In the fall of 1988, Siobhan Meow entered 21-23 Avenue C with a flashlight. The stairs were broken up with a sledgehammer, syringes lined the floor and holes in the roof lit the debris collected over 12 years of abandonment.
On a recent trip to Paris, I noticed with curiosity the rows of perfectly spaced, knee-high gray posts that had popped up intermittently throughout the city, just off the curbs.
When foraging with the Wildman Steve Brill, you dont feel like youll get lost. Nor do you feel that you will drop dead from eating the plants and mushrooms he deems okay to eat. But you do feel a bit like you are hanging out with the host of a childrens program complete with safari hat and Brillophone, an instrument he makes using his mouth and hands.
So we are addicted to oil, but what are the larger consequences? Maybe our dealings abroad lead you to think war. And why not? A struggle for control of oil resources has been going on since industrialized nations set up the infrastructure to utilize fossil fuels.
In this case, Mr. Quintron and Miss Pussycat, whove been a prominent part of the New Orleans music scene since 1994, were playing second fiddle to a pack of wily boys from Atlanta called the Black Lips. This crowd was youngprobably just old enough to legally buy the plastic cups of beer they were holdingwith a preference for tights pants.
Watching Singer perform their deep and dirty music, I had the uncontrollable urge to grab my nether region like Michael Jackson. In another similarity with the king of pop, the band seems fond of fooling around with falsetto, courtesy of the fantastically mustachioed Robert A. A. Lowe, formerly of 90 Day Men. But the Jacko comparison need go no further, because Singer has little to do with pop music.
In 1981, MTV was born and the music video became a measured, constructed, and elevated art form, a thing I watched hungrily from my remove in the Midwest. But for more than a decade before that, David Bowie and the directors he worked with were experimenting with the medium, taking theatrics, music, and new (at the time) technology and bringing them together in a novel way.
Unlike in the 1950s, when the mere chance to be in a musicians presence was enough to draw a crowd, I go to live shows for inspiration in exchange for my eardrums and spectatordomsomething more than just hearing a bands album played louder.
In Comicopera, Robert Wyatt’s fifteenth solo album, the listener travels. This album, while technically worked out, leaves room for the spontaneity of multiple performers. This move from the cloistered songs of his previous recordings was not random; Wyatt was seeking to mimic a live sound. He cites a love of big bands—Duke Ellington’s and Charles Mingus’s in particular—as an inspiration because of their ability to let every player stand out and make an individual impression. When you have talented friends like Phil Manzanera, Brian Eno, Paul Weller, and the jazz musician Alfie Benge (Wyatt’s wife), working with you, you can presumably create whatever sonic atmosphere you want.
For the Tindersticks seventh album, The Hungry Saw, fresh air could be the biggest influence. After five years of non-activitywith frontman Stuart Staples moving to France and declaring that continuing with the band would amount to nostalgia, and the group responding by going on an extended hiatusfans wondered if the English band was throwing in the towel.
The Brooklyn-based band Telepathe (pronounced telepathy) is trying to get you to get down. With all the hype the duo has received, they still deliver sonically, using airy vocals, choppy, mesmerizing rhythms, and a touch of feminine wiles.