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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Gong Gong Gong release 7″ single ahead of tour dates with Flasher and Public Practice.

GONG GONG GONG’S DEBUT 7″ FOR WHARF CAT OUT NOW

STREAM “SIREN” AND “SOMETHING’S HAPPENING”

CATCH THEM ON TOUR WITH FLASHER AND PUBLIC PRACTICE
Beijing duo Gong Gong Gong pose an intriguing challenge to listeners. There are no drums in this band, but it is undoubtedly percussive. Singer Tom Ng’s lyrics are in Cantonese, but the urgency of previously shared single “Siren” is plain as day. Their driving, stripped-down transnational blues, tapping into the spirit of Bo Diddley, the Monks, and psychedelic music from West Africa to Southeast Asia, is both foreign and familiar. You can read an interview with them in Alt Citizen.

Last week, their debut single for Wharf Cat was released, featuring the aforementioned “Siren,” and now the b-side, the instrumental “Something’s Happening.”

Additionally, earlier last week, they shared a song off a forthcoming limited-edition (only 100 will be made) tour flexi-disc 7″ split, which also features tour mates Flasher and Public Practice. They’ve also announced a NY date opening up for post-punk legends Bush Tetras in December. Catch them on tour the US, and listen to the new output of this utterly unique and singular band.

LISTEN TO “SIREN” & ” SOMETHING’S HAPPENING”
https://spoti.fi/2BaVvwe

LISTEN TO “DOWN QUANTITY ROAD” OFF TOUR FLEXI
https://bit.ly/2PNLzku

GONG GONG GONG TOUR DATES
Fri. Nov. 30 – Washington, DC @ Black Cat w/ Flasher, Public Practice
Sat. Dec. 1 – Philadelphia, PA @ Everybody Hits w/ Flasher, Public Practice
Sun. Dec. 2 – Pittsburgh, PA @ Brillobox w/ Flasher, Public Practice
Mon. Dec. 3 – Cleveland, OH @ Beachland Tavern w/ Flasher, Public Practice
Tue. Dec. 4 – Chicago, IL @ The Hideout w/ Flasher, Public Practice
Wed. Dec. 5 – Columbus, OH @ Ace of Cups w/ Flasher, Public Practice
Thu. Dec. 6 – Patterson, NJ @ The Red Wheelbarrow w/ Flasher, Public Practice
Fri. Dec. 7 – Brooklyn, NY @ St. Vitus w/ Flasher, Public Practice
Sat. Dec. 15 – New York, NY @ The Kitchen w/ Bush Tetras
Tue. Feb. 12 – Brussels, BE @ Rotonde, Botanique w/ Bodega
Thu. Feb. 14 – Bottingham, UK @ Rescue Rooms w/ Bodega
Fri. Feb. 15 – Glasgow, UK @ The Art School w/ Bodega
Sat. Feb. 16 – Dublin, IR @ Whelan’s w/ Bodega
Mon. Feb. 18 – Manchester, UK @ Gorilla w/ Bodega
Tue. Feb. 19 – Leeds, UK @ Brudenell Social Club w/ Bodega
Wed. Feb. 20 – London, UK @ Scala w/ Bodega
Sat. Feb. 23 – Paris, FR @ Point Ephemere w/ Bodega
Mon. Feb. 25 – Rotterdam, NL @ Rotown w/ Bodega
Tue. Feb. 26 – Amsterdam, NL @ Bitterzoet w/ Bodega
Keep your mind open.
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Rewind Review: Ennio Morricone – Psichedelico Jazzistico (2004)

This 2004 collection from Cherry Red Records covers music made by living legend composer Ennio Morricone for films in the late 1960’s and early 1970’s.    It’s a wild, trippy mix of music for thrillers, erotic comedies, and crime films.

It starts with three tracks from one of the best giallo films ever made, Dario Argento’s The Bird with the Crystal Plumage.  The theme, “Plume di Cristallo,” begins the journey into a dark, shadowy world with creepy, child-like vocals, tinkling crystal bells, and acoustic guitar that’s both warm and chilling at the same time.  The lovely, almost waltz-like “Non Rimane Piu Nessano” and the jazz freak-out “Corsa Sui Tetti” (which sounds like a fight inside a dark club) follow.

