Month: November 2018

Rewind Review: Claudio Simonetti’s Goblin – Profondo Rosso score (2015)

Funky and creepy at the same time, the score to Dario Argento‘s 1975 classic giallo movie Profondo Rosso (Deep Red) is a great one.  Claudio Simonetti’s Goblin released this version a few years back with new performances of the classic material Simonetti made with the original members of Goblin and also with live versions and alternate cuts.

The main theme, “Profondo Rosso,” combines Simonetti’s clockwork synths with church organs, funk bass, and prog-rock drumming.  “Death Dies” could fit into any 1970’s action film with its urgent piano chords, Titta Tani‘s car chase drums, and Bruno Previtali‘s groovy guitar squalls.  Federico Amorosi‘s bass on “Mad Puppet” is like lava bubbling under a dormant volcano until about the three-minute mark when the tune becomes a chilling walk through what normally is a groovy neighborhood but now feels slightly…wrong.

“Deep Shadows” is bizarre with its quirky synths, Previtali’s shredding, and the rhythm section breaking the tune open into a prog-rock jam.  A live version (from 2000) of “School at Night” follows, with its creepy child sing-song vocals and music box chimes, and it flows into live versions (from the same show) of “Mad Puppet” and “Profondo Rosso.”

Rounding out the album are alternate versions of “Death Dies” (from 1992) and “Profondo Rosso” (from 1990).  Both are harder, faster versions.  Simonetti’s piano work on “Death Dies” is especially frantic and jazzy.  The version of the main theme (which is also another live cut) is even called the “rock version” and has bigger drums and guitars with a bit more distortion than usual.  Plus, Simonetti goes nuts on his keyboards by the end of it.

It’s a great score, especially if you love giallo movies, Goblin’s work, or progressive rock.

Keep your mind open.

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Review: Axis: Sova – Shampoo You

Chicago power-punks Axis: Sova tighten up but still keep plenty of live-to-tape fuzz and fury on their newest record – Shampoo You.

The opening riffs of “Terminal Holiday” are a great example of that.  The guitar fuzz is almost funky and then almost psychedelic while the Peter Hook-inspired bass keeps you from free-floating beyond gravity.

The guitars are pure new wave on “New Disguise.”  The skronks and squeaks are great, and the drum beat is like something from an early Knack record.  “Crystal Predictor” is one of the sharpest post-punk tracks of 2018 with a catchy chorus and guitar chords that shred one moment and then ooze the next.

The dual vocals on “Dodger” are a great touch to an already keen track that is louder than you realize at first.  “Stale Green” slows down the tempo but ups the power and grooves.  The bass groove on “Shock Recognition” could be from a Cure B-side, while the guitar solos border on noise rock cacophony and the electric drums are so precise that they might cut you.

The album ends with the Black Angels-like “Same Person Twice,” which might be about reincarnation or being stuck in repetitive relationships.  I like that they decided to end the record on a slightly mellow note.  It’s like a cool-down after a high-intensity spin bike workout.

This is one of those records that gets better with each listen.

Keep your mind open.

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Review: The Dunes – self-titled

You know you’re in for a psychedelic music treat when an album opens with a track entitled “The Intergalactic Drifters Inn Welcoming Center Theme Song Pt-1.”  Recorded between the Dunes‘ home land of Australia and their part-time homeland of Texas, the psych-giants’ newest (and self-titled) record is a welcome addition to 2018 releases.  I’m a longtime fan of the band, and learning this record was coming out this year was like getting an early birthday present.

The opening track mixes shoegaze guitar droning with desert wind synths and didgeridoo tones to put you in the right frame of mind without the need for any kind of of, ahem, enhancements.  It will do the work for you.  “When You Wake Up” then bursts into your brain like the sun coming through the window after a long night of partying.  The reverbed vocals speak of either sleeping off a bad trip, putting the past behind you, or reincarnation (“When you wake up, it’ll be all right.”).  It could be all three for all I know.  Just let the wall of distortion wash over you.

Psychedelic surf guitars step up front and center on “Making Friends with Codeine.”  It’s appropriately trippy and catchy as all get-out.  The cleverly titled “(Just Because You’re Not Being Followed Doesn’t Mean You’re Not) Paranoid” reminds me of Black Angels‘ tracks in that it’s creepy, rocking, and mind-melting all at the same time.

“Mountain” is something the Yeah Yeah Yeahs would’ve created if they’d become a psychedelic rock band instead of an art-punk band.  The tribal of drums of “New Old” drive the track for over seven minutes of powerful psychedelic rock complete with vintage keys and guitars that stomp their fuzz pedals into submission.

