Tuesday, August 31, 2010

It List: Tuesday

90's Night With Yeah Def (Hailey's)

Oh Lewis/On After Dark/We Are Brothers/No Heroes (Rubber Gloves): Free Week.

Titus Andronicus/Soft Environmental Collapse/Bizzaro Kids (Sons of Herman Hall): What I do with a band like Titus Andronicus? Or is it that I know exactly what to do, since we've been through this so many times before. Their first recordings consisted of pretty passable melodic rock; sloppy and impassioned without sounding too stupid. Casual follow-up listens would reveal, along with the bias-flaring occurrence of their subsequent signing to a larger label, what often occurs with so many bands of this ilk: They started acting more serious, had a "concept" for their new record, and started trying to rewrite some normo rock classic like Music From Big Pink or Rum, Sodomy, And The Lash or The Queen Is Dead, but through the band's own collective modern filter. So many once-exciting bands trade in their youthful flame and eventually settle for trying to make a record that's beyond them, and recording it as a band they are not. So many bands have done this over the years; the once-solid Dr. Dog as a recent example comes to mind, as does the aesthetic arc of Paul Westerberg's entire output and eventual descent into adult contemporary music. In Westerberg's defense, he just kind of peaked early. For some bands, it's better for your career to ditch the rough demo-sounding stuff, as it will maybe even ensure that you are played in dark-wood bars and suburban Irish-inspired pubs for years to come. It doesn't however always hold one's interest the way that those earlier recordings will.

Even more dubious is the band's choice of basing their new record around a Civil War-theme. Yikes. These things are all fine on their own; concept records, pub rock, The Civil War. But mix them altogether and you have a somewhat pretentious mess.

A well-respected venue head I know suggested yesterday, that it would be better to find people that are actually into the specific genre of the shows that are written up, and maybe this is a good example. Though the person was referring to punk rock and punk-pop leaning bands, it might be better to ask a "Senior Analyst Of Melodic Bar Rock" to cover this show. But I actually dispute that method. We definitely like punk and melodic bar rock, but only if it's well-done. That's a no-brainer, right?

Earlier today, I actually heard a Trey Johnson song that I liked more than anything on this band's new record. Does that mean I'm "maturing" or getting lamer? It had a guitar lick that almost sounded like Curtis Mayfield. Not bad.

Art By Wes Harbison.

Monday, August 30, 2010

It List: Monday

Free Week Kick off Party with Live Band Karaoke and Singles Going Steady (Rubber Gloves)

Cool Out (the Cavern)

Live Review - Justice Yeldham - Majestic Dwelling of Doom 8/27/10

“Merde!” In 1896 this opening line to Alfred Jarry’s play Ubu Roi echoed through a Paris Theater. In case you do not speak french or have never seen a Godard film, the word means "shit," which is exactly what quickly hit the fan that evening. Upon hearing the utterance, the crowd ignited into a flame of critical brutality-- to do a thing as bold as cursing in a public performance was simply unheard of in civilized society at that time, and the patrons revolted, storming the stage and burning the place down. In the past century or so we have obviously moved into a different level of acceptance when dealing with artistic expression, but there are still hidden corners of the planet where art is being produced with the same intentions as Jarry's, namely to shock and assault the audience for the betterment of all involved. Friday night’s show at The Majestic Dwelling of Doom by Australia's Justice Yeldham was a night that I won’t soon forgot and has left me with many unanswered questions about what to expect from a musical performance, especially when a performance becomes hi-jacked as this one did.

I arrived fairly late to show, around midnight, and I stepped up to find the usual cast of characters socializing outside along with some unseen faces. Some of those faces were very fresh faced, yet any innocence that these young-uns carried in would be dismantled within the next 45 minutes. After making the rounds, a sound of indecipherable electronic screeches began to pulsate from the revolving doors of the Doom manner. Time to party.

As with most acts like Justice that I have minuscule to no knowledge of, I did as little research as possible before stepping in, purposely avoiding the Weekender post, which was very hard to do. I like to be surprised. I entered into an already crowded room with the fanatical noise heads and curiosity seekers perched as safely close to Justice as possible. Laid before him was a multitude of effects and distortion pedals which he knelt before like a priest before the altar. Pressed firmly against his face was a piece of glass which he played by the way of screams, moans and a contact mic.

The music was not discernible from most extreme noise that I experience. In my post a few days ago over the Dharma/Pocket Change I spoke of the control that an artist can exude in the face of seeming chaos. There is a sense of safety one experiences as an audience member when in the hands of a confident, focused performer, and this is what kept Yeldham's performance, essentially a man chewing on glass, from being a freakish oddity and instead rendered it a piece of art to absorbed. The music was intense and hypnotic. Watching him play this instrument, seeing and not understanding the way he created the caustic sound that filled the basement, was an experience unlike any other. The looks of delight and energy the audience was giving off kept the affair a communal one, the synergy at noise shows is unrivaled.

You could tell by the degeneration of the glass that the spirited but exhausting final stabs were meant to bring a close to the powerful performance. Then a challenger entered the ring. The man who in hazy retrospect must have been 7 feet tall looked like a rejected Street Fighter character from an Alabama meth-farm with his tattered sweat pants and natty dreaded (or just unwashed) locks. By this time most of the curiosity seekers had exited, leaving a group of about 30 or so to finish out the set. It was quickly apparent to the audience that this guy was either part of the performance or here to upstage it. After much reflection and Internet research, I’m still not totally sure one way or another.

His initial enthusiasm was not out of the ordinary for a wasted noise dedicate, but I think he knew that he had missed most of the performance and therefore needed to make up for some lost time. From his pants he pulled out something sharp that from my vantage point 3 feet away seemed to be a razor blade. As if in a trance he began to slide the edge across his forehead, each slice about a inch in length. There was a moment of clarity at witnessing this almost ritualistic exercise, and I watched in awe as the blood began to flow from the wounds and drip into small puddles upon the floor. The noise blocked out any sort of rational thoughts I could have in the immediacy of that moment. I stood there enraptured by the combination of wonderment and fear that rushed through my veins as the events unfolded in real time.

“I hate you!!!” screams Yeldham as he raised his instrument above his head and brought it down with brute force upon the devoted fan’s skull, sending glass in all directions (luckily by this time most people had made their way far from him). He smelled really bad too. The impact of glass on skull obviously didn’t help the fresh wounds which continued to ooze all over himself and the basement, making the place looking like a crime scene. As everyone made a beeline for the exit I saw Yeldamn take the man and give him a very cautious hug. This sight gave me relief from the tension balled up in me that I was unable to identify at the time, but now attribute to the joy of knowing I had just witnessed a finely orchestrated performance by, if not rehearsed, a dedicated visual artist committed to pushing the boundaries of violence, music, performance and the role of audience members. I would later find I was wrong.

