Tag Archives: music

prince n’est plus mort

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well — about 4 years after The Artist formerly know as Prince officially declared to the world:

The internet’s completely over. I don’t see why
I should give my new music to iTunes or anyone else.

— Prince, 2010 in an interview with the Daily Mirror

it seems as if his Purple Badness went all twisty turvy in the entirely opposite direction

with his new resigned / reworked business relationship back with Warner Brothers Prince is slated to release 2 new albums on September 30th, 2014 — he’s releasing the long-awaited Plectrum Electrum under the project name 3rdEyeGirl, which is a far more gritty rawk outfit with a live an’ trippy sense of delivery and performance, as well as the old school all-Prince album Art Official Age done up in the every instrument done up by Prince studio-style that the master musician grew to fame

you can go pre-order both albums up on the 2 official websites as: CDs with MP3s; MP3s; or as WAVs from the site and you can also pre-order up via iTunes and Amazon as well — and, not to mention all the social mediatized hype His Royal Badness put up on the interwebz like some sort of messianic 5 foot 2 inch purple yoda Obama mad on the ultra-webbified campaign trail, live streaming concert footage with 3rdEyeGirl up on LiveStream { the account is now interestingly deleted, hmmmm }, single pre-release samples up on various sites via SoundCloud, live clips of 3rdEyeGirl via Dr. Funkenberry via SoundCloud sounding’ all stripped down ‘n funkyCool, there’s literally been a strange Prince Revolution brewin’ an’ in the works now for over a year that’s been building such fervor and excitement for the fan-base — its truly incredible

i’m obviously really lookin’ forward to the new tracks i got comin’ in the mail an’ via the webz ;]

‘sGonna be so, so good

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Sara June @ Woodstock4

i absolutely LOVE this clip of Sara June’s collaborative, improvised public intervention performance with Endguys out in Boston Common for Woodstock4

Sara June Woodstock4 from Uncle Shoe on Vimeo.

Movement artist Sara June in performance at Woodstock4, presented by Whitehaus Family Record on the Boston Common August 18-19, 2012. Improvised music by Endguys (Steve Norton, bass clarinet / Matt Samolis, flute). Video by Douglas Urbank.

Synthesize, Improvise and Otherwise — Saturday, June 8

on Saturday, June 8th — Lee Todd Lacks, Tom Swafford and i will appear at Matt Samolis‘ ‘Synthesize, Improvise and Otherwise,‘ a new and interdisciplinary performance works events out at Nave Gallery in Somerville

Check out more info up on The Book, aight?

we’ll perform a new composition of Lee Todd’s written in A flat minor with relative wholetone flourishes and micropolyrhythmic, purposely dissonant percussive undertone accompaniment with a slightly woody taste wildly reminiscent of 1984 or so aptly entitled ‘Ghost Mall’ — you won’t want to miss it — i’m serious — well, okay, i really have no idea who you are right now, right? the technology i used to put this blogpost together can’t really dynamically detect who might be reading this post in the moment and then, based upon your innermost desires and personal likes or dislikes in music then assess whether you might or might not want to miss it, this ‘Synthesize, Improvise and Otherwise’ that Matt Samolis is putting on out at that wickid cool Nave Gallery in the general Somerville districts of Massachusetts and all, but, hey, i have the write to pretend and play and let’s pretend for just a second that WordPress allowed for that post-humanic, überCreepy and simulated predictive functionality, okay?

woah

yeah

that’d be, like, kind of simultaneously amazing, this kind of stuff we dream up and invite, but also a little bit annoying and probably a little bit broken

like

it might not get it EXACTLY right, right?

but we’d kind of ignore the fact that it’d be a little ‘off,’ right? like we normally do — and we’d probably think, like, woah — oh my gawd, that’s pretty fucking awesome — who the hell dreamt this cool, new innovative trick up? how’d they implement that? was there some sort of direct emotional sensor that somehow reached out via webcam into my retina to pull out my wants, needs and personal tastes in music and performance art?

