Friday, July 30, 2010



Fletcher C. Johnson/A Giant Dog/Old Snack/Sir Name (Rubber Gloves)

Full Of Hell/Rotundus/Raging Boner/Embolization (Phoenix Project)

Top Notch With Sober/Tyrone Smiley/Schwa/Genova (Zubar)

Dear Human/Babar/Peopleodian (The Boiler Room)

Poison Control Center/Man Factory/Little Birds (Double Wide)

Anthony Stanford/Keith P/Ben White (Fallout Lounge)

Night Shift with Big J (The Cavern)


Bible Belt Bitfest 2 with Naxat/Yakuza Heart Attack/Albino Ghost Monkey/MicroD/Reteris/Pixyjunket/Visuals by Party Time! Hexcellent (1919 Hemphill):

Groove Suite with Brett Johnson/indo/James Preston (Fallout Lounge)

Annex House Presents: Baring Teeth/Hawk VS Dove/Dear Human (The Nightmare)

Blixaboy/Sextape/Mikey Rodge/Hunter Vaughan (The Cavern)

Screening: Action-Vaganza with Samurai Cop/Undefeatable (J&J's Pizza)

Screening: Trash Humpers (Texas Theatre located at 231 West Jefferson Blvd): Starts at 7:30 PM. Not only is this the premier, this is the only thing I've heard about Harmony Korine's newest feature being shown in this area, period. If anyone has any info on that, please let me know. This film won an award at the Copenhagen International Documentary Festival, despite being an actual documentary. So naturally, everyone should see it.

GTFO Featuring Paranoid Freakout/Enemies Of Inertia/Life Erased/Akkolyte/Abuse Tactics/OT23/Black Friday/County Lines/Eccotone/37 Cents (Veterans Park Bandshell located at 3600 West Arkansas Lane in Arlington)


Kaboom/Uptown Bums/Kampfgrounds/Old Snack/The Rayzor Ranch Davidians (Jen Seman & Justin Lemons)/Cuckoo Byrds/Geistheistler (Little Guy's Warehouse 520 S Elm St. in Denton): From the description on our "Shows" page: ALL money collected will go to sterilizing local strays of Denton! We will be rocking out and selling baked goods. Bring cash and empty bellies!!! DONATIONS STRONGLY ENCOURAGED!!! This is going to be a fun day, but the purpose behind it is raising money for a good cause. If we ALL do a little we can do a lot!

Photo By Jim of Casper And The Cookies

Art List

Our new arts feature writer AdAsteroid takes on Sally Glass for a hard-hitting interview full of bone-crushing art opinions.

AdAsteroid: Let's not beat around the bush here. Your new show is opening this Saturday at Bows & Arrows, tell us a bit about what you have in store.

Sally Glass: It's a collection of ten pieces, narrowed down from a series that I shot for a class I took last semester at UTD. It started off as an assignment that had to do with night photography, and it sort of took on a life of its own. I started off just wanting to experiment with materials and building a space that I could shoot light around in and see what sort of colors and shapes would emerge, but it quickly evolved into me creating these foreign environments that took on a whole spectrum of depth and space, which wasn't intentional at first, but ended up being more and more about controlling those elements to produce a certain perceptual effect.

AA: Your title is Iris Folds; where did that come from?

SG: I was struggling with the title cause I like things to speak for themselves most of the time. My friend Marissa is a big craft person, and she was making these Iris folds; it's a really intricate way of folding paper so that it creates the illusion of depth and the space collapses in on itself... an infinite dimension type of thing. I thought it was perfect. Although, I guess it does sound kinda flowery and girly, which doesn't really represent what the show is about.

AA: When I heard the title I thought of Iris in terms of the lens of a camera, and folding that to "fold" space - it's really interesting that comes from a paper folding technique.

SG: I don't like to be as literal as that with titles and things, but it is nice because it works on different levels, and the whole intention behind the photographs is for the viewer to have their own interpretation of the space and the environment shown, so it makes sense that the name would have different interpretations as well.

AA: Tell me more about these abstract environments you've created..

SG: Each image was constructed to exist as its own foreign universe, or one that feels foreign or alien, but that also appears recognizable in a way. Nothing is intended to be completely representational of anything in our world, in our realms of perception. So there's a lot of color, unrecognizable shapes... they're basically just abstract landscapes.

AA: But there are identifiable elements in it...

SG: Yes, they are abstract landscapes with identifiable elements that are intended to attract the viewer into a mysterious, intriguing space that they would not otherwise be found in. That was a very exciting concept to me while I was making these images.

AA: Speaking of being literal, a lot of your past work has been documentary in style and content. How was working in what is almost a different medium?

SG: It's interesting because what led me to want to become a photographer in the first place was documentary style portraiture and how captivating it is. In its purest form, these are events that are outside my realm of control, that are as they are... Purely experiential moments that I have no bearing on, and that I don't want any bearing on. My favorite style of photojournalistic work represents the photographer as a complete, utter observer. As for my own approach, I don't even want the subject to be aware of me, and that's what's difficult and scary about it for me. That was the biggest challenge I noticed when I started shooting documentary style. In regards to abstract work, I was always interested in images that occurred purely by happenstance or those "happy accidents" that seem to be so prevalent among photographers. I guess the difference between that type of work and my current stuff, is that during this assignment I seized the opportunity to control my own instances of abstraction instead of just being there to capture something that was already happening, or by accident. I had the freedom to build from scratch what I wanted to convey through the lens with all of these colors and shapes and spaces with the materials I was playing with.

AA: Not to be too psychoanalytical but how do you feeeeel about that? The difference between being carried along the path and the very direct control these photos take of the whole world you're creating?

SG: It makes me feel like the work is more of a personal expression because, I mean, the best documentary style photographers or photojournalists are masters of their craft; they're fearless, they see people and interact with people as their form of expression. That wasn't how I did it - I wanted that to be me so badly but I was scared of it. It scared me to rely on other people, (strangers most of the time) to be vessels for my personal expression. Not like I'm scared of people, but I did experience a serious trepidation when confronting these people and saying in a conceptual way, "I am going to approach the world via this image I'm creating, with you as the focus."

AA: It's always seemed like it would be very intense to lasso people into your creative output that way.

SG: I mean it doesn't have to be that way; I'm making it sound way more serious and analytical than it really is, but I did really experience a visceral reaction when I felt the urge to approach a stranger to photograph them, when I was faced with the knowledge that I had to either capture this one moment, or risk feeling like I'd failed. In the end, it is just me walking up to a person and taking their picture, it doesn't always have to be this huge dramatic thing, but I felt like I wasn't living up to how I wanted this image portrayed. I wasn't doing it justice and I wasn't being the best photographer I could be, because I was trying too hard to create an aesthetic that had already been created better by someone else.