“It feels like the bottom of the sea,” Stacie Reeves sings on “WKNDS” – a track heavy and weird enough to be on your playlist while doing deep sea research on bioluminescent fish or color-shifting cephalopods.  “Pariah” is nearly nine minutes and it’s a fine journey toward a desert sunset while walking alongside an Aboriginal shaman.

“The Intergalactic Drifters Inn Welcoming Center Theme Song Pt-II” closes the record, letting us know that our tour of the cosmos has come to a conclusion.  The Dunes have taken you on a journey that is difficult to describe, but you know it was mind-altering while you were on it.  Thankfully, you can take the journey anytime you want and will probably notice something different every time.

Keep your mind open.

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Review: Thrown Down Bones – Two

Italy’s Thrown Down Bones (Dave Gali and Francesco Vanni) fully embrace their love of breakbeat, house, rave, and dance music on their newest album – Two.  Mixing synths with effects pedals, electronic drums, and touches of industrial guitars, TDB gets you moving from the outset and don’t let up until the LP ends.

The thumping beats and chugging bass that open the album and “First Follower” bring to mind some of Depeche Mode‘s darker tracks, and the pulsing, laser gun-like synths take us into sci-fi anime realms.  The stunning “We Are Drugs” is your favorite industrial dance track of the year.  The heavy but sharp bass line alone is worth the album’s purchase price.

The guitars on “Slow Violence” sound like an orchestrated saw mill (in a good way) while the synths bring a well-balanced light to the track.  “NO-FI” is dark wave meets future noir dance music.  It’s so slick that it might cause you to slip if you’re walking while listening to it.

You will love “Golovkin” if you were ever part of the 1990’s rave culture.  It’s like stepping out of a strobe light-emblazoned time machine shaped like a pacifier.  TBD clearly isn’t screwing around by this point and are staking their claim as one of the premiere electro dance track artists of Europe (if not worldwide).  “Is This Us” keeps the amps at eleven by upping the distortion and the impact of the beats.

The backward-sounding bass on “Known Unknown” immediately intrigues you, and then the John Carpenter-like keyboard rhythms get you moving (or running from a Blade Runner, vampire, alien, or ninjas).  By the time we get to the closer, “Zero Day Exploit,” you are deep in the Matrix with images of computer code, flying cars, robot soldiers, and android pole dancers flashing through your head.

Two is one of the most exciting records I’ve heard all year.  It grabs you in the first few moments and holds on like a tandem skydiver until the end.

Keep your mind open.

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Wrecka Stow: Vertigo Records – Grand Rapids, MI

If you have a couple hours in Grand Rapids, Michigan, you can easily spend them at Vertigo Records (129 Division Avenue South).  The place is full of used and new CDs, LPs, 45’s, DVDs, and more.  I didn’t get to spend a lot of time there on my recent trip to Grand Rapids to see Goblin, but I wished I’d come to town earlier as soon as I walked in the door and saw this.

The place is a crate digger’s heaven.  They were playing some vintage Kate Bush when I walked in and I even found a Goblin record (Roller) laid out among some DVDs and used CDs when I started exploring.

There were so many boxes of used CDs that I didn’t have time to sift through all of them.  There were vintage 45’s, of course, and plenty of jazz, funk, electro, punk, and metal to round out the mix of rock and rap.  There was even this section.

I also liked the wall of patches.

Don’t worry, vinyl lovers.  This place has you covered.

That’s only a small section of what they have to offer.  I walked out of there with a Merge Records 2018 CD sampler, but I’ll be sure to give myself extra time in Grand Rapids the next time I’m there because Vertigo deserves deep exploration.

Keep your mind open.

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Wrecka Stow: Culture Factory / Elvis My Happiness – Paris, France

I stumbled onto Paris’ Culture Factory / Elvis My Happiness wrecka stow while killing time before my wife and I left for the Levitation Music Festival in Angers, France.  It’s at 27 Rue de L’Armorique and a must-see place if you’re a fan of Elvis Presley.  The place is full of Elvis records, discs, and DVDs (and probably more stuff I didn’t notice).  They have more than Elvis records, of course.  This was the first rack I saw when I walked into the place.

That’s a bunch of limited edition CDs that feature sleeves and artwork that reproduce the album artwork.  I snagged a copy of Iggy Pop‘s New Values from this rack.

