Not that we're trying to be an MP3 blog or something, but we just wanted to share with you a track by Brooklyn's Oneida. Their new album Happy New Year is coming out July 11th, and its absolutely fantastic. Really, get ready for them to finally pick up some of the press attention and buzz that they have deserved all these years, because Happy New Year is truly the crowning achievement of their already impressive career.

Its really hard to describe what these guys sound like, and the new record doesn't make it any easier. Its very eclectic, with all kinds of pop, pysche, kraut and electro influences showing up throughout, and a very cohesive sound that can only be described as "Oneidaesque" tying everything together in the background. This all made it very difficult for us to pick out a track to post here, but we decided to go with the one below. While some of their new songs sound like Paul Simon under water on a boatload of acid, others sound like Yes and Neu!, and still others remind me of what Crosby Stills and Nash might have sounded like if they had started out in 1978 in New York. Or something like that. The track below doesn't really sound like any of this. Just listen:

"The Misfit" Mp3

If I could moonlight anywhere in DFW right now, it would be as a pizza cook at J&J's. Judging from the diversity of bands they've hosted there lately, it must stay pretty interesting on a nightly basis. From straight-ahead hardcore to straight-ahead pop music, and from free jazz influenced ensembles to the truly indescribable, this creaky pizza joint provides one of your best chances to witnessing something unique in the metroplex. The shows are set up by the bands most of the time, thus resulting in haphazardly organized and jumbled mixes of groups and people. The traditional kind of "Who are you here to see?" shit and the overemphasis on beer sales and head counts that you get at other places are nowhere to be found at J&Js. But let me be clear, this is not some cool D.I.Y. venue. They are there to sell you pizza, beer, and soft drinks. However, the place does SEEM like a cool D.I.Y. venue at least, and thats not an easy task when you're trying to pull an actual profit. Because of the looseness and variety of the place, there are bound to be some misses mixed in with the hits. Last night had both. It was our very own Eat Avery's Bones opening for Chicago's Skybox. Wasn't Skybox a baseball card manufacturer? Figures. I've always hated baseball cards, even as a child.

Why do local bands always open up for bands simply because they're from out of town? This is a mistake made by small time touring bands time and time again. If you're in a band and you're reading this, please take this advice: Touring bands should open. I know what you're thinking. "But, dude, you don't understand, they're my friends from Rhode Island and they drove alllll the way to Dallas and shouldn't have to open for anyone." If they want people to see them, they should open. All your local fans, friends, and family will have to suffer through them to wait for you to play. And if you touring bands don't take this advice, you will watch an army of the local bands coworkers and ex-girlfriends hi-fiving them on their way out the door. This will take place just about the time you're taping your shitty Bossdigital delay to the concrete. There are exceptions, of course, but you'll know it when you've reached true "National Act/We open for no one" status. My fingers are crossed for you. All I'm getting at is that Eat Avery's Bones definitely shouldn't have opened this show. They were the headliner in my world.

Eat Avery's Bones has it's roots in a Texas town called Rowlett, a lakeside community east of Dallas. When you drive through Rowlett, you pass this gigantic (800 ft. long I believe) mural as you cross Lake Ray Hubbard. It's this cheesy kind of lakeside landscape done up in primary pastels. Ever since I've heard Eat Avery's Bones, I always picture that mural dripping, smearing, and distorting it's pretty lakeside scene into the band's horrifically scribbled fliers and the magic marker mess featured on drummerMatt's bass drum. EAB's artwork is always instantly recognizable on the web or otherwise. It looks like a collaboration between a badly behaved six year old and a Meth addict, and the band applies this visual aesthetic towards everything else around them too. Last night they appeared with their faces smeared in paint. This was no professional new wave makeup job... it just looked insane. Clearly the band doesn't necessarily apply this same chaos to their music. To my ears they sound somewhere between Brix-era Fall and the obscure British band Rancid Hell Spawn. Bad name for a band, but their distorted keyboard attack made Jesus and Mary Chain sound like Iron and Wine. As out of control as Eat Avery's Bones initially sound, upon careful listening you'll hear a very calculated attack and approach to every song. Drummer Matt also sings, which is impressive since most drummers can't even really drum. The guitar and bass playing in this band is frighteningly precise, too, as Jason and Meggie sound like two machines stabbing away with every time change thrown their way. I wouldn't usually mention gender when discussing a band, but it was brought up on WSJR recently, so I'll just tell you this: Male bass players of DFW, Meggie of Eat Avery's Bones could chew you all up and spit you out. It's the truth. And in addition to her solid rhythmic low end, the band has another secret weapon, possessed by their keyboard player Robbie. It's... a Muppet Babies Keyboard. Sounds completely stupid right? Wrong. It's exactly what this local music scene needs. Just the right kind of artwork, instruments, and band to make it collectively say,"What. The. Fuck." When I see that look on a crowd's face, all I can think is that they must be doing something right.

