I'm not going to waste too much time with descriptions, since- A. The nature of a NYE performance is that people often are familiar with your music. AND B. WSJR has a lot of plans that actually don't involve Dallas, and as such, we are running a little behind, hair still wet, car honking outside. Take care and be safe, thanks. DL
Vega | Damaged Goods | Gazelles | Villains (Hailey's) It's crazy to think that Damaged Goods has gone from playing the Fra House a couple of months ago to having shows booked in London and Paris. Pretty amazing actually, and we are very happy for them. Oh, and it's always good when Mr. Palomo is in town.
Disqo Disco | Ishi | Sydney Confirm | Schwa | Keith P (The Cavern) Wait, Disqo Disco AND Sydney Confirm? Won't that be kind of overkill, like the scene in "Stop Making Sense" where they play "Genius Of Love?"
Fischerspooner (Lizard Lounge) I know a lot of people that still want to hang this group for their cover of "The 15th." But since this is a DJ set, maybe you'll just hear the original.
Toadies | Lions | Boom Boom Box | Tendril (Ridglea Theater) I'm not much for the Toadies, but I'm interested in hearing this Boom Boom Box band, with members of Ghostcar and Falkon.
Eldridge Meatcleaver (The Lounge) Here's a brief rundown of the event from Wanz: We will be playing classic soul and garage from The Monks, The Sonics, Booker T & the MG's, Otis Redding, Carla & Rufus, A Certain Ratio("Shack up"), Nina Simone, The Small Faces, The Litter, Serge Gainsbourg, France Gall, Wilson Pickett and much much more.
The band features Ian Hamilton and Mila(Jack with One Eye), Guyton Sanders, Daniel Dacus, Wanz Dover, Ineka Guerra(The Frenz), and Ross(from Tiger Moth).
Unit 21 | Tolar | Akkolyte | Orange Coax | Rocket For Ethiopia | Division Of Power (Exploding House) This would be your best bet in Fort Worth, if not anywhere. A show just overflowing with various types of hardcore: weirdo hardcore, surf-tinged hardcore, and hardcore hardcore.
There were several notable music related deaths this past year. Eddy Arnold, Isaac Hayes, Bo Diddley, Odetta, Albert Hoffman; I'm sure I'm leaving out a few. It seems that the passing of Klaus Dinger (3/21/08) went relatively unnoticed, but his career certainly did not. He was Kraftwerk's first drummer and a founding member of NEU!
NEU! split in 1975 after the release of their third record, NEU! '75, which showed off both member's solo talents (think Spacemen 3's 'Recurring,' with less internal hostility). Michael Rother went on to do some great records with Jaki Liebezeit from Can, while Dinger formed La Düsseldorf.
'Viva' is the second full length release from La Düsseldorf, a surprisingly successful band in Europe, with sales totalling over one million for their three albums. David Bowie even went so far as to refer to them as 'the soundtrack to the '80s' in a Melody Maker interview in 1979. I guess growing up would have been a lot cooler if that were the case....
Disqo Disco | Females | Vega (Fallout Lounge) Obviously, this is a preview of various party lineups on NYE, and the rest of the week for that matter.
Old 97's | The Drams | The O's (House Of Blues) I actually got so sick after Christmas, that I almost had to be hospitalized. It really took a toll on my "holiday spirit." I thought to myself, man, I get a week and a half off of work, and here I am, laid the fuck out, spending my bonus on prescriptions, and I'll probably be bed-ridden on New Year's Eve. Sucks to be me, right? Then today I realized that there is actually a place on the internet where grown men argue about whether or not the Old 97's will take the top spot on a local "Best Of 2008" list, and whether or not putting Erykah Badu on said list is somehow "affirmative action." 'Twas then I realized that being me isn't so bad after all.
