Lucky to catch three bands in three different cities is something that I will never do again. Losing my phone in Detroit, losing myself in Pittsburgh, and losing my lunch in Columbus was enough to take all of my energy. Purely for pleasure, I ventured to uncharted territory to Pittsburgh and witnessed Graveyard.
Hailing from the beautiful lands of Gothenburg, Sweden, it initially wasn’t love at first sight for me and Graveyard. Like any functional relationship, it took work. Our first meeting was only okay. The sun shined on the four piece as their beautiful hair blustered in the wind, but while their talent was evident in Pittsburgh, my like of Graveyard grew into a full crush in Detroit. On their 37th performance on this tour, I’m not sure what it was that made my heart a-flutter during their set. It’s possible that it was the perfect venue that is Freedom Hill Amphitheatre, the crowd that was more than into the band, or maybe it was as simple as closing my eyes and letting them take the lead. I traveled back to a time where love was rampant and Graveyard was the soundtrack. Their 70s era soft psychedelic-blues-rock formula was the right mixture for our one-sided love to grow. Joakim Nilsson’s voice is reminiscent of a classic rock band from the 1970s, but with a relentless intensity and hunger behind it. If attendees at The Missing Link Tour were unaware of who Graveyard was before the show, they definitely knew who the fuck they were after.
Consistency is another word that describes a stable relationship. My first Clutch show was in Columbus in 2013 and my knowledge of the band was that a guy I was dating was really into them, so that obviously meant that I was into them as well. During the show, I became intrigued. Clutch is so much more than “Careful with That Mic”. Neil Fallon’s testosterone-filled voice always reminded me of my father and his friends, breath smelling of Jack Daniels and cheap beer talking about what seemed like nothing but was always something. Before Clutch’s performance in Detroit, I had the opportunity to sit down with Fallon (video interview to be posted soon) and he mentioned that he was ready to go home to resume some normalcy as a husband and father before inevitably leaving for another tour. With this part of our conversation in mind, I witnessed Clutch perform at the Freedom Hill Amphitheatre to a packed audience. I didn’t see an empty seat and Fallon delivered, song after song, sipping on what looked like bourbon or whiskey and water, with his well-groomed beard shaking with every syllable, whether it was “The Burning Beard” or “Profits of Doom” or “Spacegrass”, Fallon easily commanded attention with only the boom of his voice. Filling in on bass for Dan Maines, since his wife is about to give birth, Fu Manchu bassist Brad Davis played both Sterling Heights and Columbus dates, from what I could tell flawlessly. Slated for release in September, Clutch’s “Psychic Warfare” will most likely be supported with another tour in 2016.
My motivation to go on my itty bitty min-tour was Mastodon. The Atlanta-based outfit got ahold of me when I was still a minor. Sitting in my grandparents’ living room watching MTV, “Colony of Birchmen” appeared on my screen and I was changed forever. Unlike my growing love of Graveyard, I fell for Mastodon instantly. While naysayers criticized the band for their latest release “Once More Round the Sun” for being “not metal enough”, or even “pop”, it is one of their strongest.
Brent Hinds, the band’s most animated and charismatic guitar player, performed “DC Sound Attack” with Clutch in Sterling Heights and also played guitar with Graveyard in Columbus. I unfortunately missed a performance of “Blood and Thunder” in Red Rocks, Colorado where Neil Fallon took the stage with Mastodon and sounded like a blood thirsty Viking after successfully pillaging a small town.
Hinds’ antics such as kicking amps and rapidly flicking his tongue kept my eyes on him, but in each city I did notice that his vocals were muffled. In Pittsburgh, I couldn’t find the proper words to describe the bass god that is Troy Sanders but in Detroit the haze became slightly clearer. In Columbus, the smoke finally waned; watching Sanders is as if he is possessed and the “normal” man inside is fighting the possessed part of him and losing. Swaying and hell bent on bending his back as close to 90 degrees as possible, talking and pointing to the audience, and occasionally bulging his eyes, Sanders took Hinds’ spot as my favorite member of the band. With that said, Bill Kelliher and Hinds effortlessly shred the hardest but make it look so easy. I overheard a man at the show in Columbus mention something about how the men of Mastodon somehow haven’t developed carpel tunnel.
Both “Megaladon”and “Oblivion” were crowd favorites in all three cities, but hearing one of my favorite tracks from “Once More Round the Sun”, “High Road”, was enough to seal in my Mastodon fandom. Although The Missing Link tour is over, both Clutch and Graveyard are planning new material to be released in September of this year. This tour made me feel as if I am capable of love. Tour continues for Mastodon at Free Press Summer Fest in Houston, Texas, and then to Europe.