Back to the Elvis stuff, however.  Like I wrote above, it’s all over the place.  Apart from what you see above that CD rack, this below is just a small sampling.

They had seemingly every televised or recorded live performance Presley ever released (and some might’ve been bootlegs).  The owners are obviously massive fans and if they didn’t have the Elvis record you wanted, it probably doesn’t exist.

They have over vinyl there, of course.  Here’s a small sample of their wares.

I had a fun conversation with the clerk who rang up my Iggy Pop CD.  He asked, in French, if I wanted it gift wrapped.  He finally understood that I didn’t speak French well.  He asked if I were English (a common occurrence on the trip) and I told him, in French, that I was American and my French wasn’t good.

“That explains why you looked at me like I was the devil when I spoke French,” he said.  He looked at the CD and said, “Iggy Pop…He is the devil.” and then told me about how he used to work at a Virgin Records mega-store in London a few years ago.  Pop was doing a signing there and he was seated next to him when a woman came up to Pop and asked him if his (unknown to her) newest record was his first.  The look on Pop’s face of disbelief was priceless and he simply said, “No, it’s not my first record.”  He signed the album and then said, “That stupid bitch.” to the clerk as she walked away.

Keep your mind open.

Yes, that’s a “Star Wars” Porg picture disk 12″ single.

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Wrecka Stow: Superfly Records – Paris, France

Located at 53 Rue Notre Dame du Nazareth, Paris’ Superfly Records is the place to go in the City of Lights if you are looking for Afrobeat, jazz, Latin, soul, blues, and rare R&B.

The place is a vinyl lover’s dream.  It’s full of rare and vintage reggae, bossa nova, soul, jazz, funk, and just plain weird stuff.  The people who run the place obviously know their stuff and stock a lot of choice cuts.

That album above is a great example.  It’s a rare LP from N’Draman Blintch called Cosmic Sound – a crazy, wild Afro-funk album about nuclear war, the return of Jesus Christ, and the general end of the world.  I might have snagged it if I didn’t have to pack it for the trip back to the U.S. and worry about it breaking.

This is a can’t-miss wrecka stow if you visit Paris.  You’ll find at least one thing you’ve never heard of before there.

Keep your mind open.

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Live: Claudio Simonetti’s Goblin – November 19, 2018 – Wealthy Theatre – Grand Rapids, MI

The moment I heard Italian composer and keyboardist Claudio Simonetti was touring with her latest version of Goblin and performing the live score to Dario Argento’s Suspiria while the film was shown, I knew I had to score a ticket to see the show.  The closest venue for which I could secure one was the Wealthy Theatre in Grand Rapids, Michigan.  This would be the third incarnation of Goblin I’ve seen in the last few years and the first time I’ve seen Suspiria on the big screen.

The Wealthy Theatre is a small venue that hosts retro film screenings and live music performances.  I almost literally bumped into two men outside the venue who obtained free tickets after one of them had sold a computer to the drummer, Titta Tani, through Craigslist.  Neither of them had seen Goblin or Suspiria.  I told them they were in for a treat.

The film was a big hit with the crowd.  It had been a while since I’d seen it and I’d forgotten how much of a master’s course it is on lighting.  I noticed a couple people having to turn away from the screen during a couple murder scenes, so it’s still an effective horror piece.  Goblin did a great job with the live score, building tension and rocking out without overpowering the dialogue during critical scenes.

They played a full set afterwards of music from other film scores.  A big hit was their music from Dawn of the Dead.

They were really cooking by this point, and their pieces from Demons, Phenomena, and Tenebrae (which made the guy next to me stop in his tracks as he started to leave for the restroom) were also big highlights.  They ended with the main theme from Deep Red – a personal favorite.

The crowd was buzzing afterwards, and Mr. Simonetti and crew were kind enough to hang around in the lobby afterwards and sign autographs.  I saw many horror fans with DVDs, special collector’s edition vinyl, posters, and more, and everyone was patient and happy to be there.

It was a nice post-Halloween / pre-Thanksgiving treat.  Don’t miss this tour if you’re a fan of horror films, progressive rock, or film scores.  It’s selling out at a lot of dates and it’s well worth it.

Keep your mind open.

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Pitchfork and the Art Institute of Chicago combine for Midwinter music and art festival in February 2019.

