’m happy for her. “Do You Think About Us?” is less an “I want you back” and more of a “sliding doors” type fantasy. What would it have been like if I went with her to that college instead of getting in a 15 passenger van with some boys back in ‘04?

OTW: Caroline Polachek is featured on this track and has a great voice, what made you decide to feature her on the track?

Martin: I tried a couple different features on this song but believability and vulnerability were both really important to me. I needed the right voice to tell the story. I had been working with a version of the song where I was temp singing the female part for months when Caroline and I met in Eastside LA with a group of people and became fast friends. We went for a hike the next day and were talking about writing together, and I played her the song in my car. She said “I like this. Do you want me to try to sing it?” — it was as simple as that. I’m really grateful to have her a part of it — she’s an incredible vocalist and performer both in the booth and on stage.

OTW: What are you most excited/nervous about for when the album comes out?

Martin: You know that feeling when you’re a kid: it’s sunday night at 10:30pm and you have an essay due the next day that you haven’t started yet, and you’ve had a week to work on it? I’ve had that feeling for four years. I think the thing I’m the most excited about is just actually being done with it. I’ve been picking at it for quite a while. Once it comes out, I can’t work on it anymore — it just is what it is. I’m doing my best to disconnect from the immediate results. I didn’t make this album for financial gain or to earn praise, I made it to see if i could love music again. I’m still not sure about that one, but I’m hoping the answer is out on the road.

OTW: Speaking of which, you’re about to go on a pretty big tour starting around the time of album release. What are you most excited about for the new tour?

Martin: I’m hoping they put some ice backstage in Europe. usually It's pretty hard to get ice in Europe.I like cold beverages. Sue me, I’m American.

EUROPEAN  &  FESTIVAL  DATES 9/8  Berlin,  DE 9/10  Vienna,  AT  -  Flex 9/11  Zurich,  CH  -  Plaza 9/12  Dresden,  DE  -  Beatpol 9/14  Gottingen,  DE  -  NDR  2  Radio  Festival 9/15  Baden  Baden,  DE  -  SWR  3  Radio  Festival 9/16  Munich,  DE  -  Strom 9/18  Frankfurt,  DE  -  Zoom 9/20  Hamburg,  DE  -  Reeperbahn 9/22  Cologne,  DE  -  Gebaeude  9 9/24  Amsterdam,  NL  -  Melkweg  Upstairs 9/27  London,  UK – Electrowerkz

NORTH  AMERICAN  TOUR  DATES 10/8  Vancouver,  BC  -  Vogue  Theatre* 10/9  Portland,  OR  -  Wonder  Ballroom* 10/10  Seattle,  WA  -  The  SHowbox* 10/13  Sacramento,  CA  -  Ace  of  Spades* 10/14  San  Francisco,  CA  -  August  Hall* 10/17  San  Diego,  CA  The  Observatory  North  Park* 10/19  Los  Angeles,  CA  -  The  Novo* 10/20  Anaheim,  CA  -  House  of  Blues* 10/31  Denver,  CO  -  Larimer  Lounge 11/2  Chicago,  IL  -  Chop  Shop 11/3  Pontiac,  MI  -  Pike  Room 11/4  Cleveland,  OH  -  HoB  Cambridge  Room 11/7  Brooklyn,  NY  -  Warsaw 11/8  Boston,  MA  -  Great  Scott 11/9  Washington,  DC  -  Rock  n  Roll    Hotel 11/10  Charlotte,  NC  -  Visulite  Theater 11/12  Nashville,  TN  -  Basement  East 11/13  Atlanta,  GA  -  The  Loft 11/14  New  Orleans,  LA  -  Gasa  Gasa 11/15  Houston,  TX  -  The  Studio  at  Warehouse  Live 11/16  Dallas,  TX  -  Trees 11/17  Austin,  TX  -  The  Parish 11/20  Phoenix,  AZ  -  Valley  Bar *  Supporting  St  Lucia

[nostalgiatour]

nostalgia for a time that never existed, a tour by luke hemmings | warsaw, poland | 05.08.2024 | 📸 @cozyzewsky on instagram

[kindahoping4forever]

Nostalgia For A Time That Never Existed in Warsaw - 8 May 2024

📸: Maciek Czyżewski for Alter Art

[vinylbay777]

Rock Shows To Check Out in New York This Weekend (November 17-19, 2017)

Another weekend is fast approaching. If you’re still searching for an awesome way to spend your weekend, why not check out some live music.