BETH ISRAEL RELEASES EP ON DULL TOOLS AND ANNOUNCE US TOUR
BETH ISRAEL seem to get noisier and more dissonant as their pop sensibility becomes more refined. THE LOANER , the band's third release and second cassette on DULL TOOLS , only reemphasizes the relative solitude and obscurity that the group exist in. Not unlike the bizarre avantpop of TOMMY JAY or TRONICS, homage is paid to a variety of musical traditions, while maintaining a core sound. Acidcasualty sound collage and cinematic baroque trash tie together tunes that some would call "synth punk" but BETH ISRAEL would just call "music".
We can't tell you much about BETH ISRAEL , the band or the individuals that make up its membership. Rumor has it that the longtime duo is now a touring trio.
Truth or underground gossip?
Catch them on their
tour of the USA to find out:
THU MAY 21 Austin, TX @ Hotel Vegas
FRI MAY 22 Waco, TX @ True Love (w/ Loafers)
SAT MAY 23 Denton, TX @ Rubber Gloves (w/ Party Static)
SUN MAY 24 Fayetteville, AR @ The Backspace
MON MAY 25 Oklahoma City @ The Shop (w/ Cherry Death)
TUE MAY 26 St. Louis, MO @ Foam (w/ Ex Cult)
WED MAY 27 Joplin, MO @ Cesspool Manor
THU MAY 28 Kansas City, MO @ Green Desert (w/ Phantom Head)
FRI MAY 29 Omaha, NE @ Sweatshop Gallery
SAT MAY 30 Chicago, IL @ Wally World (w/ Cigarette Bums)
SUN MAY 31 Milwaukee, WI @ Bremen Cafe
TUE JUN 2 Detroit @ UFO Factory (w/ Merchandise & Nothing)
WED JUN 3 Columbus, OH @ Double Happiness
FRI JUN 5 Albany, NY @ The Treehouse
SAT JUN 6 Boston Hassle Presents… @ Lilypad
TUE JUN 7 Danbury, CT @ Heirloom Arts Theatre
MON JUN 8 Brooklyn, NY @ Shea Stadium
THU JUN 11 Brooklyn, NY @ Silent Barn (w/ Heaven's Gate)
FRI JUN 12 Kutztown, PA @ Spaghetti House (w/ Heaven's Gate, Ghost Dads)
SAT JUN 13 Philadelphia, PA @ A House Called Virtue (w/ Heaven's Gate, Mannequin Pussy)
SUN JUN 14 Washington DC @ Above the Bayou
TUE JUN 16 Raleigh, NC @ Nice Price
WED JUN 17 Athens, GA @ Flicker Bar
THU JUN 18 Nashville, TN @ TBA
FRI JUN 19 Memphis, TN @ TBA
SAT JUN 20 Dallas, TX @ The Foundry (free show w/ The Hussy)
Los Angeles based artist Shepard Fairey has been in Detroit this week doing what he does best- ART. He has been painting what will be his largest mural to date, a 184-foot-wide by 60-foot-tall design on Dan Gilbert's Compuware Building.See in-progress photos of Fairey's mural here.
This is in addition to exhibiting in Public Matter, the Library Street Collective's outdoor gallery.
It all leads up to Shepard's art show opening reception at the Library Street Collective gallery Friday night.
Shepard is well known just as much for creating the Barack Obama "Hope" as well for his "Andre The Giant Has A Posse" street art campaign. On top of that Fairey found huge success with his "Obey" clothing line that has branched out in many different facets.
The Printed Matters opening will coincide with Library Street Collective’s “Public Matter” exhibition located behind the gallery. Shepard will be the second artist to exhibit his work in “Public Matter,” the outdoor exhibition platform located in the Belt. Public Matter features a rotating exhibition of large-scale paintings by the most recognized and celebrated names in contemporary art. Shepard will also paint a permanent mural in the Belt as well as his largest mural to date in an undisclosed location in downtown Detroit. Printed Matter: Repetition, consistency, and persistence over the years yielded a growing audience for both Shepard’s outdoor and gallery art. As people started to request more versions of his images, he began to embellish upon his utilitarian printing techniques by printing on wood, metal, and canvas, as well as incorporating stenciling back into the work. Some of these pieces began to function as one-of-a-kind mixed media paintings. To keep his work affordable and accessible, Shepard also made screen-print-on-paper editions of his fine art pieces. “Some people say print is on its way out, that it will be wiped out by digital media,” says Shepard, “but I say you can never replace the provocative, tactile experience of an art print on the street or in a gallery. Printing still matters.”
Shepard states, “I’m a product of the era of mass production and the mass culture it has created. I can’t imagine my art practice without the influence of, and the use of, printing. Some of my biggest art influences were not paintings, but printed things like album covers, skateboard graphics, punk flyers, and t-shirt designs. When I discovered stencil making and screen-printing in high school, I used them to make t-shirts and stickers, but by college I began to use screen-printing to make art. I enjoyed illustration, photography, collage, and graphic design separately, but with screen-printing I could synthesize those techniques into an integrated final product. Screen-printing also provided latitude for experimentation and the ability to make multiples, and my style began to evolve as I explored the graphic nature of the medium. I tried to make images that would translate well to screen-print production. A harmony of beauty, power, and utility was my goal.”
