April 2011 (PDF) - Antigravity Magazine

STAFF
Publisher/Editor in Chief:
Leo McGovern
leo@antigravitymagazine.com
Associate Editor:
Dan Fox
fox@antigravitymagazine.com
REVIEWS EDITOR:
Erin Hall
erinhall@antigravitymagazine.com
staff writerS:
Michael Patrick Welch
mpw@antigravitymagazine.com
Dan Mitchell
danmitchell@antigravitymagazine.com
Contributing Writers:
Michael Bateman
crawstika@gmail.com
Graham Greenleaf
greenleaf@antigravitymagazine.com
Dan P. Jackson
danj@antigravitymagazine.com
Sara Pic
sara.pic@gmail.com
Ashley Robison
ashe.mischief@gmail.com
Mike Rodgers
mike@antigravitymagazine.com
Derek Zimmer
derek@antigravitymagazine.com
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ads@antigravitymagazine.com
504-881-7508
Cover design by Dan Fox; Photo
this page: Fat Stupid Ugly People by
Gary Loverde
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FAT SUPID UGLY PEOPLE HEAD TO
SIBERIA_PG 15
FEATURES:
ANTI-News_page 4
Because We Said So:
Erin & Dan M.’s Picks_page 15
The Pains of Being Pure at
Heart_page 16
Community Records’ Block
Party Returns_page 17
Dan Fox’s SXSW
Excursion_page 20
Jazz Fest 2011 Picks_page 23
INTRO
COLUMNS:
Hello, Nurse_page 8
Medical advice from a local nurse!
Guidance Counseling_page 9
Advice from a local celebrity!
Splash Zone_page 10
This month in theatre.
The Goods_page 11
This month in fashion.
Slingshots, Anyone?_page 12
That sneaky Derek.
Beats per Month_page 13
This month in record spinning.
Photo Review_page 38
The month in photos.
REVIEWS_pg. 27
EVENTS_pg. 30
March listings for the NOLA area...
COMICS_pg. 37
How To Be Happy, K Chronicles, Will
Frank’s Monsterhead and Quarter
Vomit by Otto Splotch!
I’m writing this to you from a kitchen in a punk house in Memphis with the stately name of the
Courthouse Co-op. I’m on the road again with my band, heading into the Midwest and East
coast for a couple of weeks. Spring time is tour time and I know we’re not the only ones out
there; Missing Monuments is burning down Europe as I write this and my buds Felix are setting out
for the road in a few weeks. I’m pretty happy right now, sitting at this kitchen table, drinking some
beers and relaxing after an energetic show. Thanks to the crowd at the Co-op for giving something
back! It’s a cycle that knows no limits. But let me fake a little drunk belligerence and also borrow
from Derek’s awesome column on the Iron Rail/NOPD/City Council debacle and say that we’re not
fucking journalists over here. I’d like to think that the voices you hear in ANTIGRAVITY are those
of the people standing right next to you at a show, sharing the same experience and trying to bottle it
somehow for you. Hell, we might be the show and within these pages it’s sometimes hard to tell the
difference. We’re also not objective at all and if it seems like we write about our friends, it’s because
we do. We got a lot of them between the whole gang over here. Many, if not most of the people I
write about I’ve known a long time and it’s because of their passion and creative genius that’s drawn
me into their orbit. I’m lucky enough to have an outlet to express my appreciation and I’ll continue
to sing their praises as long as I’m allowed to.
In addition to our tireless staff who work themselves to the bone every month, many thanks to Osa
Atoe for jumping in at the last minute and providing a great interview with Kaia Wilson. I saw Kaia’s band, Team Dresch at the Unitarian Church on
Jefferson and Claiborne back in the early ‘90s and it was the kind of show that drew me deeper into this wonderful world of music. Not only was Team
Dresch amazing but their self-defense demonstration beforehand was funny and informative and showed me a side of performance that strikes deep
into the heart of an audience and just grabs a good fistful. It’s always easier when they’re right in front of you. (DJ Brice Nice put on that show, by the
way, when he was just a scruffy vegan straight-edge kid from Pennsylvania!) But that show is ancient history; hopefully within these pages you’ll find
something that will spark your interest during these times. There’s a lot of words and info to sort through, I know, but there’s gold in it, I swear. Well,
the acoustics are coming out so I’ll wrap it up and quit being the weird computer nerd at the table. I’m thrilled to be on the road but I’ll be homesick the
whole time. Glad to see there’s so much to do when I get back. Happy Crawfish and Strawberry season! --Dan Fox, Associate Editor
3

ANTI-NEWS
DREAMS OF THE ’90S (& PING
PONG) ARE ALIVE IN KAIA
WILSON
BY OSA ATOE
Remember queer-core?
Remember overtly feminist
DIY punk bands who
screamed their message from the
stage, empowering a generation of
women and queers? You do? Well
that means you’re old and that you
probably already know who Kaia
Wilson is. She was in not one,
but two seminal all-dyke bands,
Team Dresch and the Butchies
and has also produced several
solo records, mostly released on
her old label, Mr. Lady Records,
which put out records by queer
and girl bands up until 2004. Kaia
has toured through New Orleans
several times and we welcome her
back once again to the Crescent
City!
