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decline of western civilization part 1
Bookmark and Sharestonedranger on May 30thcomments (0)
it list : wednesday
The Theater Fire | The Dodos (Hailey's)
Good show that I don't have much time to write about today, even though I do have time to tell you that I've only read good things about The Dodos' (formerly Dodo Bird) live shows, and that I've seen these guys compared to everyone from Liars to Animal Collective to Rufus Wainright. Not sure if I really agree with any of those, particularly the first one, but I guess I can kinda hear a less difficult Animal Collective here and there.

Bob White and the F-Electrics | Big Digits | Ghost of Ria (Rubber Gloves)

Bookmark and Sharestonedranger on May 30thcomments (0)
morrissey @ palladium ballroom (howardbobjohnson)
I imagine the majority of the readers here are too young to have seen Morrissey live in 1991. I was 11 and my only Moz experience at the time was my friend's older brother's "Smiths" cover band. The 91 performance that spawned the concert video "Morrissey: Live in Dallas" showcased the hysteria of Morrissey crowds during the singer's early solo career. Anyone halfway familiar with his live performances immediately visualizes stage runnings, rose throwing and pseudo-fascist synchronized chanting. For someone who seemingly dismisses the enjoyable, Moz has consistenly been an excellent showman, which is part of what makes "Live in Dallas" a strange artifact. Sixty minutes into the concert,when it's obvious security has no control on the audience's persistence, Moz storms off while his band is left shrugging their shoulders before they eventually join him off stage. It could have been worse. It could have been a riot.

Fast forward sixteen years. While Moz's hairline grows with his age, the pompadour retains its form, and even though LA's commuter culture hasn't been kind on his waistline, the voice hasn't aged a bit. In fact its remarkable how little has changed with this guy in the past 15 years. Stylistically, the music hasn't really evolved or transformed, and neither have his lyrical themes. While some may critique his output as formulaic, ask yourself: would you ever really want a radical departure from Moz? What would that even be? The concert on Friday was far more calm than the "Live in Dallas" video footage that could easily pass for a national front rally rather than a musical performance. It was enjoyable to watch him exchange trivial quips with the audience, partly because you could tell HE actually"enjoyed" it too. Morrissey live is great because it may very well be the only time and place where the old man lets his guard down a little bit. Age has apparently humanized the king of self loathing. Oh and yes... he played "How Soon is Now."

Morrissey "Everyday is Like Sunday" from Live in Dallas 1991

Bookmark and Sharestonedranger on May 29thcomments (0)
no it list today
It's been a while since the last time I wasn't able to find anything to do on a given night, but I guess nights like this are just what happens after a blow out concert weekend like the one we just had. I honestly had a really good time at everything I went to:

Morrissey: I wasn't expecting much for Morrissey- I'm not a huge fan of his solo work for starters, and the prospect of watching a middle aged guy sing snobby love songs isn't exactly appealing on paper. In fact, the main reason I went to the show at all was because I wanted to see if Morrissey fans were as crazy as I had heard they were. However, I was pleasantly surprised to discover what a great performer the guy really is. His voice and onstage energy are still highly impressive (voice sounds just about as good live as it does on record), and his band sounded fantastic throughout the show. It had been a while since I'd been to a big stage "concert event" like this, and I have to say that it was a nice change of pace. We'll have more on this show soon, but I will say that Palladium annoyed me a lot less than I thought it would, five dollar Shiners and no smoking policy notwithstanding.

Glass Candy: The new Art Club venue is worlds better than Avenue Arts as far as layout and atmosphere, with a real stage and a split floorplan design that makes the place seem more like a venue and less like some room with a bunch of bad art inside. Glass Candy sounded great inside the small venue, with Johnny Jewel's tight live bass carrying the strong syth disco rhytms and Ida's vocals coming through as more dramatic and noticeably bigger than they sound on recording. The whole thing had a dance party atmosphere to it rather than a "stand around at a rock show" vibe, which played a big role in making the show a success... what Johnny said in our interview the other day was true: Glass Candy played to the atmosphere in the room, and the crowd played a big role in the show.

Animal Collective: We'll have more on this show later too, but I'll just tell you that it was, in my opinion, the best show I've seen in Dallas this year. Period.
Bookmark and Sharestonedranger on May 29thcomments (0)
tuesday morning rock
This is the real Monday this week anyway, right?