Lykke Li, Youth Novel Paavoharju, Laulu Laakson Kukista Dan Friel, Ghost Town Autechre, Quaristice Excepter, Dept Dept. Max Tundra, Parallax Error Beheads You Ellen Allien, Sool Benga, Diary of An Afro Warrior Flying Lotus, Los Angeles Hot Chip, Made in the Dark Alex Moulton, Exodus Osborne, Osborne Syclops, I've Got My Eye on You Eat Skull, Sick to Death Food For Animals, Belly
Rangers, Street Smell: Rangers is a solo project from We Shot J.R.'s own Howard Bob Johnson-- of course, this might make us just the slightest bit biased, but to be honest, I've enjoyed his music about as much as I've enjoyed anything else that has come out this year, and I wanted to include it on this list so that our readers could get a little introduction to HBJ's work. Rangers is what you might call a sound collage project, mixing bits and pieces of heavily processed and treated live recordings of guitar, keyboards, bass and percussion with samples of a wide variety of media (commercials, movie samples, jingles, etc.) and found sounds, culminating in long continuous pieces that are truly unique and captivating, but never boringly academic or overly abstract. Street Smell is a bit different than a lot of the "collage" stuff that you might encounter elsewhere because it is highly rhythmic, focusing on beats (many of them danceable) while displaying a level of intelligence and musical sophistication that belies its tongue in cheek humor and anarchistic structure. The best part about all of this is that if you don't believe me, you can download Street Smell in its entirety right here and make up your own mind. Fans of Ariel Pink, Ducktails, Wavves, James Ferraro (Skaters, Lamborghini Crystal) and The Residents should do themselves a favor and check this out. Who knows... maybe we can even convince HBJ to play this live some day.
15. Justus Kohncke, Safe and Sound: Another exciting release from perhaps the most accessible and fun artist on the Kompakt roster. Don't freak out though, dudes-- this is NOT minimal techno. Instead, you'll find nods to early 90's techno and disco balanced with a strong IDM influence that makes this a perfect home record.
14. Vivian Girls, s/t: I know I know.... "Hey guys, I like Vivian Girls too, check it out!" Well, I do. So there. The reverb, the 60's girl group vocals, the fact that they played at Exploding House earlier this year. I love it all, and sometimes a record is on everyone's year end list for a reason.
13. Sic Alps, U.S. EZ: If there were any justice in the world, people would stop yapping about Jay Reatard, Black Lips and Anton Newcombe for two seconds and take a listen to Sic Alps, because this is probably the record that many of those acts wished they had made this year. Proto-punk, 60's garage, country and psychedelic pop are the ingredients, but the end product is a lo-fi masterpiece that reveals itself slowly and sets Sic Alps apart from many of the backward looking groups they are often compared to. The noisy interludes found within hint at a group that enjoys experimentation, but beneath the noise are songs so solid that they would make "real music" fans cry if they were actually cool enough to know how to find this shit. You could use the word "retro" to describe this music for sure, but there is absolutely nothing cute or tired about it.
12. Wavves, s/t: This one rose to my year end list in the last couple weeks of December, and it might even be unfair to include it since it technically comes out next year, but fuck it. It was so good I just had to add it. If you haven't heard Wavves, aka San Diego's Nathan Williams, go do it now. People have been associating this project with late 80's/early 90's skater culture, and it makes sense in spirit, if not in actual sound, because there wasn't a whole lot that sounded exactly like this back then-- this is noisy, fractured surf punk/pop thrown in the middle of so much noise that you might not be sure exactly what you're hearing upon first listen. Be patient, however, because there's a good chance you'll find this to be one of the most exciting releases of 2009.
11. No Age, Nouns: Along with Times New Viking, No Age has made my list two years in a row, thanks to a debut full length (Weirdo Rippers was actually a singles and EP tracks collection) that took the group's promise to the next level. This record has been the subject of intense debate at WSJR HQ, with some calling it gimmicky and boring, and others (pretty much just me) defending it as a solid punk record with perfect nods to shoegaze and slight hint of drone. Gimmicky? Maybe a bit, here and there. But boring? No way.
10. Black Pus IV, All Aboard the Magic Bus: It's a bit shocking that this album didn't really receive a lot of love from critics and bloggers this year, because there didn't seem to be much else out there that rocked quite like it. Brian Chippendale's solo project will please Lightning Bolt fans, and if you aren't one, this probably won't convert you, which is fine considering that the guy really isn't trying to. But its chaotic freak outs and masterful percussion are something to be heard for sure, and this is one of those little gem records that you might be tempted to pass up but shouldn't.
9. Atlas Sound, Let the Blind Lead Those Who Can See But Cannot Feel: The Deerhunter album was pretty good and stuff, but this is really the Bradford Cox release of the year.
