Buzz. Twang. Grit, grind, SWING! Welcome to Heaven’s Gate’s debut: High Riser EP. Somewhere between noisy motorik and jangly pop-punk, these Brooklyn spazzes layer on the heavy, bawdy shitgaze we’ve fallen in love with over and over…and over. Fingers will point. Oh, they will point! ‘Round the room and ‘round the room they’ll go. It’s best to just play coy…”Share the Joy” as the Vivian Girls would say.
For all those Cranberries fans out there. For all those believers in the moxie of Christmas and Wetdog, here’s the agitation. Here’s the breast. Here’s the hairy fucking cunt chaffing the face of the casual grit-rock fanbase. Get your jollies. Oh, they’re there. Floating between the fluctuating melodies of vocalist Jess Paps. Sometimes imbued with the fervor of Doloroes O’Riordan, sometimes wailing like the savior of Grace Slick kicks, Emily Beanblossom. Elevated, empowered by the raucous wall of treble and strum. Reinforced by the thunderous pounds that will ward off the lo-fi tag. This is a band getting it out. Loosing it. Making it fucking count. All in the time that it takes you to remember where the fuck your keys may be at any given time of the day.
From the muscle of experimental Brooklyn label Fire Talk, which has allowed us to aurally shake the hands of bands like Jovontaes and Woodsman, comes new heat. Neck effect. Eye reeling pleasure. “How you want to give me all that you can give?” asks Paps on the psych whirlwind “Jesus Hair”. Hesitation be damned! Get in, get out, or get down. React your own way, below. It’s streaming for the nice price of free, baby.
Hats off to Room 205 for giving us a glimpse into what Tim Presley and Ty Segall’s upcoming month-long barrage across the states is going to look (sound) like. Here, the blood buds— backed by pals Mikal Cronin and Nick Murray— show off their finger callouses on this rendition of the mod-psych ripper “Scissor People” off their forthcoming collaborative LP, Hair.
Unroll those peepers; you’re going to have to re-focus on the screen to purchase tickets— I wouldn’t count on buying them at the door. Scope the dates, below.
5/3Portland, Ore. @ Star Theater
5/4 Vancouver, B.C. @ Waldorf Hotel
5/5 Seattle, Wash. @ Chop Suey
5/6 Missoula, Mont. @ The Palace
5/8 Minneapolis, Minn. @ 7th Street Entry
5/9 Madison, Wis. @ High Horse Saloon
5/10 Chicago, Ill. @ Lincoln Hall
5/11 Detroit, Mich. @ Lager House
5/12 Toronto, Ont. @ Horseshoe Tavern
5/13 Montreal, Quebec @ Il Motore
5/14 Portland, Maine @ Space Gallery
5/16 New York, N.Y. @ Webster Hall
5/18 Philadelphia, Pa. @ Johnny Brenda’s
5/19 Raleigh, N.C. @ King’s Barcade
5/20 Atlanta, Ga. @ The Earl
5/21 Nashville, Tenn. @ The End
5/22 Memphis, Tenn. @ Hi Tone
5/23 Little Rock, Ark. @ Whitewater Tavern
5/24 Houston, Texas @ Walter’s
5/25 Austin, Texas @ Mohawk Outside Stage
How awesome would Bitch Mob letterman jackets be?
UK producer Star Slinger, aka Darren Williams, teamed up with Lil B and Stunnaman, former members of Berkeley, CA’s The Pack, for his latest “Bad Bitches.” The name is about as impressive as the southern-drawl-gone-Cali delivery by B and Stunna, but that seems to be the angle Williams is working with on this track.
His production on “Bitches” forms a bog of minced vocals and bubbly tricks looped and stuffed between syncopated hits of wet snare, hi hat, and cow bell. The verse and chorus slog through the neck-high soup of maximalist club that will have grind-induced erections finding the belt more often than the high school “end of period” bell. Lil B and Stunnaman are not the feature here; they’re merely accomplices with letterman jackets in the assault.
The best art about the sinking of the Titanic is a piece of minimalist composition.
Selection: “The Sinking of the Titanic”
From President Abraham Lincoln’s death in 1865, the breaking of the MLB color barrier by Jackie Robinson in 1947, to Tax Day (since 1955; unless the date falls on weekends or Emancipation Day), April 15 has retained a level of historical significance over the last 150 years. Not only does the anniversary of RMS Titanic’s tragic plunge fall on this date, but also this year marks the one hundredth anniversary of the event. For the centennial, Le Poisson Rouge is presenting a rendition of Gavin Bryars’ “The Sinking of the Titanic” by mainstays in the Wordless Music Orchestra and LPR’s house band.
Bryars’ composition, produced by Brain Eno and released on his Obscure label in 1975, is a haunting and surreal speculation of the Titanic’s demise in the icy waters of the North Atlantic. The almost half hour piece is based around the last song played on the Titanic described by Harold Bride, the junior wireless operator on board the ship, to be the Episcopal hymn Autumn. Bryars’ construction ensconces elements of wind instruments, piano, guitar, bass, atmospherics, and archival audio of interviews with survivors into the violin-led hymn. For those interested in the ambient, this is essential.
While observing the centennial of the Titanic’s last breath isn’t going to be a social fest reviling Halloween or anything, Le Poisson Rouge is offering you an interpretation of a visionary that explored the wreckage of the Titanic ten years before it was even found. Or, you could certainly give James Cameron some more bucks to explore the Mariana Trench by catching the 3-D version of Titanic. On the upside, “The Sinking of the Titanic” won’t have you waiting around two hours for a 3-D shot of Kate Winslet’s boobies. On the downside, no Billy Zane.