“I challenged the Train, and the train won!” Our mystery man belted out before exiting the performance . I scanned the damaged that had taken place, not taking any pictures out of fear they might be confiscated later by police as evidence. There was a certain transcendental awe that swept up over my body, facilitated by alcohol consumption, that I had to snap myself out of in order to head out side and get away from the smell of sulfur.

As I exited the space I could already hear the rumblings of what had happened amongst the patrons that spend their entire time out side. I was jumping from conversation to conversation trying to put together the pieces from fragmented re-tellings. I heard talk of him being a schizophrenic who was suffering from a break down, that he had to be pulled off the train tracks earlier when going head to head with it and that he may have also shoved glass up ass earlier in the evening. All of which I found out later to be true. Then my investigation was suddenly interrupted and the story quickly became all too clear.

“I HAVE SEX WITH CHILDREN EVERY NIGHT!” Without having to give a second thought to who it might be, I turned around to see the man taking the pew to deliver his sermon of delirium. “I will destroy you Zionist” he began to scream at the young men trying to reason with him. “..but I am an Atheist man!” You really think that is going to help, buddy? This quickly escalated to the guy grabbing these guys by the collar and in case you forgot, all the while still dripping blood. This change of scene plus the impending police sirens coming down the road let me know it was time to gather my posse and get the fuck out of there.

After finally finding my queasy compadres, we headed across the street to the car. By this time the police had already arrived, and this mythical beast that was thundering around minutes earlier was now subdued by the fuzz to a mere mortal like the rest of us. Turning away from that sad scene I saw Justice crossing the street at the same time as me. “great set, I really enjoyed it” I told him with a smile and a non cynical thumbs up. He looked at me and for a brief second the worry and concern that was all over his face dropped and he acknowledged the compliment and quickly went back on his way.

What a night. I know that this review spent more time speaking of a crazy dude instead of the music which was the centerpiece of the show, but to me it is all one in the same. Jarry would be proud.

post script - Big shout outs go to Natalie V Davila, the Doom crew and Rob Buttrum who put their necks on the lines and clean up blood to bring us great shows like this. Thanks to Bradley Santulli for the video.

Sunday, August 29, 2010

Monday Morning Rock

TUE: Oh Lewis/On After Dark/Weare Brothers/No Heroes (Rubber Gloves)
TUE: Titus Andronicus/Soft Environmental Collapse/Bizzaro Kids (Sons of Herman Hall)
WED: The Hope Trust/Tre Orsi/RTB2/Sundress (Rubber Gloves)
WED: Dust Congress/The Kyle Sowashes/Old Snack (Haileys)
WED: English Beat/Bad Manners (Granada)
THR: Flowers of God/Peopleodian/Here Holy Spain (Rubber Gloves)
THR: One Against Many/Raging Boner/High Anxieties/Decades (1919 Hemphill)
THR: Muhammedali/Leg Sweeper/XRY (Cavern)
FRI: Nervous Curtains/New Science Projects/Pinkish Black/Delmore Pilcrow (Rubber Gloves)
SAT: Fiiskadro/Marriage Material/Berliner Eins/Cuckoo Byrds/Wanz Dover/DJG (Nightmare)
SAT: Kiki/Opencloud/DragonLazer (the Cavern)
SAT: Mind Spiders/Sunnybrook/Melting Season/Land Mammals (Rubber Gloves)
SAT: Sir Name and the Janes/Missile/Cory Howe and the Dead Flowers (The Doublewide)
SAT: Amandla/Dovehunter (Rubber Gloves)

Live Feed - Drink to Victory/Daniel Francis Doyle/Dust Congress/Drug Mountain (last show)

Friday, August 27, 2010


First things first:

I hate to self importantly inundate you with our various press profiles of late, but we are surprised at the amount of interest ever since we announced our imminent finale. You may be surprised to see that we did an interview with The Dallas Observer's Pete Freedman for their DC 9 At Night blog. Freedman starts off by stating:

For the past five years, We Shot JR, for better or worse, has been a fairly prominent player in the local music scene...

What do you all think? Has it been for the better? Or for worse?

Also, bummed to hear about the once-ample parking available at the Phoenix Project, having to be done away with. Click here to read why.


Black Friday With Anthony Stanford/Keith P/Ben White (Fallout Lounge)

Justice Yeldham/Solypsis/Drums Like Machine Guns/Heavy Medical/Depths/Filth/Ascites (Doom): You may have heard of Justice Yeldham. He's mostly known for his technique of shouting into, and on, and...through a sheet of amplified glass, which often cuts him, and leaves him bloody at the end of a performance. He represents everything that annoys, bothers, or scares people about this type of music and performance, and then goes beyond all of that even. I would actually love to see this show. I have always enjoyed the videos and recordings, but I pass out if I nick myself shaving. I may just have to stomach it, because this seems lie the best lineup all weekend.

This show also marks the birthday of House Of Tinnitus-organizer and Lychgate noisemaker, Rob Buttrum, who helped put this show on at The Majestic Dwelling of Doom, so wish him a Happy Birthday. His shows have been a joy to see over the years and I have always found his aesthetic filter to be one of the most discriminating, as well as one of the most intelligent in the area. He's always been one of those people so rare in any music community; someone that knows how to say that all-too powerful and seldom uttered word: "No." Happy Birthday, Rob. You completely fucking rule.

Kashioboy/Peopleodian/Museum Creatures (The Nightmare)

ADD: Rodrigo Diaz/Oleg B (The Cavern-upstairs-)

Drug Mountain
| Dust Congress | Daniel Francis Doyle | Drink to Victory (Rubber Gloves): This is Drug Mountain's last show, and that's a shame, but at least this lineup is completely solid. Unfortunately, I believe they are almost completely sold-out of their twelve inch, if not just a handful of copies shy.

Stymie | No Heroes | Sour Mash | Genius Party | Prognosis Negative | High Anxieties (Little Guys Movers)

Florene | Missions | Cygnus | Mikey Rodge (The Cavern)

Telegraph Canyon | Spooky Folk | Monahans | Final Club | Old Snack | Baruch the Scribe | Goldilocks & The Rock | Land Mammals | DJ Five Easy Pieces (Hailey's)

El Cento/Orange Peel Sunshine/Les Americains/Diamond Age (Kessler): The description on the invite mentions something about Diamond Age being a "self-contained" project, implying a solo project, and if that's the case I really want to see how this is pulled off. I keep missing this guy.


Tweak Bird | Drums Like Machine Guns | Heavy Medical | Depths (The Nightmare)

Free Fun Fun Fun Fest Passes

Good news, losers-- our good friends over at Fun Fun Fun Fest, who we've been working with ever since the first edition of the festival a few years ago, have been nice enough to give us two passes to the festival to pass along to you. So, all you have to do to win is to re-tweet our post about Fun Fun Fun Fest, or, if you don't have a Twitter account, simply email us at weshotjrtix@yahoo.com with your full name in the email body and "Fun Fun Fun Fest" as the subject. You have until Tuesday at 5pm to enter, so get to it!