WED: The Theater Fire/The Dodos (Haileys)
FRI: DJ set by Daniel Ash of Bauhaus and Love and Rockets (Cavern- Camel event)
FRI: DJ Battle (Absinthe Lounge)
SAT: One Year of Losing Our Asses Party (Secret Headquarters)
SAT: RTX/Bob White and the F Electrics (Pastime Tavern)
SAT: El Paso Hot Button (715 Panhandle)
Bookmark and Sharestonedranger on May 28thcomments (2)
all in one post
We kind of decided to take the day off today, but we've got some stuff for you anyway. And if you're looking for something to do tonight, House of Tinnitus has a pretty good show going, and RPG, Record Hop and White Drugs will be at Rubber Gloves. We'll be back tomorrow with show reviews and other features, but for now you can enjoy this:

And Last Week's Good Records Sales Chart:

1. St. Vincent- Paris is Burning
2. Mom - Echo Breath (CDR)
3. Voot Cha Index - The Talking House/Cradle 7"
4. Tame.. Tame and Quiet - Tin Can Communicate
5. Tree Wave - Cabana EP+

1. The National - Boxer
2. Battles - Mirrored
3. Skeletons & the Kings of All Cities - Lucas
4. Voxtrot - Voxtrot
5. Wilco - Sky Blue Sky (Deluxe)
6. Hot Chip - DJ Kicks
7. Blonde Redhead - 23
8. Handsome Furs - Plague Park
9. Feist - The Reminder
10. Mice Parade - Mice Parade
11. Jana Hunter - There's No Home
12. Page France - And the Family Telephone
13. Arcade Fire - Neon Bible
14. Dungen - Tio Bitar
15. Centro-Matic - Operation Motorcide EP
16. Elliott Smith - New Moon
17. Parts & Labor - Mapmaker
18. Efterklang - Under Giant Trees
19. Boris with Miichio Kurihara - Rainbow
20. White Rabbits - Fort Nightly
Bookmark and Sharestonedranger on May 28thcomments (0)
Contributions from SR and Wildcat...


Morrissey | Kristeen Young (Palladium)
Oh man...Morrissey. I don't think there is anyone in music that I simultaneously respect and despise more than him... watching him wave that tree branch around in the famous live video for "The Boy with the Thorn in His Side" has to be one of the most annoying rock n roll activities I can think of, and furthermore, the guy is an arrogant prick who hasn't put out anything that I've even remotely dug in a decade (although I do have to say that "Boy Racer" is awesome.). However, the fact that he manages to piss me off so much is kind of what I like about him, and although I don't know nearly as much about his solo work as I do about the Smiths (am I the only person on the planet who likes Meat is Murder the best?), I like some of it quite a bit, and I've never had the chance to see him live. So basically I hate Morrissey, and yes, I WILL be at this show tonight.

Glass Candy | Farah | Pretty Vacant DJs (Art Club, 823 Exposition in Dallas)
Well you probably already have a hot sports opinion on Farah one way or the other, and if you want to read more about Glass Candy, you can check out our interview below. Pretty Vacant DJs are two former members of the High Society crew who spin a highly eclectic mix of disco, punk, new wave, and a lot of hard to find electro. They were nice enough to make a mix for We Shot J.R., and we'll have that mix for you some time very soon. It's highly daceable and tasteful, and their soundtrack should really add to things at Art Club, a new venue that has opened next door to Avenue Arts on Exposition.

Goodnight, Fish | Super Love Attack | Tame...Tame and Quiet (Secret Headquarters-Denton)

If you've been paying attention, I’m sure you’re aware that Tame… is probably one of the most unanimously enjoyed local bands among the weshot crew. While you probably don’t need prodding to go see them at this point, let us take this opportunity to instead encourage you to get out and see the Denton debut of Goodnight, Fish.

Paul Brinkley and Brendan Kiefer teamed up 8 years ago in San Antonio to form Goodnight, Fish. They were later joined by Andrew Jackson and Art Silva, and they currently put songs together while members split time between Austin and Fort Worth.

While Brendan admits that the band has “a soft spot for 90's indie rock and the Bee Gees,” he says that the group’s music is actually inspired more by the instruments they have at their disposal, “including drums, guitar, bass, accordion, mandolin, ukulele, autoharp, keyboards, trombone, clarinet.” I think the band’s sound is appealing partly because it recalls simpler times, like back when it would have seemed absurd to consider whether or not this or that indie rock band played music that was “danceable.” The reverbed accordion-sounding part on their Judy and Clyde song reminds me of background music to the ultimate “simpler times” classic 90s TV show, Pete and Pete.

Brendan says that the band is working on two split releases: one with Grumpy Bear, and the other with Austin’s The Lovely Sparrows, in which Paul helps out. Paul also has a pet project called Mermaid-Blonde, and Art uses The Narrow Escapes as an additional outlet for his ideas.

Goodnight, Fish will also be playing Saturday night at 1919 Hemphill with some other good bands listed below...

Andy Rourke DJ set with Zoo upstairs (The Cavern)
I can't decide if this event is ridiculous or not. On the one hand, the idea of paying a $20 cover to see ANYONE spin records at the Cavern doesn't exactly leave a good taste in my mouth, however, the idea of being in a small room with Andy Rourke while he plays his favorite records kind of makes it seem worth it. And throw in the fact that the guy got screwed over financially with the Smiths (you know his playing was worth more than the measly sum he received), and I figure I can throw a little cash his way... although he might not be credited for writing any Smiths songs, his bass playing was always fantastic, and needless to say, The Smiths wouldn't be close to what they were without him.