AA: Do you have any particular photographers in mind?

SG: Diane Arbus, she was the most fearless... she was a big influence on me to find people, relate to them and sort of corral them to be my subjects. She was so meticulous and got to know each of her subjects; at least well enough so that they were comfortable being exposed in front of her. That quality was what I had always emulated about her and others, but I also wanted to be completely separate from that process, as a pure observer.

AA: I can see that you still have a strong admiration for documentary photogs. Do you feel like this series was a detour or a fork in the road?

SG: I think it's a fork in the road. I had a lot of fun doing this series, and it feels like so much more an extension of my personality and what I want to make. It felt like more of my own... art. I still don't feel comfortable saying that I'm an artist and this is my art, because it seems like such a lofty ideal to be an artist sometimes and I feel like such a novice in so many ways. I am really proud of this work, that I made it myself and that I used minimal Photoshop, mostly just color correction - everything else is pretty much how I shot it.

AA: Well that is amazing because they are intimately constructed environments, and I had no idea if they were actual constructions or Photoshop phantasms. You mentioned that you feel like your spirit comes through these better, and I've always thought your sense of optimism and glee came through in your social work for wsjr. I feel like when I look at other social sets I see a lot of static posed shots and in yours I see a lot of pictures of joy and ecstasy.

SG: One of the main things I always wanted to be consistent with is non-posing, the complete candidness of those shots. So many times people would be like "Okay, take a picture of me like this," and I just lost all interest in that within the first five minutes. I don't want to catch your deliberately inauthentic self; I want to catch you when you're not paying attention to someone paying attention to you. When people are already putting themselves on parade in a bar, for example, and then they pose for you, it's like a double mask protecting them from exposing their authentic selves.

AA: That's beautiful cause a lot of social photography has devolved into posing for your Faceook page, cheating out and then it's just boring - you take pictures of people with sweat dripping off of them while they're screaming along oblivious to you.

SG: Well that's what's interesting to me, that's how people actually are, and that's I guess one reason why I did it so long. It's not like I had a quota to get paid for wsjr. It was fun and I met people and was in environments that I wouldn't have been in if I hadn't been there with a camera.

AA: Speaking of that, let's reel it back for a second. You double majored in psychology and philosophy - hiyo! So you do this, and then you take a totally different route with photography, and now you're taking classes to hone that skill.. What was the spark, how did you wind up going down this road?

SG: Well, I graduated from college and was preparing for the GRE so that I could apply to programs in Cognitive Science or Clinical Psychology. However, I realized pretty quickly that I was not into preparing for this test at all and having it be a hindrance on my life, resulting in a potentially undesired outcome. So I started thinking about other alternatives to a life as a clinical psychologist and photography was always an interest, starting in high school. A big mentor of mine was my high school photog teacher Roddy Parkinson. After this realization that being a psychologist would be a bummer, I bought a Minolta 7d from Roddy and I just started shooting and it's been a learning process ever since. I knew I needed to just go out there and do it, there was no way I could just learn how to shoot by sitting around. That's actually one reason wsjr was such a great opportunity for me. It allowed me to go out every night and take pictures and more pictures, even of drunk people in bars. I was just going out and doing it.

AA: Well, you have a tremendous body of work because of it.

SG: Yeah! I'm really proud of it. I mean it's party photography, and that's not necessarily a respected medium at all, but I'm really glad to have it all documented. It was important at the time, and it was an important stepping stone to whatever else I'll do, and it was fucking fun!

AA: It's an awesome standing document on what has been the keystone site for the music scene in Dallas these past four years. Do you hear that, KEYSTONE SITE! So, how did you become THE wsjr photographer?

SG: It's actually kind of an innocent story...

AA: First innocent thing about the entire site.

SG: I know, now I know how cynical and debaucherous the whole thing is! I was kind of a homebody after college; I was 22 and had just moved back from Ft. Worth the year prior. I met Schwa and Sober and Select through a co-worker and they had me take pictures for Hot Flash and the Party in the Summer of 2007. They put the pics up on Central Booking, and it just went from there. Stonedranger emailed me - actually it was a Myspace message.

AA: Oooh, that is archival!

SG: It just said something like, 'Hey, do you wanna take pictures for us?' and I was like 'Yeah, sure!'. I didn't read the site at the time and really had no idea what it was all about, but it seemed like a cool idea.

AA: The very formal, rigorous process of interviewing for weshotjr

SG: Oh yeah, they did a background check and everything (chuckles) As I started get more involved, I shot lots of bands I may never have known about or listened to otherwise. It really enriched my life artistically and musically, and the people involved; we became sort of a family of buddies. Not to be too cheesy but it was kind of a golden age for me.

AA: So, you have two photo shows up at once, one at the Magnolia and your new show at Bows & Arrows, you're performing regularly as a musician, and still photographing for wsjr. What's next for the inimitable Sally Glass?

SG: Now that these two shows are up, which have been so consuming since I got back from Israel, I think I'm going to take a a break from performing regularly in order to re-work what I want to do musically. I haven't really had the mind-space to do so since I've been so involved in getting this work out there. I have some ideas and some good peeps and I'm ready to get back to it in a real way; writing and playing is important to me and I'm really excited that I'll have a lot more time to focus on that. Hopefully I'll keep growing as a musician and photographer, and that's all I can really hope for. And for people to listen.

AA: Thank you Sally, any final words?

SG: Come out to the show dudes!!



Iris Folds (Sally Glass)
Bows And Arrows
1925 Greenville Avenue, Dallas, TX 75206
7:00 PM - 10:00 PM

Amazing last-second Art List comments by Richardson Heights:

Thank you so much, new contributor AdAsteroid. And thank you Sally. There's a big group show Saturday night at Craighead Green, and also something sort of interesting looking at Marty Tomas Gallery and the MAC. The show opening Saturday at Marty Walker Gallery is titled "STRIPPED, NEO-MINIMAL STRATEGIES IN CONTEMPORARY ART", which sounds just about the last thing I would want to see. But maybe you would see. Do something, et cetera.