Even if you’re not into seeing Billy Joel rock Madison Square Garden for the 30-some-odd time, there are still a lot of big rock shows happening in New York this weekend to get excited for. The Jesus & Mary Chain and American Football will both be on tour promoting their first albums in nearly two decades. HIM will be bringing their goth-rock to New York one last time before breaking up. Established artist like King Crimson and Squeeze will also be in town giving fans the nostalgia experience. Punk, hardcore and indie-rock are also well represented this weekend with the likes of Circa Survive, Thrice, Hot Water Music, Silversun Pickups and Minus the Bear all rocking the city that never sleeps.

Vinyl Bay 777, Long Island’s music outlet, loves live music. That’s why we’ve once again searched the internet for the hottest shows happening in New York this weekend. Here are nine that we think will be worth heading out to the city for and spending your hard-earned money.

1.       Circa Survive & Thrice: Early 2000s hardcore bands Circa Survive and Thrice have teamed up for a power-packed fall tour. Circa Survive released their sixth album, ‘The Amulet,’ in September, while Thrice released their ninth album, ‘To Be Everywhere Is to Be Nowhere,’ last year. Joining them on this leg of the tour is one of the hottest new(ish) bands of the “emo” revival, Balance and Composure. (Friday, Terminal 5)

2.       Silversun Pickups: Nearing the end of a two-year promotional cycle for 2015’s ‘Better Nature,’ indie-rockers Silversun Pickups recently released an EP featuring remixes of a few of the album’s songs. After touring over the summer opening for Third Eye Blind, the band heads out on their own headlining tour with support from Minus the Bear, who released their new album, ‘Voids,’ in March. (Friday, Brooklyn Steel)

3.       The Jesus & Mary Chain: Known for their work in the 1980s and 1990s, alt-rock band The Jesus and Mary Chain reunited in 2007. However, it took them 10 more years to cement the reunion with a new album. ‘Damage and Joy,’ their album since 1999, was released this past March to rave reviews and a top 10 spot on the US independent albums chart. Catch the band tonight as they end the second half of their US tour in New York. (Friday, Playstation Theatre)

4.       HIM: After 26 years together, Finnish goth-rock band HIM are calling it a day. But before they go, they’re giving fans all over the world a proper goodbye with the ‘Bang and Whimper’ farewell world tour. The tour’s North American leg ends tonight with a show in New York. Following this show, HIM heads over to Europe for the rest of November and December, playing their final show on New Year’s Eve in their hometown of Helsinki, Finland. (Friday, Hammerstein Ballroom)

5.       King Crimson: After playing shows in Brooklyn and Long Island earlier this week, King Crimson will be concluding their week-long run of shows in New York this weekend with two shows in Manhattan. Earlier this year, the band released a live EP, a full live album and a box set featuring “rehearsal extracts, live recordings, partial and full studio tracks, alternate takes and finished recordings” gathered throughout their career. (Friday & Saturday, Beacon Theatre)

6.       Hot Water Music: Punk band Hot Water Music released their latest album, ‘Light It Up,’ in September. The band is now touring behind the album with Strike Anywhere and Big Jesus as support. (Saturday, Warsaw)

7.       American Football: American Football released their first album in 17 years, ‘American Football,’ last year after reuniting in 2014. If you’re a fan of third-wave “emo,” you’ll definitely want to check these guys out. (Sunday, Brooklyn Steel)

