Psychedelic Horseshit | Video | Orange Coax | Mass Sterilization (Majestic Dwelling of Doom)
A fantastic line up all around that really serves as a testament to the continuing force of DIY in Denton. There's something about Psychedelic Horseshit that I really enjoy-- of course it is probably pretty easy on some level to dismiss the band as an also-ran in the whole Siltbreeze shitgaze movement (a term that the band themselves coined, btw), but if you've seen them live or spoken with them in person, its pretty clear that these guys aren't a bunch of fashion focused hipsters jumping on any bandwagons-- they're scuzzy dickheads, actually (I mean that in the best way possible), and they just remind me of the kind of pissy, boundary pushing muscians that really seem to be lacking these days in the many sectors of the American underground. Oh, and their music? Well if you haven't check in with the band recently, you might be interested to know that they constantly seem to be progressing and changing stylistically. I caught them here in Chicago a few months back, and I don't even know how to describe what I saw-- there were drum machines, tropical guitars, noise freak outs, out of tune guitar solos, vocals performances that ranged from angry to indifferent, and just a really entertaining show all around. Much of the material on their latest release, Too Many Hits, is slightly less noisy and a bit more pop, but the record somehow comes across as even more risky than their previous offerings. Video and Orange Coax round off a well stacked bill, and if I were in Denton this evening there's no place I'd rather be.

Yeasayer | Javelin (Granada)
Maybe I'm just a baby, but nothing annoys me more than a band I'm supposed to find interesting but just don't. At all. Yeasayer kind of just screams MIDDLE GROUND to me.

Slackbeat (Tradewinds Social Club)

80's Night with Yeahdef (Hailey's)

This week Bernardo Cantu is holding his Master of Fine Arts exhibition titled "Interdimensional Relics from the Barrio" at the Cora Stafford Gallery on campus at the University of North Texas. The exhibition will be open to the public through Friday with a closing reception Friday night from 5 to 9pm.

RICHARDSON HEIGHTS: Having grown up near The Great Border, you've said your work is an expression of the interchange between Texas and Mexican cultures. Tell us how your thesis show title relates to the work you'll be showing.

BERNARDO CANTU: First of all I want to thank WeShotJr for this opportunity. Ever since I landed in North Texas, about 3 years ago, and discovered this blog I've been following along. So It is an honor to be interviewed here.

My work is a product of who I am which is a product of where and how I was raised - my environment and culture. I'm descended from violent mixed ancestral history forged in Mexico but born on this side of the border. Growing up I always felt in between. Being Mexican-American I grew up not feeling neither truly Mexican or truly American, neither here nor there. In Chicano cultural studies the term for this is called "Nepantla" which refers to the in-between spaces produced by colonization. For others and me, living in Nepantla is common. Finding myself in that space reminds me that I am a product of two elements creating a hybrid identity- a new mestizo identity. This and being born right near a man made geographical marking of an in-between space (the Tex-Mex border), it is no wonder that I find myself working with hybrid abstractions. I use "interdimensional" in the title because that is sort of an interesting way of talking about both my situation culturally and dealing with something grand or cosmic. The genesis of my interest in exploring the visual arts began in a barrio. I embrace and carry my roots with me, which is embodied, in my work. I use "relics" as well in the title, when referring to my work, because my work has associations with the past, which is why I give them a worn look illustrating accelerated archeology. The title of my show also has a nice alternative meaning that brings up notions of something sci-fi, b-movie, the bizarre or another world which fits with my art. My hybrid abstractions are a mix of high and low art and that combination I think is also reflected in the title. I know it's a lot of information but I found no better show title then that for dealing with the art I've created for the show and my particular aesthetic.

RH: You indicated in your bio that barbacoa tacos somehow fit into all of this -- how?

BC: My work is inspired by many seemingly unrelated elements and one of those elements is the poetry I find in a good barbacoa taco. In good barbacoa tacos (or just good mexican tacos in general) I'm transported through time and space via flavor to my birth home and my family down south. It reminds me of my roots. Also, thinking about a barbacoa taco and what it is made from and how it is made, can be rather detestable (or agreeable) depending on who you talk to. So for me barbacoa tacos house a polarity of information that I associate with my art as well. From the eloquent to the irreverent, to the grotesque and the sublime.

RH: The Zapolitecos Machine really is pretty incredible. It has an overall feel of pre-Columbian art, but you've made it with all ultra-modern materials. How did you put this piece together?

