Thursday, July 31, 2008

It List: Thursday

Sally Glass Going Away Party with The Party/Keith P/Prince William (Moosh, 2020 Greenville Ave.): To get it out of the way real quick-- Tommy Boy had to cancel tonight due to some personal issues. And as much as we'd love to hear one of his excellent sets, it might actually not be an entirely terrible thing on this particular night, considering that we booked a whole shitload of DJs for Sally's going away party. Well, what else did you expect us to do for her? Sally has been a great friend to all of us at WSJR over the past year, and her pictures have played a very crucial role in making this blog the unexpected success it has become. Thousands and thousands of people check out Sally's photos every month, searching for hot chicks, cheating boyfriends, strange clothes, assholes to laugh at, and some really great photos of the better shows happening in the area at any given time. Sally has gone out and taken pictures of just about everything we've ever wanted to see this year, and she's done it with an attitude that is so much more positive than anyone else in the crew that she has also become our ambassador along the way. So thanks Sally for being our friend, our photographer, and the lone friendly face of the blog as a whole. We'll miss you. But for tonight, let's act stupid. See ya there.

Richard Lloyd/Backsliders/Escort Service (Club Dada): Sigh. I'm really not rooting against Club Dada. Truly. I'd love it if another venue in Dallas would start to be fun to hang out at again. The bartenders are pretty nice, and honestly, the space itself is more than decent. But god, walking around Deep Ellum to get to Club Dada is just depressing, and frankly, being inside Club Dada is depressing more often than not. And these line ups sometimes, you know? Former Television guitarist Richard Lloyd is playing Dallas, and it's an exciting thing. But with Backsliders and Escort Service, it starts to seem a bit watered down, doesn't it? The Backsliders are a decent for a straight forward bar rock band I guess, but this is sort of like letting 311 open up for Snoop Dogg (which is actually happening tonight in Dallas as well), isn't it? Anyway, I was going to ask who the ad wizards were that came up with this line up, but then I remembered that one of Club Dada's owners is in Escort Service. NOW I get it!

Record Hop/Shiny Around the Edges/Bob White and the F Electrics (Rubber Gloves): Shiny Around the Edges tells us that they have a lot of new material, and I haven't heard the name "F Electrics" in a REALLY long time. Whatever happened to those dudes?

80s Night with DJ G (Hailey's)

Blue Mountain/The Drams (Dan's Silverleaf)

New DJ Nature Taxi Fare Mix Tape

The Party's DJ Nature just hooked us up with a nice dancehall mixtape we thought we'd share with you. You can hear a lot of this stuff during his weekly dance hall residency, Taxi Fare, Wednesdays at Zubar, but for those who haven't been yet, we thought we'd give you a little taste of something a little different, crammed with a lot of dancehall hits from the past several months. Here is the link, and here is the tracklist:

1. Taxi Fare Intro
2. Ricky Blaze - Cut Dem Off
3. Alliance - Deadly Alliance
4. Dark Again Riddim - Version
5. Chino - Punga Don A Pebble (Munga Diss)
6. Dr. Evil - See Dem A Pree
7. Vybz Kartel - Send Fi Mi Army
8. Mavado - Me and My Dogs
9. Sizzla - Too Much Gang War
10. Damian Marley - One Loaf of Bread
11. Munga - Flipping Rhymes
12. Voicemail - Let's Dance
13. Sativa Riddim - Version
14. Munga - Bad From Mi Born
15. Vybz Kartel - Floating By
16. Ricky Blaze - Cut Di Checks
17. Tremor Riddim - Version
18. Mr. Vegas - Blood Stain
19. Vybz Kartel - Campha Balla
20. Elephant Man - Drop Dead
21. Mavado - Amazing Grace
22. Bad Man Riddim - Version
23. Busy Signal feat Mavado - Bad Man Place
24. Bugle - What I'm Gonna Do
25. Collie Buddz - Blind To Me
26. Mr. Vegas - Killa Swing
27. Tarrus Riley - Pull Up Selector
28. Mr. Vegas - Mus Come A Road
29. Busy Signal - Nuh Guh Jail Again
30. Serani feat Bugle - DOH
31. Fabulous feat Jr. Reid - Gangsta
32. Mavado feat Serani - Dying
33. Shaggy - Church Heathen
34. Beenie Man - Back It Up
35. Ricky Blaze - Wifey
36. Mr. Vegas - Tek Weh Yuself
37. Vybz Kartel - Work it
38. Munga - Shake It Up
39. Mavado - Fuck Her Twice A Day
40. Munga - Wine Pon It
41. Ricky Blaze - Give I

Art List

After some time away to recover from the mental and emotional abuse of SR and DL, Discos is back. A high five to Richardson Heights for his excellent work the past three weeks- you will be seeing much more from him. Now onto the list:


Sehnsucht (Light and Sie)
Paintings of  Ingrid Calame, David Reed and Dan Walsh, photography of Vanessa Beecroft, Todd Eberle, Thomas Ruff, Hedi Slimane and Jeremy Kost, and projections of Kimsooja and Joseph Dadoune.

Free Admission (Dallas Museum of Art)


Rob Kindrick: Tintype Portraits (Afterimage)
Modern day portraits done using tintype process.

Karen Garret(HGC Gallery)
I'm going to extract this quote from her bio: "Her work is associated with the Blue Man Group, Elton John, and Billy Joel." I don't think so much name dropping has ever said so little about someone's work.

Gastronomia: erotica y estimulante (the MAC)
Work about the love of food.


The Program (Conduit)
Richardson Heights has already plugged this series, which is the first installment of the Dallas Video Festival focusing on video and media art (the second installment of DVF starts Oct.3). This week will be the second exhibition at Conduit, with three more left. If you would like to see the full schedule click here. Reception with installations from last week starts at 7pm, seated screenings start at 7:30. By the way, it's free.


On Kawara (Dallas Museum of Art)
I have no idea when this opened, but its going until Aug.26th. Kawara! In Dallas! This is a rare American exhibition of his work, so don't ask questions. Just go to it.

Kara Walker (the Modern)

One More Reminder


930pm-2am @ Moosh (2020 Greenville Ave, next to Zubar)

The Party 
Keith P
Prince William
Tommy Boy


Photo by Dylan Hollingsworth

Wednesday, July 30, 2008

It List: Wednesday

I'll just keep this brief, since we're all having such a constructive discussion today. See ya in the pit!-

Friendly Fire/Hoop Dreamz/Kaboom/Trifle Tower (Panhandle): Last minute show featuring Kaboom as a trio, even though they added a new guitarist. Friendly Fire is a little too "anthemic" for my tastes, but I'm interested in Hoop Dreamz though I can never find info on them.

The Helm/Electric Vengeance/Scoff/Gorge (1919 Hemphill): Brutal lineup of thrash, grind, metal etc. Gorge features members of Rocket To Ethiopia, who we'll discuss in more detail soon.


YEAHDEF/It's What We Get (Hailey's):
Night #2 of "Two Nights, One Cup."

Dance Your Face Off feat. Genova/Indo/Buddha Fingers (The Cavern)

Mount Righteous-- When the Music Starts

Mount Righteous is fucking adorable. If you don't believe me, just take a look at that picture over there to the right. The first thing you'll probably notice is the pretty girls with the melodicas and the stylish clothes. Very cute, very sweet. Also note that everyone in the group makes funny, goofy faces in their press photos, just in case you thought they took life seriously. They totally don't! You can also see that the band's line up features an accordion player, a tuba, a little drummer boy, and two different people who actually play the goddamn trombone, all of which helps to assure any curious parties that this isn't your average every day indie rock band.

Everything about this photo propagates Mount Righteous' image as a group of "young at heart" band dorks sitting in the back of the school bus fussing with their instruments. People who have a soft spot for Napoleon Dynamite and Say Anything will love this stuff for sure, and come to think of it, anyone who has a soft spot for pretty much anything is probably supposed to like this band, because Mount Righteous is all about soft spots. For example, take their "songbook" style CD insert that encourages listeners to sing and play along to their music as if it were an album of children's Christian tunes. Or how about their "joyful" audience participation shtick during live shows? There's also the bright, child-like art work on their album cover, the "sunny optimism" and "all together now" pseudo religious zeal scattered throughout their lyrics sheet, as well as the overtly "zany" collectivist vibe that the group projects at all times. All of these traits come together as part of Mount Righteous' overwhelmingly positive image-- one that is seemingly designed to wow people with the sheer audacity of happiness while warming their hearts with cuddly cuteness. This kind of hyper-positivity can either be grating or refreshing, depending on who you ask and who you're asking about, but when you consider the excited manner in which this group presents itself to the outside world, you might be inclined to believe that cute is the new punk rock. At least in Dallas.