Earlier I mentioned wanting to be a pizza cook atJ&J's. Actually, last night I should have worked security, because if I had seen Skybox trying to sneak in their assortment of contraband, I would have been all over them. If I had the chance to catch these guys with such rock no-no's as a wah-wah pedal,bongo drums, cowbell, and trombone (!), they wouldn't even have been allowed in J&J's. Skybox tortured me from the start, and I knew I was in trouble when only two songs in, I was reminded of Santana. They had a deep bag of instrument oriented tricks, and sitting here today, I can't remember a single song. For all of the indie rockers that worship Pet Sounds, Van DykeParks, Lambchop etc., please remember something: If most bands can't even come up with decent songs using three instruments, what makes you think you can do it with twenty? Remember, Brian Wilson was a genius. You, my friend, are not a genius. The band couldn't make up its mind between ragtimey pop, prog rock, riffrock, or a really bad mixture of the three. The lead singer's vocal antics bordered on novelty, with his voice plotted somewhere between Jack White and Joanna Newsom. Maybe that sounds good to you, but I thought it was a mix of the two most obnoxious vocalists in modern music. I'd like to say I enjoyed the group's obvious proficiency with their instruments, but unfortunately they played with all the smugness of Berklee dropouts, and I wanted to dropout of their unbelievably long set. Another rule for smaller touring bands should be that you can't play more minutes than twice the number of people in the crowd. So fifteen fans=no longer than a thirty minute set. Please hear me out. The other band's members don't count, and there is no reason that any band except pretentious neo proggers like Mogwai or Mono should ever play for over an hour.

Eat Avery's Bones smashed a guitar. I know they were probably buddies with Skybox, but I wish they had been down for smashing a bongo or two as well. It was still one of the cooler local shows I've seen in a while.

I'd like to start off by quoting the leading line of NBA.com's story on game 5:

"In the second quarter, Tim Thomas blew a kiss at Dirk Nowitzki. In the fourth quarter, Nowitzki blew away the Phoenix Suns."

Um, hell yeah. Not only was this game great for obvious reasons, but it also provided all of us with a new opposing player to hate. Yes, Tim Thomas is a douche, and Dirk couldn't have shut him up any better with a bitch slap.

You just knew Dirk was going to come back and have a huge game after his terrible game four performance. But even still, I must admit that during that third quarter, I said a few bad words and generally didn't have a very positive outlook on the game as I watched the Mavericks give up a lead and slip back into game 4 form. But we NEEDED this one. If we had lost it, then I think Phoenix would have gone home and taken care of business, and I think Dirk knew it. In his post game interview, he almost repeated his Spurs Game 7 postgame comments verbatim: he said that during the third quarter, he saw his team's season of hardwork and tough play slipping away, and knew that he needed to stop it. And just like in Game 7, he did.

Of course, Dirk is his own man and has become a superstar this postseason in his own right, but I can't help but think that Avery Johnson has had a lot to do with Dirk's newfound toughness and leadership skills. Whereas the old Dirk would have come out tonight and tried to rely on his jumpshot, the new Dirk went to the hole, went to the line, battled for rebounds, and kept his team inspired. I don't think Dirk becomes this kind of player if Don Nelson is still in charge. But even still, we all have to remember that Don Nelson was the man that went against every piece of advice he was given in drafting Dirk Nowitzki. I remember being really pissed off when they drafted Dirk over, um, what was his name? Oh yeah, Paul Pierce. Does that guy even play any more?

Anyway, one more to go. Lets get it done in Phoenix so that we don't have to suffer through another game 7.

1. Notes From Underground | Mom | Chief Death Rage (Rubber Gloves)
This should be a fan fuckin' tastic show. We're already fans of Notes (drone, noise) and Chief (stoner, punk, Sabbath), but we just heard Mom for the first time today and really enjoyed it. Their music is dreamy and experimental and tape loopy and kind of hard to describe, so go listen. A good collection of some of the better bands in the area right now.