BC: I wish I could say lots of tequila and peyote but that might not be the whole truth. This piece uses a combination of layers and approaches. I begin an art piece with a frame or a structure. Throughout the way it evolves into something else entirely different then what I started with (specifically with this one). There are a variety of materials going into this object: stretched and non-stretched fabric, plastic, wood, latex and acrylics. I usually gravitate towards stretchy fabric because when stretched it has a unique code of information. New lines and shapes (drawing information) emerge from the tension of the material being stretched. Enclosing or capturing the material's stored energy when stretched is also something I am attracted to. Which is why choosing material that has flexibility is important. Other parts of this object are materials that have a different caliber of texture, a different voice or code of information, which separates it from the stretched fabric. I also enjoy using mesh fabric because it has a certain resonance to certain parts of my youth in the 80's. This zebra or psychedelic striped pattern that dominates this object is a repeated pattern in most of my recent work. Using all these materials together transports my work to this bizarre space of "the odd" that I like. A space influenced by thinking about various aesthetics and feels such as in Mad Max Beyond Thunderdome, Afrika Bambaataa, pre-Columbian, Neo-tribalism and steam punk. Most of my work asks questions rather than delivers answers and it also is a reflection of the music I'm listening to... and so this is true for this artwork in particular. Even though this one carries this information for me I allow the end product to have a voice of its own and thus allow people to interpret it how they will in whatever way they want. Which is why I like the idea of "purposeful ambiguity." So far, your interpretation and other's views on The Zapolitecos Machine have been consistent... so that feeds into this work now.

RH: You use a lot of interesting materials in your "wall-mountable" pieces, including what looks to be reshaped plastic and latex. What is your studio set up like? What is one of your work sessions like?

BC: I have a pretty messy studio. I think I have the messiest one in all of oak-street hall currently. I might hold that honor for a long time. I really have no more room in my studio... every area is taken up with something. Sometimes I wish I could be more minimal but its just not happening. In one area there is a speed bag, in another area there is a plastic Cerberus given to me by my gal Vero and in other areas there are piles of materials (from fabric, plastic to acrylics) that I like to think of as alchemy mounds. Every other space is occupied with my art. A work session for me is getting some specific type of music going, then attacking a project with a combination of a bad attempt at Mike Tyson in his prime by knocking something out in a matter of seconds and the more slower, pensive, sensitive painter side of me. I go back and forth between these dichotomies often in my studio. Which is probably a big reason why I think the style in my work carries this mixture between brute elegance and irreverent baroqueness.

RH: Do you employ any particularly original technique in your work? And more importantly, would you be willing to share your secret?

BC: I guess I do have an original technique that I use to create my art. I haven't been pointed to anyone else that is doing what I am doing technically so until then it is original. It is extremely low- tech/lo-fi and for that I love it but It might be original because I don't think anyone in their right mind would do what I'm doing technically... or maybe so who knows. If anyone wants the secret sauce I might give it out from a bottle at my closing reception but you are going to have to approach me and ask me about it.

RH: So, you got an MFA. What happens next?

BC: To borrow an idea from the late great Mitch Hedberg I'm going to hit the ground running with a "get rich slow scheme." I think I'm in the right business for that. On the other hand if someone wants to make it happen quickly I don't mind forfeiting the scheme.

*********

THE LIST

THURSDAY, APRIL 8, 2010

Identity
Stewart Cohen
Photographs Do Not Bend Gallery
1202 Dragon Street, Dallas, TX 75207
6:00 PM - 9:00 PM

FRIDAY, APRIL 9, 2010

Lady Classical, Mother Metamorphosis, and other Holy Fables
Michael O'Keefe
Valley House Gallery
6616 Spring Valley Road, Dallas, TX 75254
6:00 PM - 8:30 PM

SATURDAY, APRIL 10, 2010

Janet Chaffee and Heidi Lingamfelter
Mighty Fine Arts
419 N. Tyler, Dallas, TX 75209
6:00 PM - 9:00 PM

Grind, Hassle, Jump Jam
Nic Noblique
Cameron Gallery
1414 Dragon Street, Dallas, TX 75207
6:00 PM - 9:00 PM

Ginger Geyer
Kenneth Hale
Jacqueline Bishop
The MAC
3120 McKinney Ave, Dallas, TX 75204
5:00 PM - 7:00 PM

WEEKEND EVENT

Oak Cliff Art Crawl
Davis St, Seventh Avenue, Tyler, and Bishop Ave in Oak Cliff
4:00 PM - 7:00 PM Saturday
4:00 PM - 7:00 PM Sunday

Image courtesy of Bernardo Cantu.

I was very disappointed to receive a phone call last night informing me that Paper Rad's Ben Jones spoke at The Modern In Fort Worth, and that I had missed it. Luckily, he'll be performing with his Dr. Doo project at The Modern's "Modern 'Til Midnight" series on Saturday, along with Warpaint and some other local acts.

