December 2004 (PDF) - Antigravity Magazine

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Vol. 2 no. 2July ‘05ON THE COVER:wishes he’d been raised by the wolf.But he’ll settle for an interview.FEATURES:_page 6From coffee to open micsThe Big Easy Roller Girls_page 8Rinky._page 12They say the “eff word” a lot!4A summer camp like no other8Songe says: “she’s got moxie.”DEPARTMENTS:FreeFloating Ramblings_page 4Your Editors’ WordsmpFree_page 20Lawful DownloadsTractor Beam_page 20What Elseg On?Comics_page 22Snap Judgments_page 24mics eviewsProjections_page 25Movie ReviewsRevolutions_page 26Album ReviewsTHE HAPPY TALK BANDLuke Allen Cheers Up

feedback@PO Box 24584antigravitymagazine.com or New Orleans, La 70184send hatemail to: New Orleans, La 70184ANTIGRAVITY’s JulyRating System: YogurtBLUE BALLS.SPACEBALLS!Of course, when an anniversary comes around, shit tends to hit the fan. Anyone in a relationship knowsthis; you plan something big, but sometimes you forget something so basic you slap your palm on yourhead when you realize your stupidity has pulled another fast one on you. In my case I omitted a fewpeople from last month’s one-year anniversary “Thank You” section. I know, I know. I stated before thatlist that I was bound to forget someone, but forgetting these people is inexcuseable. Even after this Iwon’t have listed everyone, but here goes it again. A belated “Thanks” to : Randy Lander, whose reviewsI’ve been fan of for years; Keith Knightand Shannon Wheeler, whose comics I’ve been a fan of for years;Caesar Meadows and Robert Tritthardt, for creating awesome comics just for us every month; Angel, who unwittingly set into motion a series ofevents that eventually ends with this publication; Heidi Peite, who provided some much needed methods and knowledge; and Alex Nunez,for being Alex Nunez.Now, on to our current issue. Many people may not have heard of our cover band this month (of course, if you read last month’s review oftheir debut album, you have), but you’ll be seeing Tiger Bear Wolf a whole lot more in the coming months. The closest I’ve come to describingtheir self-titled debut is that it’s a bit of Led Zeppelin thrown in with the New York Dolls and a dash of the Black Keys for good measure.Our Midnight Madness movie series is still going at Canal Place; we’ve got three left: A CLOCKWORK ORANGE, FEAR AND LOATHING IN LASVEGAS, and PRETTY IN PINK. If you’re digging it (and if attendance is any indication, a few people are) drop a line to the fine people at thetheatre and let them know. Suggest some flicks while you’re at it, and hopefully it’ll continue throughout the fall.It’s kind of cliche at this point to say that Summer in New Orleans is slow. Yeah, there aren’t as many big national bands coming through,but that doesn’t mean there’s nothing going on. Dig deep, soldiers, dig deep. We combed the desert and found a handful of oasises (oasi?)for you to quench your summer My-Goodness-It’s-Hot-When-Is-Fall-Coming-Holy-Crap-Not-Another-Hurricane thirst. That’s right, ANTIGRAVITY isone tall cool drink of water. And we’re filtered for your pleasure.-Leo McGovernPublisherStart spreadin’ the news: It’s been barely a month since my ladyfriend and I left the sleepystreetcars of New Orleans for the seedy subways of New York City, and right about now we’remissing the N.O. like Jacko misses Macaulay. This little summer sojourn was planned as a scoutingoutof the fi ve-boroughs as a potential permanent destination, but despite a steady four-shows-aweekdiet, countless frankfurters from Gray’s Papaya and wonderfully mild Manhattan weather,we still can’t stop thinking about how great we have it back home. Sure, New York has everythingyou could ever want and more. But it also has about 10,000,000 other over-informed jokers, eachof whom wants it just a little bit more than you do. Examples abound in the crowded-housemusic crowd: Bloc Party scalpers casually asking for the rights to your fi rst-born; four shows withIron & Wine and the New Pornographers sold-out four weeks in advance. Last Monday, we werebarely able to squeeze into an Architecture in Helsinki show in Brooklyn – a relaxed mid-week gigon any balmy summer night in the Quarter. Agreed, it’s more than a little inconsistent that weregularly lament the general apathy towards New Orleans’ rock circuit, only now to complainabout the too-trendy feeding frenzy of NYC scenesters. But whoever said we were consistent?Come September, when we’re back safe in the Crescent, bitching about Peelander-Z drawingonly a dozen to TwiRoPa, you can offi cially call us hypocrites. And we’ll offi cially buy you a beer–an Abita Amber, thanks.-Noah BonaparteSenior Editor04_Yo VIP, let’s kick it. All right, stop, collaborate, and listen. AG’s back with a brand new edition.

Sometimes, people like us. And every once in awhile they tellus about it. We get all giddy inside like...well, like people who justfound out someone likes them. Then we print their letters for stalkerlikemementos.When someone tells us they hate us we cry, dry our eyes, andgorge on sushi, pound cake, and just-about-to-go-sour milk. Alas,no just-about-to-go-sour milk this month.Subject: “Thanks GodFrom: Morgan MastersonI’ve been out of town, but I made arrangements for my friends to collect thetwo ANTIGRAVITYs that I’ve missed. (I’m hooked, thank you very much) The“Thank God” has a lot to do with the fact that I’ve not touched my laptop fortwo months and it brings tingles to my fi ngertips and also because of the sheerrelief at the total lack of Jazz Fest coverage in the April and May issues. It takesballs to not succumb to the Jazz Fest infestation. I know all that music and highschool girls skipping school, running around in thier bikinis on top of dusty horseshit is much more than most editors can handle. You, however, have reinstilledmy faith in humanity and the beauty of music, by staying out of that loop. Iappreciate the magazine; it balances out the suckiness of paying rent on thefi rst because I know I have a new issue of your magazine to look forward to.Take care and thanks,MorganThat’s right. ANTIGRAVITY: Reinstilling faith in humanity. It’s easy to ignore JazzFest when you don’t care too much about it. While their booking did improvea bit and fi gured in some bands that we’ve even covered, it’s not like JazzFest is the only place to see those bands. Now, speaking of attention, we willbe giving another festival, October’s Voodoo Fest, some coverage, but you’llsee that the magazine won’t change; we’ll still be covering the same types ofbands and worthy artists as always. No Kid Rock in this magazine, ever.Your Crack Staff:Publisher/Editor-in-Chief:Leo McGovern leo@antigravitymagazine.comSenior Editor:Noah Bonaparte noah@antigravitymagazine.comContributing Editors:Aaron Santos aaronsantos@antigravitymagazine.comMiles Britton milesbritton@antigravitymagazine.comContributing Writers:Jason Songe jasonsonge@antigravitymagazine.comMarty Garner martygarner@antigravitymagazine.comJosh Spilker joshspilker@antigravitymagazine.comDan Fox foxart@earthlink.netSara Cohen saracohen@antigravitymagazine.comPatrick Strange patrick@antigravitymagazine.comJames Jones jj@antigravitymagazine.comAd Director:Bernard Pearcebernardpearce@antigravitymagazine.comOffice: (504) 342-2827Ad Sales:Clark Theriotclark@antigravitymagazine.comWe like stuff! Send it to:PO Box 24584New Orleans, La 70184ANTIGRAVITY is a free publication releasedmonthly (around the 1st, like a gub’mentcheck) in the New Orleans area.ANTIGRAVITY is a publication ofANTIGRAVITY, INC.ANTIGRAVITY MAGAZINE is a trademark ofLeo J. McGovern III.No part of this magazine may be reprintedwithout the publisher’s permission.Something. Grabs a hold of us tightly, flows like a harpoon daily and nightly_05

Neutral thea Groundby sara cohenThe Neutral GroundCoffee House, oneof New Orleans’ bestkept secrets:few tourists ever wander into its dark andwooded corners. No guide book mentionsthe nightly open mics or poetry slams offeredto an eclectic mix of coffee and tea drinkers.And yet, with its conspicuous door, lit only by adim streetlight pointed in the general directionof the front wall, the spot has housed manylocal greats and numerous musicians andperformers alike. The only announcement ofthe night’s musical act is scratched upon asmall chalkboard placed whimsically upon theground out front. Local tastemakers overlookthe listing found sporadically within local musicguides. This coffee shop has survived decadesof volatile business; its fate has often been quiteunpredictable. And despite ups and downsof fi nancial turmoil for the better part of thelast half century, the Neutral Ground’s doorsremain open, as a place for local musiciansto perform and meet, in hopes of providing abrighter future for anyone who enters.The present regime known as the NeutralGround has only been in existence offi ciallynow for four years, celebrating its fourthanniversary on July 1. Originally, thebuilding was known as the Red Lion, a sodafountain for the children attending IsadoreNewman School and from the surroundingneighborhoods. In approximately 1978 (thehistory has been somewhat skewed in a hazymist of coffee, music, and cigarette smoke)the Red Lion became the Penny Post, a cooprun by a board of members. Opening itsdoors as a “third place” – one separate fromschool and home – for its regulars, the PennyPost provided a comfortable place to be withfriends and drink coffee while playing chessor cards, or listening to local musiciansserenade an appreciative audiencefor tips. As many co-op businesses fail,so did the Penny Post, and in 1990 theNeutral Ground was born. Based uponthe same business sample as the previousco-op, the Neutral Ground was also runby a board of directors and operated byvolunteers who worked only for tips. TheNeutral Ground again met with fi nancialruin in 2000. In 2001, however, its doorscoffee house ofdiscerning tastewere reopened by Philip Melancon, whojust happened to be the last manager ofthe Penny Post.Melancon, a local performer andwell known for his part in Popeye andFriends, was the perfect fi t for the NeutralGround ideal. His work around the city,from nightclubs to street corners, wasthe defi nition of “what it means to missNew Orleans.” Essentially, Phil was thequintessential example of someone for06_Will it ever stop? Yo, we don’t know; Turn off the lights and we’ll glow.