Of course, the problem is that cute HAS been the new punk rock. Time and time again. Since, like, 1979. From Swell Maps to Shop Assistants to Television Personalities to The Pastels to Beat Happening, cute naivety and tongue in cheek innocence have existed as long standing image options for arty underground kids who didn't mesh with the perceived machoism that existed within a musical subculture that they weren't quite willing to separate themselves from completely. There isn't anything wrong with this approach on its face, of course, and it's true that all of the aforementioned artists have emerged as subculture legends, beloved by critics and fans alike for decades. And rightly so.

Beat Happening, for example, boldly embraced lo-fi recording techniques as an artistic choice while allowing the outward cuteness of their collective persona to cleverly but not fully hide a darker and more complex emotional and sexual undertone that secretly went home and listened to Cramps records after self aware sock hops in Olympia. Swell Maps experimented in punk rock, noise and the avant garde with the unbridled enthusiasm of children, and Television Personalities took innocence to a whole new level as they basically invented the concept of twee with their poppy take on early English post-punk. Oh, and one more thing-- all of these bands wrote and performed incredibly groundbreaking music, rendering their precious images just one part of their overall appeal-- an intriguing backstory rather than the whole story.

Mount Righteous are clearly tapping into this three decade old twee/cute/whatever aesthetic to craft an image for themselves as a group of zany outsiders, and although it certainly isn't a common choice for north Texas bands, it's really nothing new in the grand scheme of things. Again, there isn't necessarily anything wrong with recycling or building on images of underground rock's past, and a relatively new local band can't be expected to start a revolution the way the aforementioned groups did.  But if the group isn't breaking any new ground with their militantly positive outlook, then what is it about Mount Righteous that has so many Dallasites excited? After listening to When the Music Starts, the band's debut full length, it's pretty clear that the selling point couldn't possibly be the music. Could it? Really? Ok, fine. We'll talk about it.

The most simple way to put it is that Mount Righteous basically sounds like a marching band with singers. The obvious reference points here are Danielson Family, Sufjan Stevens and Polyphonic Spree (not to mention locals Teenage Symphony), but unfortunately, nothing Mount Righteous does is nearly as subversive, thought provoking or intellectually developed as the bands mentioned in the previous paragraph, nor is their work as proficiently poppy as that of the groups mentioned in this one. The record kicks off with "The Feeling You Bring," and its clearly the album's high point, delivering a kind of Latin/African High Life infused rhythm via a mariachi-like arrangement with hand claps and chaotic choral singing that declares "when the music starts we all get together/and we dance and sing and love one another." Whatever. It certainly sounds quite a bit different from just about any other local act currently performing, and it's catchy and messy enough to work rather well as an opener. The next track, "Sea Man," is probably supposed to be the album's first "single," and it's another fairly solid example of what the group does right, melding a catchy vocal melody with a somewhat charming lyrical narrative and a mostly effective, polka-like arrangement from Casey Colby and Joey Kendall.  

After these first two mostly solid tracks, however, When the Music Starts takes a rather unfortunate turn for the worst, and it never really recovers.  Everything starts blending together in a rather unpleasant way beginning with track 3, "Christmas Accordion," which actually contains the lyrics "You're a Christmas Accordion, according to me/counting your calories accordingly/pumpkin pie means something to me."  Shit, I hope no one ever says that shit to me.  As the bad lyrics, Fa La Las and handclaps continue to annoyingly overwhelm throughout the album's progression, it starts to become clear that Mount Righteous, at this point, is little more than a one trick pony.  One or two cutesy, horn dominated happy pop songs are one thing, but 11 of them stacked back to back is more than a little much, especially considering the fact that John Congleton's ultra-clean, big room production permits the group no room to attempt anything even remotely sonically interesting.  The only break comes in the form of "About the Things You Are," a relatively calm, quite love song that would come off as charming if you didn't have to sit through the seven tracks that proceed it.

Again, the problem isn't really with Mount Righteous' intentions, but rather with their execution.  The group has borrowed heavily from the past to create their group persona, and that is fine.  They're super positive, and that's fine too.  Christ, even the marching band set up could work with the right songs and the right production.  But as things are now, Mount Righteous is a band that has garnered respect due mostly to their eventful live shows, and their debut provides very little to add to their resume.  If the music is grating and the imagery breaks no new ground, then you're left with something that could fairly be called gimmicky.  And the only thing positive about that is that it leaves Mount Righteous a lot of room for improvement.   

(1.5 of 5)

Tuesday, July 29, 2008

It List: Tuesday

So help me out, DFW. Besides Disqo Disco with El Paso's DJ Czar, I kept finding a catch to every show I was going to post. I mean, I've been hearing about this "Minimal House" on Tuesdays, but then I discovered they were going to project anime along with the music tonight. I can't do that to you Dallas. I won't do that to you. Anime was never cool, and pairing it with dance music is feeding an age-old stereotype that is only fueling the inevitable detractors.

Then there was a show going on at another venue, but there was a pop punk band on the bill that I thought had broken up eleven years ago and I got a little depressed. They weren't even the headlining band (whatever that means) and they've been around forever. So I just couldn't bring myself to post the show.

Finally, there was a bigger act playing down the street but they were on Desoto Records. More often than not, that constitutes almost instant disqualification.

I was really flattered that our site was included in D Magazines's Best Of Big D 2008 issue. I even told my folks, which went something like this:

Dad: "So what I'm getting from this is that you're...feared and revered?"

DL: "I don't know, Dad. I wouldn't go that far."

You couldn't really tell by looking at his skeptical expression, but deep down inside I know he's really proud. So, I'd like to give a shout-out to, well, everyone. We can't do it without you. This was ten times better than SR getting nominated for "Best Music Advocate," an underhanded compliment if there ever was one.

Wonderful image by "Chaired" of

Monday, July 28, 2008

Jay Reatard

Wanna go see Jay Reatard on Monday, August 4th at Club Dada? We have a pair of tickets to give away to the show, so if you want them, just email any time between now and Thursday at Noon for your chance to win. Make Jay Reatard the subject line and include your full name in the body. Good luck Reatards!

It List: Monday

Monday It Lists usually take us like two minutes to write because Mondays usually suck around here, but today you're in for a treat because Denton is jumpin' this evening. Relatively speaking, of course. Check it:

The Coke Dares/Tre Orsi/Kaboom (Rubber Gloves): The Coke Dares consist of three members of Magnolia Electric Co., but they don't really sound like it. Instead, they sort of have a mid 80's hardcore mixed with west coast pop punk and The Replacements thing going on. They aren't shy with the massive rock riffs either. It's sort of like, um, I'm afraid to say it. Ok, I'll say it. Grunge. It's sort of like Grunge, like Mudhoney and Tad and stuff, like a more rocking version of something you'd hear on the Singles soundtrack (click the link to see a bunch of clothes that will NEVER be retro cool), except without that really terrible early 90's drum sound. Why the shit did they used to record like that anyway? It kinda ruins everything. I saw someone say Minutemen somewhere describing this band too, but I'm not buying it. The songs are too traditional. Anyway, solid line up overall, and Kaboom will be debuting new guitarist Ethan Hahn this evening as well.

Sticky Buns (Hailey's): Go check Sticky Buns out if you like what they play, because this is apparently their last show for a while, and possible FOR EV ER.

Listen Listen/Delmore Pilcrow/Dust Congress (818 Cordell, Denton): I love Denton. And I especially love rollin up to Denton with a big crew from Big D so that we can act like morons all night. Not that we do it on purpose or anything, but somehow it always manages to happen in Denton. I don't know why. Honestly, it's almost as fun as going down to Austin and being an asshole to people who just moved there from Carrolton and are already snobby about breakfast tacos or whatever the fuck people talk about down there. Just kidding, Travis County! Love ya! Anyway, one of the reasons I sometimes act unruly in Denton probably has something to do with cool BYOB house shows like this. Most of our readers are very familiar with the excellent Dust Congress and Delmore Pilcrow (Chris Garver) by now, and Listen Listen are a solid band from Houston who remind me of a lot of indie folk touchstones, particularly Okkervil River, with a horn section that sort of sounds like that found on Samamidon's latest recordings. Lot's of classic Americana and bluegrass influences can be heard too, as well as a distinct Pac NW folkie sound that comes from God knows where (think recent K Records stuff). Not entirely different from Theater Fire, but with vocals that sound more urgent and unsteady. Should be a fun show.