8.       Squeeze: 1980s UK new wave band Squeeze are back with a new album, ‘The Knowledge,’ released in October, and are currently in the US promoting it on their “Join the Dots” tour. If you can’t make this weekend’s show, the band will be back in the area at the end of the month, playing two shows in Port Chester on November 29 and 30, and one on Long Island on December 2. (Sunday, Beacon Theatre)

9.       IAmDynamite: Indie-rockers IAmDynamite will be playing two one-off shows in New York this weekend with Wild Adriatic, one in Albany and one in Manhattan. The band released their second album, ‘Wasa Tusa,’ in 2015. (Sunday, Rockwood Music Hall Stage 2)

These are some of the rock shows happening in New York this weekend that we think will be worth the money. If you’re still looking for something to do, check out these or any of the other amazing shows going on in area this weekend.

                                                            ---

Before heading out to the show, drop by Vinyl Bay 777 to find music from these artists and more. As Long Island’s top new independent record shop, we have thousands of titles to choose from in an array of genres. Browse our wide selection of new and used vinyl records, CDs, cassettes, music DVDs and memorabilia in store at our Plainview location during our new winter hours or online anytime at vinylbay777.com. With more titles being added to our selection all the time, you never know what you might find at Vinyl Bay 777.

[felinevomitus]

The Symbolic Identities of State and Culture: Sz. Berlin Interviewed

Sz. Berlin live at The Grosvenor, London, 2010. All images courtesy of Sz. Berlin.

Sz. Berlin is a multidisciplinary project that primarily draws its influence from various European historical, cultural & ideological sources. Formed in London, in 2007, the anonymous duo have used sound, performance, video and installation work to engage with notions of authority, industry and totalitarianism.

A major source of inspiration for the group is the former Deutsche Demokratische Republik (DDR). With its widespread surveillance of East German citizens, hidden history of electronic music research and strong design aesthetic the DDR provides a wealth of diverse material. However, with Sz. Berlin’s sonic experiments ranging from obscure remixes to conducting deafening sound installations in a Bosnian fallout shelter, it is evident that the group’s interests do not lie with East Germany alone.

By revisiting the pitfalls of a troubled past, Sz. Berlin attempt to articulate our place within a geopolitical landscape that is becoming evermore tricky to navigate. Ilia Rogatchevski caught up with one of the members via email ahead of Sz. Berlin’s IKLECTIK performance on Wednesday 17 May.

Ilia Rogatchevski: What is the significance behind the name ‘Schmerzzentrum Berlin’? Why did you chose it for the project?

It was a kind of ‘found object’ that we adopted following a visit to the city in 2007, shortly after we began to collaborate. In a sense, it’s another example of the tendency of non-German industrial groups to appropriate German names because of their sinister/symbolic associations for non-German speakers. A ‘Schmerzzentrum’ is simply a functional description for a treatment centre but the literal English translation – ‘pain centre’ – inevitably brings other associations when paired with the name of the city. So you could say it’s a kind of symbolic recognition of the ambivalent fascination of Berlin’s history. However, in practice we’ve always shortened it to ‘Sz. Berlin’, which in turn suggests a technical acronym. It was a conceptual departure point for us but shouldn’t be taken too literally.

What are you aims when operating within the realms of industrial/noise music? It is to inflict pain (schmerz) or to relieve it?

We try to be neither one-dimensionally provocative nor one-dimensionally affirmative, although we’re fully aware of the potential for what we do to be perceived in this way. We may inflict, relieve, or perhaps, do both simultaneously, but neither of these are explicit objectives.

During our residency in Tito’s former nuclear command bunker during the first Konjic Biennale in 2011 we created a simulated 25 kiloton nuclear explosion from the sounds of the bunker itself. Before the opening, a curious local woman asked us to demonstrate what we were doing. We played 25kt at full volume over the sound system (the effect in the blast tunnel was immense and there would often be flakes of plaster on the floor after each playback). The noise reduced her to tears as it brought back memories of her childhood when the town of Konjic was besieged during the Bosnian war. She might have been expected to be angry but was actually grateful. Being confronted with our work had been extremely cathartic for her. This wasn’t a reaction we anticipated or aimed for but it was fascinating.