whom the Neutral Ground could provide a performance spaceor general support. The space has been the fi rst performancefor many musical greats: Acts such as the Dixie Chicks, theIndigo Girls, and Bela Fleck boast of their beginnings behind theantiquated microphones of the Neutral Ground. “The NeutralGround has to stay open, it is a New Orleans landmark – thereis no other place like it,” says now part-owner James Naylor.Despite changing fashions and musical tastes, its doors havealways been open to anyone who wants to play. “People arehere for the music, not for the coffee,” Naylor claims, as the seatsare empty whenever there is no act scheduled. And althoughthe Neutral Ground will always have its group of regulars whohave frequented the coffee bar throughout its fi nancial ups anddowns over the past thirty years, James is looking to spread itsappeal to a younger audience in hopes of perpetuating anoverall appreciation for music performance.One of the many problems that he encounters, however, is thelocation. Situated on Daneel Street between Soniat and Dufossat,the Neutral Ground is hardly a tourist attraction, its door barelyrecognizable to the ignorant eye. The area, quite residential,is hardly the place for a loud rock club, nor are the acousticsbenefi cial to the orchestration of a large rock band. Still, Jamesand the rest of the Neutral Ground crew are adamant in theirfi ght to keep the doors open. He has been slowly integratinga plethora of special nights ranging in musical genres, frommassage nights to singer-songwriter open mics to poetry slams.As knowledge of the Neutral Ground grows, so do thepossibilities of what it may become. As a “third place,” Jameshopes the Neutral Ground might produce a musician’s coop,where local performers can seek and fi nd aid in booking,publicity, and general musical help. He envisions weekly classesoffered to anyone interested, in areas such as demographicspecific advertising and booking. He proposes seminars, ledby local music business professionals, who would donate theirtime and expertise to benefi t the many local amateur musicians.James would also like to create a database of contacts withinNew Orleans and surrounding cities, so that musicians mightpush themselves: booking their own tour, writing and sendingout press releases, securing media coverage, and attracting alarger audience.The Neutral Ground, though essentially a business meant forprofi t, has always been, fi rst and foremost, an ideal – a safehaven, free from the alcohol and tobacco sales constraintsthat so many bars and nightclubs must adhere to. It’s a place inwhich one might sit and drink a cup of coffee, play a game oftrivia, and perhaps learn a few chords. As James so aptly putsit, “The Neutral Ground is an idea, in essence, one that works;however, one that might work better with proper guidance.”To the extreme we rock a mag like a vandal, light up a stage and wax a chump like a candle_7

y marty garnerHot Girls On Skates! Short Shorts! Beer! Loud Music! Fights!If ever a city was tailor-made for Roller Derby,it was New Orleans. Starting this fall, the BigEasy Roller Girls will be punching one anotherin the face to the tune of all your favoritelocal heavies. Cold, cheap beer and fastpacedaction promise to make Roller Derby ahit when the Girls begin their matches. Unlikethe Roller Derby you grew up with, this is thereal deal; none of it is scripted and there areno bogus Walls of Death or Jungle Pits. Allplayers are required to have life insurance.You remember how you used to alwaystry to lap your friends at the Airline SkateCenter? Imagine if, rather than speedingup, your friends clotheslined you while youattempted to skate by. That’s Roller Derby ina nutshell. The head skaters, called jammers,skate ahead of the pack and score points bypassing up the pack. Everyone who is not ajammer is a blocker; their job is to not let thejammer through, by any means necessary.The fast pace is punctuated by screamingpunk-rock over the PA, a booming MC, andbands who play at halftime.photo by linda novakThe Big Easy Roller Girls will be hosting abenefi t for the budding league at One EyedJacks on July 23, featuring Hazard CountyGirls, arm wrestling, and more violent ladyaction than Courtney Love and ShannonDoherty stuffed with cocaine on a desertisland. ANTIGRAVITY gave head roller girl¡Viva Zaputa! a call in Austin, where she wasattending a Roller Derby boot camp, learningthe fi ner points of throwing one’s weightaround.Marty Garner: Why bring Roller Derby to NewOrleans?¡Viva Zaputa!: I think we need it. Peoplejust need something to do in a positivedirection. Something more fun, a little bitmore physical.MG: A little more physical?VZ: A lot more physical. And you know,there’s nothing wrong with wearing fi shnetsand getting together to beat the hell outtaeach other.MG: How successful do you think it will be?VZ: I think it will defi nitely be a success. I thinkit’s defi nitely what the town needs. There’s apretty good music scene in New Orleans, so itshould do well.MG: Yeah, and the sport itself is so bizarreand kind of off the wall, it should appeal topeople here.VZ: Right, and it’s been around forever, sincethe ‘50s. It was kind of a legitimate sport therefor a while. It faded out, but came back inthe ‘70s and ‘80s when it was a little morelike pro wrestling. But now it’s back in theoriginal form, with punk rock, cold beer andhot women.MG: So the way you guys plan on doing itis more like the original style, with the realviolence?VZ: Yeah, yeah, defi nitely. If you could seeme right now, you couldn’t count my bruises.There is nothing fake about it.MG: So the life insurance policies that all ofthe players have to take out isn’t some kind oflaughable thing, it’s actually necessary.VZ: Well, every girl has to be insured before she08_Dance, go rush to the speaker that booms; we’re killing your brain like a poisonous mushroom

skates. Everyone has to sign waivers. It’s like anything else: boxing,football, rugby, anything. You sign a liability waiver because if youare getting into a contact sport there is the possibility that you will gethurt. And you will get hurt [at this point, ¡Viva Zaputa! offered a barelyaudible cackle that despite being barely audible nevertheless mademe glad that, as a man, I am ineligible for Roller Derby]. So you needto come prepared for that injury that will eventually happen.MG: Where are the matches going to take place?VZ: Well, right now it’s still kinda up in the air. We’re still recruiting,trying to get girls. We need a speed coach, we need trainers. It’sgonna be a while. Right now we’re just trying to get people used tobeing on skates again. You know, you gotta get ‘em to stand upbefore you can push ‘em down (laughs).MG: What’s the money from the One Eyed Jacks fundraiser going togo towards?VZ: We have to incorporate, make it a limited liability corporation,to cover our asses. We have to fi le papers with USRS, United StatesRoller Sports, and get a blanket liability for the league. We need tosecure time with a rink so that we can practice, you know, have drillsand all. So most of the money is going to legal fees, to get the ballrolling on everything.MG: So what can someone going to the benefit expect?VZ: Spankings, arm wrestling, kisses, and live music and cold drinks.MG: Which bands are playing?VZ: I know the Hazard County Girls are expected to headline.MG: Bands are going to play during the matches, right?VZ: There will be a band playing at halftime and after the matches.During the matches, there’s gonna be music, punk rock and all that,but you need an mc, a commentator, and the refs need to be ableto hear what they’re calling.MG: Who do you think is the perfect roller derby band?VZ: I’d have to say Suplecs. But there’s really no such thing as aperfect roller derby band; as long as it’s loud and aggressive andpeople get into it. They’re gonna rile ’em up and we’re gonna keep‘em riled. You don’t want any sleeper bands in there. You don’twant anyone taking naps and have to wake them up when it’s timefor the game.MG: So I guess we won‘t be hearing any Coldplay. Why is rollerderby a woman’s only sport?VZ: In 2001, girls who were hangin’ out in punk clubs formed thegroup Bad Girls, Good Women, which became the Texas Roller Girlshere in Austin. That eventually split in 2003 into two different groups,one who uses a fl at track and one who uses a banked track [thesides slope up in the corners]. We’ll be going for a fl at track. Butanyway, it started in 2001 with girls wanting to do something besideshanging out in the bar with their musician boyfriends. They wantedto get in trouble in a more positive way. So that happened and it gotpretty big, and now it’s kind of a national epidemic.MG: Well, we look forward to you starting the league up over here.VZ: Yeah, actually, we’re hoping to have some girls come over foran exhibition bout. ‘Cos it’s gonna take a while before we’re ready.We don’t wanna break each other up without knowing how. Ofcourse, we have a lot of training to do. But hopefully some of theTexas Roller Girls will be coming up in October, so people can get ataste of what real roller derby is all about.Ladies who wish to join the Big Easy Roller Girls should email vivazaputa@bigeasyrollergirls.com, visit www.bigeasyrollergirls.com, or callCrescent Wench at 504.813.2421.COMICS - GRAPHIC NOVELSACTION FIGURES - IMPORT MOVIESCOLLECTIBLE CARD GAMES - MODELSANIME - MANGA - ROLE PLAYING GAMESand MORE!Superman rmans © 2004 DC Comics6111 Elysian Fields AveNew Orleans, LA 70122(504) 286-0039crescentcitycomics@yahoo.comNow that the party is jumping, with the bass kicked in and the vegas are pumpin’_9