Thursday, August 26, 2010

It List: Thursday

A lot of people have expressed concern that they won't know "where to find shows" now that We Shot JR is going away, however, I have an answer, though a slightly complicated one, and everyone that has ever said "Let me Google that for you" should go ahead and just jump off of Reunion Tower and do us all a favor.

I recently did an interview* with Pegasus News about the site ending, and I mentioned after the interview that I had missed their old calendar listings for some time now, since I thought they did away with their old calendar format. Well, apparently, I have just been overlooking the placement of the calendar after they did a site redesign a while back. So, stupid me, and of course, many of you will agree with that sentiment. Sure, it's not perfect, and it's best for listing big touring shows, but it's one of the easiest and most concise show listings available for DFW events, and it has quite often surprised me with the things I have overlooked. Special thanks to Pegasus News managing editor Sarah Blaskovich. Click here.

Also, you should always check both Dallas Hardcore and Dallas Dance Music for shows that you won't find in a lot of the traditional media outlets, and especially for events that take place at spots where they may only have a show once every six months, or even never again.

*Do I sound like a total pacifist in the interview? I didn't mean to. I don't know how I feel about that. The shows:

Yatagarasu/Savage And The Big Beat/Colossi/Naxat (J&J's Pizza): Pretty wild show that I didn't hear about until today.

Teenage Cool Kids/Mind Spiders/St. Dad/Best Fwends (Rubber Gloves): I'm guessing this might be one of your last chances to see Teenage Cool Kids for quite some time, so I would go ahead and make it out if possible. I have seen different things listed as to who is actually playing tonight in different places for this show, but hey, all that usually means is that everyone is so excited to go that they start making up dream lineups in their heads and posting them. St. Dad's vocals have the taunted little brat sound that I wish the Strange Boys had stuck with, but I understand. Many bands start with a good gimmick, and you're second act is often to grow out of it. I was pretty struck by this band actually. Best Fwends are a group that once made a recording engineer I know remark that they "are everything wrong with music today." That actually made me like them more. That was during their ipod/rap/a capella phase, but last time I saw them they had a full rock lineup and played a pretty spot-on version of "March Of The Pigs" that everyone liked ironically except that Gutterth guy. Mind Spiders is a local band that released a record through Dirt Nap but nobody has really covered them yet. Weird. I assume that will change soon.

TCK's Andrew Savage was working on a an actual physical zine called "Wild Style" and I hope that I get to see a copy of that before he's off to New York.

80/s Night: La Discoteca D'Italia with Anthony Stanford/Yeah Def (Hailey's): I don't know if this is every week, but I would love to have a place to hear Italo on a regular basis, and unfortunately there has been somewhat of a void with deep-cut, non-John Hughes 80's stuff since DJ G left. Looks like Yeah Def is still on-board, and I hope the theme is permanent.

Wednesday, August 25, 2010

It List: Wednesday

I hate it when shows this good happen in Dallas and not Denton. The best dream-pop show of the summer. At least I got the opportunity to post the Outer Limits cover which was something I hoped to accomplish before the end came. Very recommended if you like the same stuff I do but are afraid to admit it out of fear being made fun of.

Amo Joy! | New Science Projects | Fishboy | Iji (The Hydrant)

Tuesday, August 24, 2010

Not So New Music

John Cale - Even Cowgirls Get the Blues

Through out John Cale's long and lustrous career the rock god has released live albums that are not just live performance of old recordings but fully realized albums of their own. This particular recording just barely beats out Sabotage/Live for the coveted spot of favorite live album, with Fragments from a Rainy Season coming in a close second. These recordings stem from 1978 and 79 - depending on who you ask - but was not "officially" released until the very limited CD run in 1987.

Cale is of course know for his avant garde leaning when approaching pop music, but the album is much heavier on the Avant side. The songs here had all been unreleased up to this point, except of course for Helen of Troy which features a BRUTAL performance on the guitar by Ritchie Fliegler as he out Fripps Chris Spedding's original performance. The over the top theatrics of opener Dance of the Seven Veils features Judy Nylon on vocals who he had collaborated previously with on one of my favorite fun Cale tracks The Man Who Couldn't Afford to Orgy. The ballad Don't Know Why She Came stands beside I Keep a Close Watch and I'm Not the Loving Kind as one of his finest.

While this live recording is not as beautifully poetic as the minimalistic Fragments From a Rainy Season or as full on punk rock as Sabotage/Live or as lounge room sleazy as John Cale Comes Alive (boy that's a weird one!) but I think this one one works best as a synchronization of all the aspects of Cale that make him the performer I adore so.

This is the CD version of the album, unfortunately the record is one of the few missing spots in my 23 LP Cale collection. The LP features a couple more tracks one of which is Jack the Ripper. I went ahead and included the studio version featured on the Island Years collection because it is a damn fine song and should be heard.*

Since the blog is coming to end I'm going to try and keep these coming every Tuesday until we officially call it quits and I might even throw in some fun extras like the big block of text you see below. This is a review I wrote after seeing the man, one of heroes, live for the first time. Just thought you would like to see that my annoying writing style was framed well before becoming part of the staff here.

Frank Phosphate circa 2005

For most of my adult life I have been a near obsessive fan of a musician by the name of John Cale. He is, in my opinion, one of the most important artists, constructors and trend setters in modern pop and rock and roll. Yet like most truly great artist his work goes unrecognized. When I found out that not only would he performing in Texas, but in Dallas and in Austin with an in store at Waterloo records. I cleared my schedule and have been dreaming for the past two months about these two days of musical ecstasy.

I just returned home from the Dallas show and tomorrow I will be staying at home and cleaning instead of visiting Austin. We will discuss why this is later.

So why is John Cale my favorite musician? Here is a crash course. John Cale is from a foreign country named Wales. It is here that he studied classical performance and at a young age won a scholarship to study in New York. It is here where Cale worked and composed alongside such notable figures in avant garde music as LaMont Young, John Cage and Terry Riley.

Then John Cale changed rock music forever when he met up with Lou Reed, Sterling Morrison and Mo Tucker to form the Velvet Underground. Leaving the band after two monumental albums he went on to create a catalogue of some of the most diverse and forward thinking rock and roll ever recorded. Along with his studio albums Cale produced some great debut records by The Modern Lovers, Squeeze, The Stooges and most notably Patti Smith's Horses.

Now with his latest release BlackAcetate (astralwerks) Cale continues to wow fans and critics with his unique brand of rock and roll. What other 60+ musicians claims his current influences to be The Strokes and Dr Dre? I highly recommend that you go out and purchase any and everything you can by him, or give me a call and I’ll give you a mix CD.

