Celebrity Art Party is a semi-occurring feature, wherein the artists we enjoy interpret their favorite song. This installment features Travis Falligant, whom we've become a big fan of on Instagram, mainly because of his excellent style and subject matter that ranges from horror movies to The Golden Girls. You probably saw his "Scooby-Doo Lost Mysteries" all over the web last summer. If we could afford it, we'd buy everything Fallgant put up in his shop. As it is, we had him talk about his favorite song for Celebrity Art Party, and it's a heartfelt tale of a first crush. Song title: I Want To Know What Love Is Artist: Foreigner Version of song (live, album, remix, etc.): Agent Provocateur album [embed]https://www.youtube.com/watch?v=raNGeq3_DtM[/embed] Why this song? I have to clarify: this is not a favorite song. It’s a song that holds a strong memory for me. When did you first hear it? I had heard it before but the moment this song made an impression on me was in the car on the radio. I was 8 years old and was riding in the car home from the grocery store. My mom had bought the Official Movie Magazine of Dune for me. I was in the back seat and flipping through the pages and looking at images of actor Kyle Maclachlan. "I Want To Know What Love Is" came on the radio and I remember closing the magazine and staring at him on the cover and hearing the music and getting that feeling in the pit of my stomach, the butterflies. It was the feeling of getting my first crush on someone else and it was overPOWERING. I felt like I was becoming an adult at that very moment, hearing Foreigner belt out that '80s power ballad. How does music such as this inspire you in your work? I think it’s the era in which I heard this song (the 80’s) that really inspires my work. Music from the '80s (my childhood) influences my work just as much as film, art, pop culture does from that era. It was a time of comfort and inspiration for me. Being that age and being surrounded by so much great pop culture: it was a good time to be alive. It’s the optimism of that time period. As a kid growing up in the '80s, I was exposed to bright color palettes, uptempo catchy pop songs, and unforgettable corporate mascots and merchandising (toys, film tie-ins). When I create, I tend to draw from nostalgic, warm memories. I like to refer back to that simpler time not only in my personal life but also in my work. How has this song changed for you since you first heard it? It hasn’t changed for me. EVERY TIME I hear this song though, I am transported back to my 8 year-old self, dangling my legs off the car seat in the back of my mom's car and flipping through that movie magazine. What upcoming projects do you have? I am working on some new IBTrav art for sale (stickers, tee designs and movie poster prints) and am gearing up for the month of October and my next "31 Days Of Halloween" sketch series. I almost might do a return to "The Lost Mysteries" series to celebrate the upcoming Halloween holiday. Stay tuned! Travis Falligant's work can be found at his website, which contains links to his Facebook, Twitter, and Instagram pages, as well as his online store.
art on August 24th, 2015 by Nick – 1 Comment
art, video on July 27th, 2015 by Nick – Be the first to comment
Celebrity Art Party is a semi-occurring feature, wherein the artists we enjoy interpret their favorite song. This installment features Amy Abshier-Reyes, whom we'd never met before being introduced at a Spoon show a few months back, but quickly discovered her to be a fantastic and interesting person. Abshier-Reyes' work is a collection of haunting portraits, and her piece for Celebrity Art Party is no different. Song title: "Ceremony" Artist: Joy Division/New Order Version of song (live, album, remix, etc.): I really love the New Order 12" version, originally released in 1981 on Factory Records. [embed]https://www.youtube.com/watch?v=rVWO6yE_c40[/embed] Why this song? This has been one of my favorite songs since I was in my teens. It's always struck a chord with me, pun intended. When did you first hear it? I must have been 14 or 15; I honestly don't remember. I think it crept into my subconscious and just sort of simmered there until I was ready for it. How does music such as this inspire you in your work? There's always music in my studio, in my car, in my home, in the back of my mind... It can alter my mood, letting me settle down into a receptive, creative zone. I'm not a musician, but music is one of my oldest loves. It's a huge part of my life and I listen to so many different kinds. Everything from shoegaze to bossa nova to punk to old country to new wave to psychedelic to electronica ... I could go on and on. How has this song changed for you since you first heard it? I don't know that it has; I still feel the same emotions and sensations that I remember having listening to it as a kid. I sometimes joke that this better get played at my funeral, or someone's gonna be in trouble. What upcoming projects do you have? I'm always working on new pieces. I love painting eyes, so I paint a lot of single eye portraits, almost like the miniature lovers' eye portraits that were popular in Georgian times. I generally have work available to view at the Blue Gallery in Kansas City. You can find more information about Amy Abshier-Reyes at her Facebook page or buy things from her via Etsy.