Public Matter: Shepard, a popular proponent of public art, will create five large-scale paintings as part of “Public Matter,” the fully accessible outdoor exhibition platform located between the Z parking garage and within the Belt, a newly redeveloped alley connecting Grand River and Gratiot Avenue between Broadway and Library Street in downtown Detroit. The Belt, named for its orientation in a former downtown garment district, also features permanent murals by more than a dozen local, national and international artists.
“Everyone can relate to Detroit’s struggle as a community and understand the need for people powered projects in the city,” says Shepard. “Murals and public art are free to everyone and create energy and positive impact in communities; the art becomes a conversation starter or common reference point and that is good for public morale and discourse.” “Street art is one of the most democratic outlets for art. I consider myself a multi-platform artist, not just a street artist, but the audience I found through street art has created many of the opportunities I now have on other platforms and allows me to get my art directly in front of people, even if it is for a short time.” — Shepard Fairey
“Shepard Fairey’s work has had a cultural impact on the world. We are honored to bring this exhibition to Detroit and also provide a public platform for him to create while in our great city.” — Anthony Curis, partner, Library Street Collective
“Death Valley Girls are in love. Deeply, and always. “Summertime” is knowing so long as you are of pure heart and open mind, the universe will bring you together, somewhere, and maybe in the summertime, or not.”
It’s easy to mistake Death Valley Girls for a biker gang. First of all, the members of this snarling garage-rock quartet all look like they jumped out from the pages of Karlheinz Weinberger's Rebel Youth (an amazing book documenting '50s and '60s juvenile gangs). And at any one of their shows, a row of ratty, raked-out choppers can be seen lined up in classic motorcycle-club formation.
Even their names are reminiscent of vintage biker B-movies: Bonnie Bloomgarden is the leader of the pack. Peering out from a straight line of jet-black bangs is a bass player who just goes by “Rocky”. Laura Kelsey (formerly of surf/garage girls The Flytraps) plays Mo Tucker meets Nick Knox style drums and Larry Schemel who played in the last incarnation of legendary L.A. punk pagans The Flesh Eaters plays fuzz-heavy guitar like he just might be the bastard son of Davie Allan.
Speaking of guitar, you'd be hard-pressed to find a meaner one than the opening riff for “No Reason,” the most menacing song from DVG’s debut album Street Venom. It basically sounds like Larry plugged his guitar straight into a hornet hive and then kicked it. When the rhythm section kicks in it gives the song a sinister kind of rumble that would make Link Wray proud. Bloomgarden’s snotty, bratty vocal sneer cements their sound with old-school girl-gang attitude.
May 20, 2015 by DIETROIT Filed under Uncategorized
INK.² Detroit Event Date: June 5th & 6th, 2015 Tangent Gallery/Hastings Ballroom, Detroit
Sponsored by : Eternal Tattoos, Sailor Jerry Spiced Rum, Atelier Gothique Fine Jewelry, Sassmouth Ink, Tattoo Nouveau, Lady Luck Tattoo, Ink Addict, Ink Detroit, Green Man Tattoo and Skin Time.
INK is very pleased to be partnered with Burners Without Borders Detroit, to help this city's unfortunate homeless citizens. Canned goods will be collected at the door.
Tattoo-inspired artwork of all mediums will be on gallery display from more than 100 Local, National and International fine artists (see attached artist list). Special performances throughout the weekend by Metro Times' "Best of" entertainers Satori Circus and Lushes LaMoan, extreme hoola-hooper Holly Linton, and intense fire dancing by Wingless Feuer.
The VIP Collector's Preview begins Friday, June 5th from 7:30 p.m. until 9:00 p.m. VIP Guests will get a first look at the collection of artwork & a chance to speak with the curators and artists, while enjoying gourmet appetizers, pastries & libations as they are entertained with a Live Interactive "Anatomy of Art" performance by 6 of the top tattoo and fine art creators in Metro Detroit.
The Miss Ink Detroit 2015 competition will come to an end with the Finals and Crowning ceremony, Saturday June 6th, the closing night of the exhibition.
Guests will also have a chance to shop numerous local vendors,such as Eternal Ink, Ink Addict, Ink Detroit, Poison Ivy Designs, CreepynCute Shop, Metal Moon Tattoo Studio, Tattoo Nouveau, Lady Luck Tattoo, Happy Henna Designs, as well as browse the INK. Print Store.