Melt Banana | xbxrx | Count Dracula's Weed Smuggling Jam Engine (Rubber Gloves)


Animal Collective | Sir Richard Bishop (Granada Theater)
Very much looking forward to seeing Animal Collective for the first time. It's rare that a band like this comes through the DFW area, and I'm very excited about it. Early Animal Collective material played a big role in turning me on to avant garde and experimental folk music a few years ago, and part of the reason is that for however strange a lot of AC's music is, most of it has this very appealing human element that makes it easy to listen to and explore without getting boggled down in overly academic soundscapes. An added bonus, based on what I understand, is the fact that Panda Bear has been playing some of his solo stuff on this tour, which I'm very excited to hear live. I got my hands on some live recording that he did about a year ago at some small club in Lisbon with just a guitar and a laptop, and it sounds amazing... as good as the record, but more intimate and less controlled. Furthermore, this will be a first chance for many to hear new material off the forthcoming Animal Collective album. And if the sound at the Granada is as clear as it was for the Spoon show the other night, we might be in for a real treat.

Galuc Dadu | Goodnight,Fish | The Hell | Dear Muffin (1919 Hemphill)

Meltdown feat. Spank Rock, VHS or Beta, Laptop Deathmatch, Rober Taylor and Keith P (Lizard Lounge, 3 stages)
Click on the Meltdown link for more info on this huge dance party. I've included the highlights in the little list above, and if you're interested in seeing Laptop Deathmatch people, you might want to get there early because they start going on at 5pm. And if the Spank Rock set is anywhere near the quality of their recent Fabric Mix, hearing them on a big sound system will be worth the price of admission alone. And VHS or Beta... can't really say I like their music, but they sound like one of those bands with good tatse and bad execution, you know? So the DJ set might be cool.

Hot Flash Party (Fallout Lounge)
Prince William will be guest DJ at this.

Matt and Kim/ O Pioneers!/Parata (Rubber Gloves)


Lake | Laura Veirs (Cavern)

Pretty Girls Make Graves
| Moros Eros | Moonrats (Hailey's)

Lot's to do this weekend, and to get your Friday night started here's a Mad Lib that Goodnight, Fish was kind enough to do for us recently:

Hey (craggy) Denton, we’re Goodnight, Fish, and we’re really looking forward to playing at Secret Headquarters, if only we could find the place. What does it take to get some (gatorade and peanut M&M's) around here? No, but seriously, have you heard about Austin lately? There are too many (furry) taquerias and all of the (smiling) (octopi) are endangered. The state of things really got to us when we (lustily) recorded our recent album, “Echo, Chime, and Slightly Rumble.” When the going got tough, the tough really (dreaded) with us. That’s why we had to buy all these (thumb tacks).

In the end, it was well worth it. Having an album is great because it gets us tons of free (scarves). In fact, we have too many to count, and that’s why (Andrew Jackson), our lead (harpsichord) player, is packing them up and bringing them to Denton. So come to Secret Headquarters and play (hopscotch) with us so that we can get rid of these darn things. We’re having an afterparty with (the Bee Gees), (Davy Crockett), and tons of (pancakes) in our (roller skates). Permission slips for the (zoo) can be obtained from Tame, Tame, and Quiet.

BYOB and some for us too!
Bookmark and Sharestonedranger on May 25thcomments (1)
glass candy
I was going to write an intro about Glass Candy and why I wanted to talk with the band's producer Johnny Jewel, but the interview turned out to be one of the longer and more interesting ones I've done so far, so I guess I'll just let it speak for itself. And oh yeah, Glass Candy is playing with Farah and the Pretty Vacant DJs tonight at Art Club (823 Exposition Ave next to Avenue Arts). Here is my conversation with Johnny Jewel:

So you're from Texas, right?

Yeah I grew up in Houston

How did you end up in Portland?

I moved out of Houston when I was 18 and lived in Austin for a couple years, and then my friend and I took the Greyhound up to Olympia in 94, and the northwest just had this vibe, it wasn't because of the scene or meeting people or anything like that, there was just something about the air up there, I felt like there was something really drawing me there. Then I went back to Austin and stayed there for a year, and then just went up to Portland and picked a spot. It was bigger than Olympia and cheaper than Seattle. Its great up there, it has everything you need and you can get a hold of anything you want, but its small enough to still be affordable so you don't have to spend all your time working just to get by.

How did you end up starting Glass Candy?