Need New Bodyby Miles BrittonSo it’s summer. It’s hot. It’shumid. It feels like you’re livingin the back of some wino’smouth. Just biking down to thecorner store reduces you toa sopping ball of blubberingsweat. And for the puckishmembers of the Philadelphiaspaz-folk band Need New Body,it’s the perfect time to comedown south, cram us into nonairconditioned warehouses andmake us dance ‘til we steam. It’scruel, but those who’ve survivedtheir spastic, schizophrenic,eye-blinking live shows knowit’s more than worth it. ThinkCaptain Beefheart or Naked Citywith the warped spirit of AnimalCollective. ANTIGRAVITY caughtpercussionist Chris Powell athome, sitting outside, enjoyinganother cool, pleasant, Phillyday. The bastard.Chris Powell: How’s the weather downthere?Miles Britton: Fucking hot.CP: [laughs] Yeah, I bet. It was prettysweltering last time we were downthere.MB: That was the show with Hella, over atthe Banks Street Warehouse? That was agreat show.CP: Yeah, that show was fuckingawesome. It felt really good. It wasfunny, too, because our bass playerhad quit that trip. Four days into our sixweek tour, he said, “I quit. I’ll play therest of these shows, but after the tour I’mdone.” He didn’t speak to anyone forthe rest of the trip. It was warped out. Iremember for the New Orleans show itwas really awkward between all of us.But it was a particularly awesome show,just because things were so fucked upand warped out. Just the vibe that shitlike that brings.MB: You don’t get the same type ofenergy there as you do at house shows.CP: In some cities the club scene is totallycool, but in other cities it’s really obviousthat people just aren’t feeling whatwe’re doing. So if there’s any other typeof scene in those cities, that’s the shit welike to tap into. For us, we just hope to sella shitload of the shirts we make.MB: What’s the scene like in Philly? Are there alot of warehouse shows?CP: Well, the art scene here is good. [laughs]And musically, there’s started to be a lot morecool shit happening, just in the last year orso. A whole bunch of kids moved here fromBaltimore, which has got a lot of really rad shithappening. It’s an improvised music scene, Iguess you’d call it. A whole bunch of those kidsdecided to move to Philly, so recently this newlittle scene has been brewing. It’s pretty cool.But it seems to be a real trend here for bandsjust to be content with doing music locally.Basically just playing to their friends. Going outand getting drunk and all that stuff.MB: What was the whole deal with, what was itcalled, Psychadelphia?CP: [laughs] Yeah, Psychadelphia. You got me,man. It’s funny that people still talk about that.It was mid-, late-’90s, I guess. Basically therewas just a lot of bands playing psychedelicmusic. It’s ridiculous. There’s more hip-hophere than there is rock.MB: Your new album just came it this month,Where’s Black Ben?. First off, is there anymeaning to the title?CP: [laughs] Not really. It’s just one of our insidejokes. Which seems to keep happening.MB: “Tittiepop”, “Pisscat”, “Make Gay LoveNot War”, yeah, most of your titles seem prettyrandom.CP: It’s really just stuff that makes us laugh.Some of the things don’t really have a wholelot of meaning behind them, but come to thinkof it a whole lot of them are inside jokes.MB: Compared to your first two releases, Where’sBlack Ben? is a hell of a lot darker.CP: Yeah, it is. That’s pretty much the whole viberight now. You know, we’ve been getting prettyterrible reviews for the record.MB: Really?CP: Yeah. It’s weird, though. It seems to comeand go. For every three or four that are bad –and I don’t mean just bad, I mean scathing bad–we’ll get one that people think it’s just brilliant.They’ll say these really awesome things about it,point out specifi c parts that really meant a lot tous. And it’s cool.MB: I imagine it’s got to be pretty hard for aband like yours, considering most people aren’tinto genre-jumping. So almost immediately youhave a mark against.CP: Yeah, man, some people just fucking hategenre-jumping. Just straight-up fucking hate it.It’s funny, though, it seems like people were alittle more on our side for the last record. But withthis record, the same magazines and e-zines thatgave super reviews two years ago seem now tobe aggravated that we’re jumping from styleto style. And we’re just like, “Well, that’s funny,‘cause we’re not playing shit that differentlythan we played it two years ago.”MB: Do you think it’s you or them that’schanged?CP: I don’t know man, it’s weird. I mean, I cankind of understand. This new record is defi nitelyobnoxious. [laughs] So I can understand whypeople are like, “Fuck that.”MB: Intentionally obnoxious?CP: I don’t know. It’s... it’s weird. It’s like that’s10_Quick to the point to the point no faking, we’re cooking mp3s like a pound of bacon

the way we had to go with it, or something. It just kind of happened.We had a really hard time trying to put the tunes together forthis record. It was really fucking hairy. Some of the music we puttogether beforehand, but any of the stuff that has lyrics, like thestraight-up rap tune on the beginning of the record, all that shitwe put together last minute in the studio, just to see what wouldhappen. The shit’s weird. It’s weird for us. I listen to it and I’m like,“What the fuck are we doing?”MB: So there was more tension during this recording?CP: Yeah, totally. Totally. It seems like there’s been more and moreeach record. This time it was pretty fucking harsh. We tried doingit here in Philly for about a month, and the only thing we cameout with after a whole fucking month was a tune that was alreadywritten. That was one we wrote for Sun Ra. We were able to bring insome of the guys from the Sun Ra Arkestra to play on it. But that wasseriously the only thing that we pulled off. I guess we got a few ideastogether, but we tried that shit for a whole month and the wholething just fl opped. So we wound up going to Chicago and doingthe whole thing there. We recorded and mixed the whole deal inten days, so, yeah, it was pretty fucking intense. Everyone was reallyfreaked out. It was really weird, but not good weird. Really fuckingawkward weird.MB: And you all can keep it that tight with so few practices?CP: It’s funny, man, at this point we don’t really rehearse beforeshows. Like with this tour coming up, we’re probably not going torehearse at all, just head up to Chicago and start playing. Everyonejust knows their shit so well, we don’t even really have to botheranymore. It usually just works itself out. Two or three days into thetour everyone gets into the swing of things. It’s just that everyone isdoing so much other stuff at this point. The band is our main priority,but it really wouldn’t seem that way. [laughs] Everyone’s just offdoing their own thing.MB: Speaking of the tour, do you all have any surprises this timearound? Any new instruments?CP: We have a new tour CD – a 3-inch CD–and some tapes. Juststuff we’re selling for this tour. But as far as instruments go, maybea few more stringed instruments. And we’re bringing a lot morekeyboards these days, but they’re all small synths and Casios. Itseems like we’ve moved away from bringing a lot of junk to makesounds on. We’ve got more keyboards and drum machines and shitlike that. Lately we’ve been getting into some more mellower stuff.MB: Is that the direction you’re going now?CP: It seems to have gone more extreme in those directions. On theone hand we have the whole keyboard realm, and then there’sthe acoustic stuff. We’ve been using banjo since the beginning. Noguitars. But Dale, our keyboard player, has been playing a lot ofbanjo. And, I forget the name of it, but there’s also this Moroccanguitar he’s been messing around with. So we’ve been going moreinto that whole thing, doing a lot of acoustic stuff. Instead of justrocking all the time. [laughs]MB: Nice. Well we’re pretty excited to have you back.CP: Yeah, I can’t wait to get down there again. Louisiana is justfucking awesome.MB: And fucking hot.CP: Yeah. [laughs]www.twistedsalon.com

In the two years since he wrote the tragi-comic songs for The Happy Talk Band’s country-rock debut,Total Death Benefit, Luke Allen’s life has been on the upswing. His band– Bailey Smith (guitar), Mike Lenore (bass), and Andy Harris (drums) – has become alocal favorite, his girlfriend came back to him, and he’s off the drugs. “You know, itshould make me happier,” Allen says with a grin, “but somehow it’s not.” At least somethings don’t change. ANTIGRAVITY sat down with Allen and talked about his band, hisgirlfriend, writing, hurricanes, local news anchors, male pattern baldness, Eraserhead,Hasidic Jews, NPR, red hair... good Christ, no more interviews at bars.12_We’re on a roll and it’s time to go solo; rollin’, in our 5.0 with our rag-top down so our hair can blow

Miles Britton: The last time I talked to you,Happy Talk was about to go into the studioto record the new album. How did that turnout?Luke Allen: Honestly, it didn’t go to well. Weabandoned it.MB: Damn. What happened?LA: It was just lackluster. We spent two daysat Piety and layed down 15 tracks, butthere was just no energy. No love at all.Even [engineer] Mark Bingham agreed thatthere was nothing really salvageable, so wejust walked away from it.MB: Are you planning on re-recording it?LA: We’re going to go back in and tryit again, probably in August. I’m reallyexcited about the new material, and I feellike if we play it well, the new record couldbe a lot better than the fi rst one. The songsthemselves are more mature. They have alot more depth to them. The fi rst record isbasically just a series of apologies. I thinkif women like this band at all, it’s becauseit’s a guy apologizing for being a man, andsaying “I’m sorry” over and over and over.MB: Which worked in your case. You wrotemost of the songs for Total Death Benefitafter you broke up with your girlfriend, andshe ended up coming back.LA: Yeah. We broke up when she movedto California. This city really beats the shitout of some people. She was gone for twoyears before we both fi nally came to theconclusion that we were supposed to betogether. She’s been back for a year anda half.MB: How has that changed your music?LA: Well, I’m still writing. Megan is a greatmuse in my life, but she’s not the only one.I probably have 30 or so new songs. Twomore records worth, if we can ever get ourshit together enough to actually record it.They’re similar to my old stuff, in that they’restill love songs, though now I’m talking moreto an omniscient spirit than to a specifi cperson. Like, I have a song called “AxesIn Attic”, which is connected to... Do youwatch the local news at all?MB: Not really.LA: Well, one of the local news anchors, Ican’t remember his name, used to hangout at Molly’s all the time. He told me abouthow in New Orleans they used to keep axesin the attics, the idea being that if therewas a major fl ood, you could climb up tothe attic and bust out through the roof withthe ax. The song is based around whenHurricane Lily was coming to town. I wasworking at Circle Bar, and this homeless guycame in and ordered a beer and sat downat a table. The TV was showing the hurricanecoming into the gulf, and this guy startedyelling out, “Lily! Come on, Lily! Come to me,Lily! Fuck me, Lily!” [laughs]. Basically just thissuicidal rant trying to seduce a hurricane.Because by fucking him, it’s going to fuckeverybody else. Reduce everybody else tohis condition. So it’s sort of an apocalypticlove song to a hurricane.MB: Well, I see your subject matter hasn’tgotten any happier.LA: [laughs] It’s a funny song, too, in acertain way. It’s playful.MB: That’s what I’ve always liked about yoursongs. On paper, the lyrics themselves arepretty gloomy. But when you sing them, youadd a sense of humor to them that reallylightens the mood.LA: Working at a bar, especially during theday shift, it’s mostly people with a lot ofheaviness in their lives coming in and layingit on me. We all have that heavy shit in ourlives, and that’s what I write about, but Idon’t want anyone to take it too seriously.For me, it’s like, “Wink, wink, nudge, nudge,I’m going to blow my brains out.” I don’twant to be the maudlin motherfucker.We don’t need that. People are unhappyenough with their own fucking baggage,the last thing I want to do is lay more onthem. But you know, I think if I ever havekids I’ll start writing happy songs. Well,depending on the kid. I might have sometragic, deformed, devil-child, in which casemy songs will probably turn into really dark,Eraserhead anthems or something.MB: You probably hear this a lot, but youare by far one of the best lyricists in the city.Have you done a lot of writing outside ofmusic?LA: I used to. Before I started writing songs,I was writing short fi ction, musicals, all kindsof prose. Lately I’ve been wanting to getback into it again. You know, taking upsmoking a pipe, becoming a novelist.Because that’s so much more lucrativethan music. It’s another good way to makeno money [laughs]. And part of me feelslike I’ve worn out what I can do musically.My guitar prowess is about the same asmy pool playing. It’s something I’ve beendoing a long time but have never gottenvery good at. I’d be much happier writingthe words and having someone else writingthe music.MB: I was actually thinking about a similarthing earlier today. I was listening to NPRbefore I came over here...LA: That piece about the Hasidic Jew inWilliamsburg starting a rock band?MB: Yeah. You heard it?LA: That’s so weird, I almost called you upto tell you to listen to it. Man, that was sucha beautiful story. The fact that this guy lefthis Hasidic world to become a local rockstar and then two years later left his fameto go back to old life is just incredible.That’s such wise clarity to be able to say,“This is enough,” and then just let it go. Youknow, I think that’s another reason that I’vebeen considering getting back into prosewriting: you can be an old man and still berespectable. Not that my on-stage anticswith Happy Talk are that exhausting. Anymovement is pretty much limited to mestanding in front of the mic tapping my foot.But my foot’s getting pretty tired.MB: Christ, you make it sound like you’regoing on 60.LA: I’m getting there. I’m 35 years old. I’mstarting to lose my hair. It’s thinning out,right here on the crown of my head. Idiscovered it at Verti Mart at about four inthe morning, drunk out of my mind gettingan oyster po-boy. I happened to glanceup at the security monitor, and the camerawas pointed at the back of my head, andI’m just like, “Fuck me.” [laughs] I told myfriends about it, and they were like, “Oh,you didn’t know that? Yeah, you’re goingbald.” Man, that’s like a booger in the nose,you tell the person. [laughs] That’s one ofthe reasons that I grew the beard back. I’ma redhead, and being a redhead is a prettymajor part of my identity. I’ve got to haveit somewhere. And as far as I know, peopledon’t go bald on the face.MB: I don’t know, with the way your lifeseems to go...LA: Thanks, man. You’re really cheering meup.The girlies on standby, waving just to say hi. “Did you stop?” No! We just drove by._13

