"Is Michael Bundt and Peter Seiler’s previously-unreleased score for Dreamdancer as fully depraved as one would expect a pornographic film? Kind of. There’s a lot of light funk, here, like opening cut “Funky Phill,” as well as the track that opens side 2, “Beach Dreams,” both of which would be appropriate for hold music at your local dentists, were it not for the moaning-inflected lyrics intoning,”I’m ready” on the former, and “Come and take me” and “Love me,” on the latter…"Read the complete review of Dreamdancer at Films On Wax. Published on 6/26/16.
"It's a difficult thing to review an album such as this when the tracks are so very specifically titled. The members of Orgasmo Sonore spent 2015 recording 21 tracks in various styles, and this release takes the best dozen of them for a very listenable album."Read the review of Orgasmo Sonore's Themes International at Starburst Magazine.
"Frank Ilfman's score for the the Swedish haunted house film, Sensoria, follows in a long line of haunting scores. The sense of something like The Omen or Rosemary's Baby is there, in terms of an omnipresent sense of dread, but in terms of sonic dynamics, Ilfman moves the haunted house score into a more modern sensibility by adding in aspects of electronic percussion and synthetic, sustained droning tones."Read the review of Frank Ilfman's Sensoria score at Starburst Magazine.
"Vinyl Score is the Damn Fine Network's very own quiz show! Each episode we invite a guest to test their knowledge of film music by playing them five soundtrack songs or cues."
Nick appeared on the first episode, published on 6/15/16. You can listen below.
"Last night’s show in downtown Lawrence might have drawn the most patient crowd I've ever seen. For real: I can't even conceive of the tolerance required to stand on hot concrete and cram in with 7,500-some of your fellow sweaty Lawrencians and not lose your goddamn mind. After a series of equipment issues and a weird freestyle thing featuring members of the opening acts, Public Enemy didn't take the stage until about 10:30."Read "Public Enemy brought the noise but not the party to Lawrence last night" at the Pitch. Published 6/26/16
"Given the heat this past week, it's unsurprising that a light, cool breeze and tons of grooves had a nearly sold-out Starlight dancing throughout Steely Dan's set last night. It was as though the weekend had kicked off early for the crowd, which skewed decidedly older than previous Classic Rock Summer shows. Steely Dan is quite certainty something that appeals to my parents' generation."Read "Steely Dan brought a big show to Starlight last night" at the Pitch. Published 6/24/16
"Given Lawrence’s college-town status, it makes sense that so many bands decamp for bigger burgs in order to reach larger audiences. Sometimes, as is the case of former local act Baby Birds Don’t Drink Milk, it just kind of happens. 'We would just stay here in New York from time to time on tour, and then somehow we just realized we all lived here,' says guitarist and singer Oscar Allen Guinn by phone. 'I’m not entirely sure exactly how that happened. At some point, I realized I knew every single bartender at the Replay Lounge, and that was when I had to go.'"Read "Baby Birds Don’t Drink Milk returns to the nest" at the Pitch. Published 6/21/16
[caption id="attachment_18769" align="aligncenter" width="540"] photo by Marco Antonio[/caption]
"At this point in his career, Radiolab host Jad Abumrad could rest on his laurels. In 2011, Abumrad received a MacArthur Fellowship and Radiolab — the public-radio program he co-hosts with Robert Krulwich — won Peabody Awards in 2010 and 2014. However, Abumrad’s inquisitive mind, which is one of the defining features of his work, has led to a new project — Radiolab’s first spinoff podcast, More Perfect. The new show applies the Radiolab model to exploring the importance of the Supreme Court."Read my entire Q&A with Abumrad at the Pitch, published 6/14/16
"There’s a very short list of things I miss about the movies of the late ‘80s and early ‘90s. For the most part, it was a pretty transitory period for the sort of movies I like. Even given the fact that I was a kid at the time, the rose-colored glasses of nostalgia can only do so much to influence my opinions on the actual quality of things like Best of the Best or Judgment Night. Still, there was a wonderful trend at the time to include end credits songs which weren’t just a pop single they were trying to flog to the audience as it threw away its empty popcorn containers. I’m talking about the terrible end credits rap songs. There was everything from “Monster Squad Rap” from 1987’s Monster Squad to Partners In Kryme’s “Turtle Power!” in 1990’s Teenage Mutant Ninja Turtles to even the likes of “Maniac Cop Rap” from 1990’s Maniac Cop 2. However, I feel like the pinnacle — or nadir, depending on how you look at it — of this trend came rather early, with “City of Crime,” from 1987’s Dragnet. The film — starring Dan Aykroyd and Tom Hanks — was a filmic reworking of the popular 1960s television show, which was itself a reworking of the popular 1950s radio program. It’s very tongue-in-cheek, yet managed to be a fairly faithful homage to the show, which had been running in reruns for years by the time the film came out."Read the From the Stereo to Your Screen column on Dan Aykroyd & Tom Hanks and Dragnet at Cinepunx, published 6/13/16
"I’m hanging out in the basement of a split-level home near Lawrence High School, talking about the first year of the Sugar Britches’ existence with Zeigenbein, guitarist Brianne Grimmer, bassist Kahlen Mitchell and drummer Kimberly Simonetti. Mandolin player Monica Greenwood is absent, having recently given birth to her first child, whom the band has dubbed “Baby Britch.” This nearly starts Zeigenbein singing the Ween song of a similar name."Read the feature on the Sugar Britches in its entirety at the Pitch, published on 6/8/16