When I got to Portland I got a job at a grocery store, and I had been working there for two weeks when I met Ida, who was there getting carrots for her rabbit one day while I was working in the produce department. She seemed cool, and we decided to try to make some music. We had similar interests, but then we had some stuff that were polar opposites too. I had never been in a rock band before, I had just done noise and experimental stuff in the early 90's, but we just started messing around with music and she couldn't sing worth a shit, but her lyrics were incredible. Anyway, we experimented with a bunch of stuff, and I was really into the New Zealand scene at the time, like Dead C and Forced Exposure stuff, so we started messing with some dark experimental stuff, and then got into things like Nico that were more vocal oriented with music as a backdrop. That stuff was pretty cool but it was a little too dark for Ida because she's already a pretty dark person, so she needs the music to be a little more upbeat for her to be inspired by it, so we kind of started messing with garage a little bit. We did that for like two or three years and never played a show, and then we decided to put out a record. I put all the money I saved from the grocery store into putting out the first two seven inches, and we had a seven inch before we ever played a show. We weren't sure how people would take it, but it started snowballing right away, which was shocking because we didn't have any friends or anything. Certain people heard about it and there was a buzz.

What is your relationship with Chromatics and the Italians Do it Better record label?

Italians Do It Better is a label out of New Jersey run by these Italian guys, and they gave me the green light to do whatever the hell I wanted because there is a Chromatics song called "Lady" thats just vocoder and very minimal, and they asked about that song, and I told them that it wasn't even really a Chromatics song, it was just something I was fucking around with. And once they realized that, they told me they were starting a label, and they asked me if I'd like to use it as an outlet to put out 12 inches, and if I wanted to put out a record by someone else, they said I could do that too. Its a really experimental and informal label. There are no strings attached and no rules, and everything is vinyl only. As long as they like it too, I can do whatever I'm compelled to do. But it's not just for me, there are other artists too like Professor Genius and a few other new people too. As for Chromatics, they wanted me to record their first record in 2001, and they had asked me to do it because they wanted it to sound like this Glass Candy demo I recorded on cassette, so I recorded their album on cassette. And after they went on tour, the band basically broke up and wasn't talking, but I still wanted to release the recordings because I liked them, and so we released it and everyone was very happy about the way it turned out. At that point, half of Chromatics splintered into a band called Shoplifting, and then the other half, basically just Adam, started working on stuff with drum machines. After that, I didn't see them for a couple years, but then I saw them on tour, and Adam asked me if I could record the new Chromatics record, and I told him that I liked some of his Salsa beats, some of his Suicide stuff, but that his singing kind of annoyed me. I'm just very frank when I'm going to work with someone. Anyway, I was really interested in the girl he was playing with, who was a visual artist, and we started messing with stuff in the studio, and I slowly started having more of a role in the band and playing live, and now Chromatics is me, Adam, his brother, and this girl named Ruth, which is probably the version of Chromatics you've seen on Myspace and stuff.

Well I was going to ask you about visual art and image because based on all the Glass Candy footage I've seen, it seems like the image you project live and in your visual art is very important to you and the group. Would you agree?

Well I think its as important to us as anyone else. I think everyone cares about the way certain things look, and anyone who says they don't shouldn't be believed. In the music scene, there's a lot of identity wrapped up in fashion. Everyone decides what they wear and what is on the record covers, and certain kinds of things culturally right now are considered flashy and certain things aren't. All of them take work and all of them are important in some way. Certain people respond to a Glass Candy aesthetic and certain people don't, but that's what makes the world go around. Everyone identifies with different types of visual images, and to attempt to separate yourself from that is kind of pointless, especially these days in the computer age will all the visual stimulation on the Internet, people just want that instant gratification of being able to see everything. We definitely care about the visual aspect of the band, but that's not necessarily a fashion thing. We care more about the artwork of the band. We don't wear a uniform, but we just want to express ourselves visually and that includes fashion. We don't take it really seriously, but everything is a reflection of who you are and where you want to be and what you identify with, and we're comfortable with that. Anything that anyone wears identifies them with some kind of camp, and if people are into what we are, that's cool, and if they aren't, that's cool too. The art is definitely a bigger deal to us. It sets a psychological head space.

And when I watch your live performances, I notice Ida's striking stage presence, not just how she sings but her whole persona on stage, her whole presentation, it really sets a tone.

That's just her, she's just a freak. That's just her tapping into what she needs to tap into in order to be onstage. She's basically really shy and has to go to this other place to get through it. Its something we don't really talk about and I never know from night to night what she's going to do. If you've seen us a couple times, then you know she's different each time. Its not a shtick, she just reacts to the energy in the room and we try to stay really open to what is going on around us. When we're on stage, we don't consider ourselves the stars of the show. We're the same band and we play pretty much the same music every night on a tour pretty much. We improvise too, but what really makes it different each night is the people in the audience and the mentality and energy they bring. We see a live performance as an exchange between us and the audience as equals.

And since a lot of your stuff is more dance oriented, that attitude makes sense because putting the audience in a role as important as the performer is something that club/disco and rave emphasize.

Well we just sort of provide the music and see what happens. We never have a desire for it to go a certain way, we just try to connect to whatever is going on in the room and try to be a part of it and try to bring a rhythm for people to lock on to.

I was going to ask you about your influences: I'm sure people mention Cerrone, Giorgio Moroder and Italo quite a bit. Are those your primarily influences? If not, what does influence your music the most?