Last Week's Good Records Sales Charts


1. Matthew LaBrot - Someday ep
2. Centro-Matic/South San Gabriel - Dual Hawks
3. Dove Hunter - The Southern Unknown
4. Delmore Pilcrow - Worn To the Weft


1. Sigur Ros - Med Sud I Eyrum Vid Spilum
2. Dr. Dog - Fate
3. Hold Steady - Stay Positive
4. Ratatat - LP3
5. Wolf Parade - At Mount Zoomer
6. Gentleman Auction House - Alphabet Graveyard
7. Beck - Modern Guilt
8. CSS - Donkey
9. Lackthereof - Your Anchor
10. Icy Demons - Miami Ice
11. MGMT - Time to Pretend
12. Lustmord - (Other)
13. Paul Weller - 22 Dreams
14. Matthew LaBrot - Someday ep
15. One Day As a Lion - One Day As a Lion
16. Fleet Foxes - Fleet Foxes
17. Dutchess & the Duke - She's the Dutchess & He's the Duke
18. Centro-Matic/South San Gabriel - Dual Hawks
19. Avett Brothers - Second Gleam
20. Jay Reatard - Singles '06-'07

Sunday, July 27, 2008

Monday Morning Rock


MON: The Coke Dares/Tre Orsi/Kaboom (Rubber Gloves)
THU: Sally Glass Bon Voyage Feat. The Party/Keith P/Prince William/Tommy Boy (Moosh)
THU: Richard Lloyd/Backsliders/Escort Service (Club Dada)
FRI: Social Junk/Big Nurse/Voyant/Dirty Diamond/Wu Fru De Luu & Ruuu P. Versus Space Dragon Killah (907 Denton St.)
FRI: Hands Up with The Party and L.A. Riots (The Loft)
SAT: Big Daddy Kane/Strange Fruit Project/Little Brother (Granada)
SAT: Fantastes/The Frenz/Florene/Darktown Strutters (Hailey's)
SAT: Violent Messiah/Tolar (Traphouse)

We Shot Junior

In case you don't read our comments sections and hadn't seen this yet, we thought we'd share this nice little video about WSJR that was created by reader Jimmy Aja. I'm glad someone other than you know who created it, because I was kinda creeped out for a while. Oh, and it is ABSOLUTELY NSFW:

Friday, July 25, 2008


Hey guys... the weekender is sort of in abbreviated form this week due to some time constraints I'm facing today. Sorry. Lots of shows, just a little commentary. Fear not, however, because we have a couple features ready to post early next week, as well as some other good stuff too. Check this shit out (if we miss anything, just add the show in the comments section. Why didn't you think of that?):


Fight Bite/Glass Gown/Chirp Chirp (Fra House): A big weekender for Fight Bite as they play the first of two CD release shows in the area after a week of hugs and kisses from the national online press. It's nice to see that Fra House is still hosting a show every now and then too... I don't remember the exact address of Fra House (maybe someone can add it in a comment), but I do know that its on Oak St. in Denton, a couple blocks past the light at Jagoe. Ja know?

The Party (Zubar)

Death to False Rock II: The Steely Dan Years (Rubber Gloves) : Mike Seman of Shiny Around the Edges hosts this special tribute to 70's soft rock that will also double as his birthday party.

The Backsliders/RTB2/The Make Believers(Dan's Silverleaf): The clear highlight here is Aaron White's excellent Make Believers

Matthew and the Arrogant Sea/Mom/Telethon (Club Dada)

Poison Control Center/The Mathletes/Fishboy/Ryan Anderson (J&Js)


Fight Bite/Darktown Strutters/Street Hassle (Chat Room): Fight Bite's second CD release show with the excellent dark disco of Darktown Strutters and Street Hassle's urgent, messy 60's garage stuff. We really haven't talked much about Street Hassle on here, but I think I've pretty much enjoyed everything I've heard from them recently. Black Lips/King Khan/Mark Sultan fans will dig this stuff for sure.

Apples in Stereo/Poison Control Center/Big Fresh (Sons of Hermann Hall): Elephant 6 group comes to Dallas, a city that seems like it will ALWAYS be into Elephant 6.

Stay Cool Swag School feat. Young Doc Gooden (Rubber Gloves): Doc Gooden plays a lot of chopped and screwed stuff, but I'm sure he'll be bringing all kinds of party shit for this, the regular night he hosts.

1 800 Zombie/Naxat/Iayd/Sievert (1919 Hemphill): Alex Atchley hosts an impressive video game music show. Yes, the phrase "video game music" sounds retarded, so maybe I should call it 8 bit electro or something. Either way, there is some pretty solid and unique stuff here if you're interested. Keller's 1 800 Zombie is certainly worth checking out.


Thursday, July 24, 2008

Sally Glass Going Away Party

As some of you may already know, Dallas' favorite photographer, singer/songwriter and Zionist oppressor Sally Glass will be leaving us in a few days to travel to Israel.  She'll be there for five months participating in an education program based in the city of Ramla, where she hopes to teach photography to children.  Aw, how sweet!  She'll be keeping in touch with us via Flickr slideshows from Israel, and we'll be teasing her about all the cool parties she'll be missing while she, uh, has the experience of lifetime.  We're sad to see her go, of course, and we figured we might as well throw her a party before she leaves so that she knows what she'll be missing.  So please join us, party people:

Thursday, July 31st @ Moosh (2020 Greenville Ave.), 930 PM-2 AM

With DJ sets from:

The Party
Keith P
Prince William
Tommy Boy

It's FREE, and everyone is invited, except for jerks. See you there!

It List: Thursday

Health/Sydney Confirm/Stag Film/Pet Hospital (Club Dada): Parade of Flesh founder John Iskander is celebrating his birthday tonight with Health, a band that seems to have been on constant tour for the past 7 or 8 months as their music has gained more and more visibility thanks to their Health Disco remixes album and their tour appearances with Crystal Castles. I feel like I've seen these dudes play like 8 different times in the past few months (and if you count SXSW, that number is probably fairly accurate), but it truly is enjoyable each time. Sydney Confirm makes sense in this line up when you consider Health' s tendency to flirt with dance music via their remix alliances, but the other bands here-- eh, not so much. Should be a fun show though, and if more than 50 people show up, it will help fuel the Observer's "Deep Ellum is making a comeback" storyline. And we all know how important THAT is!

Wolf Parade/Wintersleep (Palladium Ballroom): Despite what you might have guessed, I am NOT a member of the "I hate Wolf Parade" club. I enjoyed their debut EP and full lengths when they came out way back in 2005 (feels like a different era, doesn't it?), and apparently a lot of other people did too: how many bands in the city of Austin alone right now sound like they created their ENTIRE sound by listening to Wolf Parade and the first Arcade Fire album on repeat? Wolf Parade could very well be the mid 00's answer to the early 90's Pearl Jam-- a lot of idiots have made a lot of bad music because of them. Anyway, their 2008 follow up, At Mount Zoomer, is certainly a decent indie pop record in most respects, and it even seems to have kind of a prog influence that makes things a bit more interesting. However, none of the material really comes close to the initial excitement and quality of their debut, despite the fact that the songs are arguably more interesting on many levels. Is Wolf Parade doomed to be a one album indie wonder? Uh, I don't know. Isn't everybody these days?

80's Night with DJ G (Hailey's): I think I saw a dude dancing around with puke on his shirt the last time I was there, and for some reason this confirmed to me that 80's Night might be the most commercially successful weekly DJ residency in the history of Denton. Couldn't have happened to a more divserse and educated DJ either.

Art List

Photgraph by Vojtêch V. SlámaTHURSDAY

ech_o [Centraltrak]
This show has been going on since June 14th, but there's a panel discussion on Thursday, July 24 at 7 PM. The show features video work by twenty artists, including And/Or Gallery's Paul Slocum and UNT professor Max Kazemzadeh.

5th Annual Hecho en Dallas / Made in Dallas [Latino Cultural Center]
Opening Reception from 6 - 8 PM.
Out of all the artists listed, Charlotte Cornett and
Loretta Gonzalez stand out. I couldn't find much on Ms. Gonzalez, but found her Snow White Deflowered online. Kitchy pop culture commentary aside, it's a really beautiful painting, so maybe there's more where that came from.