8. Laborghini Crystal, Roach Motel: This thing kicks off with a sample of Beavis and Butthead laughing and singing Black Sabbath's "Iron Man" just before they both scream "Frog Baseball" like a couple of idiots. And then the sample loops all over again. A couple times, actually. Any other 90's dork will recognize that the frog baseball quote comes from the very first Beavis and Butthead episode, and the fact that James Ferraro, the man behind Lamborghini Crystal, chose to quote from that particular episode makes me think he's probably a funny guy... and an asshole. Fortunately, he's also a talented one, and ever since I first wrote about Lamborghini Crystal on this blog roughly a year ago, I've continued to dip back into his catalogue again and again. This year's Roach Motel might not be the very best thing Ferraro's ever done, but it's a fantastic example of what makes his work so interesting-- namely, an impatience for song structure and a highly brief attention span that allows him to explore everything from metal riffs to funk to AM pop to found sounds to dance to soul to noise, all within long, seamless recordings that will often make you laugh while they freak you out. This is a great introduction to one of the more important new artists of 2008.
7. Bon Iver, For Emma, Forever Ago: It seems that every year I find at least one wimpy indie folk album that I like enough to include in my Year End List, and this year the honors go to Bon Iver, an initially one-off solo project of songwriter Justin Vernon that turned into one of Indie Rock's most unlikely success stories in 2008. As far as structure and sound are concerned, this is a pretty standard indie folk pop album, but like many things in life, the difference is in the details-- the entire record contains an undercurrent of introspective sadness that is both arresting and beautiful, and the soulfulness found in Vernon's melodies and vocal performances is truly unique, reminding one of large, empty spaces while never drifting too far into isolation to destroy his emotional connection with the listener. There is absolutely nothing revolutionary going on here, but perhaps that is part of the appeal too. This is a comfort record that you can fall in love with and play pretty much any time in any place, and the nearly universal praise it has received from the blogosphere and "culture" media is almost enough to make you think that hipsters might not be completely tasteless ALL the time. Well... maybe I shouldn't go that far.
6. Times New Viking, Rip It Off: In 2007 and 2008, Siltbreeze bands such as Times New Viking, U.S. Girls and Psychedelic Horseshit felt to me like the first important "movement" to have emerged in American underground music in several years, and Times New Viking was probably the most initially exciting and accessible band of the bunch (I guess TNV is technically a Matador band now, but you get my point). Rip It Off was often described using references to 90's indie bands such as Pavement and Guided By Voices, and although there are some general similarities there for sure, TNV is probably more radical in their recording techniques than either band yet more traditional in their songwriting. Essentially, these are high octane, sugar coated power pop songs run through a lo-fi blender of extreme treble and disorienting distortion. The result is a catchy trash punk record with a child-like enthusiasm for high speed delivery and sing-a-longs. The formula is simple, and the presentation is a big part of it, but few other records this year seemed to scream "Relevant Now" (also a song title on the album) quite like this one, and none did it with quite the same sense of reckless fun.
5. Sun Araw, Beach Head: There's a song on Beach Head called "Horse Steppin'" that has literally made me wonder aloud (to myself, mind you) whether Sun Araw is the current generation's answer to Spacemen 3. I'm not sure if this project has quite the revolutionary appeal of the aforementioned groups' droning, minimal atmospherics, but on many levels, that might just be the result of circumstances involving time and place rather than the music itself, because much of this material is truly transcendent. Minimal psychedelic music is rarely this fresh and exciting, and although Sun Araw is a rather strange listen the first few times around, patterns begin to emerge amongst the static, drone and fuzz, revealing a spiritual quality that is never cheesy or condescending, and a musical structure that pulls from so many different regions of the world that it feels like its own planet all together. If groups like Beach House and Animal Collective wanted to truly venture beyond the relatively safe, this is probably what they would sound like.
4. Lindstrom, Where You Go I Go Too: Lindstrom's 2005 debut single "I Feel Space" ushered in a new genre (space disco) and a highly lucrative career for its maker, but until this year, Lindstrom had mostly existed in the realm of DJ sets and remixes. Where You Go I Go Too, his full length debut, provides solid evidence that the man will be able to transcend the notoriously fickle dance music flavor of the month status and turn his sound into something important. Most of the material found here might not be "dance music" in the most literal sense of the word (considering how atmospheric and slow it can sometimes be), but its disco grooves are flawless, and clever influences ranging from Cerrone to Tangerine Dream make it a dynamic and captivating listen. This kind of "tasteful" dance music is often dismissed as boring, but listeners who allow themselves to get lost in Lindstrom's web for a few minutes will find it is anything but.