Everything you hear and see as a person trying to create something, it all goes in and it all comes out, so I wouldn't say that anything influences us more than anything else, but I would say that we go through phases where we're feeling certain tones more. Its funny with Italo because a year ago no one even knew what it was or what the term meant, and now a lot of people are getting into it, and we're big fans of it. What I like about Italo is that it's so emotional, and dance music isn't always void of emotion, but a lot of it doesn't have the romance that the Italians do, and we really love the blood and guts of Italo stuff, but thats just one aspect. The band is constantly changing, and we make no allegiances to any other bands or genres. Live, we focus more on the beat because thats what works for us live, but we do a lot of abstract stuff too with no drums, and some that are just piano, and some that are just vocals. We listen to a lot of rap music, and Italo and disco, but Italo is kind of a limiting term, because what does that actually mean? Italian disco? Anything with a really strong pulse and strong vocal, whether its dancehall or Frank Sinatra, is what we're really drawn too. Anything from Missy Elliot to Alan Vega to Iggy Pop, they're all very strong vocalists who paint strong images and set a stage for the music to reside in. It's all very visual, and in my opinion that's what Ida does.

The music is trying to animate the lyrics, which are always written before the music for us. She writes the lyrics, and I get a feel for it visually and try to write music to wrap around the lyrics and underscore the weight of the lyrics. We love horror movie soundtracks, and Ida gets a lot of inspiration from metaphysical books and physics and she's very interested in how the universe works on both a scientific and spiritual level. A lot of the music I make is based on the cultural references to galactic sound since the lyrics deal with these galactic universal themes. Growing up in the 70s and 80s, the sounds that represented space were burned into your memory and we use those as a juxtaposition. I'm sure that outer space doesn't really sound like a synthesizer, but because of movies and television, it's a powerful thing to spring off of to take people to that place. Synthesizers are so surreal that they have the ability to take the listener out of the every day organic reality and the tangible things in front of you.

Well it's interesting you say that because on the one hand you're pulled toward the romantic almost humanist aspects of Italo disco, but a lot of your music also has a very cold synth heavy detached feel to it too, you know?

Well the term "cold" I don't necessarily agree with, but I understand that that's how a lot of people perceive it, the synthesizer being icy and cold. But to us, it's more like crystals and trying to put light into sound. Not to be pretentious or anything (laughs), but to us it doesn't sound cold. It does have that juxtaposition and that yin and yang of warm and cold, and we're trying to bring a whole picture, a whole spectrum, and the cold aspect is part of that. Everything is the same, everything in the sun is in us, and all music, movies and books all say the same thing, and it's all part of one sentence, you know? There is definitely going to be a little bit of everything in music if you do it right, and we strive to touch on a lot of different bases.

I wanted to ask you about how you met Farah and if she told you about the first write up we did on her for the blog.

Well I actually don't really know Farah that well, but let me tell you how I met her. She wrote Glass Candy on myspace a while back when she was covering our songs live, and we don't really have a computer. We're not anti-computer, we just don't have one. Anyway, she emailed us saying that she was doing Glass Candy covers, but I wasn't able to really ever hear the songs because I didn't have sound on the computers I used to check email. Eventually, she mailed us a tape that her dad had filmed of her doing some of our songs at Rubber Gloves, and we were just struck at how intense it was, and obviously she's not a professional singer, but traveling around and playing with so many bands, it's rare that you see something that's so bizarre and out of left field and shocking, and we were struck by how strange she was and how it wasn't ironic. There was a lot of passion. And even though she was playing a Glass Candy song, she was making it her own and connecting lyrically. It's hard to describe, but it's just something that when you see it it affects you in a certain way. So then I told her that she should do a show with us the next time we came to Texas, and by the time she did the show with us, she had her own songs that I liked better because they were so raw and totally fucked up. I'll say that we're not really musicians, we're getting better but we're more visual artists (Ida is a poet) and we're coming from more of a design angle instead of a musical angle. Music is the medium, but we're basically just a concept band. So for us to see something like Farah, which is 100% conceptual, we were blown away by the fact that she doesn't look at music the way most musicians do. I was very moved by her lyrics too, and I offered, she didn't ask, I offered for her to come to Portland so that I could make some beats for her, and she said ok... I liked the way it turned out, and after we recorded it, I played it for those guys in New Jersey, and they were blown away, and they asked if she wanted to do a 12 inch for Italians Do it Better, and she said ok. It's being pressed right now, and I'm not sure if we'll have them done for the show.

I don't really know her that well or anything, but I don't care, I know the music and like the music, and that's enough for me. Her and I don't really talk that much unless she has questions about stuff or we want to talk about stuff she's working on, but she never told me about the thread. I found out about it about a month and a half after. A producer in France who is a friend of mine did a Google search for "Johnny Jewel" and "production" looking for some info, and he came across it and sent me the link. And then I read it and I was like, oh my god, this is hilarious.