Thursday, July 29, 2010

IT List and White Drugs release on AmRep

It's been a while since we've heard anything from Denton's White Drugs, and its been even longer since I've thought much about late 80's/ 90's indie heavyweight Amphetamine Reptile, but today we have news on both fronts-- the record label, responsible for presenting the world with incredible records from bands such as The Cows, Jesus Lizard, Melvins, the Urinals, Dwarves, Killdozer, and more, will be celebrating its 25th anniversary this year with a concert featuring performances from Melvins, Boss Hog and several others, including their latest signees-- White Drugs. The band has released its latest full length, Gold Magic, which has already been reviewed in Dusted Magazine and is available here. The label also included some choice words for Denton on its website:

"Denton, Texas is the cave these fuckers call home. Singer songwriter puh-lease. Exterminate yr dead-end trend. Stop being a person and become a man."

UPDATE-- White Drugs responded with some comments on how they connected with AmRep and more:

"I sent Tom a copy of Harlem on a whim when it was released. He took to it immediately and we started exchanging emails over the years--years due to our laziness and him (literally) being in a coma--about a collaboration. I sent him what would become the new LP after it was recorded and the talk of a split came up again. We recorded the other AmRep material whilst resting (aided by technical difficulties) on the LP--you know, no real impetus to put it out. We were asked to play TotalFest and Haze invited us play the 25th Anniversary shindig within the same week. Impetus appears. And shortly thereafter Haze offered up the AmRep logo so I obliged.

We're having an obligatory LP release soireé at RGRS on 8/19 w/ Puffy Areolas (Siltbreeze) and Kaboom."

(If you haven't seen Puffy Areolas live yet, do yourself a favor and go to this show. Trust me.)

Anyway, we've asked the band for some comments and we'll add them if and when they send them to us. Now for shows:

Peolpeodian/ Slow Animals/Stunts/Sextape (Dan's)

Eyes, Wings and Many Other Things/Diamond Age /H...N (The Nightmare)

Hypernova/The Yellow Dogs (Rubber Gloves)

Ceremony/Punch/Human Errr/High Anxities/Innards (1919 Hemphill)

Wednesday, July 28, 2010

It List: Wednesday

Tuesday, July 27, 2010

It List: Tuesday

Screening: Alfred Hitchcock's Rope (Texas Theater, located at 231 West Jefferson Blvd.):

YellowFever/Aaron Barker (Dan's Silverleaf): YellowFever is possibly the best pop band in the state, and has been for, let's see...about four years now. How did 2006 get to be so long ago? Anyways, while many of you were listening to early bloghouse, this is what I was moping around to, and now that you have all moved on to minimal 80's synthpop and darkwave, I still on occasion mope around to YellowFever. Well, kind of. Due to the fact that their retrospective/compilation took so long to see its well-deserved release, they definitely remind me of 2006/2007, but they are often compared to 90's twee pop, and while that may be true on a superficial level, the songwriting is much more sophisticated than that, as are the accompanying harmonies. After all, how many twee artists went to Berklee? Hmm, maybe more than we think. YellowFever songs (especially "Donald" and "Alice" duh) are instantly memorable and a surefire and extremely sneaky way to lure the average kid into listening to "cool" music once they're ready to graduate from Yo Gabba Gabba or whatever. I personally don't think it's a good thing to force your kid to be hip before he or she is ready. I mean, isn't there plenty of time to decide whether or not you want to look anemic and mistreated by society in your teen years? Do we really need toddlers donning ironic sweaters or wearing mohawks and creepers like daddy right now? Come on. You've got your whole life to look stupid.


Boris/Russian Cirlces/Saade (the Loft)

This is Hell /Product of Waste/The Love Below/Judas/Burden me (19191 Hemphill)

Live Feed - Dromez/Nero's Day at Disne(y)land/Mincemeat or Tenspeed @ DOOM

Monday, July 26, 2010

It List: Monday

Mincemeat or Tenspeed | Nero's Day at Disneyland | Lavas Magmas | Yellow Crystal Star | Dromez | Yatagarasu (Dwelling of Doom)

I can't remember which psychedelic drug also makes you sweat less but I am going to try to acquire some of that before heading to the show tonight.

New Science Projects | Eyes, Wings & Many Other Things | Daniel Folmer (Pastime Tavern)

I never really understood the shit that gets thrown NSP's way. I guess it is the eccentrically messy faux-blues stomps done by a young white boy in war-paint. Does seem a bit unauthentic but I think he makes up for with his theatrical grandstanding which some might find annoying but I find kind of endearing. Even though I would not consider myself a super fan I have to admit the dude has a special place in my heart. I didn't get into local music until around 2006ish and the thing that sparked my interest was a performance by New Science Projects I happened upon on a trip to J&J's when all I was looking for was a slice of pizza. I grew up in the Austin area so I was constantly surrounded by music, going to live shows back when The Alamo Draft House was the Village Cinema Art. Even though I saw tons of my favorite bands from far and away, I never paid mush attention to what was going on locally outside of the occasional track heard on KVRX.

There are two key moments in my youth that sparked my lifelong obsession with music. My grandmother buying the Peel Slowly and See box set for my 13th birthday was one. The other involved a crush I had at the age of 14 who would carry tapes of Surfer Rosa and Daydream Nation - inherited from an older sibling - in her purse at all times. My grandmother instilled in me the sense of musical discovery and that connection between the giver and recipient. Veronica Cecca instilled in me the passion for discovering new music in order to pick up chicks, and that there is alot of crazy alternative music out there that sounded like nothing else I had ever heard.

So what does this have to New Science Projects? I had never given two thoughts about local music before that night at J&J's, I was always too busy listening to what ever album I was obsessing over at the time. After that night I made a consorted effort to check out more local music and as you can now tell I am knee deep in it. So you could say, along with two examples listed above, that show was a musical turning point for me. I still listen to Belle and Sebastian on a near daily basis but good god do I enjoy things like having my ear's rattled by the vicious noise of Gheistheistler in the complete darkness of a basement surrounded by boys and girls with a collectively repulsive BO. Great fun. If I wouldn't have walked into the basement that day I don't know if I would have caught wind of what the local scene has to offer. My life would definitely be less for it.

Looking back now I’m not going to say that NSP is one of my favorite acts around but his performance on the final day of Strawberry Fields was pretty epic.

Kudos to Pastime for the diverse booking.