On the day of the opening we played 25kt to a VIP delegation touring the bunker, including the Bosnian President and NATO officers. While they weren’t reduced to tears, from what we could observe from our vantage point, they certainly encountered something unexpected. They were no more our targets than any other audience members (every group visiting the event heard 25kt as they entered the bunker) but they surely realised that exposing yourself to art is not necessarily a pain-free experience.

Of course, if we go beyond the art world and discuss seasoned industrial audiences (of which we’re often members), the physical pain that the uninitiated might feel may be replaced by the pleasure of being confronted by the types of sounds we deploy. On the other hand, in terms of the visual and historical material we’re using, we’re certainly not ‘crowd pleasing’, even in the industrial context. Some of the visual and historical content we use has never been used in industrial previously and in some ways violates some of its norms. We do demand that our audiences pay attention to the totality of what we’re doing and if it turns out to be painful, that’s a perhaps necessary stage in a journey, rather than an objective in itself. We make no attempt to perform an openly sadistic imposition of pain and we’re not motivated by the sort of machismo that marks some noise projects.

What is it about the DDR that attracts you to mine its aesthetics?

During the 1990s and 2000s, there was a growing tendency (especially within what is known as ‘martial industrial’) not just to use but sometimes to actively affirm Axis imagery from World War 2. Leaving aside, political or moral considerations, as the use of this material intensified, the artistic quality suffered. This also increased the external perception that industrial was naturally or inherently right wing and should be treated with extreme suspicion or hostility. The provocation was only in one direction and in practice it could be more conservative than provocative. We were both aware of this tendency and the idea to try and incorporate contradictory imagery had first occurred to one of us around 2001.

When we began to experiment with sound we were looking for a theme and this old idea fused with one member’s detailed knowledge of the history of the DDR (this included pre-1989 visits). The spent cultural fuel of the DDR was being used mostly for fairly populist ‘Ostalgie’ (nostalgia for the East), which had obvious conceptual limitations. We were both teenagers during the ‘New Cold War’ period of the early 1980s when NATO seemed to have actively flirted with the idea of a nuclear first strike against the Warsaw Pact and we were inevitably marked by this. So we decided to combine the history of the DDR with an ‘industrial’ approach to sound and history.

The visual and symbolic identity of state and cultural activities in the DDR were often surprisingly radical and innovative. The use of fonts, the mode of propaganda and numerous other details of course now have the ‘romantic’ sheen of a state that no longer exists. Our engagement with it is in a sense counter-factual, dealing with the most dramatic positive and negative possibilities of what might have been.

Yet we’re fully aware of the ambivalent nature of the DDR. We’re trying to build on what we see as the modernist technological aesthetic seen in all the state socialist countries but in an especially interesting form in the DDR, which is little known outside its former territory. It could be argued that one of the reasons that the DDR had to resort to such repression was that culturally conservative elements always tried to choke off radical innovation. Architects, designers, composers and others consciously tried to create modernist aesthetics which could have had positive social effects. The DDR had a great cultural potential, which was choked off from both within and without. Of course, if at some point the leadership had decided to be more modernist or pluralistic and move away from authoritarianism it might for a time have led to a cultural flowering but we have no illusions. No matter how progressive the DDR had become, it would always have been bound for ‘Gleichschaltung’ into the Western market model, regardless of its citizens’ aspirations.

We also feel that the DDR, and its demonic place in the Western imagination, is a useful prism through which to observe and criticise concrete political and cultural tendencies in the former Western bloc. The totalitarian aspects of the DDR are very convenient projection points which Western politicians love to use to distract from their own shadowy activities. We often speak of the crimes of the Stasi and the casualties of the East German state but how often do we speak (or how prominently are we allowed to speak about?) subjects such as NATO’s Gladio operations and their links to right wing terrorism which killed hundreds? And how few people care to acknowledge, or even to care about, the fact that GCHQ and the NSA have surveillance and blackmail capacities far more dangerous than anything the Stasi had?