mp3 on July 20th, 2015 by Nick – Be the first to comment
In which your host tells of plans to come, and things which might change. In the meantime, electronic blips, dance-y bloops, and sludgey dirges. Podcast #137, "Doomed to Repeat" Mike Armstrong, "House of the Devil Opening Theme" (House of the Devil soundtrack) Magnetic System, "Escape" ("Godzilla" single) Gershon Kingsley, "Popcorn" (Music to Moog By) Carlo Maria Cordo, "M31" (Pieces soundtrack) --- Richard Denton And Martin Cook, "Tomorrow's World" (TV Sound and Image Volume 1) Gil Trythall, "Folsom Prison Blues" (Country Moog (Switched on Nashville)) Black Devil, "Follow Me" (Disco Club) Wolfmen of Mars, "All Those Terrible Times" (Gamisu) --- KISS, "God of Thunder" (Alive II) Uncle Acid & the Deadbeats, "Death's Door" (Blood Lust) Minibosses, "Metroid" (Brass) Ebn-Ozn, "The Dawn" (Feeling Cavalier)
art, punk on July 8th, 2015 by Nick – 1 Comment
Celebrity Art Party is a semi-occurring feature, wherein the artists we enjoy interpret their favorite song. This installment features one of our favorite artists, and a long-ago former co-worker of mine, Jon Hunter. Hunter's long been a supporter of the punk scene, be it around the Kansas City and Lawrence areas, or in Madison, where he now resides. He's also the first artist to explain the process behind his piece, so check that out at the end. Song title: "The Ramblin' Boys of Pleasure" Artist: The Lawrence Arms Version of song (live, album, remix, etc.): from The Greatest Story Ever Told (2003) [embed]https://www.youtube.com/watch?v=qUUl4jCDqQs[/embed] Why this song? The Lawrence Arms have always been a favorite band of mine and "The Ramblin' Boys" is definitely my favorite song of theirs. The lyrics of the song just seem to strike a chord with me (no music pun intended, or is it?) every time I hear it. When did you first hear it? The first time I heard it was around the time that particular album came out so I was around 18-19 at the time. A bit of an impressionable lad at the time. How does music such as this inspire you in your work? I'd have to say that all music impacts my work, no matter the genre. Sometimes I like to use something that's a bit out there to get into a different headspace or using something heavy with rhythm to set a groove to how I work. Stuff specifically like this song helps me get into the headspace of trying to take an honest approach to what I'm working on and introduce a level of emotion. Often in my personal work I try to work around themes of imperfections and sometimes emotionally charged pieces and a song like this really helps get me there. One thing to note is that I work both in physical in digital mediums. Music like this is more impacting of my non-digital work (usually pencil, ink, watercolor type work). How has this song changed for you since you first heard it? These days, I suppose it now carries a bit of a nostalgia factor to it. Taking me back to seeing the Lawrence Arms live or old friends that share a love of the tune. I definitely look at some of the lyrics a bit differently now as well due to experiences in my own life and how I relate to them. What upcoming projects do you have? Currently, I just finished showing work along side many fantastic artists at the Yellow Rose Gallery here in Madison, WI for the month of May. In the last year, I've started Drink & Draw events here, done flyer design for various local establishments, did the cover art for the Horror & Hope EP by The Havok on Polaris (Lawrence, KS), and began participating in the Art Nest events at The Cardinal Bar in Madison. At the moment, I am talking with a few local comedians about projects and doing flyer design for specific events. A friend in Lawrence is also talking with me about participating in an upcoming music/art show in mid-July. My biggest project right now is just trying to get my work out there more. Also, just a little on the illustration: I chose to go off the lyrical content of the song, focusing on the a few lines from the beginning such as:
"A million times a day I try to fail or fail to try" "I used to hear a lot... like the slow dull burn/ Of paper and tobacco and the bad breath smoke singin'/ Hey man, lemme tell you a joke./ Well what's attached to a leash that it made itself?/ The punchline is the way that you've been fuckin' yourself." "There's proof painted on the roof and I hate it"Basically, I chose to create few haggard ramblers and use alcohol as representation of failing and truth (thus the signs). Weird, pretentious art stuff I'm sure but figured I'd toss in somewhat of an explanation for the piece. That art thing in Lawrence Jon was talking about is called CLASS // OF \\ ASTRA, which takes place at the Bottleneck on Saturday, July 18. You can find a bunch of information on it here. You can find Jon Hunter's work at both his website and Facebook page.
books, mp3, reviews on July 7th, 2015 by Nick – Be the first to comment
There are quite a few stories to be told in Stephen Witt's book, How Music Got Free: The End of an Industry, the Turn of the Century, and the Patient Zero of Piracy, out not from Viking. You have the story of how the mp3 algorithm was created, you have how the music industry failed to meet the demands of a new digital age, and you have the story of how one man in North Carolina managed to leak many of the top albums of their day. It's fascinating, and though I came to it with many of the same touchstones as author Witt (we're the same age), there's a lot to this for everyone, not just those of us who hit college right as file-sharing, broadband, and big hard drives all converged. I mean, granted: if you're a mid-to-late '90s high school graduate who lived in a college dormitory during the tag end of the last century, there's a lot of obscure references in How Music Got Free that will open mental doors to which you'd long since lost the keys. But even for those who didn't look to RNS as a mark of quality or Oink as the the be-all, end-all of musical treasure-hunting, there's still so much here. If ever there were a textbook case of how a perfect storm came to wash away vast swatches of an industry, this is it. Witt's book answers every question you've ever had about piracy:
* Why the hell did they sue 11 year-ols and grandmas, but I still have 3000 albums on my hard drive to this day? * Why were CDs so goddamn expensive, even as the technology got cheaper? * What does it take to get your hands on an album that far in advance? * How did the labels repeatedly fail to get on the ball with digital music?It's three stories, all interwoven, and it's brilliant. Like an epic episode of Frontline, but told with the wit and wink of This American Life, Witt's How Music Got Free documents the way piracy came to be a way of being. It's a cultural and technological history that will leave you enraptured. My only regret is that I've sat this long trying to figure out how best to sum it up. My recommendation: buy it, take two days off work, and get ready. You're not going to want to put this down once you start it. How Music Got Free: The End of an Industry, the Turn of the Century, and the Patient Zero of Piracy is available to purchase from Amazon.