In the heyday of ‘90s hardcore, BlownapartBastards asked a few simple, yet unsettlingquestions in their “Happy Song”: “Why is it sounpunk to plant a fucking tree? Are gardeningand camping not considered punk? If I wrotea song about a fl ower, would I be consideredpunk?” That kind of thought could really makeyou scratch your shaved/mohawked head.Did the punk scene forget that the quest forsocial justice and equality should include someconsideration for nature as well? In its releasesover the past 10 years, Plan-It X Records hasexplored this ever-thinning line between punksand their (not-as-distant-as-they-would-like)hippie cousins.On Wednesday, July 6th, this grand musicalexperiment, the Plan-It X Fest, hits New Orleansin a school bus packed with 30-some oddfolks, banjos, violins, accordions, harmonicas,dreadlocks, electric guitars, and an earthy auraof empowerment. Meeting the bus in NewOrleans is Metairie ninja Bryan Funck, who hascast his net wide to bring in all kinds of activitiesand bands for this one day super-event.The fest warms up at the Magazine Streetside of Audubon Park around noon-ish. Bryanintends for “one hundred million people” toplay a couple songs apiece. This could beyou and your instrument; also playing acousticsets are local bands Kyle Bravo, Cinema City,Infi nite Hours, and quite a few others. Youcan roll around in the grass while you listenor play basketball, organized by the AsianCajun himself, Andy Allen. There will also bekickball and frisbee – just make sure you takeoff your spiked bracelet before the game. Therefreshments are whatever you make it, ofcourse. Bring for others, and others will bringfor you.When P.E. is over, head over to the Big Top(Clio and St. Charles) around 4 p.m. so SteveSpringer and his massive biceps can start youon the road to silk-screening; Hot Iron Press willcontinue with the fi ner points of quality control.Destroy the myth! Start your own media terrorcampaign! There’s also going to be barbequefor the vegans and meat-eaters alike. Unitythrough food!Over a dozen bands are playing, but Bryanswears on his copy of Out of Step that eachset will be no longer than 25 minutes – aharmonious smorgasborg of sound in bite-sizedpieces. To be enveloped by the Soophie NunSquad is a religious experience: Their small armyof singers and fi st-pumping rock will sweat thedevil right out of you. This Bike is a Pipe Bombwrites love songs to tofu and the Black PantherParty with a sped-up country tempo. Makesure you grab one of their stickers, slap it onyour bicycle, and park it in front of a federalbuilding. Ghost Mice’s minimal percussionand urgent, dueling male/female vocalsmake a celebration out of being high schoolsocial outcasts. Also playing are Defi anceOhio, One Reason, Madeline Adams, Rosa,Erin Tobey, Max Levine Ensemble, and Door-Keys – plenty of volume and frequencyswings to soothe and terrorize your eagerears.As local bands go, Bryan has pulled onehell of a magic trick: The Robinsons reunion.This band was dearly loved by the NewOrleans punk rock scene; their one nightonly reunion should not be missed. Solidpop songs with extra distortion and handwavingbreakdowns spike Mike Patton’smarshmallow vocals. Ghostwood will alsobe back from their tour through the states;they do a damn fi ne job resurrecting the14_Kept on pursuing to the next stop, we busted a left and headed to the next blockLookout! Records sound of the late ‘90s.Check out the site for Plan-It X Fest – the fullline-up of bands and activities is listed, as wellas contact information and mp3s. You areencouraged to participate as much you’dlike. Plan-It X and Bryan Funck are dedicatedto confusing and obscuring the line betweenaudience, band, participant, observer, giver,and taker. Don’t beat the summer, join it: firstat Audubon Park, then later at the Big Top.After all, as New Orleanians, we’re all kind ofpunk rock hippies.

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Tiger Bearby Marty GarnerWolfWant to save Rock And Roll

What can I say about Tiger Bear Wolf that I didn’t already say in lastmonth’s review of their recently released self-titled record? The mysteriousNorth Carolina swamp-punk band has seen universal acclaim from thoselucky enough to have heard Tiger Bear Wolf, from the major online ragStylus (or, as I like to call it, What Pitchfork Should Be Doing) to Yours Truly.The record is an incredible synthesis of Dischord-era post-punk, MuddyWaters’ blues, and the fiery power of Iggy & the Stooges. They don’t havethe broad crossover appeal of the Arcade Fire or the marketing team ofModest Mouse – seriously, how the hell did a band that strange becomethat popular? – but they fit perfectly for anyone who misses pure, soulrippingrock ‘n ‘ roll, Jerry Lee Lewis and Chuck Berry all pissed off for 2005.July sees TBW leaving the hill country for their first ever trek across theStates, which includes a stop here in the almost-swamps of New Orleans atTwiRoPa. So how did the unknown foursome from Greensboro make whatmay be the best record of the year and go from literal obscurity to darlingsof the status seekers? ANTIGRAVITY gave guitarist Jonathan Moore a callto see if he could shed a bit more light on the dark, unholy hybrid of abeast that is Tiger Bear Wolf. Watch out for the corners, they’re sharp.Marty Garner: How long have you guysbeen together?Jonathan Moore: I guess since August of2002.MG: Is this record your first release as aband?JM: No, we had a self-released record. Thatwas in August of 2003.MG: So how did you guys come together?Your music is pretty unique in your part of theworld, with Ryan Adams and Ben Folds beingNorth Carolina’s big music exports. How didyou guys find a sound that was so differentfrom everything else going on?JM: We all went to school together here inGreensboro. Noah [Howard, guitar] grew upin Chapel Hill, he listened to the Archers [ofLoaf], Polvo, stuff like that. We all were intopunk rock and stuff like that, but also like, it’shard to forget bands like Led Zeppelin andthe Who.MG: Which bands growing up were biginfluences?JM: For me it probably has to be like theWho, they’re one of the big ones. Growingup, I really only listened to late-era Who.Then I came around. That band just has somuch variation throughout their career. But Inever got into Tommy at all, heh heh.MG: Are you surprised that the reaction thatyour album has gotten? Every review thatI’ve read of it is beyond glowing.JM: Yeah, I have been kinda surprised. Notbecause I don’t think it’s a good record oranything like that but just because it’s justkinda out of the ordinary for that to happento a band like us.MG: Tell me some about the recording ofthe album.JM: Well, we did it in Athens at the label,Hello Sir [Records]. They all live in thishouse outside of Athens, in this town calledWinterville. We did it on a sixteen track 2”machine. I think we did it in ten days total,but the fi rst eight days there were problemswith the tape machine, so most of the recordhappened within like four working days.MG: So you recorded it on analog?JM: Yeah, and then we converted it downto ¼”.MG: Yeah, it’s definitely got that warm feelto it.JM: We defi nitely wanted to be able tohave that, because we didn’t have thatopportunity for the last one. We just wantedthat kind of intangible quality that tape has.MG: What is your opinion on the currentmainstream of rock and roll bands, the whole‘80s revivalists thing?JM: You mean like the Darkness?MG: Yeah, the Darkness and Franz Ferdinandand all of those guys.JM: I don’t really like the Darkness that much,but that guy’s voice is amazing. The rest ofit is pretty good, I guess. All that stuff is okay,that Franz Ferdinand record is really easy tolisten to; I’ve only heard it once. I don’t listento a lot of mainstream stuff I guess. I think it’scool that people are listening to that kind ofmusic again, but I just kinda hope it’s not insome kitschy way. That’s what I’d be worriedabout, that it’s some kind of ironic statement,rather than being any actual enjoyment of it,it’s just some sort of joke. It’s not musical, it’scomedy, you know?MG: Which records that have come out thisyear are you guys listening to a lot?JM: We listen to that new Hot Snakes recorda lot. I love Dead Meadow. Those areprobably my two favorite bands that areplaying music right now. Most of my favoritebands are my friends’ bands. There’s aband here from Durham called Desark;they’re really amazing. Somehow the guy isfriends with J. Mascis [of Dinosaur Jr.]. I thinkhe was his amp tech on tour or something,so they got J. to produce the record and itsounds pretty phenomenal. They’re a greatband. It’s kind of a small area, so you get tosee your friends’ bands over and over, youknow?MG: What type of people are typically atyour shows? Because your music sort ofgoes across boundaries; it’s definitely loudand punk rock, but at the same time, it’spretty brainy.JM: Well, we haven’t really had a lot ofexperience with out of town people whohave already heard us and are coming tothe shows because of the record or anythinglike that. Most of the people in town thatcome are college students, some high schoolkids have started to come out and get into it.I guess a lot of indie rock casualties. Peoplewho are into the whole indie rock thing butwant to have a more expansive rock and rollexperience.MG: I hear a lot of Rust Never Sleeps-era NeilYoung in what you guys play. Are you guysbig Neil Young fans?JM: You know, that’s kinda interestingbecause I never was before, but just recentlyI started getting into him a lot more. I don’tthink that I’ve heard that record, but I just gota copy of Everybody Knows This is Nowherefor my birthday, and I’ve really been gettinginto it. Going to bed listening to it, stuff like“I don’t listento a lot ofmainstream stuff.”that. That’s how records really sink in for me,if I listen to them while I’m drifting off. I’vebeen listening to that a lot. The beginning ofthat fi rst song sounds so much like a Stoogesriff, it’s kinda blowing my mind.MG: “Cinnamon Girl”?JM: Yeah, yeah. But I’m totally starting tocome around to Neil Young. It’s taken awhile for me, but I’m into it now.The block was dead, yo, so I continued to A1A Beachfront Avenue; Girls were hot, wearing less than bikinis, AG lovers driving Lamborghinis_17