Monday Afternoon Rock

MON: Mincemeat or Tenspeed/Nero's Day at Disneyland/Lavas Magmas/Yellow Crystal Star/Dromez/Yatagarasu (Dwelling of Doom)
MON: New Science Projects/Eyes, Wings & Many Other Things/Daniel Folmer (Pastime Tavern)
MON: Lava Magmas/Yellow Crystal Star (1919 Hemphill)
TUE: Boris/Russian Cirlces/Saade (the Loft)
TUE: This is Hell /Product of Waste/The Love Below/Judas/Burden me (19191 Hemphill)
TUE: Yellow Fever (Dan's)
WED: Sleep Bellum Sonno/Warren Franklin (1919 Hemphill)
THR: Peolpeodian/ Slow Animals/Stunts/Sextape (Dan's)*
THR: Eyes, Wings and Many Other Thing/Diamond Age (The Nightmare)
THR: Hypernova/The Yellow Dogs (Rubber Gloves)
THR: Ceremony/Punch/Human Errr/High Anxities/Innards (1919 Hemphill)
FRI: Liturgy/Akkolyte/Vaste Burai/Lychgate (The Nightmare)
FRI: Lazy Native/The Future Unlived/Western Skies (Andy's)
FRI: Flecther C. johnson/A Giant Dog/Old Snack/Sir Name (Rubber Gloves)
SAT: Yakuza Hearattack/Naxat/MicroD/Pixle Junket/Albino Ghost Monkey (1919 Hemphill)
SAT: Action Extravaganza Double Feature - Samurai Cop and Undefeatable

*This will also serve as a screening for the latest TV Carnage release Let's Work It Out, a collection of self improvement exercise videos. The guy behind it all, Pinky Carnage, will be in attendance. Pretty awesome.

Sunday, July 25, 2010

Live Feed - Cry Blood Apache Rubber Gloves 7/24/10

Saturday, July 24, 2010

Live Feed - George Quartz/Orange Coax - Fallout Lounge 7/23/10

Friday, July 23, 2010



DYX/Orange Coax/George Quartz (Fallout Lounge): Orange Coax is about to embark on a lengthy US tour with the excellent No Babies, and will even be playing a couple of shows with the recently reunited legends, Arab On Radar. Yet another fine example of smart booking at The Fallout by Joshaa Flores.

Martin Kingsley/Wild Season Reprieve/My Heart Of Joy (1919 Hemphill)

Pack Of Wolves/Kill The Client/Maleveller/Golden Axe (The Nightmare)

Phosphorescent/Shiny Around The Edges/Dust Congress (The Kessler Theater)

Geezus Krust/Hood Rat/My Fist Your Face (8620 Gladwood Lane in Dallas)


Unconscious Collective/Welby/D And N (1119 N. Bishop in Dallas): This is a house show and there will also be art on display by Ricardo Oviedo, Nevada Hill, David Price, Evita Cortez, Alex Mitchell, Jason Barnett and more.

Yells At Eels featuring Alvin Fielder and Gaika James (The Kessler Theater)

Bass Drum Of Death/Bad Sports/Slang Chickens/The Coathangers/Leg Sweeper/Predator (The Nightmare)

New Pornographers/The Dodos/Imaad Wasif (The Loft)

Cry Blood Apache/Pinkish Black/Vaults Of Zin/Marriage Material/Ben White And Travis Box (Rubber Gloves)

Thursday, July 22, 2010

It List: Thursday

Quintron & Miss Pussycat | Darktown Strutters | Nervous Curtains (The Loft)

This will be one of the most entertaining and joy filled experience you will have in a club this summer. Quintron & Miss Pussycat put on a surreal show filled with other worldly funktified beats and puppets that seem to exist in a demented child's fever dream. Don't think that these to are a comedy duo or novelty act, they also make some BRUTAL white boy funk. I really hope that the next season of Treme, the HBO drama following post Katrina musicians, choose this duo as a subject. I wonder if she lost any of her puppets in the flood? Regardless, don't miss this show.

Lady Gaga (American Airlines)

It's too bad that Lady Gaga's music isn't any better than it is because I really admire her as an artist and as pop icon in this burgeoning millennium. I don't follow or care for fashion trends but I do like to see people dressing like freaks and walking down the aisles of Target. The fashion scene, seen from my ambivalent eyes, has become really boring and not fun as of late. Why do people want to dress like Grand ma's? Lady Gaga uses a cool mix and mash of style that looks utterly ridiculous but will give us warm feeling thinking back ten years from now. Also, much like Madonna she seems interested in pushing taboos concerning sex, race, gender and all those other hot topics that popular artist shy away from. Her music is boring and redundant, but there is no one else who deserves to sellout American Airlines at the moment other than her.

Soular Power

Teenage Bottlerocket | Banner Pilot | Stymie | No Heroes (Rubber Gloves)

Art List

Whole lot of absolutely nothing significant going on in the visual art world this weekend, but I always have a soft spot for Valley House...

THURSDAY, July 22, 2010

Valley House Gallery
6616 Spring Valley Road, Dallas, TX 75254
reception 6:00 PM - 8:30 PM

Image not really courtesy of Constance Forsyth (1903-1987).

Wednesday, July 21, 2010

It List: Wednesday

Altar Of Plagues/Velnias/Baygon Vert/Akkolyte/Embolization (Phoenix Project): Do you ever get the feeling that you've seen enough electronic duos to last a decade or so? Go to the Phoenix Project tonight and you'll have the rare privilege of catching some Irish Black Metal or French Powerviolence and wash that shit right out of your head for a couple of hours. If you haven't noticed, the old veterans around here (SR and I in particular) are just, so over everything. Except for Metal. That's the only thing that's never offensive. I don't know why. I can't explain it. Lack of pretense? Lack of publicists? To be fair, a lot of Metal gets filtered through only one publicist, Earsplit PR, and SURPRISE, they were much easier to deal with than just about every other amateur with a stolen mailing list that I'm used to getting redundant emails from.

The touring bands tonight sound absolutely BRUTAL, and that's not to mention our locals, Akkolyte, and Embolization, two acts that could stand up to just about any lineup, anywhere on the planet. Embolization in particular has a classic rhythmic directness in their approach that is sometimes missing in other more blast-friendly groups, even though I do like all-out nearly incomprehensible destruction. In short, a lot of this music sonically summarizes my feelings when I look around Dallas and its various shortcomings, musical and otherwise: Fuck. Everything.

Not New Music

Hopefully you all have been making good use of this freakishly hot weather and throwing copious amounts of pool side partys. What better way to complete that Mad Men themed luau you have been planning than this 1963 out of print gem jiving through your I-phone. I know that Mad Men is up to 1965 at this point but I bet Don would throw this on if given the opportunity. What happened to that hip artist chick that got him stoned? They need to bring that character back. This is a great sounding beach side recording, filled with Bo's trademark self referential commentary. It's hard to listen to this and not hear the huge debt that fuzzy indie bands, from Jesus and Mary Chain to The Pains of Being Pure at Heart owe to Bo Diddley. Now that I think about parts of this album sound like they could be Sister Ray out takes as well.

dig it

Tuesday, July 20, 2010

It List: Tuesday

Xrin Arms | Genesis Climber Geistheistler | Redfaced Laughter (Dwelling of Doom)

Akkolyte was originally on this line-up then dropped out last minute, bummer.