Don't Look In The Basement Presents: Arrebato | Angustia (J&J's Pizza)
This "Spanish Art Horror Double Feature" is free and runs from 8 to 12 tonight. Hosted by Shane English.

Heard | Har Herrar | Artwork By Jesse Osborne (The Cavern)

The Ish with Billy Sexcrime | Trademarx (Ghostbar)

Video Rehab Presents: "That's Some Sketchy Shit Right There" featuring Kentucky Fried Movie | Amazon Women On The Moon (Tradewinds)

Image from Paperrad.org.

This 1971 release is essentially a jam session that sprang out of the Tago Mago sessions and then pressed on to vinyl and since forgotten. While it is hard to single out any of Can's early 70's work as being superior to the other, it's easy to argue that Tago Mago is one of the best. The 36 minute track Auf der Einbahnstrasse is split in to two LP side lengths. Obviously this doesn't have the polished sound of similar works but what it lacks in calculated chaos in makes up for by keeping things funky and loose. Maybe not the first place to go if you are new to the Can cannon but definitely a worthy brother to their classic oeuvre. Not much else to say about this one just grab it.

Here are some movies that came out this week on DVD that you should check out.

Beeswax
netflix instastream



One of my favorite movies to come out last year was Andrew Bujaski's follow up to his math rock mumble core dramedy Mutual Appreciation. If you have not seen Appreciation or his debut Funny Ha Ha you might have heard his name thrown about when the genre tag "mumble core" is brought up. I hate the term, but yes the characters do have a tendency to mumble. It's not because they are unintelligent or have nothing to say it is because they just don't know how to get it out. Often times when they do manage to get a word in that foot lands firmly in their mouth. This movie was shot around the Austin area where director Andrew Bujlaski now calls home. Warning: If you are a 20/30 something hipster lost in this modern world you might find yourself cringing at some of the honest emotions on display here. I get the same feeling watching Bujalski's work that I bet Bozo gets when watching Fellini's Clowns.

Icons of Suspense: Hammer Films
trailer

While you may not recognize the name Hammer Films you may have seen some of their movies that adorned video rental shelves since the inception of the cult movie section. England's Hammer Films were the masters of taking stock monster movie characters and archetypes and infusing the extra chills that post war audiences were looking for. What their films lacked in budget they made up for with innovative design choices and classy British actors like Christopher Lee. This set collects six of the studios non-monster horrors, none of which I have seen but given the rest of their output I bet they are nail biters. If you are new to Hammer Films might I also suggest you check out Kiss of the Vampire (1963) or the Curse of Frankenstein (1957).

The Italian Straw Hat (Un chapeau de paille d'Italie)
amazon

Saw an unrestored version of this at a silent film festival a few years ago and am glad to see it finally available on DVD. A guy is on his way to get married when his horse eats a lady's hat which sets off a series of silly events involving the questioning of social mores and airs. This may seem like the set up for a superfluous comedy of manners but director Rene Clair's background as one of the grandfathers of French surrealist cinema brings an interesting style and social critique to this other wise lighthearted affair. It is has also been said that this movie influenced Luis Bunuel and Salvador Dali to create their surrealist farce L'Age D'or.

Taxidermia
netflix instastream



I have seen some fucked up shit take place in movies in my time, but there are three isolated scenes in this movie that stand at the top of those images. This episodic Hungarian family drama traces three generations of a family and their bizarre and repulsive eccentricities. This is a very black comedy that recalls some of the more hilarious elements of David Lynch's work. Perverted, disgusting and beautifully photographed all at the same time.

Youssou N'Dour: I Bring What I Love
trailer
netflix instastream

A look into the music and faith of Senegalese pop star Youssou N'Dour.

King Khan And The Shrines | The Fresh & Onlys | Bad Sports (Sons Of Hermann Hall)
Man, I was all ready to write about King Khan And The Shrines, and how they're a 0ne-of-a-kind live experience, and how it's cool that he's influenced by avant jazz as much as soul and obscure garage 45's, but then I remembered that Khan wrote for Vice Magazine as a Canadian teen, and I got stuck on "Do's And Dont's," and I wasted about four and a half hours of valuable work time.

It was a really great moment when King Khan played the main minimal organ part on guitar to "Liquid Swords," when GZA performed the opening track to the legendary album of the same name at Fun Fun Fun Fest last year. It was seriously one of the main highlights of the whole festival.