After that we get two from another Argento film that Morricone scored – Four Flies on Grey Velvet – “Come Un Madrigale” (which reminds one of a winter stroll through a bleak yet beautiful city park) and the film’s main theme – which incorporates both gospel and circus music elements…because Morricone is a bad ass.

Up next are tracks from the film One Night at Dinner – “Sauna” (which is luxurious as you’d hope with sparkling xylophones), “Alla Luce Del Giorno” (with plenty of psychedelic keyboard work, meaningless vocal sounds, and psych-pop guitar), and “Uno Che Grida Amore” (in which you can hear touches of his spaghetti western soundtracks – the piano – and lush strings mixing with jazz drums).

We’re off to the film Forza G with the smooth and lush (Those strings!) “Sospeci Fra Le Nuvole” and the film’s main theme with its sweet jazz drumming.  “L’assoluto Naturale” (from She and He) follows with haunting French horn backed with simple acoustic guitar chords to produce a haunting effect.  The short, action sequence-ready “Studio Di Colore” (also from She and He) could fit into nearly any bank heist scene.

The main theme to “Indagine Su Un Cittadino Al Di Sopra Di Ogni Sospetto” (Investigation of a Citizen Above Suspicion) is track on this record most like one from Morricone’s spaghetti westerns with its mouth harp, quirky piano chords, and clockwork percussion.  “Terazza” (from the 1977 comedy Il Gatto / The Cat) has poppy lounge organ mixed with sexy, slithering beats and slightly Latin horns.  The closer is another track from Il Gatto  – “Mariangela e la Seduzione” – which belongs on your next make-out mix tape because it’s practically the sounds of a woman having a long orgasm while lounge jazz plays behind her.

This is a must for film score buffs, fans of Morricone’s work, or psychedelic jazz.  Morricone is a true maestro and his influence on music and pop culture is phenomenal.

Keep your mind open.

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Review: Janelle Monae – Dirty Computer

Dehumanization, over-reliance on technology, (un)intentional loneliness, love, freedom, sex, and the inward journey toward finding the true self are just some of the concepts covered on Janelle Monae‘s newest, and best yet, record – Dirty Computer.

The title refers to a futuristic world in which people who don’t fit into social norms are classified as “dirty” and relegated to either second or third-class citizenship or brainwashed into civility.  What’s worse is that many of us do this to ourselves daily.  The title track (featuring Brian Wilson, no less) sets the tone.  “I’m not that special.  I’m broke inside, crashing slowly.  The bugs are in me,” she sings as she shuffles through a bleak, futuristic landscape looking for love.

“Crazy, Classic, Life” begins with a sermon preaching that freedom, life, liberty, and the pursuit of happiness is for everyone no matter their social status, sexual preference, or skin color.  “I just want to party hard, sex in a swimming pool.  I don’t need a lot of cash.  I just want to break the rules,” Monae sings behind big, bold beats.  “I am not the American nightmare.  I am the American dream,” she proclaims.  It’s a rallying cry for everyone.

The beats on “Take a Byte” remind me of Tears for Fears at first, and then they switch to sultry house beats as Monae claims she’s not the kind of girl you take home to meet your mother.  She’d rather you nibble on her mocha skin.  Meow.  “Screwed” keeps up the sexy theme (“Wanna get screwed at a festival, wanna get screwed like an animal.”) and takes potshots at those in power who are screwing over those below them (“You fucked the world up now, we’ll fuck it all back down.”).

If you don’t think she’s serious, then consider “Django Jane,” in which Monae puts down a fierce rap about misogyny with lyrics like, “And we gonna start a mother-fuckin’ pussy riot, or we gonna have to put ’em on a pussy diet.” and “Let the vagina have a monologue.”

It’s fitting (and tongue-in-cheek…and more) that “Pynk” follows, as it’s a tribute not only to lady parts, but also to female sexuality and empowerment.  As if that weren’t sexy enough, “Make Me Feel” is perhaps the sexiest song of the year as Monae boldly comes out of the closest as pansexual.  Monae worked with Prince on some of the sounds of this record before his death, and his influence is immediately apparent on this track with its funky guitar, swelling synths, and dance beats.

“I Got the Juice” is Monae again claiming her freedom from expectations, illusions, and haters – including one in the White House when she states, “If you try to grab this pussy, then this pussy’ll grab you back.”  “I Like That” has Monae telling us that she’s happy with who she is at this point in her life, which is really what all of us want.  Her vocals on “Don’t Judge Me” are lovely, showing her versatility.  She can float between serious rap chops and torch songs with ease.