Spaghetti Night at the Farmers Branch Senior Center.


So, it looks like Saturday 5 - 8 PM won't be the best time for your birthday party after all. (I told ya so).

Contemporary Czech Photography [Photographs Do Not Bend]
Opening Reception from 5 - 8 PM.
This looks amazing. Kind of like a Czech Heritage Society outing to Joe Pool Lake. There's authentic Eastern European glitzy seediness in some of the other work, and some interesting photogram or intaglio looking stuff by Gabriela Kolcavova. The featured photo above is by Brno photographer Vojtêch V. Sláma.

Candyland [PanAmerican ArtProjects]
Opening Reception from 5 - 8 PM.
Viewed all together this could maybe be good. It looks to be at least 30% Texas artists, including Dallas' own Ellen Frances Tuchman. The spirit of the venue looks worthwhile: constructing a bridge between North American and South American art.

The Program [Conduit Gallery]
Opening Reception from 5 - 8 PM.
This is a Dallas Video Association event going on for several weeks after this weekend (see the calendar). It features a bunch of artists including Paul Slocum. Additionally, the Saturday event features a performance by Treewave at 8:00 PM. If we could promote Paul Slocum more on this web log, we would. This scene-by-scene description of the Matthew Barney piece being premiered Saturday night makes it look pretty interesting. Plus, this dude put a baby up in Björk!

New Texas Talent [Craighead Green]
Opening Reception from 5 - 8 PM.


Summer Series No. 1 [Haley-Henman Gallery]
Through July 26.

Fernando Gallego and His Workshop [Meadows Museum]
Through July 27.

100 Years of Autochrome [Amon Carter Museum]
Through July 27.


Art defines itself. An attitude in the thinking of my work is,reductionism,where i reduce images to symbols,hence the symbolistic expression,which preoccupied and resonates my work and become my style of expression. Some lessons in Art cant be taught,they must be lived to learn them. I transcend intellectuality into forces...which my work manifest.All things were being manifest to my sensuality before they were being transcend. Art is an expression of a spiritual journey. Time,time didn't exist until the time,so as my paintings didn't exist until it was time, who brought it to time. Art has helped me to see that nothing on this earth is solitary,all things are interlinked/connected.Nature relate and harmonize with each others' existence. Understanding of my paintings,involves two people's imaginations:the spectator's and the artist's. [...] Light is not just to show movement and effects on form and colour but to awaken the intent of the soul in my paintings.

5 Gestalt points this week in combination with last week's 14.99 points...
Score: 19.99 points!

I feel kind of bad because I actually like some of the paintings by this unnamed artist.

PS: Paul Slocum.

Wednesday, July 23, 2008

It List: Wednesday

Nomo/Backside Pick/Fatty Lumpkin (Hailey's): Nomo is a sprawling, multi-instrumental project that tackles various strains of international rhythms, often sounding like Medeski, Martin and Wood if they got hung up on Afro-beat and never snapped out of it. The tickled Mbira and overzealous horn parts also show a debt to Konono and Hugh Masekela respectively. There are some are some keyboards and little electronic buzzes to keep things interesting, yet I always have mixed feelings about this sort of group. On one hand, if I were walking down Hermosa Beach, Harvard Square, The French Quarter or various other tourist traps where I've seen some impressive live bands playing on the street, I would probably be blown away by these guys. But to purposely drive to Hailey's to experience it is something that's more in the realm of jam-band geeks, which certainly explains an opening act with a name like "Fatty Lumpkin." At any rate, I'm sure you can take something from this group, even if it's an experience improved by being unplanned.

Taxi Fare (Zubar)

Mike XVX/Jesse Williams/Rocket For Ethiopia/Summer Salts (1919 Hemphill)

Tuesday, July 22, 2008

It List: Tuesday

Harvey Milk /Yells At Eels/Zanzibar Snails
(Rubber Gloves):
Great lineup featuring the overlooked Harvey Milk, a nineties avant metal group with a sometimes painfully slow approach and sophisticated vocal style that predicted the metal resurgence of the aughts, while also paving the way for future metal acts to get reviewed in cerebral rags like The Wire. Speaking of The Wire, the highly unlikely occurrence of two local bands getting mentioned in the magazine will be cherry-topped tonight with the improv ambient to freakout Zanzibar Snails sharing the stage with the free jazz slash hardcore rhythm of Yells At Eels.

Disqo Disco (Fallout Lounge)

Dallas Observer Music Awards with Lil' Wil, Record Hop, Sarah Jaffe and others (Granada): We're getting our makeup and slingbacks ready because the night is kind of special like Lowenbrau. It was nice to be nominated, but I'm a little confused. I've always thought the ever inspiring Stonedranger was a wonderful "advocate." It's just that I never thought the advocacy was for anything having to do with music.

DJ Hatcha

DJ Hatcha, considered by most to be the main personality behind the creation of Dubstep (he even came up with the term) was interviewed by Pipecock Jackson and WSJR's own Richardson Heights in the back yard at The Green Elephant on the occasion of the 2nd anniversary of Dallas' Dub Assembly. Hatcha talked about the inception of the dubstep sound, back when it was just a handful of people and a single London record store, as well as his habits as a DJ and producer. Read it:

Pipecock Jackson: How'd you get hooked up with Jason (Mundo) and Dub Assembly?

DJ Hatcha: Uh, well, what happened was, um, Jason come into a record shop I was running...

Pipecock: Big Apple?

Hatcha: Yeah, Big Apple Records, I was running that. Me and Artwork and another guy, John Kennedy, we used to run the record shop. What was happening was, I was playing a load of kind of dark, instrumental 2-step garage type stuff, and it was getting darker and darker, then I started to create a set of it, and then I was playing the sets out, and people were saying to me, "What music are you playing?", so I started to call it "dubstep". So, I called it "dubstep". And then, from the shop, you know, like Skream and Benga used to come into the shop when they was very young, they was making music, when they was like thirteen or fourteen, and Digital Mystikz, Mala, Coki, Loefah, them guys would come in with the music they was making, and give it to me... I just used to go and do my radio show, play all the stuff I was getting on the decks from all the young boys [the background music gets really loud -- we move outside], yeah, we just formed dubstep.

Pipecock: Where were you getting those tunes, back when things started to turn a little bit darker?

Hatcha: Well, Benga and Skream and kids like that were coming into the shop and I was explaining to them the kind of music that I wanted them to make.

Pipecock: So you were kind of "directing" the sound, then?

Hatcha: Yeah, I was kind of like explaining the sound, you know, the tribal influence, the bass lines, all that kind of stuff, and you know over time, everyone just seems to catch on and see what kind of angle you're going down and start making the right kind of music.

Pipecock: Eight years ago, Dubstep was such a regional movement - it was a London thing...

Hatcha: It was a Croydon thing.

Pipecock: So, what do you think explains its worldwide popularity? They way that it has mutated and spread like, as Kode9 puts it, an audio virus.

Hatcha: Worldwide, the reason I think that it's gone so big, so quick, is because of the Internet. Without a doubt. The Internet wasn't around when drum and bass first launched. That took a lot longer to catch on, you know. But, yeah, no doubt it's the Internet. For sure.

[awkward pause]

Pipecock: Do you see a cultural exchange occurring with overseas dubstep now feeding back into England?

Hatcha: Yeah, definitely. It's developed into a scene. You know, dubstep has gone from our bedroom in Croydon, to a worldwide phenomenon to a certain extent. It's just amazing, it's just worldwide just like that. I've seen it all before. Back in 2001, 2002, 2003, I was playing in America, and dubstep, everyone was kind of interested, but no one wanted to make the first kind of "move", and it went quiet for a couple of years. And then some of the producers into the music started making some really good dubstep that was catching on to people, you know the trendy magazine guys. Then they started doing write-ups, and interviews, and things, and it just starts to kind of develop from there, you know.

Pipecock: What do you think it was that made it blow-up? Was it the heaviness of the half-step movement that really caught on?

Hatcha: No, it was grime music and garage music at first...

Pipecock: I guess I meant when it started going worldwide.