BlairGimmaBlair Gimma didn’t wait around. She didn’t want tohave a full band just to have a full band, especiallywhen she felt the noise was getting in the way of thesongs. So, the local singer-songwriter ditched thebetter part of her group and moved forward withdrummer Adam Campagna. Their new song retainsthe emotional urgency and woe-is-love feel of her“green” album, which was released two years ago. Butit also moves in a poppier direction, more driving andmore textured. The drum patterns change throughoutthe song, giving it personality and an unpredictablenature. The keyboards are percussive and chirpy,while Gimma’s voice is more confident. She reachesthe higher notes with ease (also evidenced on WorldLeader Pretend’s “Lovey Dovey”), and her deliveryhas a little more moxie. ANTIGRAVITY sat down withher at PJ’s on Magazine Street recently to discuss hermusic. And Corrosion of Conformity.photo by chris georgeJason Songe: Let’s start off by talking abouthow you were on MTV last night.Blair Gimma: Keith (Ferguson from WorldLeader Pretend) and I had known eachother from going to Loyola, and when theyfi rst started playing Tipitina’s, we ended upplaying a few shows with them. They wererecording a new CD, and they wanted totry some new vocals, so they came overthe night before and kind of taught methe song. I just tried it. I’m willing to put myvocals on anything. I just want it to soundgood for the artist. It really worked out. It’sa really beautiful song (“Lovey Dovey”). It’scool to work with friends. I was just happyto do some good work, and they endedup keeping the vocals. Last night I was justa nerd eating cereal out of a box in mypajamas guiltlessly watching the Real World/Road Rules Challenge. In the kingdom ofnerddom. I knew that they (WLP) had fi lmedsomething. They were doing really well, andthen it came on, and I heard my voice. So,I felt validated. I had a little bit of cool thatnight to make it all go over.JS: You said that you’re proud of the songsyou made two years ago on your self-titled“green” album, but at the same time youhave new songs that represent somethingelse. What does it represent, or what do thenew songs sound like?BG: That CD is kinda singer-songwriteroriented. You hear a lot of acoustic guitar inthere. It represents a time when I went intothe studio, and I didn’t know what a studiowas, really. I was 18 or 19 at the time, andthey were like, “Just play. We’re gonna pressrecord.” So, really thinking about productionand where songs go – it wasn’t really in mymind. That’s captured in the recording. It’sjust kinda bare, whereas this new stuff – I’vejust been growing as a musician and havingnew things to write about. The direction it’sgoing on is not as acoustic.JS: Are you using different instruments?BG: There’s defi nitely more piano. The drumbeat is more important. It’s not just keepin’up with the chicka-chicka-chicka (imitatesbrushes on snare). When I did record thatCD, the stuff I was listening to or grew up onwas Neil Young or Bob Dylan...JS: I could hear the Bob Dylan.BG:...That’s what I knew of music and that’swhat that refl ects. So, just listening to morestuff and playing more and just trying tounderstand the songs I write more and godifferent places and take more risks. It’s reallynot that technical. I don’t sit there and thinkabout it, but when I listen to the new stuff, Irealize I’m just trying to get better at it.JS: Are you listening to things that areinspiring you to take risks?BG: Maybe. When I encounter really goodpieces of work – they might not even bemy favorite artists. Like Beck’s Sea Change.That happened three or four years ago, butit makes an impact. It’s done well, and itinspires me to realize that an artist took it tothat next level, and I want to do that too.JS: I never really got the whole story on youleaving Big Blue Marble.BG: Dave (Fera) was playing guitar with myband, and I would go sing with Mahayla.There was a musical relationship there, andwe were in this play playing music for it, and18_Gunshots ran out like bell; we grabbed our nine, all we heard was shells

we got this idea to form this girl/guy thing. I think I did it for twomonths, but...JS: Was it called Big Blue Marble?BG: Yeah, it was called Big Blue Marble.JS: So, it was just you two.P r e s e n t s :BG: Dave and I, Adam (Campagna) was there. Ike (Aguilar) was init, but there was a different bassist and drummer. It wasn’t so muchas leaving as that I didn’t know where my material ended andMIDNIGHT MADNESS at thethat began. You could be a Pdrummer R E S E N T S for two bands, but writingand singing for two bands, I just didn’t know – do you see what I’msaying?CANAL PLACE CINEMAJS: Yeah.BG: It really wasn’t dramatic. It was kinda like, “I feel busy with this FRIDAYS & SATURDAYS AT MIDNIGHT!other thing.” It wasn’t like, “I don’t have time for this,” in a bad way.JS: That’s Landmark’s what Dave Canal Grohl Place said Cinema for • 333 his new Canal stuff, St., 3rd his Floor, new New album, Orleans he • (504) 363-1117 • Visit www.LandmarkTheatres.com and sign up for our weekly email!was starting off with the acoustic stuff, and he was playing it just toplay it, not thinking it was gonna JUNE be Foo 10 Fighters & 11or whatever. AndJUNE 17 & 18he’s just like, “This sorta sounds like Foo Fighters.”BG: That’s what I mean. I would have my own shows and then IDirector’s Cut!20th Anniversary!would do that and play some of the same songs. You can’t spreadyourself that thin. I felt like I needed to do one or the other. I didn’tfeel right doing both half-ass.Donnie (Jake Gyllenhaal) is an unstableJS: Who do you think of when you think of your teenager fans? in a not-quite-normal suburbiawhose existence becomes even more surrealafter and a dislocated old people jet engine there. crashes intoBG: There’s all kinds of people. There’s youngI’m a girl, so there are some girls that come, his but room. guys Following like that, it he too. has a vision ofSuburban kids battle frighteningly funny bada six-foot rabbit named Frank who tells himJS: Do you think women in particular identify guys for the claim to an ancient pirate treasurein this cult favorite. There’s enough highthe worldwithwill endthein 28strugglesdays. Twenty minutesof newly added, never-before-seenyou’re talking about?energy and gee-whiz optimism to make youBG: Sure, yeah, being a woman. Yeah,footageprobably,highlightsbutthis modernI’mcultnotclassicboth laugh at and cheer with the teensabout a disenchanted teenager trying to(Sean Astin, Josh Brolin, Corey Feldmanparticularly drawn to women artists. There make are a some stand in that a lonely, I like, chaotic but world.and Martha Plimpton) who take down theI’d say actually that there are more male artists Drew Barrymore in my CD and collection.Noah Wyle co-star.nasty cutthroats. Co-written and co-producedby Steven Spielberg. Directed byWritten and directed by Richard Kelly.There’s different people at every show. There’s (USA, 2001/2004) a fan base I guessRichard Donner (Superman). (USA, 1985)we’ve grown to get. A lot of people said, like, Pepper Keenan(Corrosion of Conformity).JUNE 24 & 25 JULY 1 & 2JS: Really?BG: He’s a huge fan.JS: Great. But I’m not really suprised by that. I bet he’s got a widerangingtaste.BG: Yeah, yeah, so I’ve gotten the comment, “I don’t really like thistype of music, but I really like this stuff.”JS: Oh, really? That’s a big compliment.BG: It is. It is cool. I’m just trying to write good songs. To look atyourself in that aspect, as far as who’s coming to the shows, I tryOffbeat thriller from Joel & Ethan CoenStanley Kubrick’s nightmarish, satiric horrorshow has lost none of its power to shock.and stay oblivious to it and put on a good show.(O Brother, Where Art Thou?, Fargo) starringJS: When Jeff I saw Bridges your as a show laid-back at bowler Carrollton who, Station, the crowd was so Malcolm McDowell por trays Alex, areverent. through Iron a and case of Wine, mistaken Low, identity, Deadboy finds and The Elephantmen Beethoven-loving, head-bashing punk whohimself embroiled in a ridiculous caperleads his gang of “droogs” on ultra-violent– same thing. involving Why loan sharks, do you kidnapping think and that a rugis?assaults—until he is captured by authoritiesBG: My voice that really is ties – you the room have together. With be John listening to hear what I’m saying. and subjected to nasty behavior-modificationtherapy. Got milk? (UK, 1971)Goodman, Steve Buscemi, JulianneI don’t have Moore and this John huge Turturro. rock (USA, voice. 1998) A lot of times when you go toa show, things are very loud, which isn’t necessarily a bad thing.Most of the shows I go to are JULY like that. 8 But, & when 9 people get aJULY 15 & 16chance to see that...that they really do wanna listen, that mighthave something to do with it.JS: I noticed you put your phone number on your website. Haveyou gotten any crazy calls?BG: No, my life is just not that interesting.JS: I was hoping you’d have some crazy stalker stories.BG: Nope.Visually explosive, offbeat pop culture comedybased on Hunter S. Thompson’s cultbook that chronicled the writer’s drink-anddrug-fueledbusiness trip to Las Vegas.Johnny Depp, Benicio Del Toro, TobeyMaguire and Cameron Diaz star. Directedby Terry Gilliam (Brazil, 12 Monkeys).(USA, 1998)Molly Ringwald dresses up to the ’80smax as the poor high school “zoid” whofalls for rich rebel Andrew McCarthy,while the wonderfully manic Jon Cryerpines for her on the sidelines. Greatsoundtrack includes music by OMD, ThePsychedelic Furs and more. HarryDean Stanton and James Spader costar.Written by John Hughes (SixteenCandles, The Breakfast Club). Directedby Howard Deutch. (USA, 1986)