It’s a beloved cultural archetype of evil for the West, but we believe it’s also a productive cultural prism through which to view the West. Much of what was said or forecast about the West in DDR official statements has actually been vindicated following the collapse of the state (the dangers of a speculation based economy, a resurgence of Fascism etc.) So for these and many other reasons it remains a ‘live’ theme that can be made culturally and conceptually productive again. It can act as a ‘memento mori’ for all ‘actually existing’ states.

Furchtbare Schönheit Enstand, Film Still, 2016

Which other sources, German or otherwise, do you draw from for your work? What is it about them that interests you?

That depends on the nature of the current ‘mission’. Besides the DDR and Warsaw Pact, which were our initial primary sources, we’ve also worked intensively with Yugoslav and Irish history. We’ve also researched certain aspects of recent British history that we may work on in the future.  We feel our techniques could be relevant to many historical and cultural contexts and don’t rule out any sources.

Do you see Sz.Berlin as a radical project?

That’s not a label we’ve ever consciously used. It’s probably more correct to say ‘distinctive’, rather than ‘radical’. Of course, some of the historical material we’re using, plus the severity of our aesthetic techniques could seem radical or extreme to some but it’s not a label we either aspire to or strongly reject. It’s more important to us to contribute different perspectives.

Your releases have been sporadic and few, often limited to small-run CDRs. Is there a reason for this restrained activity?

Since the creation of the group we have been geographically dispersed and have needed to prioritise not suffering the romantic fate of precarious artists, plus having other creative projects to attend to. We haven’t let this be an obstacle to opportunities that have come up. Sz. Berlin’s participation in the 2016 2ndNSK Folk Art Biennale, as well as The Horse Hospital last October, was carried out by only one member, as was the recent track Stillstand 2016. This was partly for logistical reasons, but also as he had stronger connection with the subject matter (Irish history and the 1916 rising).

While still both extremely busy, we now have more stable schedules and are able to work more regularly again. One thing that has changed in the last year is a shift to using physical synthesisers, whereas previously we had worked almost exclusively with computers. This new way of working produces stronger results in a shorter time. All of which is to say, that between day-to-day obligations, conflicting schedules and prioritising live and art projects, we’ve not had time yet to prepare larger releases. This is changing though.

Sz.Berlin at the Radioactive Half-Life installation, Konjic, 2011

What is the driving force behind your installation and sound art work (25kt, Radioactive Half Life, Communique)? How are these pieces connected to the notions of totalitarianism, geopolitics and apocalypse?

These three works were all direct responses to the bunker environment at Konjic. One member visited the site 6 months before the event and gathered numerous sound recordings of the space. The concepts were developed following the visit. All the works were inspired by and designed specifically for the space. 25kt was constructed entirely from the sounds the bunker, constantly re-recorded and re-worked during the period leading up to the opening.

If this piece was a simulation of a nuclear detonation, Communique was a simulated order for a nuclear strike and Radioactive Half Life was an imaginary soundscape based on its aftermath. In this triptych we weren’t dealing explicitly with totalitarianism, which is a label that’s often misapplied to Yugoslavia.

For us, geopolitics and apocalypse were obviously inescapable themes within that space, even if some other artists presented far more personal or even homely works. However, we weren’t trying to practice an artistic ‘apocalypse for apocalypse’s sake’. The point was rather to interrogate the wave of Cold War nostalgia that also benefits a space like Konjic. We tried to re-alienate this mode of nostalgia, to remove the cosiness and commerce and to re-acquaint people with the apocalypse that lurks behind the Cold War. It’s interesting to observe how in the 6 years since the event Cold War nostalgia has become ever more popular while we are now closer to a ‘Hot War’ than we have been since the early 1980s.

Can you recall any interesting or elaborate performances to date, within which you have participated, that left a lasting impression on you?