probably not

i bet it’d just be kind of random, but we’d believe there’d be this wonderfully creative and epically smart algorithm of pure genius behind it all — that somehow data answers every question we have and that any tiny miraculous event can be somehow utterly dewonderfied through scientific conjecture and fully quantifiable proof of anything seemingly magical, real or exciting

hey

i’d go out to this ‘Synthesize, Improvise and Otherwise’ — ‘sGonna be off da hook ‘n shit

i can tell it is

probably the best way you can spend your Saturday night { unless, of course, you’re going out to that competing Mobius event happening on the verySame night — jeez! }

the Boston music scene

Mascara

right now Boston is quite literally dripping with eclectic and wonderful creative talent in the Boston music scene — and music right now in this town quite nicely blends out into other equally interesting, mind expanding genres of live entertainment, with many bands and music acts blurring their onstage presentation into the realms of performance art, burlesque, theatre and pure provocation

any MassHole out there right now can head into Cambridge, Boston, Somerville, Jamaica Plain and any of the other wonderful buroughs of Boston proper and see an evening overbrimming with live mulitband original independent musicianship that will simply blow your mind

and you can enjoy both a wide variety of music genre as well as a depth and breadth of pure live stage presentation and dynamics that i believe far surpass what you would see out of any other metropolis around the world

i mean, i’d call it a Boston music renaissance at this point

its THAT fucking good

drop on into Lizard Lounge, Church, Middle East Café, Club Passim, Midway Café, Precinct, PA’s Lounge, and so many others on any night you have some free time and you’re bound to see a set of world-class, life changing independent music all for the ridiculously reasonable price of a small door fee and a few pints of beer — the kind of bang you get for your buck is utterly INSANE for all you music fans out in the Boston area, and you all know it

its interesting, too, as a huge fan of the Boston music scene that’s pretty much lived in this area since my humble birth at Malden Hospital back in 1969, to see the evolution and many revolutions of an artform over the span of so much time

with the gentle decline of the actual auspices of the Record Industry overlordage, too, the rise of this independent spirit of the musician truly flourishes

i don’t know about you, but i really never go into Aerosmith and Boston and all that classic rock, big dick-waggin’ arena shit from the previous Boston music scene in the heyday of the record bizz — i don’t own Toys in the Attic on cassette or More Than a Feeling, this shit makes my skin crawl and it just reminds me of sports arenas and people acting like social retards, needing to smoke a joint before any sense of real creative expression or alternative views enter the common man mindSpace, like this fucking era and genre of music is still somehow fucking radical and wild where, to me, its all about heroin and the general numbness of the masses, a numbness that drugs and music gives us all permission to suddenly feel something, to maybe move our white-ass bodies to the beat and scream out Dream On at the top of our lungs while totally ripping up our vocal cords with a big bottle of Bud Lite in our left hand and a fist raised and pumping with our right — those sly sideways gay looks we give our classic rawkin’ buddies, like, ‘Yeah, we live for these moments, man!’ while flushing a hundred dollars away for the Great Woods ticket knowing i’ll be back in the office with a hangover and SO many wacky Margaritaville tailgating stories like a good neo-serfed citizen of suppression, despair and crushed hopes — i guess its not THAT bad, really, it just makes for really good writing and the judgment is right in line with the level of individuality and freedom we get to experience or express in the United States

fucking Aerosmith

don’t get me wrong, though, i used to really love The Cars

i think they’re sonically far more interesting than bands like Aerosmith — it might be more of a textural thing for me, and the fact that big guitar solos just remind me of a bunch of guys with mullets, beer and wife beaters all hanging out on their parents’ back porch talking about women in a disrespectful yet totally hilarious and caricaturist way — good fodder for me as an unprofessional part-time comedian and someone just trying to get to any sense of real, valuable time and more intellectually stimulating discourse

all that’s beside the point, though — the music scene in Boston right now excites me — its Alive! and real and there’s such variety in the mix of what you can see on a nightly basis — and the parade of talent seems neverending, prolific and truly unique on so many levels — and alongside the performance art scene and the revival and rise of burlesque as a renewed national medium for political commentary, sexual and current event awareness, movement art and comedy, the music scene in Boston passionately conveys the energy and spirit of this city and the larger New England area in general — if we’re no longer revolutionary as Joe Citizen in this day and age, our musicians carry the torch to that vital sense of defiance and rebellion so sorely needed right now in the world, and our musicians lead the way