COMPILED AND SPONSORED BYScared to download music from Kazaa or other servicesthat could get you sued by big business? Noworries here. These are 100% free mp3s from artists whoknow how to promote their music--by letting peoplehear some of it for free. So check these out and buythe album or see their show if you enjoy hearing it.Electrelane - “Gabriel”Indie from Rock It To The Moon.Takashi Kojima - “Texts was Subscribed (T.T.’s Edit)”Glitchy ambience.Elliott Smith - “Between the Bars”Acoustic rock from either/or.Jesu - “We All Faulter”Bubbling grind from Justin K. Broadrick.Le Tigre - “New Kicks”From 2004’s This Island.Macrosick- “Under These Skies”Your local new-wave assembly.Andrew Duke and Monolake - “Dversion”Low thump dub from Piehead Records.Visit TWX for these free songs and others not listedhere.TWX does not profi t from the information providedon the blog or from the mpFree column. ANTIGRAV-ITY is not responsible for the content on The WitnessExchange. Please contact the site author if you areone of these artists and wish to have any links or fi lesremoved and your request will be honored immediately.Are you an artist with mp3s available on your websiteor another free music service? If so, send an e-mail with your URL, along with a description of yoursound (press clipping preferred), to:mpFree@antigravitymagazine.com. Thurs_7th_White Bitch w/ One Man Machineand Ari.Ari. and In The Skin of theBuffalo @ The Dixie TaverneThurs_7th_The Rockwells @ Marlene’s PlaceSat_9th_The English Beat @ TwiRoPaSat_9th_Hawg Jaw, Suplecs, Daisy, FaceFirst, Rat In A Bucket, The Red Beards@ Dixie TaverneSun_10th_Etta James & The Roots@ House of BluesMon_11th_Susan Alcorn w/ Donald Millerand Rob Cambre @ The Big TopFri_15th_Love & Stereo w/ Until They Arrive,The Tangle, and Silent Cinema@ Marlene’s PlaceSat_16th_The Movie Premiere of WayneCounty Gamblin’ by Dan Rose@ One Eyed JacksWed_19th_Post Offi ce Gals @ Dixie TaverneSat_23rd_Rhoades D’Ablo & The Devil’sRight Hand w/ The Fantastic Ooze@ Lounge LizardsSun_24th_Ray LaMontagne @ House of BluesSun_24th_Def Leppard @UNO Lakefront ArenaTues_26th_Fu Manchu w/ Bad Wizard andThe Bad Off @ One Eyed JacksFri_29th_Sublime Lens @ TwiRoPaSat_30th_Ghost @ Tipitina’s UptownSun_31st_Ghostwood w/ Promis and Wireson Fire @ TwiRoPa20_Falling on the concrete real fast, jumped in our car and slammed on the gas

In reading Smoke, I was reminded ofthe work of Alan Moore, especiallyhis work on V For Vendetta, althoughSmoke is considerably more lightheartedin some ways than that. Whichis to say, De Campi delivers the goods with an espionage/politicalthriller fl avored with a healthy dose of social satire and plenty ofbeautiful violence, the latter courtesy of Igor Kordey. Kordey is athis best here, with an amazingly detailed look at future London andmemorable characters that call to mind not only his underratedwork on Cable but David Lloyd’s work on V For Vendetta. Smoke isone part cynical futurism exercise, predicated on the unfortunatelyrealistic notion that government will grow only more corrupt andgreedy as time goes on, and one part conspiracy thriller, as areluctant assassin in service to the government fi nds himself drawninto a web that includes higher-ups in the government, a plot tomanipulate oil prices and a group of terrorists whose only goal isliposuction and body modifi cation surgery.One thing I noticed about Smoke is that it has a tone that is diffi cultto pin down. The story is very serious, involving massive corruption anda few signifi cant deaths to further someone’s political agenda, notto mention past heartbreak for our lead character, and yet there’sa cheeky sense of humor throughout. De Campi’s sense of humoris unusual as well, as it includes everything from a dry wit to absurdparody to slapstick, but it never crosses the line into cheesy thatcan occur with those latter two types of humor. Smoke is at timesvery amusing, but it’s never laugh out loud funny, and it is at timesvery dark and brooding, but it never really lands in depressing oroppressive territory. It’s a balancing act of different tones and stylesthat somehow never falls to far to one side or the other.Of course, the fi rst thing I noticed about Smoke was the artwork.When this book was announced, I was excited to see Kordey, whohad been absent from comics for some months, and Smoke defi nitelyrewards my anticipation. This has all the hallmarks of Kordey’s bestworks, like insane attention to background detail and some of themost expressive faces in comics, but it also might be some of his mostbeautiful work ever, and I expect even those who have griped aboutKordey’s art in the past will be eating their words when they see thisbook. Kordey perfectly executes every storytelling sequence, whetherit’s the quiet approach of assassins in the early going, the suddeneruption of violence in the pub bombing fl ashback, the obviouspain and tension when Rupert and Lucy confront one another or thecar chase that ensues at the tail end of the book. He also providessome stunning one-page splashes that tell stories of their own, suchas the opening page that shows us the streets of this future Londonor the splash of the king’s debauchery round about the middle of thebook. Credit also to colorist Len O’Grady, an unfamiliar name whoreally impresses with a subdued and yet still fully colorful palette thatperfectly complements the subtleties of Kordey’s work.De Campi’s work reminds me of a lot of the strengths of otherBritish (and one Scottish) writers. The fi nely honed sense of futurismand social satire of Smoke is a descendant of Warren Ellis’s workon Transmetropolitan, the corruption of the British governmentreminiscent of Moore’s V For Vendetta or even some of Garth Ennis’swork on Maggie Thatcher’s England in Hellblazer and the “BeautyBrigade” are villains who seem right out of Grant Morrison’s fertileimagination. Which is not to say that De Campi doesn’t have herown voice, because she absolutely does, just to say that her workresonates on the same level as these creators, and has a similar“British” fl avor. This is, as far as I know, De Campi’s fi rst comics work,but she’s working at a level far above “fi rst comics work” here.Smoke offers up a very intriguing lead character, a seemingly coldassassin who reveals depths of character as the story peels the onion.By the time the fi rst issue is over, we learn he’s not the governmentloyalist he seems at the beginning, but a man trapped by pastpromises and obligations who has given up (or lost) most of whatkept him human. He’s a great lead character, capable of preciseviolence but also clearly intelligent and intuitive, as his one-pageinvestigation of police corruption shows. De Campi and Kordey alsogive us a great villain in the form of the recognizably corrupt and yetalso recognizably intelligent and charming Lauderdale, and somememorable heavies in the form of the Beauty Brigade.It’s always nice when something you’re anticipating as being goodlives up to those expectations, and that’s what happened with meand Smoke. De Campi and Kordey have created a fascinating nearfuturesetting, populated it with interesting characters and wrappedit around an all-too-believable and yet just exaggerated enoughconspiracy plot to keep the reader engaged from start to fi nish.-Randy LanderAs a graphic novel, It Disappears runsboth extremely hot and extremely coldfor me. From an art standpoint, thebook is a triumph, as Nate Powell servesup delicate, beautiful linework that isreminiscent in all the right ways of Paul Pope and Craig Thompson.From a story standpoint, It Disappears is a bit too abstract for me, ameandering, hallucinatory journey that includes talking animals, afi ctional philosopher counterpart and poetic language that neverquite solidifi es into a plot. Powell is presenting the equivalent ofimpressionistic art in graphic novel form. That kind of thing generallyisn’t my cup of tea, but if you like that sort of thing, or if you’re just a fanof beautiful comic book art, It Disappears is certainly worth a look.-Randy Lander24_Bumper to bumper Tchoups is packed, we’re trying to get away before the jackers jack