2. Silk Stocking | Country Teasers/ Gorch Fock | White Drugs(The Cavern)
Silk Stocking is creepy and bluesy minimalism done pretty damn well. Never heard Teasers, and Gorch Fock is some kind of loud creation that reminds me of a way cooler and harder Janes Addiction with horns slash a less dumb version of GWAR. I bet they put on a good show, so get there early foolios. We were reminded that White Drugs is playing this show too, and as we've said before, they rule. Get there even earlier.

3. DJ G (Hailey's)
Do we have to tell you about this?

High Society is one of those entities that you can't really label. Loose collective of DJs, party promoters, professional cool kids, one guy, many people, whatever. However, the point isn't to categorize them, but rather to enjoy the results of their efforts.... which it seems a lot of other people are starting to do too. The sweaty ass dance parties that Justin V and company throw have been building more and more momentum each time out, as evidenced by the great crowd that turned out at Ball Room, their last party at avenue arts. Featuring cool Djs like Prince William, Nature and Steven Void, High Society seems to have what it takes to get interesting and diverse crowds to come out and have a good time listening to great dance and electro shit, as well as, you know, drinking. We asked them some questions, and here are the results:

Can you tell us what High Society is?

I created High Society as a headquarters for artists, DJs and personalities who are tired with the local scene and who want to create a unique experience for themselves and the community. Were interested in mind-bending dance music from around the world, art, street fashion and, most importantly, having a good time! We throw events with a revolving line-up of some of the best DJs and live acts in the country and are committed to keeping it fresh always.

Is there a certain niche that you are trying to cater to in the metroplex? A scene or a particular type of music that other promoters and clubs, etc are not embracing?

I think of High Society as a sort of anti-scene. We never wanted to model our events after anything seen before in Dallas. High Society people come from all types of backgrounds and interests; what ties them all together is a desire to cut loose and forget about cliques, and that is precisely what makes our parties so much fun to be a part of. We want to push boundaries, not reinforce them.

What do you think of the party scene in Dallas right now? What about in Denton?

What party scene? I think people are really bored with the nightlife in Dallas, perhaps because club owners here seem really hesitant to try anything that might appear too abstract or strange for fear of running off their regulars. I think Denton has a better appreciation for subculture simply because the art community there is smaller, more insulated. They value the D-I-Y attitude in a way that really contrasts with Dallas herd approach to dancing and socializing.

We've talked a bit on our blog about the merger that seems to be going on between the indie/underground/experimental subculture and the electro/dance/house/hip hop subculture, as evidenced by people like DJ Nature and publications like Fader. What are your thoughts on this development, its causes, its longevity, etc?

I think what youre describing is merely a representation of what is happening in youth culture, and that is an emphasis on blending lines rather than drawing them in the sand. Kids today seem less obsessed with definitions and more interested in self-expression. I think this trend is most apparent in the music since dancing has always been a way for people to do just that: express themselves in a way that precedes their race, gender, sexual orientation or socio-economic background. I think the culture will continue to get even more twisted and exciting.

Can you give us a list of some good new tracks that you guys have been playing at your events recently? (click the MP3 links to hear some of these)

Now for the fun part!
Metric Monster Hospital (Mstrkrft Remix) Link
The Presets Down Down Down
Yeah Yeah Yeahs Déjà Vu
Ellen Allien Magma Link
The Ramones I Dont Care Glass Candy I Always Say Yes (promo)
Ladytron Sugar (Jagz Krooner Mix) Link
Bloc Party Helicopter (Weird Science remix feat. Peaches)

Are you into any live bands in DFW right now? If so, which ones?

Im really bad about keeping up with local bands but I appreciate bands like Faux Fox and the Night Game, both from Denton, because they have strong stage presence. I have to admit Im a style over substance kind of guy. Its all about attitude for me.

What are some upcoming events/plans that you guys have in the pipeline?

High Society is planning its fifth event, details coming soon. I will be playing Sanitarium 3 at Lizard Lounge, Sunday, June 18. The theme is Fractured Fairytales

Does crunk suck, or am....

Crunk is sooo 2005. We need a new crunk.