Crucified|Losing Grip |End Times| Now (1919 Hemphill)

Bandanaroo Bret Michaels Fuel Cowboy Mouth (American Airlines)

I would just like to say that this is the greatest name for a festival I have ever heard. -FP

Dallas Observer Music Awards Ceremony (Granada)

(We've been having some weird problems with our software today, so here is one of the two posts we wrote, hopefully the other will be up soon. As of now comments aren't working either but feel free to try them):

SR's TAKE...

It seems like every year, around the time of the Dallas Observer Music Awards, we produce a post making fun of the list of nominees or the "theme" of the show or whatever else might be totally lame about a particular year's set up (mash ups?). And this year's awards seem to have no shortage of things to poke fun at-- Mt Righteous playing with gallerycat? No thanks. The shocking revelation that Pete Freedman heard about Bad Sports 3 years too late? It's not that hard to catch up, bro. Who the fuck is AIR REVIEW? Who cares? Is the Observer required by law to cover every move John Pedigo makes? I'm not even sure if he's in the one of the bands performing tonight, but I bet he is.

All of these things are totally dumb for sure, but I suppose the larger question is--why is this worth talking about at all? A few years ago, I think we used to feel the need to cover anything remotely related to "indie rock" and "local music," so awards shows such as this were required conversation pieces simply by default-- a large corporation invests a bunch of money into a "celebration" of local music curated by people who claim to have "taste" (oh my god u guyz sorry 4 bn a music snob but i totez heart spooky folk) so that's an event worth covering in and of itself, right? By any objective standard, its one of the bigger evenings for the local music establishment and there's no denying it (I mean which other night of the year do shit clubs in Deep Ellum get propped up as cultural institutions?).

But I've realized in recent months, as we've been more pressed for time in new cities with changing priorities, that this shit just has literally nothing to do with what I'm interested in or passionate about, and I'm really not certain that I know what to say about things like the Dallas Observer music awards anymore. Does the vast majority of the music suck? With the exceptions of Dust Congress, Bad Sports, and Shiny Around the Edges, of course it does. But what do I care? Dallas can have its fun, and I bet if I attended a local music awards ceremony (I never have), I would just get drunk and live with it and try to have a decent time. But looking at these awards shows from afar, in a new place that I happen to like much better than Dallas, it sort of just makes me feel bad for spending time discussing this garbage. We're going to continue to cover local music and make fun of things for as long as this blog exists, but the readers of this site don't need me to tell them that this kind of stuff is garbage, and if award ceremonies such as this truly represent who's "made it' in Dallas' music community, then deciding whether Ishi is cuter than Alan Palomo just doesn't seem like its worth any of our time, does it? (SR)

Frank's take...

I would just like to start out by stating that I have no interest in any of the categories and/or who wins at the DOMA because I feel the idea of artists being pitted against each other in a popularity contest - under the guise of a competition of artistic merit - is pretty ridiculous. But isn't this what wsjr does on a daily basis? Yes, but it is obvious that the recommendations handed out here, sometimes more generously than others, are rooted in one critics' perspectives and are not meant to be deemed the "best of" whatever. That being said, I know it is one of those things that has to be done, and it does offer exposure for bands that might not otherwise receive.

Having said that, I am going to be fucking pissed when doesn't win for best blog. Not pissed because I or anyone else here gives a shit about winning trophies, but because I personally feel like we deserve it. I attended the "Summit on Truth and Identity and How it Relates to the North Texas Music Scene" or whatever it was called during the NX35 festival. This meeting of the minds was set up the hard hitting issues facing the North Texas music blogging community. It was there, after being berated and spat upon for an hour, that I came to grasp the importance of this website within the community.

The conference I would say was concerned 80% of the time with how big of assholes the people at are and how they (we) are a destructive force within the community, hiding behind their (our) anonymity while sabotaging those around us (our peers) who we do not deem cool or hip enough. The panel of Bloggers - which I obviously was not apart of - consisted of some pros and some amateurs, but all who write under their given name, which is great because it works for them. One of the key components of this site is the freedom that the writers have to openly criticize artists that come from a small community like ours, which is not an easy thing to do. By remaining anonymous, we the writers are able to openly share our feelings without you the readers worrying about our allegiances to friends, artist or whoever else might try to pay us under the table. I have openly criticized artist who are friends of mine on here, and not out of malice or spite, but because it was what I felt needed to be said at the time. And contrary to popular belief, you can be friends with someone and still not like the music they make.

I can understand that the comments section almost always becomes the face for which we here are judged. Admittedly, I often cringe at some of the things that are said on here, but that stuff is out of our control, and I think that censoring it (unless of course threats or deliberate legal slander) would not serve any purpose. What I see this site as, along with other non-comment readers I have encountered, is easy to access to daily listing with sporadic commentary. I say this not coming from a contributor but as someone who was an avid reader of the site way before I became involved. I think the utilitarian benefits of the website would be enough reason to keep it going, but the relationship that develops between the writers and the readers here has always been a unique and interesting one. Before coming on board I would often wince and roll my eyes at the recommendations and condemnations made by writers, but I always came back because I wanted to know what they would think of this or that because they thought this about that and so forth.

Beyond the "bias free" defense, the anonymity here is important and elevates us above our competition because I know that I nor anyone else on this staff have any intentions of being Blog Primadonnas, (which were on display that afternoon at the conference) strutting around town with opinions displayed on our sleeves. Back before blogging became the cultural wasteland that it is now, it used to be exciting to read articles and opinion pieces by the Mr. and Ms. X's across the world. These were people who felt like they didn't have a platform otherwise and could speak their minds with the intention of spreading ideas and not building egos. Unfortunately, blogging, just like everything else the human race gets it’s hands on, has become a platform where easy filler can be passed off as content, thereby garnering praise for said filler provider. It seems to me there are a lot of area blogs that seem more interested in plastering their logo on a show flier or fluffing their friends than actually contributing to any kind of debate.

Back to the conference. After an hour of sitting quietly taking notes as Bloggers defended themselves and their relevancy, I felt a bit defeated. It’s like being called a faggot when you can’t throw the ball far enough in gym class, but instead of whispers falling behind your back, the criticism is being broadcast over a PA and toasted to by your contemporaries. But just as I began to order that sixth martini at the tail end of the Q&A section, two musicians, well respected by myself and the community at large, stood up to our defense, making the proclamation that and The Observer are really the only two games in town, which I believe to be the honest truth. We have our spats back and forth with the Observer, but they do take an active role in covering local acts. Just hearing from two members of the community, two people that have been written about on here and in numerous other outlets, let me know that my view of this sites' relevancy wasn’t just some narcissistic figment of my imagination, but was actually shared by others. The two musicians also brought up that this whole thing is not a competition and none of these media outlets should approach it as such. We all serve our part. That being said I still think we deserve the win.