Based on the novel by Helen Cross,My Summer of Love‘s many parallelsto Peter Jackson’s Heavenly Creatures(1994) are hard to ignore. In each fi lmtwo young women develop a deeppassion for each other, which causesthem to hold the outside world incontempt. The town perceives the girls’ unconventional bond as athreat, and there is an element of danger to the third acts of these fi lmsthat is subtly set up throughout, yet still shocking.My Summer of Love is the story of a teenager named Mona(Nathalie Press) whose brother, Phil (Paddy Considine), has justreturned from prison. Born again during his time away, Phil is turningthe pub below their apartment into a church. Unimpressed, Monahas been spending most of her time away from home, gliding downthe sweeping hills of Yorkshire on her moped with no engine. Whilelounging hillside one day, a young woman named Tamsin (Emily Blunt)approaches Mona on a white horse. Tamsin’s affl uent family ownsa hilltop mansion that looks down over the valley. Mona is quicklyimpressed by Tamsin’s confi dence and knowledge of the world.Mona, annoyed and alienated by her brother’s sudden religiousturn, is enchanted by Tamsin’s tender curiosity. They spend the longsummer days and nights discussing Nietzsche, drinking wine, giggling,dancing, and fi nding refuge in each other.Director Pawel Pavlikovsky (2000’s Last Resort) takes full advantageof the lush Yorkshire countryside, as Mona and Tamsin escape theexpectations and boredom of their town to explore its surroundingwilderness. The hand-held camerawork has a strong Dogme95 feelto it that lends the fi lm a natural, realistic sensibility.Nathalie Press and Emily Blunt are the reason to see this fi lm. Press,with her long red hair and freckles, is reminiscent of a young SissySpacek as she chugs and smokes her way through the fi lm’s rockyterrain. She brings something feral to the role that contrasts nicelywith Blunt’s bored sophisticate.Love didn’t need one villain, much less two. It would have beenenough to explore Mona and Tamsin’s relationship, how the town feltabout it, Phil’s reaction (surely his sister’s love affair with another girlinsults his newfound faith in some way) and the inevitable breakup atsummer’s end. Even though Pavlikovsky properly sets up the violencein the third act, it still feels out of place and a little excessive, hastilytacked on to validate the audience’s hour and a half investment.What I needed more than a payoff was an ending.-James JonesA few months before Hunter S.Thompson’s passing earlier thisyear, a friend of mine had thehonor of running into him, in Perlisof all places. Thompson and asmall entourage entered just before closing. He had a glass ofscotch and a cigarette and was carrying on in exactly the manneryou’d expect him to. Employees kept scurrying in holding upclothes for Mr. Thompson’s approval, only to be met bombasticallywith liquored up responses like, “Fuck no!”This same unbridled, controlled substance-fueled insanitypermeates Thompson’s masterpiece Fear and Loathing in LasVegas. The book’s most interesting aspect (aside from its full-ondetailed descriptions of illicit narcotic cocktails) is its decidedlyunromantic take on the end of ‘60s drug culture. Loathing takesplace in 1971. The ‘60s are over, and all that’s left is a suitcase fullof mescaline and one long, bad trip.Terry Gilliam’s Fear and Loathing in Las Vegas (1998) is a surreal,confusing mess of psychedelic imagery and repulsive paranoidexcess. In other words, it’s an ideal adaptation.Johnny Depp plays Raoul Duke (or Hunter S. Thompson, dependingon how you want to look at it), a journalist on his way to Las Vegasto cover a desert motorcycle rally. With him is his psychotic Samoanlawyer, Dr. Gonzo, and a briefcase full of grass, rum, acid, tequila,ether and god knows what else.Depp is completely ridiculous as Thompson, absurdly ploddingaround with his knees exaggeratedly bent and pointing outwardfrom his hips, his hands constantly fl uttering and gesturing as hemumbles through the cigarette constantly dangling from his lips.Apparently Thompson the myth was not far from the man himself.At Perlis, that day a few months ago, Thompson’s wife asked myfriend to escort him outside (presumably so she could actually buysome of the clothes he was rejecting.) The two talked outside forawhile, before Hunter S. Thompson turned and asked, “Do youknow a place around here where we could get a drink?”-James JonesFEAR AND LOATHING IN LAS VEGASplays on July 8th and 9th at Canal PlaceTheatre for Midnight Madness.Police on the scene, you know what we mean? They passed us up, confronted all the dope fiends_25

Music for Synchronized Swimming in Space is the debut release fromHi-Fi Sky, a local duo comprised of Alexandra Scott and Tim Sommer.At fi rst glance, there’s no telling what to expect when opening thealbum’s front fl ap. For starters, Sommer founded the avant-gardefoursome Hugo Largo, and was also a pivotal promoter of the NewYork hardcore scene in the early ‘80s. Hosting a weekly college radioprogram, Sommer was the fi rst to give radio play to many bands thatwould later become household names, one of the most familiar beingthe Beastie Boys. Apart from launching experimental music projects(Hugo Largo consisted of two bassists, a violin, and a vocalist) andpurveying punk nearly 25 years ago, Sommer also worked for MTVand Atlantic Records during the last decade. If that’s not enoughto prod curiosity, the album’s dubious title certainly does. (For whatdoes music for swimmers in space really sound like?)From the fi rst several bars of the initial track, “Ocean Bear,” oneimmediately understands both the musical identity of Hi-Fi Sky andthe pertinence of the album’s title. The sound is airy and electronic,acoustic and folk, and guided by swaths of violin, cello, organ, andgentle guitar. Above these soft murmurs fl oat Scott’s vocals—delicate,resonating, and simply stunning. The title is apt, for if one was to fl oatin space while turning in unison, this is the album to which they’d beturning. Apart from spacey progressions and ambient peaks andvalleys, Scott and Sommer periodically weave versions of traditionalCajun songs into the track list. The combination of Scott’s voice andthe minimalist arrangements behind them give “Ma Blonde est Partie”and “Chere Bassette” a ghostly poignancy that seems anything butforced. Although fans of slowcore or drone pop will fi nd much depthin Synchronized Swimming, others may fi nd it diffi cult not to gather theoars and head for shore. Though it is true that the album sedates as itsoothes (this is not a record for the dance party), and at times teeterson the unvaried, Hi-Fi Sky writes music that has enough textures tokeep anyone’s attention. Massage and yoga music it may be, butbackground fi ller it is not.-Patrick StrangeOn their dapper self-titled debut, Irish four-piece Hal follow in thesun-dappled footsteps of recent Beach Boys idolizers like Beulah,Beachwood Sparks, and fellow countrymen The Thrills, milking themulti-part harmonies, sky-scratching backing vocals, and lushchamber-pop arrangements of the late-‘60s with a serviceableauthenticity. But that last part should’ve been a dead giveaway:Except for a precious few moments –e.g. the piano-waltz wrap-up atthe end of “What A Lovely Dance,” or the Paul Simon-esque “Don’tCome Running” – the record’s glossy sheen and sharp nostalgia giveit a calculated, lab-constructed feel; unlike a group like the Shins, Halnever fi nd much fresh or exciting to do with the cobwebbed material,sounding more content with reproducing a whitewashed replicathan injecting new life into an old, well-tread infl uence. Put plainer:This skilled Brian Wilson mod-squad may be smiling, but they’ve gotno idea why.-Noah BonaparteThe fi rst thing you should know about A Hawk and a Hacksaw is thatit’s the new band of Jeremy Barnes, the drummer and organist onNeutral Milk Hotel’s defi ning statement, In the Aeroplane Over theSea. For many fans, that’s all they’ll need to know; with frontman JeffMangum more interested of late in charting the natural algorithms ofEast European butterfl ies than following up that supreme oeuvre, youhave to forgive NMH devotees for devouring whatever scraps they26_‘Cause our style’s like a chemical spill, feasible rhymes that you can vision and feel

can get. As such, Barnes’ climb towards independent recognition isa decidedly uphill trek, and it’s unfair – however unavoidable–tolisten to his second offering, Darkness at Noon, with anything but freshears. Besides, despite Mr. Mangum’s cameo credit, there’s little morethan a macabre organ and the obvious Eastern Bloc fetish tying thisproject to his previous band.Instead of sticking to fuzzy, Elephant 6-ish psych-folk, this meanderingworld-music meditation paints with a broader brush, leading a mostlyinstrumental journey through time and space by way of well-traveledtrumpets and funereal keys, Latin rhythms and Mediterraneanmelodies. The resulting trip is both dazzling and disorienting: Jewishweddings turn to dirge-like waltzes in dramatic, cinematic fashion,while horns wail on top and droning organs provide gravity beneaththe mix. At the most unexpected times, a squeezebox enacts a quickbreak and hijacks a song for minutes at a time, and for a brief whilesomeone starts singing. It all recalls a traveling Klezmer troupe, unsureof its audience, warming up with tributes to “Schindler’s List,” “ForWhom the Bell Tolls” and “The Godfather” while waiting to fi nd out ifthey’re playing a festival or a funeral.-Noah BonaparteTribute albums are always strange entities. The best infuse newtwists on well-known songs but don’t stray too far from the originalmaterial. Look At All The Love We Found takes the former to heartand offers some new takes on classic Sublime tracks like “DateRape” (Fishbone) and “April 29th 1992” (Ozomatli), and reinventsthose iconic, overplayed hits “What I Got” (Michael Franti and Giftof Gab) and “Santeria” (AVAIL).With an extensive roster of bands, Look At All The Love mostlysucceeds in having artists infl uenced by Sublime put their stampon the band’s extensive catalog. G. Love lends his harmonica to“Greatest Hits,” Jack Johnson takes “Badfi sh” and “Boss DJ” andblends the two songs into a folky masterpiece, and Filibuster andHalf Pint amp up the reggae in “Get Ready.” Of course, any Sublimetribute has to have “What I Got” and “Santeria,” and here’s wherethe album becomes a mixed bag. AVAIL’s “Santeria” is perhaps theworst conceived cover song ever, taking the laid-back track andfl ipping the aesthetic, making it into a bad punk song. Spearhead’sMichael Franti and Blackalicious’s Gift of Gab, however, take “WhatI Got,” the only Sublime song more overplayed than “Santeria,” andmake it fresh again. The guitar play’s funkier, it’s a bit more upbeat,the hip-hop aspect of the original version is played up with Gab’stake –this track is set to become a hit all over again, so watch for itin a jukebox near you.-Leo McGovern“Old/ I feel so old,” Dagan Harding hollers, shouting over peltingguitars and black-and-blue drum fi lls on the unshakably great single,“Victim.” It’s the brilliant highpoint of Despistado’s latest – and, ifwe’re to believe the band, last – record, the kind of ballistic, dance-or-destroy anthem that spawns movements and spurs parents to banrock ‘n’ roll to their kids. Still, for a frontman two albums into a promisingrecording career, it sounds about as silly as it reads. Better believe itthough: The energetic four-piece from Saskatchewan, seemingly justgetting its bearings with last year’s Emergency Response EP, insteadpulled a fast one on its fans in early 2005, cashing out its chips whileciting the old “creative differences” credo.So the only question left is: Does The People Of And Their Versesprovide something for those fans to pine over, years from now, duringlong drives and late-night listening sessions? The answer is in thedrop-out verses of “Victim” and “Magnetic Streetlights,” remindingus just how fi st-fl ying incredible this band can be, and on less-rowdypop tarts like “Test Tube” and “Broken,” where the boys reveal anunder-explored melodic side. Given the irreconcilable differences,however, Verses remains a sweet-and-sour success –a slam-dancereminder that it’s never the crap bands that bow out without warning,and that chemistry is more than a mere concept that lives betweenyour speakers.-Noah BonaparteThis is the sound of space travel circa 1971; this is being lost in therainforest with some tall and narrow shaman running naked besideyou. This is lying completely horizontal on an ocean wave while thesun washes out and over you; this is where all of the noise and soundmeets and becomes one. This is The Boredoms’ House of Sun andYamatsuka Eye’s Seadrum. It’s best to fi nd a comfortable chair to sitin, then close your eyes and let the album play.Conducted and formed, this is a heck of a concept_27