As some of you probably already know, James Watkins and the good people over at Metrognome (you know, one of TWO vital D.I.Y. venues in the whole Metroplex) have recently been getting harassed for performance rights royalties by ASCAP after they were tipped off that, get this... DJs had been playing songs by ASCAP artists in between sets. Goddamn those DJs! Fort Worth Weekly has this to say about it:

ASCAP is the largest music licensing company in the world, and they'd sue you for singing a copyrighted song in the shower if they could. The Metrognome Collective (1518 E. Lancaster Av.) is much bigger than a shower, and now that the upstart multi-disciplinary organization has become a bona fide destination for music, art, and theater, ASCAP is bringing down the hammer: The Man wants about four cents from every 'Gnome cover charge, which, according to the art group's calculations, will total about $500 per year. It ain't much, but for a group that makes next to nothing and is on its way to becoming a legit nonprofit, it's enough to piss me off. The problem isn't the live bands — 99 percent of them play original music. The problem happens during art openings or between sets, when DJ's brought in by the 'Gnome do what they're supposed to and spin a few well-known records. No, not Beyoncé or Shania Twain singles, but tunes by ASCAP-protected small fries like The Silver Jews, The Fiery Furnaces, and Wolfmother. Funny thing is, ASCAP will take the 'Gnome's money under the auspices of "protecting" the small fries but will use the cash to do nothing but espouse an industry environment that produces more Beyoncés, Shanias, and other cash cows, and fewer Wolfmothers. A possible solution: Play all local indie stuff.


And for your inspection, a copy of the letter that Metrognome received from ASCAP, in pdf format: HERE

And here was James' response to an ASCAP rep via email:

Ann,

I havent heard back from you yet, but I thought I would send you the write-up about our situation from today's Fort Worth Weekly newspaper for your review. Please let me know what I need to send you next. I am confused. Do I need to remit payment right away? Or just send you the signed form and pay at the end of the first quarter completed? When do the quarters end? I don't have a lawyer or anyone to explain what this contract says.

Please feel free to contact me via email or at the cell number listed below at your earliest convenience.

I'd like to send your blood money and get this settled ASAP to preclude your goons from contacting their lawyers if someone should sing Happy Birthday at our all volunteer performance space. In the meantime we promise we will only play local music from CDs provided to us by local musicians between sets , and if anyone even thinks about playing a cover, we will hoist them from the rafters by their guitar strap and leave them as a warning to others.

Keep up your great work protecting artists!

Thanks!
James Watkins

His closing exclamation points are fucking priceless.

The current system of federal copyright law in this country and the ways in which artists are "protected" as a result of that system are both indicative of what happens when powerful special interests run the show in a particular industry, creating an arcane system of regulations that really only seems to benefit a few big fish with really expensive lawyers, while creating unnecessary roadblocks for people that really shouldn't have to deal with them.

Now, I don't debate that copyright law in general is a fundamentally benefitial thing in many ways. Of course artists need to be protected from those that would use their intellectual property in ways that they do not approve. Such protection is obviously a vital part of maintaining a thriving artistic movement in this country. And even the basic idea of what ASCAP does is a good thing, if only in theory. But to apply the same kinds of regulations to places like Metrognome (D.I.Y., independent non-profit venues) as are applied to places like Nokia or Gypsy Tea Room (albeit on a sliding scale) doesn't seem to advance any of the theoretical goals of copyright, artists rights, or any other system of legal protection for artwork. Exactly what are they protecting artists from in this situation? And exactly who is profiting or even receiving a benefit in any way from playing these records at Metrognome? Does Metrognome attract crowds due to its between set playlists? It seems that the only people that might stand to benefit from such exposure are the artists themselves.

ASCAP's behavior in this situation clearly demonstrates yet another fundamental misunderstanding in the music industry concerning when and how artists should be protected, and who they should be protected from. Do you really think the Silver Jews give a shit if 20 kids at an experimental rock show hear one of their songs in between sets? I doubt it, and in fact, I bet they would encourage such practices. Of course I realize that there are an endless number of variables and different things to consider here, and I hope that James and anyone else with experience in dealing with this kind of thing will post in the comment section and provide us more information concerning how ASCAP works, how artists rights work, if non-profit status affects copyright liability, and any other pertinent issues. Of course there probably isn't a lot we can do about ASCAP or copyright regulations, but we probably can figure out ways to help places like Metrognome deal with these things so that we can continue to enjoy the atmosphere of non-traditional venues without being forced to listen to cover versions of "4'33" all night.