I sat alone toward the front of the stage amongst a crowd of what looked to be community college professors and civil lawyers. The people of my age bracket preferred to hang out toward the back bar area comparing the tightness of one another’s pants and attempting to pick up the bar maid in the mini skirt. I could not stop shaking in anticipation. Just imagine if you had the chance to see Radiohead or Pink Floyd with an audience of maybe one hundred people and you can imagine where my nerves were. As I looked around no one else really seemed to be as excited as I was. Maybe in their later ages they have learned to control their giddy child like glee.

The curtain comes up there he is with his trademark violin and tears right into the Velvet Underground favorite “Venus in Furs”. The sound was amazing and the setting was more intimate than I could have ever hoped for. He didn’t spend much time talking it up or making witty banter. He stuck to the music and that was just fine by me.

The set was very tight, maybe a little too tight. He did a wonderful job of not neglecting his older catalogue playing Guts, Helen of Troy and a few other seventies masterpieces. The supporting band looked and sounded like they could have just as easily been backing up Ashlie Simpson. While they were competent you could see their faces become bewildered as Cale veered off into any territory they hadn’t practiced earlier. This was one of the problems I had with the show. Cale works better as a solo performer. I have heard numerous live albums (official and bootleg) where it is just him, a guitar and a piano. It is in this capacity that he is able to explore the dark recess of his music and emote a near cathartic wale that is uniquely his.

By the end of the show my hands were red and raw from clapping he thanked the audience and left. We demanded more. After a few short moments he came back on to perform “Concrete” from the new album. A very musically haunting and stark piece but lyrically surprisingly suburban with lines such as “a voice calls out from the den ‘What time does Survivor come’” It is songs like this that make Cale so great. He is able to create songs that push you’re your ears and brain to work overtime but never forgets the one element that almost all great artist do, to have a pedestrian sense of humor.

I was now at that critical juncture. Do I bask in the glow that radiated through my soul and ear drums and call it a night or do I try to stalk the musician. Like a recovering heroin addict who just ran out of methadone I took the route that I would later end up regretting. I needed another fix, and was going to go for it.

As the crowd cleared out I made a beeline to the back of the theatre where I saw that the tour bus was. Here was my chance to meet the man who I have been listening to and idolizing for years. Here was my chance to shake hands with one of the most important figures in avant-garde, pop and experimental music of the twentieth century. There were seven people with the same idea as me standing there. They of course were all at least 25 years older than myself. I stood around for over an hour as roadies loaded equipment into the back of a trailer. I cupped my ears to try and hear any talk about Cale and more importantly a hint that he might be exiting the bus anytime soon. After I had flipped through my horrendous digital pictures for the billionth time one of the Granada workers tipped me off.

“Hey man, looks like Cale is off the bus, here is your chance”

I glanced up and indeed, he was off the bus joking around with the drummer. I stood up and with great caution made my way towards him. I cycled through all the ways that I could possibly ask him for a photograph without sounding like just another twenty something male fan or a complete idiot. There I was, about fifteen feet away from him. His conversation with his pal had ended and the man had left toward the club. Here is my chance. I begin to raise my hand to wave and for a split second our eyes met. Before I had time to blink or fully extend my arm he turned around and walked on to his bus. As I stared blankly at the bus I could hear the thunderous clank of the lock being fastened on the door.

It was on the lonely ride home that a lot of things became clear to me. John Cale is an artist and in that respect he is a master. Every time I put on one of his records I get a feeling that no other artist can, and that has not and will not change. I don’t know what I thought seeing him live would have done for me. Maybe I thought I would have a greater insight into him as a man or gain a better understanding of his music. Maybe I just wanted to let him know how much he meant to me beyond just being the guy that left The Velvet Underground. Even though that moment I had never felt such great disappointment, I am glad that he turned his back on me, whether he did it consciously or not.

So I am not going to Austin. I will not be driving for 6 hours, spending 20 more dollars on a concert ticket, waiting in line to get my early 1970’s ads from Melody Maker signed or trying to get my picture taken with a 63 year old musician.

Am I glad that I went to The Granada tonight? Yes. It was a great show and I am glad that I got to experience the music live. And it did something that I didn’t plan on, it turned my views on the relationship between art, artist and consumer upside down. But what else is great art meant to do but to make you feel elated and confused at the same time?

This is all too much to think about. I am going to go lye in bed and listen to Trapped in the Closet.

* EDIT: Ah fuck it I am going to go ahead and include this self made album of unreleased/rare material as well because I just got back from a really nice date involving spinach quesadillas and Terminator 2 so I am feeling extra generous. These are all tracks that I have collected from various bootleg/collections/live sources and arranged in a some what coherent fashion and titled Save us From the House of God. Aren't I clever? Of particular interest is the song Velvet Couch that is a collaboration with David Bowie in Bowie's apartment at cocaine o' clock sometime in the early 70's. The recording quality is horrendous but it is a rare piece of Cale history.

It List: Tuesday

A Giant Dog/ John Wesley Coleman III/ Kampfgrounds (J&J's): I wrote the below Austin dis before I realized that A Giant Dog is in fact a band from Austin, and not a half bad one either. Their sound is pretty much that Austin "garage rock" sound (whatever the hell that even means anymore), but we can't necessarily fault everyone who makes this music just because its the go-to genre for "edgy" Ron Paul supporters. Anyway, A Giant Dog actually does this kind of thing the right way, and fans of the Oh Sees and the Fresh and Onlys, especially those who dig a rougher sound with more rockabilly and classic rock n roll influences, will certainly want to see this.

Singles Going Steady (Rubber Gloves): This looks and sounds like a good time, but if it was in Austin it would annoy me. That's why Denton's "scene" is better, in a nutshell-- thanks to that stupid Matador comp, we're gonna have to face at least several years of almost every band coming out of Austin consisting of people trying to "make it" in music. Bummer.

Monday, August 23, 2010

It List: Monday

Gobble Gobble | Florene | Pocket Change | Dharma (Doom)

One of the more exciting acts to emerge in the local music scene is the one woman powerhouse who goes by the name Dharma. I have witnessed two of her performance and both times I was astonished by the amount of focus and control she seems to have over every aspect of her squirm worthy performance. She is a refreshingly confrontational performer and not just the the get in your face and scream way (which she does) but the over all aesthetic quality; the way she moves, facial expression, body contortions all seem very deliberate and self assured and totally off the wall. Through out her recent performance at Dan's I kept waiting for the surly sound guy to come pull her off the stage, or the bar top where she ended up at various times. Her stage persona combined with lackadaisical synth-driven ballads and murky distorted lyrics is a refreshing, forward thinking approach which warrants multiple ingestions. Musically you could draw parallels to Darktown Strutters, but Dharma's approach is much less refined and raw, trading in Darktown's post modern ice queen approach for a much dirtier wallop. The performance is almost a cathartic experience, you can watch her wail and pound so you don't have to. It is pretty easy to get in front of a group and make them uncomfortable, but it takes skill to couple that with an engaging performance.