INK serves to examine and celebrate the art, culture, lifestyle, history, anthropology and sociology of tattoos, tattooing, and being tattooed. The practice of permanently inking the body spans all cultures, religions and lifestyles throughout history.
EVENT INFORMATION: Show Hours - Friday, June 5th, 2015 7:30pm - 9:00pm (VIP Party & Collector's Preview), 9:00pm - 2:00am (General admission) - Saturday, June 6th, 2015 8:00pm - 2:00am (General admission).
May 19, 2015 by barouchj Filed under Uncategorized
“What the hell is that?” is a question pretty familiar to the controversial Brooklyn band Prince Rama. The answer is far from simple; sisters Taraka and Nimai Larson have lived in ashrams, worked for utopian architects, written manifestos, delivered lectures from pools of fake blood, and conducted group exorcisms disguised as VHS workouts. Their often unpredictable live shows incorporate elements of psychedelic ceremony, performance art, and dancefloor initiation rite, and when Animal Collective’s Avey Tare discovered them in a Texas dive bar in 2010, they were equipping the audience with handmade shoes clad with broken chimes."
With Memorial Day weekend just around the corner, electronic dance music (EDM) will be at the forefront of Detroit’s music scene once again.
On Tuesday, May 19 from 7 – 8:30 p.m., the University of Michigan Detroit Center, in partnership with the Detroit Techno Foundation and Movement, is proud to present, “Tracking the Mind of Detroit Techno.”
Open to the general public, this event includes complimentary admission, parking and light refreshments for all attendees.
As electronic dance music grew in popularity throughout the 1980s and 1990s, so did the landscape of producing tracks - specifically for live performances. With the concept of creating tracks for live mixing, rather than just blending songs, a greater emphasis was placed on the DJ to also be a producer.
Through an audio-visual and vocal presentation, this event will highlight the evolution of track creation vs. traditional songwriting, illustrate how a track is produced, discuss how technology has impacted music, and examine what defines the sound of Detroit Techno.
Participants for this event include:
Keith Kemp - DJ/Producer
Brendan Gillen - DJ/Producer/Label Owner
Brian Kage - DJ/Producer/Label Owner
About the Panelists:
Keith Kemp, a Detroit native, was drawn to Detroit’s electronic music scene and spinning records after high school in the mid-1990s, which led to connections with Detroit artists such as Carl Craig, Plastikman and Underground Resistance.
Kemp began spinning at record stores around metro Detroit, and later selling vinyl at the revered “Dance Room” of Record Time. Hoping to capitalize on Detroit’s mid-90’s rave scene, Kemp began performing across North America. He developed into a highly regarded technical performer, combining his love of house, Industrial and German minimalism with Detroit techno.
With a love of computers, Kemp has been collecting equipment since 1992 and established a technical expertise manipulating synthesizers and software-based audio workstations, which opened the door to producing, operating a music label, and performing his own live music.
Kemp, a veteran performer at Detroit’s Movement festival over the years, will be returning to the stage as a performer in 2015.
Brenden Gillen is a founding member of the group Ectomorph and brings a unique perspective to Detroit Techno. The group released their first single in 1995 as an attempt to make Detroit music for Detroiters and not exclusively for export.
The group’s early singles led to epic status within the Techno world. A strong underground cult following has continued to develop through releases on their own label, Interdimensional Transmissions. Ectomorph’s live shows are legendary for their ability to fluidly incorporate the improvisational techniques of jazz into their synthesized music.
Outside of the DJ world, Gillen has also worked as an audio engineering and producer. From mastering the first Ghostly projects to producing Wolf Eyes' Sub Pop album, his experience in Detroit’s Techno movement is truly unmatched.
Brian Kage is a Producer and DJ from Detroit, Michigan who owns the label, Beretta Music.
As a solo artist and one-half of the duo, Reference, Kage’s music industry break came when his “DetroitLuv” EP was played on legendary Radio 1 Essential Mix show by Richie Hawtin and Ricardo Villalobos. As part of Reference, Kage has appeared on Carl Craig’s legendary label, Planet E, and performed at the Detroit Electronic Music Festival and Fresh Weekend in Barcelona.
As the co-founded of Beretta Music in 2002, Kage has built an impressive portfolio, which includes artists such as Seth Troxler, Ryan Crosson, Jesse Somfay, Luke Hess and Alex Israel.
Although a music producer and label owner, Kage prefers to create carefully crafted works with exceptional quality over time, rather than force the creative process.
Outside of the Techno realm, Kage has also worked with artists such as the Insane Clown Posse.
About the Moderator:
Tom Newman is the Executive Director of the Detroit Techno Foundation and has managed the main stage of the Movement Festival (Paxahau) in Detroit since 2006. A well known DJ and Producer in his own right, Tom has been involved with Detroit Techno for more than 20 years, producing more a dozen singles, EPs and performing locally and international, including Detroit’s Movement festival.
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