So why bring this up now? Why I am defending myself against our inevitable loss, a desperate attempt to soothe our collective ego? I think it is pretty obvious that we could give a shit one way or another, but I thought this would be as a good as time as any to extended a hi-five to the staff here and especially to our readers who come back day after day and support this unique and beautiful music scene that we have here.

I’ll admit there is a certain level of narcissism that goes along with pontificating your opinion to thousands of anonymous people on a daily basis, but the reason all of us do this is because we love music and we are doing out part to present an honest, constructive and fearless perspective of the North Texas music scene. As for the anonymous comments, I have no defense for them.

Monday, July 19, 2010

It List: Monday

Peopleodian | Leg Sweeper | Cuckoo Birds | Xrin Arms | Babar (Art Six)

The addition of Xrin Arms to the bill definitely makes it one of the oddest line ups we have seen at a coffee house. I am almost certain that alcohol is a no no so be sure to nab your step dad's flask on the way out tonight. I hear that the dude who is putting on this event will be in attendance and ready to whoop anyone's ass who deserves it. I'm not sure if you have to fill out any paper work or register before said beating commences, regardless should make for a fun show.

Stymie | Genius Party | County Lines | Sopors (1919 Hemphill)

Monday Morning Rock

MON: Peopleodian/Leg Sweeper/Cuckoo Birds/Monastery/Babar (Art Six)
MON: Stymie/Genius Party/County lines/Sopors (1919 Hemphill)
TUE: Crucified/Losing Grip/End Times/Now (1919 Hemphill)
TUE: Bandanaroo Bret Michaels/Fuel/Cowboy Mouth (American Airlines)
TUE: Dallas Observer Music Awards Ceremony (Granada)
TUE: Akkolyte/Genesis Climber/Geistheistler/Redfaced Laughter (Dwelling of Doom)
WED: Altar of Plagues/Baygon Vert/Velnias/Akkolyte/Embolization (Phoenix Project)
THR: Lady Gaga (American Airlines)
THR: Quintron & Miss Pussycat/Darktown Strutters/Nervous Curtains (The Loft)
FRI: DYX/Orange Coax/George Quartz (Fallout Lounge)
FRI: Hoytoho/Sextape/Whoa!Coder (Hailey's)
FRI: Martin Kingsley/Wild Season Reprieve/My Heart To Joy (1919 Hemphill)
FRI: Pack of Wolves/Kill the Client/Maleveller/Golden Axe (The Nightmare)
SAT: Bass Drum of Death/Bad Sports/Slang Chickens/The Coathangers/Leg Sweeper/Predator (The Nightmare)
SAT: Cry Blood Apache/Marriage Material/Pinkish Black (Rubber Gloves)
SAT: Ola Porida/Matthew and the Arrogant Sea/Golden Bear/Leatherbag (Hailey's)
SUN: Eyes/Jesus is Angry (1919 Hemphill)

Friday, July 16, 2010



American Werewolf Academy | Eaton Lake Tonics | Deep Snapper (Bryan St Cavern)

The Octopus Project | Florene | Fur (Granada)

Darktown Strutters | DHARMA | Sans Soleil (Dan's)

Fate Lions | Sundress | Quiet Company (Cavern)

Weird Al Yankovic (Nokia Theatre)

Knocked Out Cold | Electric Vengeance | Slow Children | Shudder | The Ratt Bastards (1919 Hemphill)

Foe Destroyer | Opposite Day | Bronze Whaler | The Gypsy Bravado (Hailey's)


Sick Duck | Nite Shadez | Jonah Jones Zoning (1413 Linden Denton)

Curvette | The Lashouts (Pastime Cavern)

R9 | Convextion | Blixaboy | Ineka Guerra | Fusionmuse | DJG (The Nightmare)

Spooky Folk | Dear Human | Bad Sports | The Backsliders | The Phuss | VIDEO | Nervous Curtains (The Bone)

Spector 45 | Leg Sweeper | Warbeast | Akkolyte | Shaolin Death Squad | Yells at Eels | Mariachi Quetzal (Reno's Chop Shop)

The House Harkonnen | Mount Righteous | Ishi | Florene | FUR | RTB2 | The Hope Trust (Trees)

The Uptown Bums | Whiskey Folk Ramblers | Matthew and the Arrogant Sea | Air Review | Smile Smile | Foe Destroyer | Tweed EQ (The Door)


No Babies | Drug Mountain | Orange Coax (1919 Hemphill)

3 On Sunday Pictorial Tour OF Unarius | Karlheinz Stockhausen - Helicopter String Quartet | Doublevision prestents Cabaret Voltaire (Dan's)

Art List


SEED - "the clock experiment"
The Sons of Hermann Hall
3414 Elm St, Dallas, TX 75226
7:00 PM – 12:00 AM

Art Conspiracy will host SEED, its annual operational fundraiser at the Sons of Herman Hall located at 3414 Elm Street in Dallas. This year’s SEED will feature clocks created by 30 local artists and music from The Cocky Americans, Jacob Metcalf and Johnny Beauford. $7 admission and $20 opening bids on all artwork, more information right here.


Barry Whistler Gallery
2909 B Canton Street, Dallas, TX 75226
6:00 PM - 8:00 PM

Race (Emmanuel Gillespie)
The Deadly Art of Survival: Ego, Reaganomics (Chris Herod)
South Dallas Cultural Center
3400 S. Fitzhugh Avenue, Dallas, TX 75210
5:00 PM - 7:00 PM

Hot Buns and Blazing Artists
The Historic Texas Theatre (hosted by Mighty Fine Arts)
231 West Jefferson, Dallas, TX 75208
5:00 PM - 11:30 PM ($5.00 fee)

The only reason I include a show with this ridiculous of a title is because the greatness of Peter Ligon (featured image) is going to have a piece in it.

Thursday, July 15, 2010

It List: Thursday

Child Bite/Sohns/Lisa Frank (The Nightmare): Child Bite is often described as art rock and I just don't know if that means what it did ten years ago, let alone forty years ago, when the term started being thrown around a lot. Now-a-days it most likely means that the band plays music that is:

A. Safely described as "angular" by lazy writers that don't want to really think about a group's influences.
B. Contains songs longer than three minutes.
C. Doesn't sound like, oh, I don't know...Dawes. That's a safe festival rock band to use as an example.