3. M83, Saturdays=Youth: Before this record was released, I often wondered whether M83 was super overrated or simply just "not my thing." Fortunately, Saturdays=Youth has made this a total non-issue, as producer Anthony Gonzalez has turned out an impeccably tasteful 80s synth/dream pop record that nods to everything from Slowdive to Echo and the Bunnymen to Brian Eno, making it a fleeting, dreamlike affair that works as a genre study while completely transcending all such labels. There is a pensive, sad and introspective undertone throughout that provides a powerful emotional counter-punch to the often soaring synth textures and melodies that make it so sugary and bittersweet, and it is precisely this kind of push-pull that makes the whole thing so moving. Single "Kim & Jessie" is truly the highlight here, providing a pretty clear picture of what the 80's would have been like if they had been a whole lot better, which is a pretty good way to describe this record in general. So I'll just leave it at that.
2. The Bug, London Zoo: Dubstep has turned a lot of people's attention back to reggae, bass music and dance hall over the past couple of years, and although London Zoo isn't a dubstep record per se, the genre's influence is all over the place within it, making it something of an anomaly in certain circles that tend to congregate around places like Boomkat. My first thought upon hearing it (other than the fact that it was really fucking fierce) was to question whether this was a dubstep record branching way out or some kind of strange, dub heavy grime record that happened to be really catchy. As I learned more about Bug producer Kevin Martin, however, I started to realize that this record was something a bit more than either-- Martin has been making bass heavy, hip hop influenced masterpieces for over ten years now, and London Zoo sounds like the culmination of all his efforts. Drenched in dense, rough around the edges sludge, this is a dub heavy record that focuses on stellar vocal performances from the likes of Flowdan, Spaceape and Warrior Queen, resulting in one of the most frightening yet accessible English bass records I've heard in a very long time. With dance floor/pop appeal to match the likes of Burial and the kind of hard edged, abstract bass produced by the likes of Skull Disco, London Zoo has a little something for anyone who's even remotely interested in the aforementioned genres. If you typically find dubstep to be a bore, or if you're just looking for a document of the darker side of London, this is record is essential, and it will probably be considered as such for many years to come.
1. Hercules and Love Affair, Hercules and Love Affair: The 00s have been a great decade for dance music, and the past couple of years have been especially good for disco and old school House, as both genres have recently been brought back from the dead (yet again) and held on pedastals (yet again) as the current incarnations of retro cool (it's the newest in old stuff!). Fourtunately for anyone with a soul, however, Hercules and Love Affair is not one of those fashion slave hipster dance groups universally loved by "creative" teenagers in London. Instead, Andy Butler, the group's producer, has crafted a truly stellar Chicago house and disco debut that somehow manages to place substance on an even footing with style (which is rare in both genres these days), resulting in track after track of stunning beats, catchy hooks and the kind of strange, sexually ambiguous flair that one would expect from a group that features Antony Hegarty incarnated as a house/disco diva. Helping matters is the fact that Butler recorded the entire album with equipment from the eras he was inspired by-- he's been quoted as saying that 100% of this material could have been recorded in the exact same manner twenty years ago (when the same equipment was available), and the quality of every single sound found within is a testament to this. From the dark, Chicago inspired synth house of "You Belong" to the gloriously over-the-top strings on "Hercules Theme," this is about as close to perfect as a full length dance album could ever get, and to me, Hercules and Love Affair captured the feel of 2008 better than anything else released this year-- the record truly looks backward in order to move forward, and it does so with a kind of innovative subtlety that is sorely lacking in, well, pretty much fucking everything these days.
This has to be quick, but I thought we'd at least share some shows with you for the weekend. We'll be back in full force next week with Year End stuff, NYE stuff, and some new features. Who got the coolest shit for Christmas?
FRIDAY
The Party (Zubar): Stopping by the Party tonight might be a good way to remind yourself that the name Big Baby Jesus actually refers to a rapper.
Billingham's Defense System Secret Party (Unknown Location): Dallas DJ duo is hosting a party somewhere this evening, and if you want to get the address, all you have to do is message them on their Myspace page (click the link to the left, yo.) I'm hoping it's a house party in Dallas so I don't have to drive far.
(A little Christmas Eve treat from TC. If you've never heard this record, do yourself a favor and download the only Christmas album worth owning.)
Like everyone else, I'm super busy this week. This is the only Christmas album that I own, and it's probably going to stay that way for the rest of my life. Happy holidays!