Hatcha: Yeah, well it wasn't half-step, it was still dubstep, it was never called half-step or four-step or anything. The thing is with dubstep, which makes it so interesting to any other scene, you've got the drum and bass [makes drum and bass noises], and it's like that all night, from start to finish, same tempo, same beat, all the way through. With house, you've got Boom, Boom, Boom, Boom. With dubstep, it's all at the same BPM, it's all at 140 BPM, but it's everywhere. You've got so many different producers that produce the half-step sound, the more bangin' sound, the tribal sound, the reggae sound, the more techno-y sound. So, with dubstep there are so many musical influences, innit'? That's why it's such an interesting kind of sound.

R. Heights: You can be a lot more experimental.

Hatcha: Yeah...

Pipecock: And that's what drew me to it also, the fact that there's not a "sound" necessarily, aside from the tempo and the bass. That's what made it so flexible. I'm a huge reggae fan, and the reason it sounds just as fresh today as it did back then is due to the basic elements of music: the rhythm, the bass and drums. And you can put whatever the fuck you want on top of it. There's even more cross-pollenization with dubstep these days and it's free...

Hatcha: And now you've got people like Shy FX and bloody all big fucking massive DJs, house DJs, drum and bass, they're all putting in a sneaky dubstep track in their sets here and there. Because they can do it with that track, because that's a different kind of dubstep track, it's a fast dubstep track, or a half-step track, you know? Which I think there are certain people out there in the scenes now, that are getting now a bit kind of funny with the dubstep movement, cause it is kind of blowing very fast. But it's only because it's an incredible music. It's not just a stereotype -- drum n bass, you go there, you know exactly what to expect, like I said, it's just [makes human beat box sounds]'s going to be like that all night. With dubstep, you can have a line up of DJs that will all play their own sound, you know?

Pipecock: That's what's going to give it longevity, I think...

Hatcha: Yeah, definitely for sure.

Pipecock: I've read a lot of Martin Clark's writing on dubstep and grime...

Hatcha: Yeah, my good friend.

Pipecock: It's fascinating.

Hatcha: Yeah, he's brilliant.

Pipecock: Something he wrote that I found interesting was that he talks about dubstep and grime in particular being intrinsically tied to their environment. Do you agree with that in the sense that... is it going to work outside of an urban environment?

Hatcha: Look, it's already happened.

R. Heights: Here we are in the suburbs.

Pipecock: That's what I think, but I might be misunderstanding what he said...

Hatcha: Well, I don't know, I didn't read the write-up, but it touches everyone. The music gets everywhere, it gets in every nook and cranny. Most of us guys, the originators from the dubstep scene, we fly all over the world. Like you go to Istanbul, Budapest, you go to third-world countries, and they're kickin' it. I'm playing Israel when I get out of here. When I get back to England I'm going to Israel, then Croatia, like Germany, Prague. You get there, and it's fucking kicking. And you're like "oh my gosh". And the music's proper affecting to touch people everywhere.

Pipecock: You've got an album coming out.

Hatcha: It's not an album, it's an EP,

Pipecock: With Kromestar?

Hatcha: Yeah, it's a double-pack. Only a double-pack vinyl. It looks like an album, but it's double vinyl, but it's not a particular album. We just spent some time in the studio, knocked out some tracks and are putting them out in a double pack.

Pipecock: Can you describe your production methods?

Hatcha: What from the studio to vinyl?

Pipecock: No, when you go to write a track, is there a specific process that you follow or is it just whatever happens?

Hatcha: In the studio, we start laying down some riffs, some drums, some kicks, you start humming some rhymes that's in your head, you start humming some bass lines, you just make the idea in your head as you're going. It's just straight out of the brain, straight onto the screen.

Pipecock: You usually start with your beats, start with your drums?

Hatcha: Yeah, we normally start with drums, or some kind of humming to a certain extent. You're sitting there humming the bass, you're just sitting there working on something. It's whatever floats your boat at that time. Sometimes you walk into the studio and you're straight on it, you put the beat straight down. Or you come in and something's been playing on your mind all night. And you're like, yeah that riff I was singing last night before I went to sleep, and you're trying to bring it back up again. So, there are so many different ways to go about building a track and every time you go in again, you approach it in a different way.

Pipecock: And what's influenced that?

Hatcha: The dubstep?

Pipecock: No, what's influenced you... I was listening to a 12" you did with Benny Ill, "Highland Spring".

Hatcha: We did that in 2001.

Pipecock: I was listening to that and I was listening to "Flippin'", and thinking about the difference between the two records...

Hatcha: Very melodic, kind of...

Pipecock: Yeah, completely different.

Hatcha: The stuff I play, I like, when it was hard, when it first started, I'd play at a club, and I was the first dubstep DJ, so, you'd play at a club and then a couple of weeks later you'd turn up at the club again and the other DJs are playing the same records you were playing, so I kind of try to keep up above the rest, kind of. At the moment I like very dark, aggravated dubstep. Like fucking metal on fucking metal, you know what I mean, just aggy. Just very gritty, moody, kind of progressive. Very up-tempo.

Pipecock: You like the Distance tracks?

Hatcha: I like Distance. I love Distance. Great lot. Most of these guys we've all grown up together in this thing, like me, Distance, like Digital Mystikz boys, Benga, Skream, we've all grown up together, so it's literally like [makes telephone-to-ear motion] "Great, I'm playing out tonight." -- "Alright, I'm coming to get some new records." You go straight round, take the newest ones off the desktop, then I'd go to the cutting house, cut them on to dubplate, go to a rave, play it.

Pipecock: That's what makes it more amazing to me, or I think it would be more amazing to you to think about how this was just you guys, pretty much, and now it's blown up worldwide...

Hatcha: Of course, when you're first there and you're trying everything to create a scene, it's just a little seed. And when it blossoms into a flower, it's the scene. You have no control of it any more. At first you was doing your hardest to push it out, giving out CDs, now it's just gone on its own. It's like a kid, it grows up and you just let him be. So, the scene has now evolved into a well established scene. But it's not as well established as drum and bass or house. Nowhere near it, no matter what anyone says, but we've still got a good few years of growing to go. But the feedback now that we get is amazing, and I'm sure that no other scene would have had this much feedback at this early a stage, you know what I mean?

R. Heights: The community seems really positive.

Pipecock: Yeah, does it still have that positive vibe in London?

Hatcha: Yeah, it's brilliant. The attitude's not there. It's just the new trendy thing. You know, all the trendy people go there, and all the students. It's not attracting the boy from the corner, you know the one that's fucking got his knife and all that. It doesn't attract that kind, but every scene has that crowd, and it's only a matter of time until that gets sucked in. To be honest I've played at dubstep raves and I've seen people get dragged into the crowd and robbed, and come back out covered in blood, crying, but you see it everywhere you go. So, what do you do with it? What can be done? It's just society innit', today.

R. Heights: I've seen it at a Mandy Moore concert.

Hatcha: Yeah. It happens fucking everywhere.

[another awkward pause]

Pipecock: How is your approach to DJing different from your approach to producing?

Hatcha: I'm a DJ. So, when I turn up, I like to give them a story. I like to start somewhere, build the crowd up, go down. Whereas, a producer is in the scene for making music. I'm in the scene for playing music. You know, if I wanted to spend every fucking day in the studio making music, then I'm just another producer. I'm lucky enough, cause if you're a DJ coming into a scene now... fuck me, you're fighting a losing battle. It's just so hard to get exposure, to get into it. So, to get into a scene now you have to be a producer. You have to produce the big tracks, people catch onto you, then you start getting booked for DJ work as well. You know what I mean? So, it's just totally two different things.

Pipecock: So, as a DJ do you tailor your sets to what you think the crowd wants to hear? Or do you take it as a chance to educate... to play what you want them to hear?

Hatcha: I tend to educate. For sure.

Pipecock: What do you think the difference is between the crowds here in the US and in the UK?

Hatcha: You guys have got more bollocks.

Pipecock: Really? I wouldn't have...

Hatcha: Very more, kind of up fucking there, kind of. Well, most of the places I've been are very... they're rearing to go. You go to the other place and they're like, [makes mopey face] "What's this?". But when you get there next year, there's another ten people and then the year after there are thirty more people... Last night I played in... [thinks for a moment] Denver, Colorado. Crowd was wicked, man. I played in San Fran the other week, that was wicked, LA was kickin'. I played [last night] in la, la, la, la, la... I played in Austin, that was cool. And now I'm here in Texas so we'll see what you guys are made of.

Pipecock: I think that's all I have here. Thanks.