movies, podcast, soundtracks on July 6th, 2015 by Nick – Be the first to comment
We delve ever-further into the realm of film music. This time, we're looking at soundtracks, rather than scores, and talking about popular music from popular films. Most of what we're looking at is definitely of a certain stripe -- quite a bit from Kevin Smith and Quentin Tarantino films -- but the music is all good, even if your opinion of the director might be less than high. Podcast #136, "Social Event of the Season" Soup Dragons, "I'm Free" (The World's End soundtrack) Abba, "Mama Mia" (The Adventures of Priscilla, Queen of the Desert soundtrack) John Legend, "Who Did That to You" (Django Unchained soundtrack) Kenny Loggins, "I'm Alright" (Caddyshack soundtrack) Soul Asylum, "Can't Even Tell" (Clerks soundtrack) --- Night Birds, "Escape From New York" (Born to Die in Suburbia) Lustra, "Scotty Doesn't Know" (Eurotrip soundtrack) Squirtgun, "Social" (Mallrats soundtrack) Francis Haines, "The Trioxin Theme" (The Return of the Living Dead soundtrack) Crash & the Boys, "I'm So Sad, So Very, Very Sad" (Scott Pilgrim Vs. the World soundtrack) --- Kool & the Gang, "Jungle Boogie" (Pulp Fiction soundtrack) Redbone, "Come and Get Your Love" (Guardians of the Galaxy: Awesome Mix Vol. 1) Kermit the Frog, "Rainbow Connection" (The Muppet Movie) Stealers Wheel, "Stuck in the Middle With You" (Reservoir Dogs soundtrack)
movies on July 6th, 2015 by Nick – Be the first to comment
Mondo Macabro's back up and running, and relaunching their line of amazing exploitation DVDs with a couple of Greek exploitation classics. If you order the two of them together, you get one a solid month before it's due out to everyone else.
Greece has been in the headlines a lot recently. Here at Mondo Macabro we support the Greek people and Syriza in their current struggle and wish them all success in the future. We feel it is also time to remind the world that in the 1960s and '70s, Greece had a thriving film industry, turning out comedies, melodramas, musicals – and quite a lot of the sort of films that we at Mondo Macabro love. So, to launch our new line of Greek Cult Cinema releases, we are making a special offer via their online store, for two Grexploitation classics at a special price of $35.00 plus postage. How can you resist? Discover a side of Greek life you didn’t even know existed. The films are: TANGO OF PERVERSION The Tango club is the favorite hangout for a group of swingers who live for nothing but pleasure. Rosita, a beautiful lesbian, seduces Joanna by giving her dope. Stathis, Joanna's sleazy boyfriend catches the two women in bed together and takes his brutal revenge on them, ending in Rosita’s death. All this happens in the house of Joachim, a rich playboy who gets his kicks by secretly filming Stathis having sex with girls from the Tango club. Joachim believes he is impotent, until he makes love to Rosita's dead body. After that, things start to get weird... Sex, drugs, necrophilia, voyeurism and a dose of Greek psychedelia, this film has it all. One of the legendary exploitation films of the early 1970s now makes its US home video debut in a brand new print, complete and uncut. THE WIFE KILLER Penniless playboy Captain Jim is in hock to his rich older wife, Helen. She has even bought him the fancy yacht that now bears his name. But Jim does not want to be Helen’s toy boy any more. He wants to marry his lover, Laura. He pays a psychopathic killer of women to murder Helen so that he will inherit his wife’s millions. But the psycho killer has his own plans. Suspecting Jim will double cross him, he engineers a complex scheme that will give him the upper hand. Very much in the style of the violent and baroque "Giallo" thrillers from 1970s Italy, The Wife Killer is a twisted, shocking and brutal exploration of the devious male psyche. Previously only released to cinemas in a cut version, this is the first official DVD release of the film in the U.S., complete and uncensored.We're excited for these, as you can tell (seriously: when was the last time we ran an unedited press release?). Hop on that pre-order and take a look at what else Mondo Macabro has to offer. I recommend snagging Don't Open 'Til Christmas while you're at it.