So, this is the face of art rock in 2010. It sounds more like male-pattern-baldness, late 80's, DC Hardcore more than anything else I can think of, but that's fine and I'm sure they put on quite a show.

Lisa Frank is a gang of what sounds like the worst jean-jacketed, cigarette-smoking girls from your old middle school recording on a boom-box after keying cars all afternoon. I have been really beaten down by all the Austin garage rock that I'm "supposed" to like from the past 18 or so months especially, but that's okay. They're from San Antonio! I'm glad that bands like this can still exist and not be horrible. The songs on their page are so ridiculously over-driven that it transforms their music into a completely different experience than you would expect from three chord punk songs, and of course, that's the point.

RTB2/Old Snack (The Belmont located at 901 Fort Worth Avenue in Oak Cliff): Two Denton favorites perform poolside at The Belmont to raise funds for The Texas Theater, which is certainly a worthy cause. Can anyone name all the bands Ryan Becker is in? A small group of us were doing this at a party recently and having a tough time of it. I need to get out of The Metroplex for a while.

ADD: The Fleshtones (Double Wide)

Live Feed: Weed Hounds/Teenage Cool Kids @ Rubber Gloves 7/14/10

Wednesday, July 14, 2010

It List: Wednesday

Teenage Cool Kids/Weed Hounds/Final Club (Rubber Gloves): Holy crap. I hadn't listened to Teenage Cool Kids in a REALLY long time up until a few hours ago, and they sound radically different than what I remember from the last time I heard them. Feel free to check out the new songs they're streaming on their Facebook page if you wanna hear what I mean-- long gone are the ecstatic pop-punk Descendentisms I recall from their earlier material, replaced with some very catchy and competently crafted nods to mid 90's College Radio chart toppers, most notably Pavement, Yo La Tengo and Built to Spill, with smaller yet audible nods to Silver Jews (mostly through the vocals), Dinosaur Jr., and others that I can't even recall right now because it was a long time ago and they weren't that good anyway. It's strange when you consider their past, but this slack-influenced sound seems to suit Teenage Cool Kids quite well, even if it makes me a little bit nervous about a full-on 90's indie revival if stuff like this catches on with the "kids." Oh well, I guess it would be a lot better than Ishi or whatever people in Dallas are into these days-- Anyway, if these new tracks, pulled from their upcoming album Denton After Sunset, are any indication of what the rest of the record sounds like, then I think people outside of Denton will start to hear a lot more about these guys in the coming months-- they look to the past, sure, but Teenage Cool Kids are certainly able to update these sounds and put their own stamp on them. Pretty solid stuff all around. Meanwhile, New York's Weed Hounds have positioned themselves right in the middle of this lo-fi twee/ C86/Shoegaze revival. It's decent stuff, although you've heard it done, and re-done, much better.

Tuesday, July 13, 2010

It List: Tuesday

Bad Sports | Red Dons | Apache | Cum Stain | Cosmonaut (Rubber Gloves)

Tonight you can pick up a copy of the new Bad Sports album out on Burger Records and available at the show. The rest of the line-up tonight consist of other Burger artist from across the West Coast, so this would be a great opportunity to see some of the stuff coming from over there.

Danger: Diabolik! (The Texas Theatre)

Mario Bava is primarily known for his morally depraved but visually stunning slasher/suspense films like Kill Baby Kill and Hatchet for the Honeymoon. The visual sumptuousness Bava is known for can be found all over Diabolik!, but instead of the protagonist being a blood thirsty psycho maniac he is a high class thief with a cunning and sexy side kick. Kinda like the anti James Bond. The Ennio Morricone soundtrack is just the icing on the cake. Very entertaining film more than worth the five dollar donation they are asking at the door.

We Shot J.R. Presents:

The Octopus Project

This Friday, July 16th @ the Granada Theater

We've teamed up with our friends at Waaga Records to present this Friday's show at the Granada, and they've provided us with a pair of tickets to give away to the show. If you'd like to win them, simply email any time between now and Wednesday at 5pm with your full name in the email body and "Octopus Project" as the subject line, or simply retweet this. We'll choose one winner at random, so good luck!

Monday, July 12, 2010

It List: Monday

It was strange to see so many familiar faces at Trees of all places last night. Some people say it felt like 2003, but it was a lot more like the 90's or 2000 at the most to me. I say that with no opinion on whether or not that's a good thing, as I have no love or nostalgia for said decade other than a few selfish memories that I would never wish to impact the lives of anyone other than myself. In other words, just because I may find "Dreams" by The Cranberries "What's Up Fatlip?" to be especially great for radio or MTV fodder, that doesn't mean I wish to impose that on the lives of today's teens.

Lightning Bolt did their classic floor performance which launched a thousand stubborn bands that similarly refused to play on a stage, but there was something really strange about it at Trees in 2010. I hate to sound like "Old Man DL," but I clearly remember this act being much more surprising and intense in the tiny setting at RGRS, when they cut off Arab On Radar mid-sentence as the band was leaving the stage from the 2002 "Oops!" Tour performance. A lot of what went on last night seemed like a tribute to a time that has long passed, but that has nothing to do with the bands, who all were excellent, more or less, as much as our own local identity concerning venues and our ability to either keep them afloat or consistently book interesting acts. Speaking of things that have long passed, the virtual fight that broke out regarding that 2002 Rubber Gloves show on the recently revamped Dallas Hardcore message board, between the bitter metalcore bros and the younger and more art-friendly crowd, is a favorite memory of early aught's DFW music scene infighting that acted as an ominous sign of where attitudes regarding music would be heading in the following eight years. Ah, the good old days.

I had a funny conversation with an Observer contributor who shall rename nameless, about how nobody was necessarily assigned to cover last night's show, but this particular contributor insisted on the assignment. My guess is that the expert music staff over there has perhaps never heard of one of the most important acts from the transformational Providence noise scene. But that's just a guess.

There are a lot of intense metal and punk shows tonight at some great venues in all three major cities, as well as one eyebrow-raising show at Art Six which is presented by The Schoolhouse. I say "eyebrow raising" because I just can't picture bands as loud as Handbrake and Deep Snapper playing The Schoolhouse. Oh, and by the way, Deep Snapper just added a new guitarist, Aaron Bartz of Tame...Tame and Quiet.

Sad news about Harvey Pekar today. He was a revolutionary. The above clip is really charming, and candidly shows one of the many everyday things of which he was so incredible at exploring every last little nuance. His Free Jazz speech at NX35 in 2009 contained a lot of radical information given the event and the setting, and it was an honor to meet him. RIP.