The opening to Seadrum is a psychedelic vocal harmony. It soundslike a chant or an incantation to the sky before the drums rumble andblast in, sending all instruments into primitive, swirling fury. Yoshimi’svocals come back into the mix, soaring with the original openingfervor, dancing just paces behind the drums. The track slows downat the ending, easing you into House of Sun, a 24-minute sitar/guitar/percussion contemplation. If Seadrum is the dense and sometimesblack forest of the earth, then House of Sun is the clear blue skyabove.The The Boredoms will always be enticing and aggressive in their ownway, and this album is no different. It follows along the same pathsas Super Are and Vision Creation New Sun, using primitive sounds tocreate something that sounds like it’s coming from the future by wayof the past. There will be kids who naysay, of course, and then therewill be those who eat the ground they have walked on. There will alsoof course always be us in the middle, fi nding ourselves somewherewide and open and then hearing the sultry sitar’s sway. The musicmust be seeping into my pores; I’ve stopped making sense.-Aaron SantosA minor squawk of feedback. A tiny rattle of cymbals. Then JohnFields calls attention. “Ladies and Gentlemen!” Guitarist Fields anddrummer Hank Haney lock into a dense groove while every electronicinstrument in the greater New Orleans area feeds back with vigor.This is the way the Blackfi re Revelation announce themselves. Thelocal two-piece, big on intensity and volume do not let up over thecourse of the fi ve song Gold and Guns on 51 EP. For 25 minutes,nothing matters but the grit of the levee and the squeal of tires onasphalt. Blackfi re self-released Gold and Guns last fall before signingto Oxford, Mississippi’s Fat Possum records, who are now re-releasingit. Imagine the Black Keys as pain junkies. But while the Keys aremore than happy to oblige to at least some semblance of radiofriendliness,Blackfi re passes, opting instead for raw power. And that’sreally the group’s biggest strength; Fields, while by no means a badguitarist, is no Hendrix, and Haney no Bonham, but the two make somuch noise with so much emotion that virtuosity would only distractfrom the honesty of the music. “Preach to the Choir” is the requisiteslow number here, darkening the alright opaque mood with the line“I lost all my money / But I still got my guns” while Fields and Haneycrawl along, barefoot on an Irish Channel street.Listening to Gold and Guns is like stepping on broken glass, but in agood way; while the noise is powerful, painful, and a bit frightening,it feeds that masochistic part of the brain, it releases endorphins.“Yes,” it shouts, “this is it! This is the real rock and fucking roll!” Nomatter how quiet my stereo is at the EP’s beginning, it always ends atfull blast. And forget trying to write or do anything while listening toit. You think that this is the fi rst draft of this review? This is music thatcommands attention. Fields’ leads cut ahead of the Zakk Wylde/Randy Rhoades line straight to vintage, Crossroads-style blues. Noone will ever really know for sure if Robert Johnson sold his soul to thedevil to learn how to play guitar, but if he had had a drummer likeHank Haney behind him and a stack of vintage amps, Moby mighthave sampled “Battle Hymn” .Believe it or not, these “post-hardcore” Canadians have other problemsthan just the unfortunate naming of their band. Hailing from Thornhill,Ontario, Courtesy Blush swoop down with Sweet Modern Fairy Tales, adebut album that introduces the listener to both the band as well aspossible new meanings for the word “patience.” From its onset, the albumbelts out a cacophony of gratuitous cymbal crashes, redundant powerchords, and noisy crescendos that lead only to expendable nakedguitar rifts. While the sheer volume of colliding instruments may leadsome to interpret it as forceful heavy rock, momentary transcendenceis mostly thwarted by too much distortion and generic vocal melodies.In fact, sometimes the post-adolescent droning even begs comparisonto all those radio bands that are impossible to differentiate, but thatare certain to have at least a numeral or two in their names. To makematters worse, Fairy Tales contains some lyrical doozies that are just tooripe to be ignored. From the opening line, “I feel affection for the wayyou’d stoke my arm when I was bitter / And I would reflect about it,” tothe culminating “We talk on the phone / Things are never the same /Hypnopaedia, oh condition me,” the album is filled with lyrics that reallydo make you blush—courtesy or not.-Patrick Strange28_Keep our composure when it’s time to get loose, magnetized by the mic while we kick our juice

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Macrosick withGlorybee7/30 @ One Eyed Jackswww.oneeyedjacks.net(504) 569-8361An ‘80s revival is fl ooding venues andbars across the nation, and New Orleansneeded its own evangelist. Macrosick is thecurrent claimant, and they seek to lead theiraudience with an interesting blend of synthgrooves mixed with a more traditional bandsetup that lends itself to daydreaming andrhythmic body movements. The band bringsmany artistic cravings into convergence, sodoctored video images fl ow with the beepsand squawks of keyboards and computers.It’s a wild setup, and if Conor Oberst was fromNew Orleans and not Omaha, Macrosickwould be his lackeys. Nonetheless, artisticexpression requires a unifi ed front, andthe unity of Macrosick is displayed on theirsleeves – their traditional white dress fuels theimage of a show, not just a band. Macrosickhas opened locally for the Walkmen and TVon the Radio, so perhaps a grander displayof ‘80s religion is in their future. And GloryBeeis always, well, an intriguing time.-Josh SpilkerEisley7/4 @ House of Blueswww.hob.com(504) 340-4999Three teenage sisters, a brother, and theirbest friend form Eisley, and their dramaticlilting sound is taking over Hot Topic buyers byforce. But how much power can such a nonthreatening,dreamy pop assembly such asEisley command? Enough for a large labelrelease from Warner Brothers and a spoton tour with Coldplay. Though they are stillteenagers, Eisley inspires a hope and comfortin their music–not the brash selfi shness seenin many of their contemporaries. The band isheadlining its fi rst tour in promotion of RoomNoises, with melodic pop outfi ts Lovedrugand Pilotdrift opening.-Josh SpilkerLe Tigre7/30 @ House of Blueswww.hob.com(504) 340-4999In the 1970s, there was punk. In the 1980s,there was pop. And in the 1990s, there wasgrunge. With the exception of Madonna,most of these musical fads were led bymen – from Sid Vicious to Simon Lebon toKurt Cobain. However, in the early 1990s,on makeshift basement stages across thecountry, there existed another movement,led only by women. The point-band of thisfeminist movement, dubbed Riot Grrl, wasOlympia, Washington’s Bikini Kill. Explodingonto the male-dominated indie rock scene,these girls combined the power of punk rockwith the impassioned ideals of politics, namelyfeminism. Characterized by the OxfordEnglish Dictionary as “feminist resistance tomale domination in society and especially tothe abuse and harassment of women,” RiotGrrl bands often addressed issues such asrape, domestic abuse, sexuality and femaleempowerment in their lyrics, to redress thebalance of power in a DIY style, sometimeswriting slogans such as “rape” and “slut” inblack marker on exposed stomachs and arms.In 1998, Bikini Kill founder and quintessentialriot grrl Kathleen Hanna formed Le Tigre,originally meant as the live backing bandfor her Julie Ruin solo. With the end of thepopularity of the Riot Grrl movement, Le Tigretook its ideals into the 21st century, mixingpunk’s directness and politics with playfulsamples, eclectic pop, and lo-fi electronics.And today, despite changing political andsocial currents, Le Tigre still provides a strongmessage, well-placed within good musicthat makes you dance just as much as itmakes you think.-Sara CohenOne Man Machine withThe Morning 40Federation7/3 @ One Eyed Jackswww.oneeyedjacks.net(504) 569-8361Opening up for R. Scully’s a.m. guzzlers,we think ANTIGRAVITY adman BernardPearce needs his own alcohol-centrichandle. And, after witnessing a recent latenightgig at New York’s Knitting Factory,we’re voting for “Twilight Absinthe Trip.”Descending the several fl ights of stairs intothe club’s dank nether-regions, the spooky,mashed-up sounds of ONE MAN MACHINEwafted upward like a Christian cleansingin Hell’s Kitchen. Once inside the cellar-likeshowroom, tribal drum beats swept overthe TriBeCa crowd in soul-scorching waves,who responded by repeatedly throwingtheir hands skyward, gospel-style, at each ofPearce’s impassioned wails: “It’s amazing/What you can get away with/ These days!”Amazing, indeed.-Noah BonaparteThe Buttons withBallzack7/15 @ TwiRoPawww.twiropa.com(504) 587-3777OK, fuck the Buttons. These guys are waytoo cool. Don’t go to their show, becausethey will only make you feel small andinsignifi cant. That was the ranting of a jealousmusician – don’t believe a word of it. I justsaw these guys at the Circle Bar and theytotally rocked it. Let me break it down: twoguys having fun behind keyboards, drummachines, affected vocals, and all in themidst of machine-generated smoke andbeach balls being tossed around by cutegirls. This promises to be the feel good showof the summer.-Pearce Pearceburg30_If there was a problem, yo we’ll solve it, check out the hook while AG revolves it