Hatcha: That's cool, have a good night. ...the kind of stuff I'm going to play later on, you'll be like "f'wuck me that is animal shit", it is just fucking power house. Some people will listen to it and "well, that's not dubstep", and I say that's just the interesting thing. There are so many sounds in the one fucking scene... you're never going to get bored. That's a good thing. Alright, we'll have a drink, have a laugh, get some girls, and see how it goes.

An Awkward Postlude: On The Couch With Richardson Heights

The awkwardness was all mine. Hatcha is genuinely affable and engaging, and was happy to answer any questions. About a half hour after the interview above, he sat down next to me on the couch back by the pool table. I obviously didn't have the recorder running, but here is some of what we talked about, approximately-- he prefers to use FL Studio™ 7 as a sequencer, and he said Skream and some of the others are on FL Studio 8. We talked about FL Studio's ease of use, and then started comparing VST plugins we use. His favorites are LinPlug Albino™ and the Native Instruments plugins Massive™ and Absynth™. And he uses Logic™ as a multi-tracker. He said being on tour is extremely lonely, the phone bills to back home are pretty bad, and he misses his son. We talked about the great magazine photos of him and his son in his MySpace profile. He was just resting up the next day in Dallas, with nothing to do. He was staying at the Renaissance Hotel downtown, and thought it was a really nice hotel. Before he went on stage, I told him to make us proud. His response: "That's the fucking point, innit'?"


Monday, July 21, 2008

New Mix From Strawberry Fields

Just got our hands on a nice summer mix from Chad over at Strawberry Fields that features two parts: one for summer days and one for summer nights.  The track list more or less speaks for itself, so check the list and download the mix here.  


1. Dr. Buzzard's Original Savannah Band - Sunshower (4:08)
2. The Sea And Cake - Sound And Vision (4:06)
3. Marcos Valle - Com Mais de 30 (2:40)
4. the Zombies - Summertime (2:17)
5. Bananarama - It Ain't What You Do (2:51)
6. The Bees - A Minha Menina (2:48)
7. Orange Juice - Rip It Up (5:19)
8. Bid - Love (3:37)
9. Shuggie Otis - Strawberry Letter 23 (3:58)
10. Gichy Dan's Beachwood No. 9 - On A Day Like Today (5:23)
11. Van Dyke Parks - Occapella (2:42)


12. Arthur Russell - Let's Go Swimming (Walter Gibb (5:18)
13. Bent - Moonbeams (2:44)
14. Joe Jackson - Steppin' Out (4:24)
15. Stardust - Music Sounds Better With You (4:23)
16. Gary Wilson - I Wanna Lose Control (2:22)
17. Dr Rubberfunk - Part Of Me (featuring Sitzka) (3:34)
18. Pipas - Barbapapa (2:13)
19. Always - The arcade (3:51)
20. Clientele - I Had to Say This (3:35)
21. 21- Os Mutantes - Baby
22. 22 - Dump - Moon River - Superpowerless

Free Health Tickets

Want to go see Health this Thursday night at Club Dada? I bet your hip ass is all over that shit. But as we all know, the only thing cooler than seeing a cool band is being on the guest list at the cool band show, so here's your chance to outcool the cools: we have a FREE pair of tickets to give away to the Health show courtesy of Parade of Flesh. Want win them? Email any time between now and Wednesday at Noon (If you already emailed us at our regular account, don't worry. Your names will be entered in the drawing too). Please include your full name in the body and title the email "Health." Good luck friends!

It List: Monday

Other than the usual-- Cool Out at the Cavern, Jazz at the Amsterdam and Paul Slavens at Dan's, not much is happening today as far as I see. There's a "hardcore" show at Rubber Gloves tonight featuring a band called Cold World, which sort of reminds me of Suicidal Tendencies and Biohazard if their lyrics had been written by the kid from Old Skull.

Last Week's Local Charts


1. Centro-Matic/South San Gabriel - Dual Hawks
2. Dove Hunter - The Southern Unknown
3. Mount Righteous - When the Music Starts


1. Hold Steady - Stay Positive
2. Beck - Modern Guilt
3. Sigur Ros - Med Sud I Eyrum Vid Spilum
4. Ratatat - LP3
5. Less Than Jake - GNV FLA
6. Fleet Foxes - Fleet Foxes
7. Coldplay - Viva La Vida
8. Centro-Matic/South San Gabriel - Dual Hawks (LP)
9. Pattern Is Movement - All Together
10. Dove Hunter - The Southern Unknown
11. Abe Vigoda - Skeleton
12. Wilco - Yankee Hotel Foxtrot (LP)
13. No Age - Nouns
14. Fleet Foxes - Fleet Foxes/Sun Giant (LP)
15. Coldplay - Viva La Vida (LP)
16. Beck - Modern Guilt (LP)
17. Karl Hector & The Malcouns - Sahara Swing
18. Bonnie 'Prince' Billy - Lie Down In the Light
19. Mount Righteous - When the Music Starts
20. MGMT - Time to Pretend


Tied for first this week:

Pinebox Serenade - Let the River Take them Home
Record Hop - Pareidolia
Uptown Bums - Uptown Bums EP

New Arrivals:

Beauxregard - When Balloons were Sleeves
Febrifuge - Short Instance of Separation
Fever Sleep - Fever Sleep

Sunday, July 20, 2008

Monday Morning Rock


TUE: Harvey Milk/Zanzibar Snails/Yells at Eels (Rubber Gloves)
WED: Nomo/Backside Pick/Fatty Lumpkin (Hailey's)
TUE: Yaz (Lakewood Theater)
THU: Health/Sydney Confirm/Stag Film/Pet Hospital (Club Dada)
THU Wolf Parade (Palladium)
FRI: The Party (Zubar)
SAT: Fight Bite CD Release with Darktown Strutters/Street Hassle (Chat Room)
SAT: Apples In Stereo/Poison Control Center/Big Fresh (Sons of Hermann Hall)
SAT: Stay Cool Swag School (Rubber Gloves)
SAT: 1 800 Zombie/Naxat/Iayd/Cheap Dinosaurs/Lame Boy/Sievert (1919 Hemphill)

Friday, July 18, 2008



Akkolyte/The Genuine Imitations/Summer Salt/The Gravestones/Gorge/Rocket for Ethiopia (Carrolton Plaza Arts Center): The always fierce Akkolyte headlines this suburban punk rock show organized by members of the excellent Rocket for Ethiopia and some of their crew from Carrolton. Be sure to check out RFE's quality new material on their Myspace page.

Hieroglyphics (Granada Theater): Hip hop crew founded by Del Tha Funkee Homosapian in the early 90's makes an appearance at the Granada this evening. The group had a HUGE influence in late 90s underground rap circles, and you can hear this loud and clear in their music. You could maybe call this stuff a bridge between Tribe and Guru and later backpack heroes suck as Jurassic 5. Some of this stuff might sound a bit plain and watered down to today's hip hop audience, but shit is pretty solid.

Febrifuge CD Release Show with The Fuzzy Coos (Art 6): We'll have more on Denton's Febrifuge next week, but for now we can tell you that they'll be celebrating the release of the debut Febrifuge full length this evening. It's a pretty interesting CD too.

Beauty School Drop Out with The Fire Nation/Sticky Buns/Small Town Ruffians/Swamps of Sadness (Rubber Gloves): Last minute show put together by Promohomo that will apparently help him pay to go to Beauty School or something. Fuck Darfur man, THIS is charity.

Paper Jam feat. Schwa (Public Trust): This thing goes from 6-9pm and features a big sale of prints, some up to 40% off.

Brothers and Sisters/Faceless Werewolves/Bridges and Blinking Lights (Hailey's)

Time Bandits Party (Time Bandits): This party at one of Denton's quality botique stores (they focus on vintage fashion and a fantastic little vinyl collection) will feature free beer and vegan food, as well as 20% off clothes. Goes from 7-11 pm.

Nasher Sculpture Center Friday Night Films (Nasher): They'll be playing 80's classic Big this evening. The website is unclear as to when exactly it starts, but it says 6-11, and I'm guessing the movie will begin at sundown, right around 9pm.


Dub Assembly 2 Year Anniversary feat. Hatcha (Green Elephant): The highlight of the weekend for us here at WSJR HQ. As Mundo discussed in our interview with him today, Hatcha is one of the original English dubstep pioneers, and could probably be considered a visionary within the genre. He is often credited with compiling and releasing the very first dubstep compilation mix (Dubstep Allstarts Vol. 1), and was a major force at Big Apple records in London, which served as the epicenter of the movement at its inception. Not only that, he was a regular on the legendary London pirate radio station Rinse FM, as well as a resident at Club Forward >>, which is widely considered to be the first club in London to concentrate on the bass heavy dubstep sound. Basically, you couldn't have this music without this guy, and it's a real privilege to have him here in town.