ANTIGRAVITY: When’s the
first time you played a show in
New Orleans?
Kaia Wilson: In 1994! It was
with Team Dresch on our first big
national tour. According to my
memory, these rad kids put on
a show for us at a church. And I
remember all the mossy trees and it
being really humid. The show was
rad!
On this tour, you’re playing with Jenny Hoyston of Erase Errata. How’d you end up teaming up with
her?
Jenny and I lived together for a couple years here in PDX, and we’ve known each other forever. My old band
the Butchies toured with Erase Errata and her other band California Lightening. We just like singing songs
together, really. We like harmonies. We’re also in a ‘70s cover band together called Feelin’ Alright... Sweet
light FM soft sounds!
What’s the queer DIY scene like in Portland and how has it changed since the ‘90s, when Team Dresch
was a band?
Yikes! I have to admit to being a bit of a hermit. I know there’s tons of incredible art and music happening
and that Portland is a thriving place for sure, but I barely leave my house except to play ping pong or sing
karaoke these days! So it would be hard to compare to when Team Dresch was a band. I can say the general
feeling I get, though, is that in the early and mid-‘90s there was this sorta feverish political freak culture thing
happening that was radical and I haven’t felt anything quite like it since.
Which other musicians have you been collaborating with over the last few years?
I have been collaborating with Amy Ray of Indigo Girls as her lead guitarist in her rock band. We just talked
about Jenny Hoyston. Team Dresch has reunited here and there. We went to Brazil last year and it was
amazing. My cover bands, Feelin’ Alright and my Sinead O’Connor cover band, have brought me to play
with Hannah Blilie, Katy Davidson, Rachel Blumberg and Marisa Anderson-- all phenomenal musicians.
And, um, I did some work with Justin Bieber but that’s kinda top secret.
Why did Team Dresch start playing reunion shows and why is it important to all of you to keep playing
together?
Because we still love the music we made together, and people still want to hear it and I feel that our queer
pride message is still just as important and valuable as it was back then. Honestly, it’s so hard for homos still,
especially rural homos...
How were the Butchies reunion shows you played last year?
Oh, they were so much fun! I’m totally into reunions! Great to play with Alison and Mel again. Melissa York
is also the drummer for Amy Ray, so we’ve continued to play and tour together still.
In the past, you’ve worked on record labels such as Chainsaw and Mr. Lady that highlighted queer
DIY bands. Why’d you stop?
My music was released on Chainsaw and Candyass Records, but I never worked for or at those labels.
But with Mr. Lady... You know, as rad as it was to be half of that label and to champion queer punk bands
BACK TO THE BEACH:
HANGOUT FEST BRINGS
BIG NAMES
Last May the small beachfront
town of Gulf Shores, Alabama
– a short 3.5-hour drive from
New Orleans – saw an influx of music
lovers for the first Hangout Beach,
Music & Arts Festival. Despite being
its inaugural year, the fest was able to
draw such big names as Trey Anastasio,
Girl Talk and The Roots. Attendance
was estimated at nearly 40,000, which
is quit an achievement considering the
timing of the fest. Though the lineup was
initially announced in February 2010,
the festival was slated to take place only
weeks after BP’s Deepwater Horizon oil
well malfunctioned, spilling millions of
gallons of crude into the gulf and igniting
a firestorm of controversy and a scramble
to protect the delicate ecosystem of the
region. Festival organizers handled the
issue with grace, donating a portion of
proceeds from ticket sales to oil spill
relief. And despite some nagging weather
issues on the last day, the weekend went off without a hitch. So much so that the
festival organizers were able to secure a five-year deal with the city of Gulf Shores to
continue producing the country’s only beachfront festival of this magnitude.
This year’s lineup has blown last year’s out of the water (pardon the pun). With
headliners like The Black Keys, My Morning Jacket, Paul Simon, Foo Fighters and
Widespread Panic, the festival is primed to compete with the likes of Bonnaroo and
Austin City Limits for attendees. Last year’s main draw was to be The Flaming Lips,
but the band had to cancel at the last minute due to the illness of a band member, so this
year they make good on their promise and headline Saturday night. This year’s lineup
is a genre-hopping medley of underground darlings, hot new acts, regional favorites
(including New Orleans’ own Honey Island Swamp Band, Galactic and Trombone
Shorty) and internationally renowned acts. Another hometown favorite makes an
appearance as well. Abita Beer is an official beverage sponsor, along with Georgia
microbrewery Sweetwater, so the on-site beer options are a step above most fests.
Weekend passes are $174 with VIP packages starting at $525. The festival is expected
to sell out, so there is currently no plan to offer daily tickets (follow us on Twitter @
antigravitymag and we’ll let you know if daily tickets become available). There is no
camping on the beach, but campgrounds are accessible nearby in addition to the laundry
list of condos, hotels and beach houses for rent. The festival website is a good jumpingoff
place to find accommodations and information on the shuttles that will run to and
from the site daily. So if Jazzfest doesn’t blow your skirt up and you feel too old to do the
camping thing at Bonnaroo (or maybe you’d just like a nice weekend at the beach with
some great tunes), Hangout Fest may be a great fit for you. —Erin Hall
To see the full lineup and more information about Hangout Fest, visit
hangoutmusicfest.com.
and artists, I am not really geared towards business in the way necessary to enjoy
success and fulfillment of being a small business owner. I am really more about
doing and creating and if there’s not a hands-on, creative thing dominating my
endeavors, it doesn’t hold my attention for too long.