I think she got pretty mad about all of it, and for some reason she got really mad at me about these comments, and asked me to erase them. My response was that I certainly didn't want people to say mean shit about her, but this blog is a public forum, and if I start erasing comments, then it'll ruin the whole thing.

Yeah, I don't believe in censorship in any capacity, but Farah is very emotional and she's also new at all this, and she's getting the hang of it and figuring it out as she goes. But I believe that if you put yourself out there and you're going to make a record or put music on Myspace, you kind of release it to the wind and people can say whatever the hell they want. It doesn't matter, you know? She makes music because she wants to make it, and no matter what anyone writes it doesn't change that fact. After I heard about it I talked to her and explained to her whats important and whats not in terms of what people say, but I think it's awesome because she's really intense, and theres going to be a love/hate relationship, some people will really love it and some will hate it, and that's not going to change. That's the way it is with anything else I work with, and I think that's a compliment because she is affecting people in extreme ways. People are either really inspired about it or pissed off by it, but in a world full of half assed watered down art and media where nothing is shocking, I thought it was really cool that people were so perplexed by it. They were like, is this a fucking joke or what is this?

The nature of the blogosphere is just like that with anonymity. A lot of people aren't saying who they are, and a lot of people are just having fun fucking around and don't mean it as viciously as it seems. I thought it was great and really interesting to see how long the thread was, like what, 200 comments long?

(laughs) Yeah, something like that.

And I think Farah needs to understand, she'll have to let stuff go or not be involved at all. It's really not that big of a deal, and when you're a local artist and people are starting to take interest in you outside of your local scene, some people around you will be excited about it, and others will look inward at their own frustrations and failures or whatever, and wonder why people don't care about what they're doing. If I hear music I don't like, I don't listen to it. I just turn the dial, and it doesn't make me mad. I think all music is important, and just because I'm not getting something out of it doesn't mean it shouldn't exist. And with Farah, she's really out there, and theres a niche for it. Some people are really going to like it, but most aren't. And that's fine. It's art, not business.

Bookmark and Sharestonedranger on May 24thcomments (786)
it list : thursday (wildcat)
You've got till 4pm exactly to email weshotjrtix@yahoo.com for a chance to win a pair of Morrissey tickets. Shows:

Johan the Angel, Matthew and the Arrogant Sea, Verulf, Bryce Isbell, Ribelle Scaltro at the Eighth Continent. I've seen conflicting posts about who exactly is playing at this epic folk extravaganza. I think a Gashcat concert might even break out. Johan the Angel are a couple of lovebirds from Portland, and they sound great.

New Science Projects, Daniel Folmer, RTB2, The Shimmy Shakedown at Art Six Coffee House.

Boo and Boo Too, Baby Birds Don't Drink Milk, Sometimes it Rains at Rubber Gloves.
It's cool to be from Kansas these days. I think Baby Birds... are from KC, while Boo and Boo Too are from Lawrence. They just came out with an ep and will go down in history as having the second ever release on IronPaw out of Kansas City.

Lost Generation at Fallout with Wanz, Ineka, and Robert Taylor.
Wanz says: Lots of new stuff from Simian Mobile Disco, Digitalism, M.I.A., The Field, Justice, Kompakt records, Ellen Allien w/ Mochipet, Roman Flugel, Battles, Fox n Wolf, Ben Klock, Zander VT, Black Devil Disco Club(in Dub), Bjork, Kate Simko, Clark, Kate Wax, Andre Bucci, apendics Shuffle, Phones, adjunct records and much much more.........

Soulbol at Absinthe.
Former UNT football player Quentin Moore from Denton makes "elevator soul music." Maybe he'll play Smoove 4 U.

Deleted Scenes, Ghost of the Russian Empire at the Cavern.

Bookmark and ShareWildcat on May 24thcomments (0)
it list : wednesday
Well I was a couple years late jumping on the Lost bandwagon (I promise it had nothing to do with Evangeline Lilly), but here I am, pretty much addicted and looking forward to tonight's season 3 finale. If you haven't ever checked out Lost because you're one of those people that thinks you're too smart for t.v., then you should listen to me, because I'm one of those people too: You've probably had some dumb friend or family member tell you how good this show is, and since the person is likely one of those people who can't be trusted in matters of taste, you've decided that the show must be run of the mill populist brain dead red state network filler between commercials garbage, just like the other stuff on t.v. But I bet if you rent the first season on DVD and watch the first couple of episodes, you'll start to wonder whether t.v. is getting smarter or you're getting dumber. It won't change your life, but I doubt there are many people reading this blog that couldn't enjoy Lost on some level... anyway, the show is done at like 10, so you can do other stuff too:

Short Attention Span Theater (Hailey's)
The folks from Denton's Strawberry Fields bring you-