Mariachi Quetzal (Dan's Silverleaf)
Publicists are awesome. They get their facts wrong about the artists they represent and the places where they perform so often, you would think that a lot of them are actual rock critics. I guess some of them are. It's kind of like being a political lobbyist. Why am I bringing this up and what does it have to do with Dan's Silverleaf? Well, I'll tell you. Just click on that screen grab above from the We Shot JR email I answered today and check it out. Is a name change in order at Dan's? I would hate to be paying this joker four thousand bucks to represent me, that's for sure. I'll spare him the embarrassment of posting his name.

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

Radio Moscow | Naam (Rubber Gloves)

I have two one sentence throw away summations for Radio Moscow so I'll just give you both.

1. Radio Moscow sound like The Dazed and Confused Soundtrack minus Cherry Bomb.
2. Radio Moscow sound the way that poster looks.

Any one else see The Runaways? Any one else feel a little awkward going alone to a late night showing. It was decent but no where near as brutal as the documentary Edgeplay that came out a few years ago.

MON: Radio Moscow/Naam (Rubber Gloves)
TUE: King Khan & The Shrines/The Fresh & Onlys (Sons of Herman Hall)
THR: Yeasayer/Javelin (Granada)
THR: Psychedelic Horseshit/Video/Orange Coax/Mass Sterilization (Majestic Dwelling of Doom)
THR: Slackbeat (Tradewinds Social Club)
FRI: The Big Pink/A Place to Bury Strangers/Darktown Strutters (Granada)
FRI: The Istics/Webbed/Peru (4 Horse Saloon)
FRI: Damaged Goods/S.A.I./Florene/The Uptown Bums/Old Snack (Rubber Gloves)
SAT: Camera Obscura/Princeton (Hailey's)
SAT: The Theatre Fire/Dana Falconberry/Pinebox Serenade (Rubber Gloves)
SUN: Ani Difranco (Granada)
SUN: ANS/Unit 21/Bleach Boys/Dark Forces/Collick (Rubber Gloves)

I have an interview in the works, but haven't heard back from the guy with answers yet, so I guess we'll run it next week. In the mean time, you could check out The Museum of Bad Art (MOBA).

WEEKEND EVENT

Deep Ellum Arts Festival
Friday : 5:00 PM - 10:00 PM
Saturday: 11:00 AM - 10:00 PM
Sunday: 11:00 AM - 7:00 PM
Main Street between Good Latimer and Hall Street, Dallas, TX 75226

SATURDAY, April 3, 2010

Shifting (Natalie Macellaio)
Fusion Génétique (Murielle White)
Classic (Tim Best and Ryan Mandell)
500X Gallery
500 Expositon Avenue, Dallas, TX 75226
Reception: 7:00 PM - 10:00 PM

Image sort of courtesy of The Museum of Bad Art.

Friday

Darktown Strutters | Moderne Mathmatiques (Tradewinds)

Pet Hospital | Orange Peel Sunshine (Rubber Gloves)

Saturday

Realicide | Evolve | Nite Shadez | Ascites | Unprotected Sex | Depths (Majestic Dwelling of Doom)

This is going to be a face melting neck snapping good time. Recommended for those of you with some pent up energy to burn.

Screening of "DFW Punk" (1919 Hemphill)

I am loving all the underground movie screenings lately.Luckily we have some people around town with good taste.

Peelander-Z | No Heroes | Stew! (Rubber Gloves)

Mount Righteous | Drug Mountain (Good Records)

Interesting. There will definitely be some cross pollination at the show so hopefully both acts will pick up some new fans. Hopefully Drug Mountain's new t-shirts are ready...

Across Tundras | Vaste Burai | Black Body | Baring Teeth (Phoenix Project)

Away From the Numbers (Fallout Lounge)

Luna Matto | Darktown Strutters | Binary Sunrise (City Tavern)

Hey everybody we have absolutely nothing in the works for the immediate future at all ever. In fact I have programed an application to hyperlink our coolest friends Facebook events automatically to the front page as they are posted then you can vote if they are hot or not. This we way we don't ever even have to look at the front page and we can just dive right into the comments section which of course is the coolest part of this site anyways. Our comments section is now sponsored by RC Cola's new flavor Blogjizz so keep an eye out for some pretty awesome flash ads in the near future. By the way I am really starting to get into The Paper Chase, I can really see what you guys were talking about.

Florene | Kashioboy | My Empty Phantom | Gallery Cat (Dan's Silverleaf)

The Coathangers | Giggle Party | Leg Sweeper(The Cavern)

I enjoyed looking at The Coathangers' pictures on Myspace much more than I did listening to their streamer. Just being honest ya'll.

NAXAT (Tradewinds)

Wild in the Streets (Amsterdam Bar)

April Fools 80s Night: Black Friday w/ Keith P + Anthony Social (Hailey's)