live music, local, metal, punk, reviews on June 28th, 2015 by Nick – 1 Comment
The third and final night of 2015's Lawrence Field Day Fest kicked off hard. It was pushed back half an hour, but Eyes of Iolite wasted no time in getting things ripping. "The Thing" kicked it off, and for the rest of their set, it was fuzzed-out blast after blast. Sludge? Doom? Whatever you want to call it, this trio knows how to deliver metal. It's so fucking heavy, with a volume and low end that makes it hard to even breathe. There's no moshing to this: just let the band lead the assault. [gallery ids="18498,18499,18500"] My friend and former roommate has been playing drums for the People's Punk Band for months now, and he's been talking them up as a band I'd love. I tend to worry about hyperbole such as that, because it's usually unwarranted , but in this case, he was dead right. Big, chunky riffs, and that weird harmonic vocal thing that Turbonegro or Death By Stereo does? Sold. Fucking sold. It's punk 'n' roll, and my only complaint was carrying around a goddamn camera bag, because this is the sort music to which you throw yourself around with wild abandon. Doing that with a grand of electronic equipment is dumb -- although, in this case, tempting. [gallery ids="18512,18511,18510,18509,18508,18507"] It's basically what happened halfway into the Federation of Horsepower's set. The rock 'n' roll train that this five-piece rides is hard to avoid becoming a passenger on, and when they do something like cover Cocknoose's "All Jacked Up," what the hell am I supposed to do? Not scream along like a maniac? Obviously not. This is as near as I get to attending church, so I better testify while the service is going on. Exaggeration aside, they've been a favorite for over a decade now, and any chance to see them rock out in my town is a welcome one. That goes doubly true for a show like last night's, where in addition to 100% rock 'n' roll power, frontman Gregg Todt wandered outside and across the street with his wireless pickup, playing guitar in the middle of a goddamn crosswalk. That, my friends, is showmanship. [gallery ids="18501,18502,18503,18504,18505,18506"] I saw Gnarly Davidson, but only about a song or two. It was, as to be expected, very loud, the band set up on the floor and blazing through their setlist. Every show from these three makes me wonder whether or not they have to chug water beforeheand, because thet have to be getting some sort of workout from their performances. They put their fucking all into their music. Psychic Heat proceeded to rock out the Jackpot afterward. It's odd, because the band plays out so often, I don't feel the need to see them as much as I have the opportunity to do so. That means that every set I catch is light years ahead of the one previous. Saturday night's performance was frighteningly tight garage psychedelia, and their crowd was all head-shaking, hip-moving enthusiasm. Bonus: Kliph Scurlock was filling in on drums, absolutely murdering the kit, and comedian Barry Crimmins (star of the new Bobcat Goldthwait doc, Call Me Lucky) was right up front. It was amazing, and the perfect end to three days of rock insanity. [gallery ids="18513,18514,18515,18516,18517"]
live music, local, metal, punk on June 27th, 2015 by Nick – 1 Comment
My first band of the second night was a muscular rock 'n' roll quartet. It looks like I'm going for a theme, huh? Actually, Kansas City's Admiral of the Red would pair nicely with the Vedettes. The KC act definitely leans more toward modern rock in their sound, but definitely knows how to lock in to more than just shredding and screaming. There's a punk verve and melodic hook to what they do, and while it's not earth-shattering in terms of novelty, it's certainly worth watching. [gallery ids="18475,18474,18473"] Having seen the Josh Berwanger Band probably more than any other active local band, I think I know what's what. The lineup Friday night is the one I really wish would be the "official" one. I know Heidi Gluck has her own solo career, but goddamn if Berwanger isn't better with her guitar and vocals providing counterpart and harmonies. Even something like "Enemies," where the vocal component is pretty simple, just results in much more going on. The harmonies are richer, the guitars are fuller, and it's nigh-impossible not to start singing along. A bonus of last night's set was the band being a little more rough and tumble in their playing. It was more garage, less stadium, and it made me happy to see the foursome get a little scrappy. Downside to their set: the crowd grew during it, but it was