Inter Arma/Bastard Sapling/Lions of Tsavo/Baring Teeth (Phoenix Project)

Cheddy Tedderson And His Meltric Parlperts/Dark Forces/Big Kids/1994! (Rubber Gloves)

The Short Path/Deep Snapper/Handbrake/Drawn By Jaymz/Dear Human (Art Six)

Innards/Pianos Become the Teeth/We Were Skeletons/Decades (1919 Hemphill)

Cool Out (The Cavern)

Monday Morning Rock

MON: Inter Arma/Bastard Sapling/Lions of Tsavo/Baring Teeth (Phoenix Project)
MON: Big Blow/Dark Forces/Big Kids/1994! (Rubber Gloves)
MON: The Short Path/Deep Snapper/Handbrake/Drawn By Jaymz/Dear Human (Art Six)
MON: Innards/Big Fiction Tour Kickoff/Pianos Become the Teeth/We Were Skeletons/Decades (1919 Hemphill)
TUE: Bad Sports/Red Dons/Apache/Cum Stains/Cosmonaut (Rubber Gloves)
WED: Teenage Cool Kids/Weed Hounds/Final Club (Rubber Gloves)
WED: Red Dons/Occult Detective Club/The People Men/Collick/The Atom Age (1919 Hemphill)
FRI: American Werewolf Academy/Eaton Lake Tonics/Deep Snapper (Bryan St Cavern)
FRI: The Octopus Project/Florene/Fur (Granada)
FRI: Darktown Strutters/DHARMA/Sans Soleil (Dan's)
FRI: Fate Lions/Sundress/Quiet Company (Cavern)
FRI: Weird Al Yankovic (Nokia Theatre)
FRI: Knocked Out Cold/Electric Vengeance/Slow Children/Shudder/The Ratt Bastards (1919 Hemphill)
FRI: Foe Destroyer/Opposite Day/Bronze Whaler/The Gypsy Bravado (Hailey's)
SAT: Spooky Folk/Dear Human/Bad Sports/The Backsliders/The Phuss/VIDEO/Nervous Curtains (The Bone)
SAT: Spector 45/Legsweeper/Warbeast/Akkolyte/Shaolin Death Squad/Yells at Eels/Mariachi Quentzal (Reno's Chop Shop)
SAT: The House Harkonnen/Mount Righteous/Ishi/Florene/FUR/RTB2/The Hope Trust (Trees)
SAT: The Uptown Bums/Whiskey Folk Ramblers/Matthew and the Arrogant Sea/Air Review/Smile Smile/Foe Destroyer/Tweed EQ (The Door)

Sunday, July 11, 2010

Live Feed: Cuckoo Byrds/Pocket Change/Betdat

Last night was pretty chaotic. I arrived at Mabel Peabody's to find a disheveled Pocket Change outside the club sitting atop their equipment. Turns out that the band was not allowed inside of the club due to a member being underage, an issue the band believed was not going to be an issue. It looked like there might be some hope after the band spoke with some people familiar with the logistics of matters such as these. Lawyers were consulted, law books checked but the manager just wasn't having any of it.

So no Pocket Change. Bummer? Yes, but the show must go on. Unfortunately the manager of Mable Peabody's must not be familiar with that saying. The paying patrons were informed that the show was being shut down due to some complaints from bar regulars after a challenging and awesome set from the Cuckoo Byrds. I guess the mainstream just isn't ready for our community yet. It was a very surreal moment. I have attended shows that were shut down due to police intervention or excessive bleeding, but never because someone didn't like the music. Everyone who was in attendance (for the show) was in a state of shock for a good five minutes, left in a "Is this really happening?" state. Once the Lady GaGa came blaring in over the loud speaker the finality of it all sank in.

Instead of wallowing in negativity or burning the place down, the show was relocated to the residence of a member of one of the scheduled performers Betdat. What we have below is the debut performance from the newly formed and barely legal Pocket Change along with a clip of the gracious Betdat and the infamous Cuckoo Byrds in their bar shattering performance. It ended up being a much later night than I am sure anyone intended, but the comradery and shared enthusiasm for music experienced last night more than made up for that extra adderal I had to pop to get through Sunday school this morning.

Friday, July 09, 2010


There are some great shows this weekend, especially on Saturday. The show at Mabel's and the show at Pastime really stand out, as well as the usual excellent and unfortunately overlooked events at The Phoenix Project and 1919 Hemphill. 1919 Hemphill recently released their second compilation, entitled How Ya'll Doin' Tonight?, and perhaps we can get an unbiased review soon.

Some brief notes for the weekend's shows:

Austin's Silent Diane is one of many great bands from the Central Texas' very rich synth-heavy scene, and it's always great to hear music from Austin that isn't garage rock. They released a seven inch through Answering Machine Recordings, and I want to personally thank the label for helping to distribute our own release by Daniel Francis Doyle, We Bet Our Money On You, which is now on its second pressing.

It's good to see Pocket Change back in town, though I usually don't envy anyone that has ever moved somewhere cool, only to find themselves once again in North Texas. So hard to escape.

The Shiny Around The Edges show is supposed to have a deli tray.

All this "one venue presents a show at another venue" shit is really confusing.

Best Fwends are apparently a full band now. Can someone fill me in on the after-party?

I have heard that Indian Jewelry are a much tighter outfit lately, with more beats and less meandering.

Lightning Bolt are often a target of "extreme music" fans for not being extreme enough. Who cares? They didn't ask to be the early 2000's caricature of what it means to make "crazy music," and they were very good live when I saw them a very long time ago. I don't know how they have held up over the years, but my guess is probably pretty well, despite some movement into more classic rock-styled riffing. They are better than the Murder City Devils or whatever was supposed to cool in 2001, that's for sure.


The Schoolhouse and Wow Signal Productions present: Warbler PI/Good Night And Good Morning/Roger Sellers/Cody Robinson (J&J's Pizza)

New Fumes/Melting Season/Diamond Age (The Nightmare)

Disaster Strikes/Division Of Power/Stymie/Akkolyte (Phoenix Project)

Night Shift with Big J/Ricky Silk (The Cavern)

True Widow | Mansions | UME (Rubber Gloves):


Vulgar Fashion | Pocket Change | Betdat | Cuckoo Byrds (Mabel's)

Lollipop Shoppe Presents "The Trip" With The Lolli Dollies And DJ Slab Bacon (Sons Of Hermann Hall)

Dope On Plastic with Sober/DJ Love (The Cavern)

The Hold Steady (Granada)

PS Eliot | Football etc | Star Commander |Stymie (1919 Hemphill)