PITCHFORK AND THE ART INSTITUTE OF CHICAGO
ANNOUNCE MIDWINTER

A BRAND NEW MUSIC AND ART EXPERIENCE
FEBRUARY 15-17, 2019 IN CHICAGO

Performances by Kamasi Washington, Slowdive, Oneohtrix Point Never, Laurie Anderson, Tortoise, Panda Bear, Grouper, Perfume Genius, Sudan Archives, Mount Eerie, Madison McFerrin, and more

–Tickets on sale at  Midwinter.Pitchfork.com—
CHICAGO, November 14, 2018  –  Pitchfork and The Art Institute of Chicago today announce Midwinter, an all new music and art experience taking place February 15-17 in Chicago. The three-day event will bring together thought-provoking musical performances with iconic works of art. A truly elevated experience, it will feature more than 30 musical acts, produced by Pitchfork, performing amid masterpieces from the Art Institute’s wide-ranging collection. Select performances will also include original music productions inspired by art in the museum.

“Midwinter is an ambitious new concept, and with it we’re intentionally trying to push the boundaries of live music. Placing forward-thinking musicians in the context of the Art Institute, we’re opening a dialogue between mediums, and creating a unique cultural event,” said Pitchfork festival director Adam Krefman. “This February, you’ll be able to look at a Monet while listening to original music from Nico Muhly; Laurie Anderson will occupy the same space as Georgia O’Keeffe, while the glitch-rap of JPEGMAFIA is playing in another wing of the museum. I can’t think of another event quite like it and we are excited to bring it to life in Chicago.”

“The Art Institute is thrilled to collaborate with Pitchfork on the development and presentation of a new, unprecedented art and music experience,” said Jacqueline Terrassa, Women’s Board Chair of Learning and Public Engagement. “Midwinter expands the possibilities of what audiences can experience at an art museum, and—uniquely—at the Art Institute. Like so many works of art in our galleries, which both drew from and upturned traditions when they were first made, Midwinter foregrounds creative practice as visionary, highly interdisciplinary, and genre-defying.”

The Midwinter lineup features Kamasi Washington, Oneohtrix Point Never, Slowdive, Panda Bear, Laurie Anderson, DJ Koze, Tortoise (TNT 21st Anniversary Performance), William Basinski (The Disintegration Loops with the Chicago Philharmonic and On Time Out of Time), Perfume Genius, Deerhunter, Zola Jesus, Joey Purp, Mykki Blanco, Mount Eerie, Grouper, Jlin, Yves Tumor, Weyes Blood, Hiss Golden Messenger, serpentwithfeet, JPEGMAFIA, Sudan Archives, Madison McFerrin, Mary Lattimore, Daniel Bachman, Haley Fohr (of Circuit des Yeux), Marisa Anderson, Smerz and Baba Stiltz.

In addition to live performances, Midwinter will feature original pre-recorded compositions, unearthed recordings, and soundscapes from Nico Muhly, Tashi Wada & Julia Holter, Stars of the Lid, Kaitlyn Aurelia Smith, Midori Takada, Visible Cloaks, Helado Negro and Ilyas Ahmed. These pieces of music will be inspired by and respond to iconic pieces in the museum’s collection.

Pitchfork Radio will also broadcast live from Midwinter. Attendees can sit in on artist interviews, enjoy intimate performances, and listen to deep cuts from rare vinyl collections and playlists curated by Pitchfork editors.

Tickets for Midwinter start at $50 per day for a single night general admission ticket, which includes access to The Art Institute of Chicago’s collection, select musical performances, gallery soundscapes, and live recordings of Pitchfork Radio. Attendees will also have the opportunity to purchase tickets for special add-on performances starting at $15. A three-night weekend base ticket will be $127.50.  Tickets go on sale this Friday, November 16 at 10am CT athttp://midwinter.pitchfork.com/.

For more information on Midwinter, including lineup schedules, event news, and the latest updates, visit http://midwinter.pitchfork.com/, and follow @pitchfork @pitchforkfest#MidwinterChicago.

# # #

The full line-up for Midwinter is below.

Performing Nightly
Madison McFerrin
Mary Lattimore
Daniel Bachman
Haley Fohr of Circuit des Yeux
Marisa Anderson

Friday, February 15
Slowdive
DJ Koze with opener Baba Stiltz
William Basinski – The Disintegration Loops with the Chicago Philharmonic
Mount Eerie
Mykki Blanco
Yves Tumor
Sudan Archives

Saturday, February 16
Kamasi Washington
Panda Bear
Tortoise – TNT 21st Anniversary Performance
Deerhunter
Grouper
Jlin
serpentwithfeet
William Basinski – On Time Out Of Time

Sunday, February 17
Oneohtrix Point Never
Laurie Anderson
Perfume Genius
Zola Jesus with opener Smerz
Joey Purp
Hiss Golden Messenger
Weyes Blood
JPEGMAFIA

# # #

About Pitchfork:
Pitchfork is the most trusted voice in music. Pitchfork.com is the preeminent resource for highly-engaged fans looking to discover and experience new music in a thought-provoking way. Its comprehensive reviews and analyses of the people, trends, and events shaping the industry have defined music journalism for more than 20 years. Not only does Pitchfork set the standard for music coverage, but it also has a global reputation for hosting unique and eclectic music events, including annual Music Festivals in Chicago and Paris. For more go to Pitchfork.com and follow @pitchfork.