Hey everyone, it's your pal SR. Hope you're all having a fucking wonderful holiday season. How is mine going, you ask? Well... not that well. A lot of us around here have been extremely busy with our "careers" over the past week, myself included, and we just haven't had time to finish off our Year End coverage this week like we thought we would. We don't have a national pool of sub-par writers to pull content from, after all, so you'll just have to take it easy on us for a little while and go with the flow until we can get this all done, ok? We will be taking tomorrow and Thursday off to celebrate the birth of lil' ass Jesus, but we'll be back on Friday with a weekender post. Some time between now and then, you'll also see the beginnings of our year end coverage appear here, so be sure to check in with us. We'll actually have some pretty good stuff for you coming up in the next couple of weeks, including Not New Music Tuesday, which will appear a bit later this evening. Shows? Why not:
great moments in liner notes: king buzzo on flipper
As the ideal format debate rages on (vinyl with free CD VS vinyl with free download, download only VS Flash Drive etc.), one disturbing admission I keep hearing from people is that not only do they not really care about the eventual doing away with album art altogether, but they could also care less about liner notes. I personally love liner notes. The more pretentious, the better. Whether it's press clippings from long defunct zines, superfluous essays by David Fricke (who claims to be a "Byrds Scholar"), party scene dirtbags reminiscing about the bad old days, ex-lovers dishing it out, gallery owners and venue owners bringing up numbers, incredibly narcissistic song-by-song commentary by the artists themselves, or even the random musings from unrelated and often lesser artists, I live for this stuff.
The following excerpts are from the fairly recent reissue of Flipper's "Gone Fishin'" album, written by King Buzzo of The Melvins. Someone recently read this tribute aloud to me while I drove away from the record store, and I nearly had an accident due to being so distracted by the genius contained therein. Here, Buzzo articulates much of what I have often tried to say myself on We Shot JR but more efficiently, and of course, more entertainingly:
"Fifteen years ago we recorded one of my all time favorite Flipper songs called "Sacrifice" and it's remained in our live set off and on ever since. More people scream for us to play "Sacrifice" than almost any of our own songs! In the late 1980s I remember seeing Flipper play a free show where Bruce Lose told the audience that Will Shatter had stolen the lyrics for "Sacrifice" from a World War I anti-war poem... maybe so. For the first 20 minutes the show was good, then the bass player broke a string and the whole thing degenerated into jumbled mess. It was perfect, in fact, I don't think anything Flipper has done has been wrong.
Flipper is always at the top or near the top of the list whenever anyone asks me what bands have influenced my own song writing. This is confusing to people because they always expect answers from me like Black Sabbath or Motorhead. Let me get something straight now, Black Sabbath and Motorhead or bands of that nature don't fucking MATTER to me. Those bands are horrible, horrible shit compared to Flipper and I am in no way kidding or blowing smoke up Flipper's ass. If you don't get that, then you don't get what WE are about and you should go back to music school 101 and figure it out, dummy...
...Flipper's music is genius in its simplicity. The lyrics are horrifying and beautiful. They don't waste a lot of time on musical gymnastics and they don't need to, their songs are that good. Good music has nothing to do with technical ability. It's powerful and dangerous and confusing insanity and I love it as much as I've ever loved any music that inspires me. Even more actually, I'm a devoted Flipper fan.
In 1980 "Sex Bomb" became the new "Smoke On The Water." What serious Punk doesn't know how to play "Sex Bomb?" That is the level of influence they've had on my generation. They're important. Face it and learn.
If you're never IN tune you can't be out OF tune."
Well, SR is really busy Christmas shopping or just having drinks at Swan Court, who knows? So, it's all me, DL, today. Consider it an early present, along with the masterpiece above.
-Defensive Listening
FRIDAY
ADD: Vega | Females (Centre) This is an in-store at Centre, located in Mockingbird Station. Runs from 7-10 PM.
Lil Wayne | Keyshia Cole | T-Pain | Gym Class Heroes | Keri Hilson (American Airlines Center) Besides the unsurprising and irrelevant Grammy nods, now Lil Wayne is on every critic's top ten list in the country (more on that topic later), and I was thinking about how justifiable that is today. Certainly, Lil Wayne's hilariously sleazy sound has matured over the years and yet how could it not? His work in the Hot Boys may or may not still stand up, but it was obviously not a bad start and he has maintained his career very shrewdly, working nonstop, and avoiding a lot of typical celebrity pitfalls. Besides, what were you doing at fifteen? Well, I guess the Fungi Girls don't have to answer that.
So, it's somewhat expected with an album this huge, that Lil' Wayne will also face an inevitable backlash. "Mrs. Officer" is already getting votes for most "Annoying Song In The World," and the news this week is controversy over whether or not he properly credited South Africa's Karma-Ann Swanepoel for the sped-up sample used on mixtape track, "I Feel Like Dying," which also happens to be one of his best songs. So, I'm trying to weigh pros and cons about Lil Wayne, and what I have is: He wrote one of the worst songs ever and doesn't credit the samples on his best work. I'm going to go ahead and just conclude that he deserves to be praised as an artist. What would rap and hip-hop be without uncredited samples? Pretty boring. Plus, I'd rather listen to this than Fleet fucking Foxes.