The bar is raised again with TV Carnage 2G. This is the same tape that premiered to a packed audience at a landmark Toronto Porn theatre. It is currently enjoying a successful city to city tour in the romantic settings of other porn theatres.How good is this tape??If you were to think in the terms of fashion, this tape rivals the Acid Wash Jump Suit phenomenon in its ability to shock and amaze. If you think in the terms of pizza slices you will not believe some of the toppings on this “Cringe lovers delight” If you think in terms of “Should I get this or not?” think, “Should”Besides it’s intro, a homage to the top-notch advances in 80’s video toaster technology; this tape is, as Brian Austin Green would say “A one stop Carnival”Some of the toppings include:* A hetro country and western dance competition that looks more like a Gay Pride showcase event.* Steven Seagal on etiquette* Steven Seagal on AIDS* A local news report featuring an elderly citizen flipping out and physically taking on the cops.* A swearing sandwich featuring dialogue from a livid CEO.* A Philippine variety special with a group of people singing and acting out the song “It’s still rock and roll to me.”* A hard sell on beanie babies as a secure investment.* Chuck Norris and his ingenious, porn level, acting skills.

Oroku | Koji Kondo | the Flood (1919 Hemphill)

Femme Fatality | Lazer | She-Dick (Rubber Gloves)
is affiliated with this show in case you couldn't guess.

Bookmark and Sharestonedranger on May 23rdcomments (0)
win free morrissey tickets
So until yesterday we'd never really thought about giving stuff away to any of you people. But when the folks at Palladium contacted us to see if we wanted to offer our readers a free pair of tickets to the Morrissey show at Palladium this Friday, May 25th, we thought you might appreciate it if we did.

Therefore, we'd like to announce our first ticket giveaway. The rules are simple:

1. send an email to weshotjrtix@yahoo.com before 4pm Thursday.

2. Include your name in the email

3. Wait for us to announce a winner, which will be chosen randomly and announced on Thursday afternoon

4. Notice that the email address above is NOT the regular We Shot J.R. email, and know that any ticket related emails to our regular email address will not count.

Got it? Good. And good luck.

Bookmark and Sharestonedranger on May 23rdcomments (0)
it list : tuesday
Sorry to be lame, but the thin writings you'll find below are the best results I could manage in the unexpectedly small 5 minute window I had to put all the text together for today's list. Writing it was like playing Win, Lose or Draw, except everyone loses.

Monsters of Pot | Eiliyas | Club of Rome | Zanzibar Snails | Church of the Apocalypse(House of Tinnitus)
Another excellent show of harsh noise and madness at the House of Tinnitus. You won't find any indie hitmakers in this line up, although you might want to check out Monsters of Pot's Myspace to get a small taste of what you'll be getting yourself into at tonight's show. It'll be fun for anyone that can handle it.

Spoon (Granada)
Jack Daniels sponsored show. Invite only. Can't get tickets even if you try. I don't care. I like Spoon as much as the next bro I suppose (although their new album hasn't sounded that great the first few times around), but I'm just not inspired to jump through hoops to get into this show, which is apparently what you have to do. So good luck with all that. I suppose we can tip our hats to Spoon for making Jack Daniels foot the bill instead of the fans, but the forced corporate fun that usually results from branding exercizes like this often isn't worth the gas it takes to get there. But maybe that's just me.

Fishboy | Drew Danburry | Iji (Rubber Gloves)

Also, we've been talking today with a representative of the new thedentoncatalogue.com, which features a collection of live performance videos from bands like Electronik Warfare, Early Lines, and a lot more. They've apparently been having a little bit of trouble with server overload and formatting today, but they're fixing those problems as we speak. Anyway, we've got some projects in the works with them, so stay tuned for that.

This is dumb.

Bookmark and Sharestonedranger on May 22ndcomments (0)
nature's in it
Last Friday's Party at Zubar marked DJ Nature's return to Dallas after more than six months in Puerto Rico and Indiana, amongst other places, touring and recording an album with Puerto Rican singer MIMA. After gaining some attention in Latin and South America with her self titled debut album last year, Mima, who has known Nature for a number of years, elected to come to Denton a couple different times in 2006 to write songs with Nature and a number of other notable locals, including Mike West (Violent Squid), Jeremy Schroder (NO2Self) and Shane English.

Utilizing some of the Denton birthed material, Nature and Mima traveled to a small children's music school near Nature's family home in Indiana to work out and record her second full length, which Nature recorded and produced over several months in the beginning of this year. Emerging from the frozen schoolhouse with roughly 18 tracks, the pair is now in the process of sifting through their material to determine which songs will appear on the record, and they have been nice enough to share two of the tracks with us for your downloading pleasure (below). Both are quite good, showcasing Mima's haunting yet highly seductive vocals and Nature's impressive ability to mold his musical influences into something that fits perfectly with the style of his subject, keeping his dub and latin dance influences while moving them into a more commercially viable but equally impressive and musically interesting place. To be honest, both of these songs are extremely catchy and well put together, but Nature's mix of "Ojo Avizor" is the one that got us going immediately. You can really hear the track going over well on just about any dance floor anywhere:

LINK "Ojo Avizor (DJ Nature remix)"

LINK "Damen"

Additionally, Nature and Mima have just completed a tour of Puerto Rico with Dallas songwriter Jonas Ra, who played keyboards and guitar with Nature (drums and bass) backing up Mima. Anyway, you can download one of his tracks below and get a better idea of the broad range of musical influences the trio drew from on tour.