Marked Men/Birthday Suits/Wax Museums/Bad Sports (Rubber Gloves):If you've ever wanted to see the Marked Men, definitely make it out, as this is their last show for two years and it could even be longer than that due to guitarist and singer Jeff Burke's move to Japan. Arguably Denton's most successful punk export besides The Riverboat Gamblers, The Marked Men have made quite an impact with the diehard garage extremists that swear by distorted barre chords and two minute sing-alongs while absolutely hating everything else. That's somewhat of an exaggeration but the proud mood will be elevated, and this is the perfect lineup to send The Marked Men out on a locally supportive high note.

L'Antietam/Pools/Mako/Sinister Ghost (1919 Hemphill)

That's What's Hot (Fallout Lounge): After hearing a 20 minute Italo/synth pop/space disco/acid house mix from That's What's Hot like six months ago (it is not posted on their Myspace page), I've been wanting to hear more from these guys ever since. Tonight's free performance at Fallout is certainly one worth checking out, especially if you want to try dancing to something new-- which in this case is very rare old school dance tracks. No one else in DFW is doing quite the same thing these guys are.

Jerry Seinfeld (Fair Park Music Hall)

My Education/Zanzibar Snails/Hotel Hotel (Hailey's)

Animal House 2 with The Kul/Damaged Goods/Sydney Confirm/Uzoy/Rayne/Prince William/Fishr Pryce (Doublewide): Quality local hip hop heavy show this evening featuring several of our favorites, including Prince William and Damaged Goods, who contributed an excellent track to our most recent Projection Compilation. Sydney Confirm's dance oriented electro pop and The Kul's fairly straight forward dance rock add a bit of spice to the mix. The Kul is pretty heavy on cheese and recycled riffs, but shit, this show is solid pretty much all the way through.

Dallas Observer Music Awards (Various locations, Greenville Ave.): Well, the one thing the Observer might have done right is selling all access passes that get you into all the showcases. This will help make it easy to catch the scattered few quality acts while helping patrons avoid sitting through one of these horribly planned shows in full.


Dallas Dubstep City

So you've probably heard us talk quite a bit about Dallas Dubstep producer/DJ Jason Mundo over the past year and a half, and since his monthly Dubstep party, Dub Assembly, is celebrating its two year anniversary this saturday at the Green Elephant, we thought we'd let him speak for himself this time. For those who don't know, Mundo and the Dub Assembly crew were at the forefront of the Dubstep movement in the U.S. starting several years ago, and Mundo's production work has garnered critical praise across the board-- his work has been featured as the Boomkat single of the week, and he has received positive reviews in Wire, as well as many other reputable online publications.  Mundo has emerged as one of the major movers and shakers in U.S. Dubstep, and although you might not have heard his name quite yet, we're pretty confident that you'll be hearing a lot more about him in 2008.  We wanted to ask Mundo about his background as a DJ, the creation of the Dub Assembly crew, and his plans for the future. We were also excited to discuss the fact that Dub Assembly's two year anniversary will feature Hatcha, one of the pioneers of the movement. Here is what he had to say:

1. Could you tell us about the history of Dub Assembly--- who started it, when, why, etc. And could you tell us what your first few shows like?

I started the Dub Assembly concept in the spring of 2006 as a musical outlet for the dubbier and heavy bass sounds I was producing. And as a place where we could focus on and celebrate these Heavier sounds that we had been playing at Groovology, our UK Garage event since 2000. But previously we had mixed it in with the UKGarage & 2step of the day. At Dub Assembly we could zero in on it. I brought Lifted MC, Tiny, Keith P, and Royal Highnuss on board right away and its been wicked ever since. The first few shows starting in the summer of 2006 were at the old Sand Bar spot but quickly grew to where we could move it back Home…to the Green Elephant…5627 Dyer Street...home to Groovology since 2000..and home to Dub Assembly ever since.

2. Tell us about your backgrounds in English Dance music and how your interest in UKG, grime, etc, led to dubstep.

I grew up listening to Edge Club and loved the UK Bass sound and then followed its evolution and mutation over the years…UK Ardcore (what’s now called NuRave), Jungle, UK Garage, and now Dubstep. It’s the forward evolution of Bass. I still love all those genres and produce music for all those genres.

3. Could you tell us a little about the history of dubstep and how it was birthed in England?

In the late 90s early 2000-ish Dubstep started out as a deeper, heavier side to 2step garage, mostly non-vocal instrumentals, infused with UK Dubplate Culture. Dubstep evolved from UK Garage. But the UK Garage scene in England rejected the sound so they did their own events, separate from both Garage and Grime (which came long after dubstep). In Dallas and in the States we mixed Garage and Dubstep together back in 2000 but that didn’t happen in England. The scenes there were almost totally separate. Dubstep has continued to evolve, on its own, over the last 8 years or so, from its early roots as deeper garage, to a bare minimal phase in 2003, to the halfstep of 2005-2007, and its current lush sounds in 2008. There is a lot of variety of sound in the music, and that is its Strength. It draws on a lot of influences and therefore attracts a lot of people.

4. How did dubstep make its way over to the states? Any particular US pioneers worth mentioning?

The original UK Garage deejays in the States were spinning it in with their Garage sets as I said. There are about 20 individual names from the late 90s to 2004 but we were all on the “2step list”. A nationwide email list of the UKGarage and Dubstep deejays pushing the sound. The first real compilation (both dubstep and UKG) in N. America is “Transatlantic Bass”, a cd which can be found on cdbaby. com to this day. Check it out. We had 4 events at the WMC in Miami (2001-2004) where we first dropped UK Garage and dubstep on the WMC. This event was called “Transatlantic” and it was made up of deejays from the “2step list”. Names included T.S. Heritage from Miami and Boosted Records, Mundo from Dallas, Oron and Light Touch from Baltimore, DJ Joseph and Eric H from Iris Records in Chicago, Casper in Chicago, Cooper Bethea in NC, Jam 2 and G Notorious in Boston, Deepsix in Toronto, Skye Poier in Vancouver, Rama in Seattle, the Minnesota crew, Abstract in San Francisco, and Tomas from XLR8R in San Francisco and Voltage Records (the first N. American dubstep label with multiple releases). This was Generation One without a doubt. Many more came soon after but this was Generation One in N. America.

5. You sometimes hear people proclaim that dubstep is boring, probably because of the repetitiveness and lack of a dance beat. What is it about dubstep that interests you musically?

Dubstep is FAR from boring. It is quite varied drawing on Reggae, Techno, Dub, Garage, Drum n Bass, its beats are swung, sometimes half step, sometimes not, sometimes at 140bpm sometimes at 70 bpm, but it has those DEEP SUB BASS PULSES of UK Bass that draw everyone in, especially the girls. This is no midrange bass or bass-less electro. This is Subbass cabinet wrecking soul food that knocks bottles off the wall at the Green Elephant.

6. Do you think southern bass has had an influence on how you and your regional peers make music? Is this reflected in the music? Do you think southern US producers are doing something different with the music than their counterparts in England and the rest of the US?

Its hard to say. The Dirty South is clearly all around us so maybe it has influenced us, particularly when we produce the half-step sound. It is interesting though that each region in the US is doing different sounds even from that of England. The distance from each other breeds innovation.

7. Could you tell us about your record label and the successful releases you've had as a producer so far?

The Dub Assembly label has had 7 10” vinyl releases in a year and a half as well as several digital download releases that are found on itunes, beatport. com, digital-tunes. net, and many more. But we actually have a TON of releases coming out from the end of the Summer to the end of the year starting around the time of my Dub Assembly Unit One European Tour 2008.

8.  Do you find it strange that you get so much more press in England than in your home town?

SF has always had XLR8R, LA has had URB, NYC has had several outlets in the past (and now XLR8R too), and London has had tons of outlets but ya know until We Shot Jr and Gorilla vs Bear were created Dallas didn’t have ANY vehicle for publicity for its artists other than Edge Club and that which is created by the artists themselves. So thanks to you guys for this interview !  Its all good man. I gotta give a lot of thanks and props to the DFW crowd for always coming out to my events in the past and present. Even when I have too many events in a month they keep attending and I gotta give thanks!