On the Friday night of our residency at Konjic we performed live in the tunnel. The sound was colossal. The microphone recordings were hopelessly overloaded. The sound spread out of the tunnel and into the valley beyond. After about 40 minutes we reluctantly stopped at the request of the resident military personnel. We only have few photos of this action, which as far as we know has been the only live sound performance within this space.

At the other end of the geographical, conceptual and chronological spectrum, the performance at Ballyvaughan Castle in Ireland last year was very memorable. It took place in a circular room on the first floor of this historic structure and assistance was provided by a veteran sound engineer who’d worked with Swans and others in the past. The sound was sufficiently intense that it was felt through the ground at the base of the tower and there were worries about the structural integrity of the floors. This 30 minute piece, Stahlschwert16, a historical soundscape using Irish sound sources (some gathered in the days before the performance) is the longest single Sz. Berlin work to date and to execute it successfully, in full, in such a historically and physically resonant location was a powerful experience.

Sz.Berlin live video projection in entrance tunnel, Konjic, 2011

What is on the horizon for Sz.Berlin?

The show at IKLECTIK is the first presentation of new material that we’ve prepared for our appearance at the Primal Uproar II festival in Hamburg in June. This major techno/noise/industrial/experimental festival will take place aboard the Ms. Stubnitz, the renowned ex-DDR fishing ship. This will be our first German appearance and we’ve prepared works that related to the history of such ships and the men who worked on them, as well as to the wider nautical traditions of the DDR.

To return to your earlier question, what we plan to do following that is to focus on releases. We plan to release the video and performance soundtracks from the Biennale and the Stubnitz material (under the title Kurs liegt an!). Two remixes from the DDR60 compilation we put together will be issued, including a remix of our track by Autopsia. In the longer term, we also want to release a compilation of our archive: several years’ worth of unreleased material, some dating back to 2007. The challenge here is that we’re now working on different machines with software. So these will be enhanced reconstructions that will document the first phase of our work. After that, we hope to intervene further in the art sector and, amongst other themes, we would like to address the issue of surveillance in the Anglo-American bloc.

Sz. Berlin will be performing live at IKLECTIK on Wed 17 May along with Jose Macabra and Am Not. For more information about the Sz. Berlin project please visit their website. Ilia Rogatchevski Originally published by IKLECTIK, 30 April 2017

[pablomedinauribe]

“Two weeks later, after a couple of shows in China, I flew from Beijing to London for the last leg of what had become a six-month worldwide tour. Maria continued east, to the Pacific Northwest, to teach accordion at a folk music camp. There were no newsstands in the Beijing airport. On my LOT flight via Warsaw, you could buy alcohol from the crotchety, elderly Polish staff only in złoty or dollars, not renminbi or pounds. I retraced in nine hours by air what had taken two months by land: northwest from Beijing over Mongolia, across Irkutsk and Novosibirsk, Yekaterinburg and Moscow, to Warsaw. The slow pace of land travel is frustrating or relaxing or simply literal, time to be passed. It has the smoky flavor of nostalgia. The train journeys were always over too soon—I always had another chapter to read, another chapter to write, another hour I wanted to sleep. The flight, though, felt endless. If the faster you travel, the slower time passes, perhaps the slower you move, the faster you find your way to the end of the line.

Franz Nicolay. “The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar.”

[itsworn]

Gallery: Vintage Drag Racing Through the Lens of Dave Kommel

Dave Kommel fell in love with drag racing in 1960 as a 10-year-old reading about Don Garlits in Hot Rod Magazine. He went to his first race in Union Grove, WI, in 1966 and started shooting trackside, mainly on the west coast, in 1972 through the ’70s until forming Auto Imagery in 1979 with Richard Shute. From 1980 through 2013, he traveled the country shooting NHRA, IHRA, IDBA, ProStar, various independent drag races and a little bit of NASCAR. Now retired, Dave still shoots races that catch his fancy and has begun scanning his extensive cache of slides and negatives from the 1970s.

