There are people who will love Wrong Cops. Others will probably cringe with embarrassment and/or confusion. Some might even run from the room screaming. These are all normal reactions to a Quentin Dupieux movie. His absurdist humor is certainly not for everyone.
“Keep your halo tight until you choke us/But I would like to carry on”
If you’ve been following the career of Toronto’s Odonis Odonis, Hard Boiled Soft Boiled will be a mild revelation. It’s way heavier and louder than the band’s previous releases. The Surf Goth tones of Hollandaze and the Better EP are almost completely gone, or perhaps just sublimated within all those layers of noise. Yet, under the distortion and grime, there are brutally gripping melodies. Relying more on guitars and bass than synths, Hard Boiled Soft Boiled is a nightmarish vision of jangly, reverbed dream pop.
On his new release Decisions, bluesman Bobby Rush is not only joined by the band Blinddog Smokin’ but also by longtime friend Dr. John, the latter providing piano and vocals on the lead single “Another Murder In New Orleans.” While tracks like “Another Murder In New Orleans” and the titular song “Decisions” are straightforward, serious songs, the bulk of the record is composed of much lighter, sillier fare. It’s an interesting combination.
I was watching a Hee Haw rerun a few weeks ago, and Bobby Bare was on with his kids. He was joined by two little boys for “Marie Laveau” and then sang “Daddy What If” with just one of them, a sprightly little fella with an excellent haircut. This, of course, led me down the Internet rabbit hole of finding out who that cute little boy was, and I arrived at the conclusion that the adorable kid was Bobby Bare, Jr.
While he could have carved out a career in music following in his father’s footsteps, Bobby Bare, Jr. has instead made his own way. His latest, Undefeated, is a grab bag of musical styles and influences, shot through with a thorough dose of clear-eyed realism and the occasional wrenching heartbreak.
“I wanna say we’re doing great/but there’s something wrong, something wrong”
—”Better At Making Time”
De Lux’s self-titled, four-song 2013 EP was fantastic. I think I listened to its first track, “Better At Making Time,” three times a day for a straight week. Now they’ve got a full-length album, with a few of the songs from that EP and the added bonus of more great songs. Don’t let the deceptively simple cover art fool you. Voyage is 55 minutes of extravagance in musical form. (more…)
I dig the Hatchet series and Wrong Turn 2 and much of what Joe Lynch and Adam Green have brought us. They are obviously huge horror fans and that shows on the screen. When I first heard these two got together to make a sitcom I was a little confused because they didn’t seem like the types. I assumed it would be horror-related but really didn’t have a clue where they would go with a horror-related sitcom.
Holliston is about Joe Lynch and Adam Green, aspiring filmmakers who’ve been working on a film for years called Shinpads (“They score, you die.”) They work at a studio that does commercials. Their boss, Lance Rocket, is played by Dee Snider from Twisted Sister. Joe and Adam host a TV show (and podcast) called Movie Crypt on which they play old horror films.
By Paul Casey
I love Lost. I love Prometheus. I love Bioshock. Suspension of disbelief is a crutch for people who have a failure of imagination. Hammering something down and making it more comprehensible is not an inherent positive. Presenting a story that provokes confusion and forces the brain to engage in a creative way is not a failure of talent or of planning. It is an artistically rich approach that many actively seek out in opposition to what they are told are the true “reality” based goals.
There was a time, not too long ago, when rock and roll was the Devil’s music. Heavy metal was Lucifer’s tool of destruction and damnation, and if you even touched a Hamer Scarab electric guitar, that was enough to send your soul screaming out of your body into the abyss, where demons would torture your eternal soul with free-form jazz and Zydeco gospel music.
Those were the halcyon days. Black magic and pentacles, hailing Satan on a regular basis (not just on holidays, like we do now), and rock loud enough to cause internal bleeding were normal things. Good times, man, good times.
Thank god for From Hell, a metal supergroup, bound and determined to bring horror-metal back to the forefront. Name-checking the immortal King Diamond, From Hell’s debut album, Ascent From Hell, is part metal album, part radio play. It’s a concept album about . . . well, here. Let me just quote the press release. (more…)
Sometimes when a band suffers burnout, they continue to make music anyway and that music usually blows. Omaha’s electro-punk stalwarts The Faint found themselves facing a lack of inspiration and, more importantly, fun after a year of touring for their 2008 album Fasciinatiion and instead of forging ahead and into mediocrity, effectively broke up. And they were sorely missed.
In 2013, they reformed, releasing a four-song 12” they called Preversions. Preversions led to a full-length album, Doom Abuse, and it is amazing. Imagine Kraftwerk fronted by Lemmy Kilmister. Imagine being in a room full of chainsaws hanging on wires and bears are chasing you. Doom Abuse is that exhilarating.
The Mary Onettes’ new release, Portico: is dense with almost claustrophobic layers of synths and jangling guitars. But singer Philip Ekström’s voice has a lighter touch and floats above the music, which gives depth to these songs. Portico: reminds me a lot of The Cure’s Disintegration at times, but far more restrained and condensed. Ekström has an emotive warble like Robert Smith even while sounding almost nothing like him. He talks about death and ghosts and dreaming, all of which fit the music like a hand in a glove. There are choruses and bridges everywhere, both instrumental and vocal, which propel the songs forward, and out of the heaviness that might otherwise weigh them down.