She admits that she’s not perfect on “So Afraid.”  She’s tentative about settling down and commitment, and her bold, to-the-back-of-the-church vocals emphasize how she’s on the verge of taking the plunge but still can’t quite make the leap of faith.

“Just love me, baby.  Love me for who I am…Don’t try to take my country.  I will defend my land.  I am not crazy, I’m American,” she sings on “Americans” before dropping in sound bytes of a sermon on what America represents and what it has become in 2018 and it could be in the future.  The last lyric on the record, as the music fades, is, “Please sign your name on the dotted line.”  Is it a call to action, or a warning?

I’m not sure.  That’s for Monae to know and for the rest of us to learn by self-introspection and, among other things, listening to this record.

Keep your mind open.

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Live: Windhand – November 07, 2018 – Subterranean – Chicago, IL

A place called “Subterranean” seems like a perfect fit to see doom metal rockers Windhand.  A lot of their songs cover subjects like graveyards, tombs, and ancient things best left buried.  They played to a happy crowd of metal heads, goths, and music geeks like yours truly in the small club.  Unfortunately for me, their opening band, Satan’s Satyrs, were wrapping up their set about the time I was walking up to the door.  Yes, I could hear them from outside and even across a busy Chicago street.

Windhand were just as loud, if not louder.  I hadn’t seen them since I caught most of their set at Levitation Austin earlier this year, and that was an open-air stage.  This would be my first time seeing them in an enclosed space.  I’m glad I brought my earplugs.

Emerging to a recording of spooky Halloween / haunted house noises, they opened with, what else, “Old Evil” and immediately unleashed thunder.

Lead singer Dorthia Cottrell was fully warmed up by the time they reached “First to Die,” and following it with “Forest Clouds” and “Grey Garden” had the entire crowd head-banging in unison.

One thing I noticed live that I now can’t believe I missed when listening to their new record, Eternal Return, was how Garrett Morris‘ guitar work often brings in distortion and effects with shoegaze influences.  It’s no secret that I love shoegaze music, so this is probably one of the many reasons I like Windhand so much.

Everyone in the crowd was ready for the Grim Reaper to show up by the time Windhand got to “Red Cloud” and “Cossack.”  It was a heavy, powerful performance that I needed after a work week that had me dealing with a staggering amount of paperwork until my eyes were sore.

Another breath of fresh air at this show was something you don’t see much of anymore – affordable merchandise.  $20 T-shirts, $10 CD’s, cheap stickers, reasonably priced hoodies, and more were available at Windhand and Satan’s Satyrs’ booths.

Catch them before they leave for a bunch of European dates.  Heck, go to Europe and see them (where I’m sure they’ll sell out most, if not all, of their shows).  Let their power overwhelm you.

Keep your mind open.

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Live: Public Image Ltd. – October 22, 2018 – Thalia Hall – Chicago, IL

I last tried to see Public Image Ltd. thirty years ago when a friend of mine in high school won tickets to see them play in Indianapolis.  She couldn’t make the show, or just didn’t want to go, and told me she’d give me the tickets once she picked them up from the radio station that held the conotest.  She kept avoiding me as the day of the show drew closer.  I tracked her down the day of the show and asked about the tickets.  She blushed and admitted that she didn’t make it to the station to get them.  I was out of luck.

PiL went through many lineup changes and hiatuses and went on many tours that never came close to my neck of the woods since then.  I finally got tickets to see them at Chicago’s Thalia Hall…and learned a couple weeks before the show that I was going to have to cancel the trip because a co-worker would still be recovering from surgery.  I was, as you can guess, bummed about that.

As fate would have it, however, my co-worker recovered faster than anyone imagined he would and I ended up with the night off…although I still had to work at 6am the next day.  I wouldn’t let that stop me, however.

PiL started their set with the low-key “Deeper Water,” and then slowly ramped up the energy from there forward.  John Lydon stood like a professor at a podium in front of his microphone and sheet music stand, delivering a lesson on how to own a stage and spit venom (all the while alternating sips of water and straight bourbon from the bottle between songs).  He even shimmed and shook a bit on “Bodies.”  The crowd was firmly in his hand when they followed it with “Disappointed.”