due to people wandering in from the free Split Lip Rayfield show down the street. As soon as it ended, the club FILLED, but with loud assholes ignoring the band onstage. Upside: "Mary" was renamed "Theresa" for the first verse, and the band won over 20 drunk kids instantly. [gallery ids="18476,18477,18478,18479,18480,18481"] Afterward, I attempted to see David Hasselhoff on Acid at the Taproom, but things were nearly an hour behind, so it was more just chatting with folks, using the bathroom, and getting down to the Replay for Sister Rat. The Lawrence trio has been playing a lot more shows in recent months, and it's really helped. The doom punks have always been a favorite of mine, but the stage presence they've gained leads to shows which are a lot less nerve-wracking in terms of tension. They look like they're enjoying themselves now, rather than white-knuckling it through their set. The songs are tighter, and I love watching these brash women fucking kick ass. Songs like "Revolutions" and "Valhalla" are still amazing, but other songs manage to grab people who aren't already fans, and that's fucking rad to watch. "It's Okay" has gone from a feedback-soaked mess to a screaming declaration of hope. Sister Rat may now be the only band which has successfully married doom and pop-punk, and watching them pull it off every time brings me a joy I can't put into words. [gallery ids="18493,18492,18491,18490,18489,18488"] KCMO's Sedlec Ossuary ended my night on a fully-destructive note. The death metal act drew a crowd of their own who head-banged the ever-loving fuck out of the Replay. The bar hasn't seen a band like this in some time, and it needed it. The energy level was through the roof. Double kicks, breakdowns, and pummeling bass combined with melodic riffing to just destroy. Those vocals, too: raspy screams that switched to guttural roars on a dime. The only downside is that stuffing a band with two guitarists and a full metal drum kit onto that little Replay stage meant there wasn't a lot of room for the band to move. Maybe next time I see them, I can catch them on a stage where they have room to strut. [gallery ids="18487,18486,18485,18484,18483,18482"]
live music, local, reviews, rock 'n' roll on June 26th, 2015 by Nick – 2 Comments
Night one of the 2015 Lawrence Field Day Fest was a bit lighter than I would've liked, but plans to see more bands were sidetracked by attending a screening of the documentary, The Damned: Don't You Wish That We Were Dead, followed by a performance from Mike Watt and the Missing Men. I'd intended to skip Watt's performance, but then he played a dozen Clash songs and the Minutemen's "Bob Dylan Wrote Protest Songs," and next thing you know, I'm running terribly behind. That said, I did get to see three great bands, and I'm happy I was able to see them. I started the night with newly-minted Lawrence quartet, the Vedettes. Equal parts blues, mod, and soul, the Vedettes are absolutely devastating. They remind me of late '60s / early '70s rock 'n' roll, but specifically the post-Blue Cheer stuff that's being referred to these days as heavy psych or bonehead crushers. The bass on the Vedettes' songs emphasizes the groove, and it's just dirty. Something about all of this makes me want to get in a car and drive very, very fast -- preferably to get somewhere I might have enthusiastic sex. Like I said: DIRTY. [gallery ids="18466,18467,18468"] The Ovaries-eez are the absolute exact opposite. They're quiet, beautiful folk, with harmonies for days. Just the most dreamy sort of music, very well-suited for a hot, muggy summer weeknight. The group's vocal dynamics are the highlight, here, demonstrating a kind of singing that hearkens all the way back to ... forever ago, making the Ovaries-eez a band completely timeless. [gallery ids="18460,18461,18462"] The Sugar Britches (or at least 3/4 of them) complimented the Ovaries-eez nicely. They were more upbeat, certainly more profane, but continued the harmonies. Their bluegrass stylings have been getting them gigs all over town lately, and it's easy to see why: witty, catchy numbers loaded with prfanity will always go down nicely in these parts. They're a little bigger than the Ovaries-eez, in terms of sound, but the paring still worked out wonderfully. It's great to see two bands of women making music, playing back-to-back. Empowering and entertaining pairings like this make Field Day Fest more than another bunch of angry dude bands playing one after the other, and it's so appreciated. [gallery ids="18463,18465,18464"] More information about Lawrence Field Day Fest can be found here.