Mascara, Schooltree, Count Zero, Jaggery, Amanda Palmer and the Dresden Dolls, Walter Sickert and the Army of Broken Toys, Goli and Bury Me Standing { previously Fluttr Effect }, Sarah Rabdau and the Self-Employed Assassins, What Time is It Mr. Fox?, Do Not Forsake Me My Darling, Gene Dante and the Future Starlets, Endation — I could go on and on and on with the list of band names, both researched and simply known off the tip of my brainstem — i’ve seen almost all of these bands in one form or another out at Johnny D’s or The Cantab Lounge or elsewhere, and there’s both the current state of each genius band of musicians as well as the rich history of the individual acts, the mythos, if you will, and the rather prolific creation story that’s moved each band and musician from their mythical origins to the place each act finds themselves in today

there’s a richness and texture and a performative delivery i witness out at the clubs that’s like no other era in the Boston music scene

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i’m a bit of a broken dabbler myself when it comes to music — so i totally get what’s happening up on stage from the unique perspective of someone that knows the language and knows all of the activities, exercises and elements that go into putting together the music, putting together an ensemble and putting on a show — but these musicians, i don’t know, they really make it seem too easy, its all so effortless on the surface, which goes to show the level of craftsmanship and professionalism the Boston scene delivers

and the genius also comes from a very humble place for these acts — they’re all SO giving to their audience, and all so appreciative — its very apparent and transparent to me that the musicians and performers have a nurturing and beautiful little family up there on stage, and that sense of family extends to all of the offstage real life preparations and social aspects of this art, that too, shows through in the work and in the seamless delivery of such a complicated form of expressive communication

and you, as a person in the audience, you feel part of that family every step of the way — you’ve been invited into the heart and soul of each act and as they come off stage or get up there to set up everyone takes the time to say hello, to thank you for coming out to support their work and their vision of what a show can be, and there is no sense of separation, of fourth wall hierarchical disparagement, of any better than airs or politics — i think there’s a thoughtful sense of understanding how integral the audience, the performer and the work itself come together to create the actual live experience and completion of the work — there’s a deep, almost Duchampian comprehension of the craft and of this amazing sense of community that all timeless artwork must strike with the audience, viewer and ultimately the participant of the entire experience — and at this moment in time, whether its all entirely on the subconscious level of each musician’s mindflow or whether its at the forefront and deepest concern of each iterative performance, the Boston music scene emotionally succeeds in this spirit of inclusivity in the work — we’re invited in through the window to a party that’s illicit and raucous and vulnerable and realthis is where real life is, not on reality television or on the social web { that’s all just a mere performance of reality }, its right up here on center stage under the spotlight or not, but up here where these universal themes play out for us all, to relive personal scenarios and to re-examine the human spirit of our existence and the general chaos of nature and the world

its such a beautiful thing to see

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a box full of music, rose petals and seaShells

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last night i found a box in the basement, a treasure

as much as Marco and i buckled under the legal pressures brought on by our contractual relationship to XeXeX | OBLiViON back in the ’90s and stopped recording our beware the haberdash material on carefully planned, sequential schedule — we did move forward in our secret underground recording studio to capture that haberdash magic on tape to create a veritable bucketful of bootleggy sounds

only select tracks made it to any official releases over the years, however, as litigation got rather nasty and we both chose to focus on the positive experience of making music over fighting against ‘The Man’ every step of the way to merely preserve this rather eclectic and strange post-deathmen project we both still treasure to this day

so here you have it — the visually-designed artifactual remains of the overarching master gameplan for every pre-Sewingbox beware the haberdash release as envisioned and begun back in the late 1990s / early 2000s

group of 9 | Art Rock kcoR trA

that’s Deb + i … you could probably recognize the shot of Deb from the previous one, eh? ;] … anyhow … smiles everyone, smiles …