They were in a great groove when they reached “Death Disco,” “Cruel,” and “I’m Not Satisfied.”  The crowd went nuts for “This Is Not a Love Song,” and “Rise” gave me chills after finally getting to hear it live after three decades.  Album is one of my favorite records of all time, and getting to hear John Lydon sing even one cut from it was worth the wait.

“Does this look like a fucking cruise ship?” Lydon asked a drunk man in front of the stage as they came back out for the encore.  “We don’t do requests.”  That guy and his drunk girlfriend were soon removed by security while Lydon waved goodbye to them and he and PiL tore through “Public Image” and “Open Up.”

This was the first show in a long time at which I bought a tour shirt that cost more than twenty dollars.  I have a hard time paying more than that for any T-shirt.  The official tour shirt was $30.00.  I hesitated.  My wife said, “Thirty years, man.”  She was right.  A dollar for every year I waited was a fair price, and completely worth it.

Keep your mind open.

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Review: Ron Gallo – Stardust Birthday Party

Made not long after he attended a week-long silent meditation retreat, Ron Gallo‘s excellent new album of Zen punk, Stardust Birthday Party, arrives at a crucial time in history when the rich are getting richer, the middle class is disappearing, the poor are being left behind, and people are still clinging to material and mental things that ultimately mean nothing.

“Who Are You?  Point to It!” is the short, existential question that opens the record.  Can any of us answer this question without words?  It jumps into the Alan Watts and Eckhart Tolle-inspired “Always Elsewhere.”  It’s one of the best singles of the year and has been my mantra since hearing it.  Everyone nowadays seems to be somewhere other than where they really are in space and time.  The song is a wild, blaring diatribe against this practice that will make you want to throw away your cell phone, take a breath, and experience the miracle happening right in front of you at this moment.

“Prison Decor” reveals Gallo’s love of Devo with the snappy sound and his playful  and slightly weird vocals.  “Party Tumor” brings forth Joe Bisirri‘s fat bass as Gallo sings about someone (himself, perhaps?) who constantly needs to be heard and craves attention (“I just need to be heard anytime, anywhere.”) even though this attention will bring no true satisfaction.

“Do You Love Your Company?” starts with a Tibetan meditation bowl clang and then asks if you truly enjoy being in the moment alone or if you seek verification from the illusionary world around you.  Gallo’s guitars squawk and chug as much as his intense vocals.  “‘You’ Are the Problem” is a wake-up call to everyone who thinks the world is against them but doesn’t realize the issue is within them.

“OM” has the universal chant layered over police sirens, wine bar chatter, and a warning from Gallo’s mind that the mind can’t be stopped, but his relationship with it can be changed.  After all, “It’s All Gonna Be OK.”  That track is full of fuzzed guitar riffs and some of Dylan Sevey‘s biggest rock drumming on the record.

“I Wanna Die (Before I Die)” is a Zen riddle.  “It’s the point of my life,” Gallo sings. It’s the point of all our lives, really.  Dying to illusion and freeing the true self is the only goal of all of our lives.  Caroline Rose guest stars on “Love Supreme (Work Together),” which has her and Gallo singing about the nature of love, what it means to each of us, and how “God loves it when we work together.”

“Everybody’s trying to be some kind of something,” Gallo sings on “The Password” – a quirky track that reminds me of one of Frank Zappa‘s work.  “I don’t even know the password to my own heart,” Gallo says.  We all know the passwords to multiple social media accounts, bank accounts, and shopping clubs, but we don’t know how to unlock our inner treasure house.

“Bridge Crossers” discusses how the fear of death is irrational and seems to be a salute to one of Gallo’s teachers of spirituality.  The album ends with “Happy Deathday,” a celebration of the end of illusions.  “How hard we have to work for a false sense of worth…” Gallo sings.  We all tend to lose sight of the joy inside us and right in front of us because it’s easy to succumb to fear.  It’s relentless and will overwhelm your life if you let it.

If, like the alien mentioned in “Happy Deathday,” you’re wondering “what the fuck happened” to you, your family, your friends, and the world in general, then this album will be a welcome pleasure.  It will remind you that you have what you need within you.  You always have.

Keep your mind open.

[I don’t need you to subscribe to make me happy, but I do admit that I would enjoy it.]