LINK "Mississippi" by Jonas Ra
Bookmark and Sharestonedranger on May 21stcomments (62)
a word about electronik warfare (by defensive listening)
The Electronik Warfare show at House of Tinnitus the week before last completely exceeded my expectations. When I first heard about the group, I pictured the sometimes awkward on-stage marriage of a laptop and a vocalist, which is something that always seems difficult to successfully pull off in a live setting due to the typically numerous technical difficulties that tend to plague overly ambitious electronic shows. Needless to say, my expectations weren't extraordinarily high based on past experiences with such groups, even though I was intrigued by the musicians involved in the project. But instead of having to sit through an onslaught of awkward technical delays and misguided technique, Elektronic Warfare's set ended up being one of the best electronic performances I've seen in sometime.

Andrew Michael of Oveo started things off hunched over a mini-Korg playing a Handel piece that was completely warped by the synthetic strains of the faux symphonic setting. Michael's demeanor on stage appeared immediately to be the opposite of his low-key presence in Oveo, complete with sunglasses-at-night and audience interaction. As the Handel piece segued into the white-noise tinges of "The Requiem," Michael wandered into the audience passing out flowers to various female audience members. That sort of behavior usually screams dickery but Michael was just charming enough to not come off as an annoyance. This went on for some time until the stirring dramatics were completely interrupted by something else entirely. As I stood tip-toed to try to catch everything that was happening up front, I was pushed really hard from behind, and as I turned around to shoot a scowl at the offending party, I caught the dust of Lars Larsen storming to front of the room. And I mean storming, too, because he looked like a storm trooper with a massive motorcycle helmet, black gloves and a bull horn. Andrew Michael went into the first vocal track shortly after Lars' arrival, and when the Korg drum machine beat finally kicked in, the place went fucking crazy. The keyboard parts had the menacing groove of some of Tuxedomoon's darker moments without sounding overly cold, and the crowd's enthusiastic response to such unusual sounds was quite easy to get swept up in.

One of the most impressive parts of the performance was the simple fact that most of the music was performed in real time. I don't care if someone is singing along to a CD-R, but I enjoyed the organic lock of the drum machine beat over the keyboard parts, and the performance as a whole seemed to benefit quite a bit from the live set up. There were some pre-recorded bass sequences in there to, and much of they pay off came from simply watching the crowd as they waited for the minimal beats to collide with the intro for each song. As the music continued to impress throughout the set, Lars spouted off the kind of Post-Futurist lyricism that both he and Michael are known for through comments on We Shot JR and Andrew's New Century Media blog. These seemingly positive words either come off as a warning or a Utopian promise, depending on your personal view, but none of it would have mattered much if it wasn't for the excellent basslines, beats, and synth attacks tying everything together. I was expecting Electronik Warfare to be an interesting and predominantly intellectual exercise, but it was refreshing to see that people can dance and have fun without compromising either of those qualities. I'm looking forward to seeing what these guys do next.

Bookmark and Sharestonedranger on May 21stcomments (0)
it list : monday
EDIT: And somehow, we almost forgot The Willowz and Sarah Reddington tonight at Pastime Tavern, located at 1503 S. Ervay. The cover is $4.99 (independent contrator, tax purposes), and the bands are great. You might be quick to dismiss Willowz as one of those early 00's garage rock/60's pop throwbacks that everyone pretends they never liked, but there is a hell of a lot more going on in their music than all that stuff. The band has really evolved over the past few years, and you might want to hear the result.

Mom, Treewave at Urbano Paninoteca. This $40 per person wine tasting/3 course meal eating/music listening event is somehow affiliated with Good Records.

Paul Slavens at Dan's Silverleaf. I have no idea who this guy is, but evidently he's been involved with various local musical endeavors for quite some time. Sounds like this could be an eclectic jazz, spoken word affair that might be of interest to those of the UNT music literati ilk.

Bad Ass Jazz Night at Amsterdam.

Open Mic Mondays at Fallout.

Here's a recipe if you want to stay home and have your own wine tasting music event. You should invite all your crafty friends over and make stuff for this.
Bookmark and ShareWildcat on May 21stcomments (0)

videos n shit

local q&a-- dharma
robert pollard of guided by voices
maria bamford
ga'an (chicago)
local q&a final club
mary anne hobbs
the pains of being pure at heart
neon indian
nardwuar interview
vivian girls
infernus of gorgoroth
local q & a fergus and geronimo
wolves in the throne room
nite jewel
here we go magic (brooklyn)
local q&a-- fungi girls
gang gang dance
aids wolf
indian jewelry
dj hatcha
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