Pocket Change share a similar 'what the fuck' aesthetic to their live performance. The music is much more sexually driven as opposed to Dharma's humanity crushing dissonance. I have been following this group with a close eye since their first splash onto the scene a couple years ago when the then duo would leave audiences with that uncomfortable feeling after a one night stand. The sex was great and freaky but the next morning you are left questioning what happened the night before and where that stain came from. The group has toned the sexuality down since becoming a trio. While the air humping isn't as frequent, there is a certain dime store glamor that they bring to the stage which hits the same nerves. Just like Dharma, Pocket Change make an effort to marry their music with a performance that reinforces the undertones of the music while creating an experience that a recording can't capture. They are a dance band, but unlike the hollow soullessness of Sextape, the group have a certain humanity and fragility that brings the music above the ironic throwback style that is so prominent in the dance music scene. The interactions between the members, both physically and musically, is something I don't see very often either, at least not effectively.

I would not consider either of the acts 'performance artist' because the musical backbone they share is strong and would still be interesting with out the theatrics. But it's a welcome touch.

Gobble Gobble are from Canada, sorry that's all I got.

Rayon Beach | Jack O'Hara | Museum Creatures (The Nightmare)

The End

So it's sort of been a long time coming for those of us at WeShotJR HQ, but after several months of thinking and talking about it, we've decided, for a variety of reasons, that the time has come to put an end to this website after nearly 5 years. The reasons are many, of course, and we'll explain a lot of them to you here in the coming weeks, but with writers moving to different cities and taking on more involved jobs, etc., we feel like we've slowly been running out of the free time necessary to run this website the right way, and therefore should put a stop to it rather than continue on in a reduced capacity.

We'll continue our posts as usual until some time in mid to late October (we'll reveal the exact date soon), and we'll be hosting a small event around that time to celebrate some of the musicians we've enjoyed here over the past few years. In the meantime, we'll be doing several interesting features, reviews and interviews as we wind things down, and you'll see those pop up here over the next few weeks. Stay tuned for more information in the weeks to come, and thanks so much for reading all these years.

Sunday, August 22, 2010

Monday Morning Rock

MON: Gobble Gobble | Florene | Pocket Change | Dharma (Doom)
MON: Rayon Beach | Jack O'Hara | Museum Creatures (The Nightmare)
TUE: A Giant Dog | John Wesley Coleman III | Kampfgrounds (J&J's)
WED: Amo Joy! | New Science Projects | Fishboy | Iji (The Hydrant)
THR: Teenage Cool Kids | Mind Spiders | St. Dad (Rubber Gloves)
FRI: Justice Yeldham | Solypsis | Drums Like Machine Guns | Heavy Medical | Depths | Filth | Ascites (Doom)
FRI: Kashioboy | Peopleodian | Museum Creatures (Nightmare)
SAT: Drug Mountain | Dust Congress | Daniel Francis Doyle | Drink to Victory (Rubber Gloves)
SAT: Stymie | No Heroes | Sour Mash | Genius Party | Prognosis Negative | High Anxieties (Little Guys Movers)
SAT: Florene | Missions | Cygnus (The Cavern)
SAT: Telegraph Canyon | Spooky Folk | Monahans | Final Club | Old Snack | Baruch the Scribe | Goldilocks & The Rock | Land Mammals | DJ Five Easy Pieces (Hailey's)
SUN: Tweak Bird | Drums Like Machine Guns | Heavy Medical | Depths (The Nightmare)

Friday, August 20, 2010


By Defensive Listening.

I was lucky enough to catch Yells At Eels and Blixaboy at The Cavern last night, and it was definitely the best show I've seen there in well...probably years. Yells at Eels was as solid as always, but this time the soft refrain/chaos/soft refrain switching-off brought to mind records like Sun Ra's Lanquidity, or Art Ensemble Of Chicago's Les Stances à Sophie which are a couple of personal favorites as far as "out-there" Jazz goes. Stefan Gonzalez is moving to Austin soon, and will be sorely missed, but something tells me we will still continue to hear great things from this legendary local family.

As far as Wanz' Blixaboy set, I'll be the first to tell you that I've heard plenty of hyperbole from Dover over the years about his various projects, and I understand that it's a mix of civic frustration and an almost impossible and borderline insane determination that keeps him so on-edge. Just a guess. Maybe I recognize it in the very reasons that started this whole website. All guessing aside, I have to say that it was by far the best set I've ever seen Wanz play, thanks in no small part to his excellent drummer. I'm the first guy to get nervous when I see the laptop/theremin combo, but Wanz really, really pulled off the various styles of electronic sounds he's into with more confidence and success than I've previously seen. Keep in mind that this is a guy I've watched since I was sixteen. That's much longer ago than I even want to admit, but I'll give you a hint: Chris Farley was still alive.


George Quartz | Darktown Strutters | Future Blondes | DJG (Pastime Tavern): Dallas debut for Future Blondes, which is yet another avant-leaning Houston group that doesn't suck, and just lends more substance to my theory that the city has always been a dark horse in the never-ending discussion on Texas music. After all, this state is as big as Afghanistan, remember? The group is led by one particularly prolific Houstonian, simply named Domokos, who has ties to other respectable acts like Rusted Shut and has even written (and quite well, I might add) for Houston Press, interviewing such underground luminaries as Psychic TV cohort and Genesis P-Orridge's manager Ryan Martin as well as WFMU musical director Brian Turner. It's important to let people who actually deal with music firsthand to have a say in things, as the content of these interviews proves.

Houston also has some forward thinking venues like Notsouh and Super Happy Fun Land which has regularly hosted noise fests and other under-the-radar events, yet still receives regular coverage in the city's alternative weekly.

Not only that, but the best show I've probably ever attended was in Houston: The Ex playing in a high school cafeteria with The Aislers Set, which was sponsored by the non-profit group, MECA. It was at this show that I realized what a strongly supportive underground, free jazz, and noise scene Houston had, and I started to understand why the city's dealers always have the best selection at every record convention. There were little tables set up with all sorts of activist pamphlets and the atmosphere was extremely friendly and utopian. Finally if you're ever naming names, don't forget Jandek, Red Krayola, DJ Screw, and the entire International Artists roster.

In short, don't sleep on this show and don't talk shit about a place you know very little about. You know what other city is cool? LA.