9. Assess the health of the Dallas electro/dance scene. Do you think Dallas is particularly fertile ground for the kind of music you are interested in?

Yes, Dallas has always supported the UK Bass sound for years. No matter what name is attached to it, Dallas supports proper Bass weight.

10. Do you think dubstep is doomed for niche status in the US, or do you think it could reach a more mass audience unlike grime was able to do?

Dubstep has had a slow STEADY climb since 2000 with a rapid acceleration since 2006. Unlike Grime and unlike Garage it has all the infrastructure in place for success: Quality Distribution of both physical and digital download product, a rabid unified fan base on one single forum: dubstepforum. com, easy access thru DOZENS of nationwide events and DOZENS of online radio shows, a sound that has stayed varied and continues to evolve without cornering itself for over 8 years, and a general overall happy and open demeanor of the people involved in it. Dubstep actually welcomes people. It includes not excludes people.

11. Can you tell us about Hatcha and why he is significant to dubstep? How did you land him here?

Hatcha is currently on tour in the US. He was one of the early Dubstep pioneers first as a deejay and soon after as a producer. He is based in London England and has a weekly dubstep radio show on Kiss FM. I first met him in 2002 when I pressed 300 white labels 12”s of “I Stand Rasta” at a UK facility and spent my whole vacation carrying boxes of records in my arms on the subway to all the record stores I could in 10 days. Hatcha worked at Big Apple Records, South London’s Legendary store that was primarily Dubstep, and I first met him there. Big Apple Records sold nearly 100 copies of “I Stand Rasta” on its own. It was spun by many including Jay da Flex, Kode 9, Cyrus, LWiz in Sweden, and 90 or so others that shopped or mail ordered from Big Apple hahaha, all the Stateside deejays mailordered from there! That store was legendary.

12. What are your immediate plans for the future of Dub Assembly?

The plans are ever sprawling. We have a dozen or more digital download releases on the label planned for this year. And I am going on a European Tour in September with events in Ayia Napa Cyprus, the Netherlands, Manchester England, Exeter England, Vienna Austria, Augsburg Germany, Galway Ireland, and then meeting up with team Unit One for a bass festival on an island in Magaluf Spain. We also have several T-shirts planned starting with the Anniversary t-shirt for sale at the show Saturday. And later T-shirts designed by the great Royal Highnuss. And then there’s another NYC event I am playing at on Nov 14, and a St. Louis event sometime around then too, and of course there are more monthly Dub Assembly events in Dallas and Denton…Tings are getting Serious and I want to thank everyone for the support because I truly appreciate it. Thanks !

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Thursday, July 17, 2008

It List: Thursday

Hands Up! with Nacotheque
and The Party
(The Loft):
The Party brings yet another high concept touring act, this time it's the New York DJ Duo, Nacotheque. Nacotheque spins an entire Spanish-only set, consisting of one-hit-wonders, electro obscurities, Nouveau 80's, punk, and just about any underground sounds that avoid the mainstream Latin and Reggaeton pop that Telemundo presents. Starting off modestly in the respectable Cake Shop venue, the duo has gone on to be nominated for "Best Party In New York," and puts on shows from Monterrey to Madrid. Read the insightful interview conducted by Nature, here.

Simon Joyner
/Sam Locke Ward/Sarah Jaffe/Delmore Pilcrow
(715 Panhandle):
About as far away as you can get from last week's show, this is a handful of folk and song-focused acts, although it looks like Chris Garver might be playing with band in tow. Omaha songwriter Simon Joyner has been touring and recording for the last fifteen years and has released records on Secretly Canadian and Jagjaguwar, though they're pretty much the same label. Joyner's clear, well annunciated singing creates an almost uncomfortable atmosphere over the 70's styled folk rock while managing to shake off the trappings of that era and sometimes even sounds like Lou Reed's more direct solo statements. Worth checking out and definitely the best place to see this or almost any kind of show.

80's Night With DJ G (Hailey's): At last week's 80's Night it occurred to me that I've heard "Let's Dance" probably five times as often as I did in 1983, when it was played on my parents' stereo non-stop.


The Warlocks
/The Vandelles (Lola's)

Wednesday, July 16, 2008

Art List

Chiura Obata, Striped Bass, 1930THURSDAY

Summer Smackdown [And/Or Gallery + House of Dang]
It's movie night in the yard behind the building and they're showing Clueless. Bring your own chair + booze.

UT Dallas Lecture on Native American artist Allan Houser.
I'm assuming this is some time in the evening, but no time is listed. [More Info] [UPDATED: it was at 10:00 AM]

Festival of Independent Theatres starts at Bath House
Admittedly, I don't know anything about theater/re, but I don't even remotely recognize a single title or playwright in the list except Václav Havel, and only then because of his significance in Czech history. So, I guess this is pretty hardcore independent.


Chiura Obata (featured picture)
Holy crap! I just found this in the backlog. There's an exhibition going on through August 23 at the Wichita Falls Museum of Art of Chiura Obata's woodcuts of Yosemite National Park done in 1930. See some of his prints here. It's kind of like Hokusai meets Yosemite Sam. Really nice.

Paper Jam [The Public Trust]
2-Day print sale benefiting other good stuff. Party Friday from 6-9PM.

Carrollton DIY at the Plaza Arts Center (more info)
Starting at 7:00 PM Friday, eight artists and six bands for $5. Promises to be "radical".


"cool artist talk" [Barry Whistler Gallery]
I swear, if I have to read one more summer event description that starts with "beat the heat", I'll... oh well: "Kirsten Macy and Robert Wilhite will both be talking about their current exhibitions [...] Topo Chicos* and chips will be provided." Saturday July 19 at 2:00 p.m. Unfortunately, the Barry Whistler site runs solely on Flash, and I can't really find much about Kirsten Macy because her name coincides with a b-list actress from the late 90's (same person?). However, Robert Wilhite's portfolio looks interesting, particularly the theater sets and housewares (check out the stainless steel place settings).

* this seems to be some kind of fancy bottled mineral water.

Through July 19...

Cory Arcangel + Olia Lialina & Dragan Espenschied [And/Or Gallery]

There's No Place Like Home & Twenty-One [Photographs Do Not Bend Gallery]

Takashi Iwasaki [Conduit Gallery]
As mentioned previously by El Tocadiscos, this stuff is amazing (see some samples).

Closing at Craighead-Green Gallery:
Jackson Hammack (great name, obvious Modigliani influence, still good)
Jason Brown (abstract IKEA shelving on wall)
Jeanie Gooden (nice acid-bath abstracts)

Maestros Tejanos: Benito Huerta Solo Exhibit [Latino Cultural Center]
The last event I attended at Latino Cultural Center resulted in my stumbling around drunk until I spilled an entire plastic cup of red wine all over my favorite blue shirt. And all down my pants. And all over the floor. So, I looked around to make sure no one saw, and then quietly left by the side door. But man this is a really beautiful building with an incredible view of downtown, and they've done some really unique shows there. You might want to check this out (or events in the future).

[game points in bold]

Diversity of the capacity to break monotony and engage the hiden realms of energies and causes them to arise to communicate with the hiden realms of nature; Energies which cannot be explained/taught, they can 'only', be experience to commune/learnt; Art awakens the realms of these energies and process/evoke them in dialogue...; The.'spirit'is higher than the 'mind' and 'body',its metaphysical,which I focus on because of its intense abstract, philosophical,imaginative transcendentical power; This'spirit' permeates the pores of my concepts; My art expresses, my deep awareness of global and urban issues is counterbalanced with my cultural heritage; Inspiration:Life and the mental energy that creates the dialogue,leaps and spirals into the imaginative energy and breaks the Monatony...; To paint reality,not dreams because I don't know what dreams are;It is always clear what belongs to the real world and what belongs to the dream world;I don't think dreams/paint them and I don't experience dreams but I know about life because life is visible, I can feel and touch it; I cannot discribe my process of creating, it's too spiritual to express, however, it is the same expressive energy as the work itself,transfused between energies...; Art defines itself.

Score: 14.99 points

.99 extra points (max allowed) for putting concrete concepts in quotes to make them sound abstract; creative use of spelling, punctuation, and spacing; and abundant use of the word "energy" in its various forms. This one was so good (and long) that I decided to break it up over two weeks. Stay tuned to find out how "art defines itself"!