About The Art Institute of Chicago:
The Art Institute of Chicago, founded in 1879, is a world-renowned art museum housing one of the largest permanent collections in the United States. The Art Institute collects, preserves, and interprets works in every medium, representing the world’s diverse artistic traditions, and across all historical periods. With a collection of approximately 300,000 art works, the museum has particularly strong holdings in Impressionist and Post-Impressionist painting, modern and contemporary art, early 20th century European painting and sculpture, Japanese prints, and photography. The museum’s 2009 addition, the Modern Wing, features the latest in green museum technology and 264,000 square feet dedicated to modern and contemporary art, photography, architecture and design, and new museum education facilities. The Art Institute mounts more than 35 special exhibitions per year and features lectures, gallery tours, and special performances on a daily basis.

Darwin’s Finches unleash “HWY 787” on unsuspecting world, and we’re all better for it.

Darwin’s Finches share first track from forthcoming album Good Morning Creatures II

 Houston psych-punk trio RIYL: Camper Van Beethoven, The Frogs, Pixies

Hear & share “HWY 787” track (Bandcamp) (PopMatters)
“A kind of collision between Hawkwind at its most hyped, the Butthole Surfers at their most acidic with little doses of Krautrock thrown in for good measure.” — PopMatters
Houston trio Darwin’s Finches share the first track from their forthcoming album today via PopMatters. Hear and share “HWY 787” HERE. (Direct Bandcamp HERE.)
With a name making reference to obscure minutia of Charles Darwin’s research regarding the adaptive evolution of birds’ beaks, one might expect a certain esoteric character to a band. And Darwin’s Finches is certainly an anomaly of its own. But that doesn’t mean that they’re not a brilliantly catchy band. In fact, Good Morning Creatures II, the trio’s third album is a tart and twangy, hook-filled 10-song batch of great rock songs that sound as if they’d evolved completely out of contact with the rest of the rock world.
The Galveston, TX based band of pranksters, formed around a biology class, who got their start crashing biker bars and playing shows that provoked fisticuffs, Darwin’s Finches aren’t a normal band.
The album’s music hearkens to late-80s weirdo indie-rock tinged with psychedelic Western vibes like Camper Van Beethoven, Butthole Surfers, Alice Donut, and the Pixies combined with the demented melodies of The Frogs. Guitarist/vocalist and bandleader Justin Clay sports a master crooner’s wail; sounding something akin to a young Paul Westerberg.
Darwin’s Finches was formed in 2006 by Justin as part band, part prank. Joined originally by friends in his Biology class, Clay and a rotating cast of players have played everything from pop-up shows at biker bars (to mixed reviews), art museums, random national parks, shows at clubs that ended with fruit fights and a culminating three-hour show at the legendary Balinese Room that ended with a guitar sacrificed to the Gulf of Mexico.
Justin took a break from music in 2012 for two years to enjoy his family and the birth of his son, Odin.  When he returned to music in 2014, he reformed Darwin’s Finches with long-time music partners, Cody Honey on drums and Morgan Moody on bass.
Good Morning Creatures II will be available on LP and download on December 14th, 2018 via Artificial Head Record & Tapes (AHRT).
DARWIN’S FINCHES LIVE:
11/17 Houston, TX @ Bohemeo’s
12/21 Houston, TX @ Fitzgerald’s (Cowpunk X-mas Party & Farewell to Fitzgerald’s)

Artist: Darwin’s Finches
Album: Good Morning Creatures II
Record Label: Artificial Head Records & Tapes

Release date; December 14, 2018

01. Good Morning Creatures (Big Stinky)
02. Yaupon Tea
03. Hosea!
04. Hwy 787
05. Tapir
06. BEK
07. Cowdog
08. Family Circus (ae)
09. Jonnobonnacca

10. Quixotic

On the Web:
Keep your mind open.
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