Sextape | Museum Creatures | Vulgar Fashion | Prince William (Fallout Lounge): Great lineup with various forms of synth aesthetic, both poppy (Sextape, Museum Creatures) and creepy (Vulgar Fashion). Last time I saw Vulgar Fashion here they only performed one song, which was a complete drag, but it was the best one-song set I've ever seen. It's good to see Prince William out and about. I know someone was saying on some comment this week that we only ever covered "hipster" dance music, but I'd like to see someone claim that the work that Prince William did with local rapper Hawatha in particular is hipster. Can we finally abolish that stupid term anyway? We're all guilty. Trust me, when you're hanging out at Gloria's or whatever and you're not the polo-necked men and mannequin women actually enjoying themselves, but instead arguing with your friends over "Who got what?" and "Who's getting the tip?" then you're definitely not anyone that should be calling anyone else a "hipster."

Slow Form of Suicide | Contract Killers | Shudder | Ratt Bastards | Electric Vengeance (1919 Hemphill)

The Smoke: Lost Summer Dance (Sons of Herman Hall)

The Terror Pigeon Dance Revolt | Kiwi Sisters | Manned Missiles (Nightmare)

Analog Rebellion | Archeology | Land Mammals | Young and Brave (Hailey's)

Caleb Ian Campbell | Peopleodian | Savage and the Big Beat (Dan's)


Embolization | Akkolyte | The Body (Pastime Tavern): I was surprised to see that crazy, costumed duos that play loud and heavy music still come from Providence and that people are still into it. I genuinely think that's cool. It may not be as shocking as it was in 2000, but isn't it kind of reassuring that the world isn't as different as you thought it was? Some of their tracks take themselves more seriously than I was expecting. One track in particular had me worried because it kind of sounded as simultaneously grandiose and somber as something by Dirty Three or Mono. But then I hear this ridiculous cover of Black Flag's "Police Story" and the nasty desperate screams that passed for a vocal made the other slow song so much better. Know what I mean? DIVERSITY. The classic metal of Embolization along with the politico-grind of Akkolyte make this a perfect, fucked up beast of a show.

Ghetto$lang | Gobi | Yeahdef (Hailey's)

Dan Sartain (Nightmare)


Video | Gestapo Kazi | We Are Brothers (Rubber Gloves)

Thursday, August 19, 2010

It List: Thursday

Archeology/Battlehooch/Six Gallery (The Nightmare)

Blixaboy/Yells At Eels/New Fumes (The Cavern): I was glad to hear that Wanz is calling his newest record Kliks and Politiks since that happens to be one of his most-often made comments that we have quoted endlessly over the years. He will be joined by a drummer tonight, who I would have to imagine is pretty good in order to keep up with the staggeringly wild mess that Dover concocts live, no pun or insult intended. There is usually nothing "minimal" about what Wanz does, let's just get that out of the way right now. Speaking of good drummers, and good at everything really, Yells At Eels is also playing.

White Drugs/Puffy Areolas/Kaboom (Rubber Gloves): I have heard quite a bit about Ohio's Puffy Areolas and it looks like they will be playing with a much more suitable lineup than the last time they were and performed at Mable Peabody's. One of their labels likens them to the screeching and overdriven sound of Raw Power and who doesn't like that? White Drugs is playing not only a rare show, but an even rarer record release show for the limited edition run they have of their second album Gold Magic. It's cool that they released a record with AmRep, but I can't believe they did a split with Halo Of Flies more than anything. Here's an old review SR did on them from 2007. Remember that year? It was awesome.

Art List

SATURDAY, August 21, 2010

Melanie Lewallen
Laura Doughtie
Loran Thrasher
Kettle Art Gallery
2714 Elm Street, Dallas TX 75226
7:00 PM - 10:00 PM

Resonance: Watercolors (Billie Giese)
Birdsong: New Oils (Shari Hornish)
Norwood Flynn Gallery
3318 Shorecrest, Dallas, TX 75235
6:00 PM - 8:00 PM

No Rhyme Or Reason (group show)
1514 Commerce Street, Dallas, TX 75201
7:00 PM - 10:00 PM

Wednesday, August 18, 2010

Hey I Couldn't Find Anything For The List. Don't Watch this at work.

Tuesday, August 17, 2010

It list: Tuesday

The Room | DJ boatDAD (Dan's)

How could we forget this one. 8pm at Dan's.

Corbin and The Loners | That One Machine | Those Damn Kids | Two Knights | Eccotone (1919 Hemphill)

WSJR Reader of the Week-- Rodrigo Diaz!

Sometimes we like to kick little shout outs to the people who make all this possible-- the bands? Oh hell no, THE FANS! This week we're showing our appreciation for one of our most avid readers, the Dallas Observer's own Rodrigo Diaz. Why? Well we've never spoken with Rodrigo so we can't be 100% sure how often he reads WeShotJR, but we're pretty sure he must check out the site, at least from time to time, based on the two latest stories he's filed for the Observer.

You see, a couple weeks ago we posted a short story on Denton's White Drugs releasing a full length album on Amphetamine Reptile, and a few days after we did so, Rodrigo went ahead and did his own story on the exact same thing after reading our post (he basically admitted this in the comments section of his story). Was his article just a copy of our post? Well, not exactly. After all, he did make the shocking revelation that the band hadn't "technically signed" with the label, and instead had only come to some kind of agreement on releasing one full length and a couple of tracks on AmRep compilations (altough written or not, any agreement like this could be considered a contract of some kind and thus render the band "signed" with the label, even if they didn't literally pick up a pen). We kind of wish our pal Rodrigo would have let his readers know where he first got wind of this story, but its ok, we won't hold something like that against one of our fans.

Next, we did a short post last week previewing a performance from Italo Disco legend Alexander Robotnick, and several days later, Rodrigo did his very own post previewing the same show, this time adding an interview that was quite enjoyable to read. Again, Rodrigo didn't plagiarize us, but we're pretty sure that we must have served as an inspiration for him yet again, and we're very pround to be able to influence a writer for and thus the reporting of a paper with a large circulation like the Dallas Observer, even if we don't get credit for it.

So thanks for reading, Rodrigo, and keep up the good work! You're welcome to come work directly for us any time you like!

Monday, August 16, 2010

It List: Monday

Monday Morning Rock

MON: Rip It Up/Raging Boner/Innards/Prognosis Negative (1919 Hemphill)
TUE: Corbin and The Loners/Lauren Moseley/Two Knights (1919 Hemphill)
THR: White Drugs/Puffy Areolas/Kaboom (Rubber Gloves)
THR: Blixaboy/Yells At eels/New Fumes (The Cavern)
THR: Gordon Lightfoot (Verizon Theatre)
FRI: George Quartz/Darktown Strutters/Future Blondes/DJG (Pastime Tavern)
FRI: Prince William/Vulgar Fashion/Sextape (Fallout Lounge)
FRI: Slow Form of Suicide/Contract Killers/Shudder/Ratt Bastards/Electric Vengeance (1919 Hemphill
FRI: Analog Rebellion/Archeology/Land Mammals/Young and Brave (Hailey's)
SAT: Violent Squid/Embolization/Akkolyte/The Body (Pastime Tavern)
SUN: Video/Gestapo Kazi/We Are Brothers (Rubber Gloves)

Friday, August 13, 2010



Nightmare on Mulberry w/ Shane English | R9 | DJG | Denton's Bella Bombers Burlesque (Hailey's)

This is a goth themed dance party with some spooky burlesque entertainment.