High Life | Trifle Tower | Dark Forces | Power Trip (Exploding House, 711 Page St., Ft. Worth) High Life will have copies of their new seven-inch at this show, and the first twenty to pay the six bucks to get in will receive a record according to the flier. This is a dark, scream-y bunch of hardcore acts, and I should say that Exploding House is just about the most enjoyable setting to catch a show like this, if I haven't before.
Mistress | Lychgate | Wu Fru De Lu & Dragon Killah (Knight House, 1433 Knight St., Denton): Lychgate is a very intimidating synth-noise group but there's a certain beauty in the din after it peaks and saturates the entire room. Mistress is uglier with crushing, toxic blasts of harsh noise. Wu Fru is more guitar oriented, but that's all I know.
Michael McDonald (Winstar) I have hated this man's music my entire life. I've never bought into blue-eyed soul, not with The Boxtops or even The Righteous Brothers really. I mean, look at what Alex Chilton eventually did. It's great, but it does make him kind of a music industry tool to some extent. So why, oh why, do I find it impossible to change the station when "What A Fool Believes" or "I Keep Forgetting" is "accidentally" played on Youtube every other day. Look, I'm trying my best to not get soft as I get older, but this is making me have some serious doubts. Watch out haters, you may just end up cranking the shit you laugh at someday.
Record Hop | Matthew And The Arrogant Sea | Florene | Kody Jackson (Dan's Silverleaf) RISE featuring David Lewis/Mike Constantino | Brett Johnson (Absolute Studios located at 2607 Walnut Hill Lane) This is a new venue for dance music and it looks like it's going to start hosting regular events under the name Masdelux. Event is BYOB and admission is ten dollars. Runs in the after-party hours of 12 midnight to 6 AM. Damn.
Pretty slow night tonight, party people, but I guess it makes sense considering how near we are to Christmas. We're going to start our year end coverage either tomorrow or Monday, depending on whether or not we can finish everything up, but you can totally look forward to that. Shows:
Ian Bangs | Yeah Def | Swedish Teens (Rubber Gloves) Apparently you can get into this thing for free if you're wearing a bathing suit, but all the proceeds from the door go to Ian Bangs in order to replace his stolen computer, so I suppose the best thing to do would be to wear your suit and donate a little money anyway. After all, during the holidays in a shitty economic climate like this, what better charity could you possibly give your money to?
Tendril | Our Tragic Hero (Doublewide) Isn't Tendril that shitty local punk group from the 90's that I was smart enough to dislike even back when NOFX was my favorite band? I don't know. Maybe since I hated them then I would like them now, but for some reason... I doubt it.
Tame...Tame And Quiet | Sweet Boys | Seth Sherman (The Lounge) Though tonight's show will definitely include music performances, it is also a photo exhibition for local artist and musician, Gavan Nelson, late of local group Heaven Is A Hotel and Las Vegas hardcore act, Curl Up And Die. Nelson's work is largely comprised of street imagery and stands out in the often-crowded realm of Dallas photography. He is no slouch as a bass player either and his music has been missed. Tame...Tame And Quiet and Seth Sherman round out this bill with tricky full-band indie prog and tricky solo folk prog, respectively. I don't who the Sweet Boys are, but I do know that this show will be sweet. And that a lot of boys will be there. (I hope.)
Detour featuring Blixaboy | Brent Bradford/Clinton Lynch (The Cavern)
Short Attention Span Theater (Rubber Gloves) Here's a good description of this event from SAST's Chad:
"I will be playing gross, inappropriate, mature, sexy, vile, drug fueled, violence ridden animation this week for Short Attention Span Theatre at Rubber Gloves. If you have never been to SAST before you have missed out! You watch shorts that I have collected over my years of geekdom, listen to music from same origin and DRINK A LOT! This time next week you are going to be stuck watching television yule logs burning while your mom hounds you about why you aren't married yet. So make the most of your holiday season and escape its noxious vice like grip around your soul and share some time with the ones who really love you.
Also if you had consignment CDs at Strawberry Fields I will have it up there that night and you can come get it! Its like an early Christmas!
There will also be a drawing for a free copy of denton Deluxe v. 4, makes a great stocking stuffer!"