Bob Glidden’s Pro Stock Pinto at the 1975 Winton Finals at Ontario Motor Speedway. Glidden went on to win the event and also the second of his ten Pro Stock championships.

Unknown Top Fuel team in the pits at Irwindale in 1971. This team was relatively high-dollar for the day as they had an enclosed trailer and a spare motor.

Jr. Berona at Lions in 1972. The central California-based team of Barnes and Berona ran a series of inline six gassers for a number of years.

Dave Beebe in Rich Guasco’s “Pure Hell” Funny Car at OCIR in 1972. Beebe drove numerous Fuel Altereds, Funny Cars and Top Fuel Dragsters in the 1960s and ‘70s.

Richard Herrera in the Herrera & Matsukane BB/A Opel GT at the 1973 Winternationals. The Herrera family ran a series of good-looking AA/GS and blown altereds.

Danny Ongais riding out a fire in the Rossi & Lisa car at Irwindale in 1973. A very young John Stewart is in the near lane.

Fred Goeske trying to put it on the bumper at Irwindale in 1975. Goeske ran Funny Cars and rocket Funny Cars from the mid-60’s through the early 80’s.

“TV Tommy” Ivo at the 1975 Winton Finals. Ivo was a child TV star in the 1950s and later became one of drag racing’s first full-time touring pros.

Tom Lemon in the Kazanjian and Lemon BB/FC at Salt Lake City in 1975. Kazanjian and Lemon always had good-looking cars and they are still competing today in Nostalgia Funny Car with Rian Konno at the wheel now.

Ray Motes in John Pusch’s Funny Car at the 1976 Winernationals. During a 30-year career, Motes drove everything from Top Fuel, Funny Car, Top Gas, Alcohol Dragster and Alcohol Funny Car.

Ed Renck in Terry Hudson’s “California Wolverine” at Fremont in 1976. Renck raced in Top Fuel and Pro Comp for many years and now drives a 200 mph roadster at Bonneville.

“Broadway Freddy” DeName at Beeline Dragway in 1977. DeName was probably drag racing’s closest connection to organized crime.

Richie Zul in the Reher & Morrison Monza at the 1977 Winternationals. Zul was a temporary replacement for Lee Shepherd after Shepherd crashed in 1976.

“Lil Joe” Nowocinski’s AA/DA at the 1977 March Meet. Long after most had abandoned the front-engine paradigm, Nowocinski and his small-block Chevy powered “Warsaw Express” continued to fight the battle in Pro Comp and Top Alcohol Dragster at least into the late ‘80s.

Ron Colson in Roland Leong’s “Hawaiian” at Irwindale in 1977. Leong was well known for the number of drivers he employed, but Colson lasted longer than most.

“Lil John” Lombardo at Irwindale in 1977. After a series of unusual paint jobs, this was probably the best looking car Lombardo ever had.

Gary Burgin’s “Orange Baron” at the 1977 Winton Finals.

Art Peterson’s “Indian Uprising” Super Stock GTO at the 1978 Winternationals. Art is still racing today and has been racing this same car for over 40 years.

Allan Patterson’s F/Modified Production Corvette at the 1978 Winternationals. Patterson went on to become one of the top sportsman engine builders and today, Patterson Engines are found in many Comp and Super Stock entries.

The “Vega Killer,” seen at Inyokern in 1978, redefines “short wheelbase.”

Chris Karamesines at the 1978 March Meet. Now 84 years young, Karamesines is still competing in Top Fuel on a limited schedule.

Bob Dell has half a car length on Doug Kerhulas at Fremont in 1978.

Les Shockley’s “Shockwave” jet dragster at Sacramento in 1978.

Harry Holton’s Super Stock Hemi ‘Cuda at Fremont in 1979. Holton was one of the top hemi engine builders for many years.

Bill Ranney’s “High Plains Drifter” AA/Fuel Altered at Tucson in 1979. After a few years campaigning the Fuel Altered, Ranney stepped out of the seat and ran a Funny Car with his son Mike driving.

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