The Wax Museums | The Pleasure Kills | Wild America | Bad Lovers (Rubber Gloves)

Alexander Robotnick | Mr. Daishiki Jones | Myles Francis (Brooklyn Jazz Cafe)

I called Brooklyn Jazz and the guy said the show is starting at 8pm.

Birds and Batteries | Spooky Folk | Roy Robertson (Andy's)

Subex's second anniversary show. Congrats on making it this long.


Manatee Tights | Dharma | Kampfgrounds (Dan's)

Record Hop | Matthew & the Arrogant Sea | Regina Chellew | Pinkish Black (Kessler)


True Woomanhood | Darktown Strutters | Vulgar Fashion (Rubber Gloves)

3 On Sunday (Dan's)

Improvisation on a Concerto Generator

"Under a tight deadline, composer Laurie Spiegel slept in the labs of Bell Telephone while the final components for the Alles synthesizer were being completed. The final composition, commissioned by Bell and the Motion Picture Academy, is seen here in the only existing footage of the first real-time synthesizer being played."

Paddle to the Sea

“Based on Holling C. Holling’s beloved Caldecott-awarded children’s book, William Mason’s stunning film follows the adventures of a tiny, wood-carved canoe as it forges its own path from Lake Superior through the Great Lakes and down to the Atlantic Ocean. Buoyed by beautiful photography and a sense of true wonder about the sun, Earth, and water, the Academy Award–nominated Paddle to the Sea is an unforgettable tribute to the forces of the natural world, as well as a thrilling journey across the waves and rapids of North America.”

PHI TA KHON: Ghost of Isan

"Masks and outfits made of coconut husks, rice steamers, shredded rags and clanging bells transform participants of Thailand’s PHI TA KHON festival into ghosts, devils, demons, and spirits unleashed for a bacchanal. Outrageous wooden phalluses and plenty of rice whiskey heighten licentious behavior as MO LAM--Thai country groove music--blasts from makeshift bands in the back of pickup trucks… 
Described as ‘The Mardi Gras from Hell’ and ‘Thai Halloween" PHI TA KHON is a ghost festival that takes place every year in the Isan province of Northern Thailand."

Filmed on location by Robert Millis and Richard Bishop (Sun City Girls) in June 2004.

Thursday, August 12, 2010

It List: Thursday

White Mountain/Maleveller/Big Fiction/Mitra (The Nightmare)

Psychic Steel/Fielded/Cuckoo Byrds/Orange Coax (Majestic Dwelling Of Doom)

Psychic Steel and Fielded are both visiting us from that great city of Chicago. Fielded sound like an Enyanized version of local favorites Fight Bite incorporating the same gloomy dream like pop-scapes but with more of a Renaissance Fair vibe than FB. While that may lead you to believe the sound is cheesy, the music still remains rather sophisticated yet down to Earth. Psychic Steel explores a more progressive take on the synthetic sound, more Moroder than Magnetic Fields. The band effectively breaks down the structures of some more popular indie music of today and deconstruct it almost to the point of critique. Think of The Residents covering The Beatles. Some of the songs can go on a little too long but the fresh approach more than makes up for it. Two out of town acts I have never heard before yesterday but both have me excited in the nether regions to see what their performances have in store. Orange Coax are fresh off their first second North American tour and I am sure they have some great battle scars which they will be more than happy to share as you buy a copy of their latest vinyl release. Happy Birthday to Dwelling of Doom Sergeant-at-Arms Natalie.

Art List

Two great things going on tonight, and a grand opening Friday...

THURSDAY, August 12, 2010

taking in (Jonathan Brooks)
Magnolia Gallery
3699 McKinney Avenue, Dallas, TX 75204
8:00 PM - 10:00 PM

From Gallery Manager Scott Horn: "We hung Jonathan's new series last night and it is a BEAST! I mean this figuratively and literally; the work is visceral and engaging, and is also the biggest and heaviest set of art we've ever put on the wall. This piece in the photo was so big we had to keep it on the floor; come by and see for yourselves..."

Herb and Dorothy (film screening)
Samuel Lynne Galleries
1105 Dragon Street, Dallas, TX 75207
7:00 PM - 8:00 PM

A truly inspiring documentary about Herb and Dorothy Vogel: "He was a postal clerk. She was a librarian. With their modest means, the couple managed to build one of the most important contemporary art collections in history. Meet Herb and Dorothy Vogel, whose shared passion and disciplines and defied stereotypes and redefined what it means to be an art collector. 'You don't have to be a Rockefeller to collect art.'" More about the movie here.

FRIDAY, August 14, 2010

Double Trouble (Lanie DeLay)
The Reading Room
3715 Parry Ave Dallas, TX 75226

New event location opening this week: "A new project space run by Karen Erxleben Weiner opens in Dallas, located at 3715 Parry Avenue between Exposition and Commerce! The Reading Room, through occasional readings, performances and installations, explores the many ways in which text and image interact. For the inaugural exhibition, a solo show of recent double portraits by Lanie DeLay are featured in the exhibition..."

Featured image used without permission of Lanie DeLay

Wednesday, August 11, 2010

It List: Wednesday

Built to Spill/Finn Riggins/Telegraph Canyon (Granada): I've never been the kind of person to like or even be interested in something merely because its "local," which is probably why I've never really taken the time to sit down and listen to Telegraph Canyon. I mean, I'd heard them before today, but only briefly and passively, and frankly, they've left me largely indifferent over the years-- after all, they're an "Observer band," championed by people like Noah Bailey and Pete Freedman, which means they probably sound like some mixture of Arcade Fire and Wilco minus the prestige of actually being Wilco or Arcade Fire, right? Fair enough, but guilt by association doesn't always apply in music, and these guys deserve to be heard before I go shooting my mouth off any further, don't they? Well, I'm listening to them right now, and they actually DO sound a shitload like Arcade Fire and at least a little bit like Wilco (I promise I wrote that sentence before I listened), not to mention groups like Band of Horses (that one dude even looks like the other dude), My Morning Jacket and, uh, whats that one where they were tried to be like a southern version of the Strokes until they turned into a boyband? Oh yeah, Kings of Leon. But the older stuff, not the boy band stuff. There's also a song that sounds like Arcade Fire COVERING a Springsteen song, which could produce all kinds of post-modern angst if contemplated for too long. The thing is that although there seems to be hundreds of bands in North Texas doing this sort of folk/post-arcade fire/lil bit country indie rock sound, Telegraph Canyon is one of, if not the best of that bunch, and that fact becomes pretty clear after just a few minutes of listening to their music. I'm aware that the band has already been reviewed in Rolling Stone and received "Album of the Year" honors from almost every major media outlet in Dallas-Ft. Worth, but their music, although somewhat predictable and conveniently marketable, is quite proficient and not even close to being as boring as it might look on paper. Whether you disagree with me or not is up to you, but this little experiment sure beat having to come up with yet another thing to say about Built to Spill. Tonight is the Granada's 6th Anniversary celebration.

Tuesday, August 10, 2010

It List: Tuesday

Paranoid Time/Being/Rusalka/Taskmaster/Godless Girl/So Boring (Majestic Dwelling of Doom): This show is presented by Rob Buttrum of House Of Tinnitus, and as always, he threw a few words on the Facebook invite to describe each performance to break down the style of noise each act plays, as only he could. What follows are his descriptions for each act, with some notes on each.


Aye yai yai, sounds like my last relationship!


Apparently, this act is going to be extremely harsh.


So is this one. Except minimally.


And this one. Except crumblingly.


Ok, and this one. Except thickly.


Alright, finally, so will this one. Except weirdly. Beats "brutal," right?

One more thing: "So Boring" is a great name and they have an even better Myspace URL.

Disco Cube With DJ TraDeMarx (Fallout Lounge)

Soular Power (Lee Harvey's)

Screening: Dr. Strangelove (Texas Theatre)

Monday, August 09, 2010

It List: Monday

Mammoth Grinder | Power Trip (Lion's Den)

I don't know too much about this style of metal played by Mammoth Grinder but I will tell you about this one time I was in a museum having a delightful discussion about Mammoths native to the North American region when...nah I'm just joshing ya no personal story to go along with today's posting. This show is starting early, around 8:30, so if you want to catch it get there early. Evidently everyone is trying to get out early so they can go to Gamestop to pick up a John Madden football game at midnight. Seriously? I thought the genre peaked with Joe Montana Sports Talk Football.

Special Show Alert: Alexander Robotnick Is Playing in Dallas This week so Don't be a moron and miss it

Italo Disco icon Alexander Robotnick (real name, Maurizio Dami) is playing for the first time ever in Dallas on Friday, and you should do what you can to make it out to this extremely rare performance. Robotnick's career began with the quirky "dance cabaret" act Avida, whose 1981 seven-inch is quite different from most of his work, but still worth checking out.

He first gained underground notoriety with the single "Problemes D'Amour" which became a set-staple at important New York spots such as The Loft and The Paradise Garage. After producing a number of Italo classics he went on to do collaborative multimedia work in art and theater productions, and eventually branched out into more world music territory.

Thankfully, his current performances seem to focus more on the era in which he made his name. Not only was I told by a friend that had the privilege of recently performing with him in London that he was amazing live (especially at his age), but I was impressed by this "live edit" take on Charlie's "Spacer Woman" at a recent performance in Russia.

This show show was originally at an art studio, but has since been moved to Brooklyn Jazz Cafe, located at 1701 South Lamar in Dallas. Event is presented by Fresco & Axel.

Monday Morning Rock

MON: Mammoth Grinder/Power Trip (Lion's Den)
TUE: Paranoid Time/Being/Rusalka/Takmaster/Godless Girl (Dwelling of Doom)
WED: Built to Spill/Finn Riggins/Telegraph Canyon (Granada)
WED: Naomi Punk/Masters and Johnson/Sundress (Dan's)
THR: Fuckin Psychic Steel/Fielded/Cuckoo Byrds/Orange Coax (Dwelling of Doom)
THR: Alpha & Omega/Human Error/Burden Me/End Times (1919 Hemphill)
THR: Off With Their Heads/White Night/No Heroes/Stymie/Swedish Teens (Rubber Gloves)
FRI: The Wax Museums/The Pleasure Kills/Occult Detective Club/Bad Lovers (Rubber Gloves)
FRI: NOTE CHANGE OF VENUE: Alexander Robotnick/Mr. Daishiki Jones/Myles Francis (Brooklyn Jazz Cafe)
SAT: Manatee Tights/Dharma/Kampfgrounds (Dan's)
SAT: Record Hop/Matthew & the Arrogant Sea/Regina Chellew/Pinkish Black (Kessler)
SUN: True Woomanhood/Darktown Strutters/Vulgar Fashion (Rubber Gloves)

Friday, August 06, 2010



Zanzibar Snails
| Experimental Birthday Band | ...Deflowered Electric Flesh Bride | A Smile Full of Ale (Dan's)

One of two terrific experimental/noise/whatever shows to happen in Denton this week, the other being the Doom show Tuesday with RUN DMT/Take up Serpents. Tuesday's show was so far my favorite show of the summer, with Ariel Pink and Quintron close contenders. Perfect mix of the unexpected, audience coagulation and sweat. I gave a stranger a ride home after the show which ended sometime after 3am. The entire ride their eyes were wide open in post shock from the nights performances, or possibly some DMT that was consumed earlier. We discussed how difficult it is to pin point what exactly it is about these live experiences that are so enthralling. The general consensus was the power they have to bring people together to experience a performance that most would never dream of attending. But back to this show. Experimental Birthday Band features members of Ghostcar while ...Deflowered Electric Flesh Bride features Aaron Gonzalez. I'm sure tonight will end up like a avant-garde version of Hee-Haw with members on and off the stage at various times. Recommended.

Laser Disc | Final Club | Tow the Line | Land Mammals (Lion's Den)

The show starts at 9pm and it is requested that you leave the premises promptly after the show is over so the cops don't show up. This is a great place for shows and we all want these to happen more often don't we? So don't be a dummy and linger in the street trying to pick up half drunken girls, get over to Dan's cause I bet the show will still be going on over there. If you are lucky I bet you can convince the girls to follow you.

Grass Fight | Deep Snapper | Spiral Sound (Pastime Tavern)

Nathanael Mehrens | Bryan Wakeland | David Ramirez | Matthew Gray | (The Kessler)


Curvette | Monkeytown | Count Dracula's Weed Smuggling Jam Engine (Hailey's)

Curvette remind me of the experimental instrumental stuff that came out of the early nineties via Chicago like Gastr del Sol or Tortoise but with a dirtier southern grace. I can get bored easily by music of this type but these guys have a energy more akin to a jazz trio that keep the songs exciting from the get go. The songs seem tailored made for live performance and crowd surfing.

Record Hop | Saboteur | Bad Design (Rubber Gloves)

Woven Bones | Nervous Curtains | The Bipolar Express (The Nightmare)

The other contender for weekender video was of course Nervous Curtain's All Yesterday's Parites. A very well done and funny video. Could this be a break out single for Nervous Curtains, I am putting twenty dollars down that they will be opening for Norah Jones next year.

Away From the Numbers (Fallout Lounge)


Spooky Folk | Dark Dark Dark | Fox & The Bird (Hailey's)