Any new solo recordings in the making?
Yes!!! I actually have probably four albums worth of stuff, but I’m just trying to
make one really, really solid record and working on finding the right label and folks
to help me release it. I’m hoping to get it out in 2011 or early 2012. Oh no, 2012!!!!
Did you really compete at table tennis in the Gay Olympics in Germany last
year?
I totally did, not only am I totally gay in my sexual identity, but I’m also totally gay
in my athletic identity! What sport is gayer than ping pong? It was so much fun! I
won a gold medal in women’s doubles and a bronze in a team event. I mostly won
a lot of pride though, like a bucket full of gay jock pride.
Kaia Wilson is playing in New Orleans on Friday, May 6th at an as-yetto-be-determined
venue with support from local bands Teen Times and
Firebrand. Check myspace.com/nomorefictionshows or noladiy.org for
details.
4

ANTI-NEWS
RECORD STORE DAY 2011 SEES TONS OF EXCLUSIVE
RELEASES HIT LOCAL SHOPS
Spring time is upon us and by the time you read this, it will
probably be over. Such is life in New Orleans; we get about
three weeks of perfect weather before the humidity sets in,
the bugs come out and we all start our annual six month sweat-fest
that we call life. Aside from all that, Spring time also means we, the
New Orleans music junkies out there, get our yearly fix. By this of
course I am talking about National Record Store Day, a day when
only independent stores get to stock limited runs of LPs, CDs, 12”s,
10”s, 7”s, T-Shirts and all types of other swag from bands that we
know and love. This year’s Record Store Day falls on Saturday,
April 16th and it is the fourth day of its kind, excluding the mini
Record Store Day that fell just before the holidays last December.
Conceived four years ago by a gentleman named Chris Brown
(not the asshole R&B singer) and put into motion by a group of
hardworking music aficionados, the day is meant to celebrate “the
unique culture surrounding over 700 independently owned record
stores in the USA, and hundreds of similar stores internationally.”
Over the past four years, since the day’s inception in April of
2008, National Record Store Day has grown tremendously, with
more stores participating every year and more artists releasing
music exclusive to this day. This year’s event is no exception, as
the amount of releases and stores participating have grown yet
again. This year, no fewer than six independently owned record
stores in New Orleans will participate, including the Mushroom
located Uptown on Broadway, Skully’z Recordz on Bourbon,
Jim Russell’s Records on Magazine, Peaches Records on North
Peters, the Louisiana Music Factory on Decatur and Odyssey
Records on Canal St.
The best way to figure out what each store will be stocking is
to simply call them, but be forewarned, nothing can be held aside
and nothing can be sold before April 16. That said, this year boasts
an incredible array of releases, so start saving up and get there
early, because if this year is anything like last year (and it will
be bigger, I promise), many of the limited pressings will be gone
within minutes. So, without further ado, let us get into some of the
items that will be made available for this special day.
We will start with some of the many 7” releases to look forward
to; Snapper Music will be releasing “Wait For My Love” by the
13 th Floor Elevators, ROIR will have “Pay to Cum” by Bad
Brains, the Cults will get “Abducted/ Go Outside” released by
INTO/ Columbia, Fela Kuti’s “Monday Morning in Lagos Parts
1 & 2” will be put out by Junketboy/ RED, Vice Records will
release Off!’s “Live at Generation Records,” Raphael Saadiq will
see “Radio/ Can’t Jig Anymore” released by Columbia and “Foggy
Notion” by the Velvet Underground will be put out by Sundazed
Records. And that is just the tip of the needle. In addition to these
releases, I am going to highlight a few more that have caught my
eye and that I am anticipating. The Black Angels will have two
releases, a 10” white vinyl called Phosgene Nightmare by Blue
Horizon and a 12” by Light in the Attic called Another Nice Pair.
Boris should, hopefully, still release one of their two upcoming
full-length albums, Attention Please, on Sargent House, even
though the late April release of the two albums, the other being
Heavy Rocks, has been pushed back to late May as a result of the
tragedy in Japan. Daedelus will be releasing a 12” called Tailor
Made on Ninja Tune in an extremely limited pressing of only 150
copies. The biggest of the releases, some might argue, will come
from Warner Brothers and the Flaming Lips and it will be called
Heady Nuggs: The First Five Warner Bros. Records 1992-2002.
Gucci Mane and Waka Flocka Flame will each have awesome
(!) exclusive T-Shirts coming out, Gucci’s being a picture of his
freshly tattooed face and Waka’s will read “Go Flock Yourself.”
Prurient, via Hydra Head Records, will release Many Jewels
Will Surround the Crown, Panda Bear will release his new album,
Tomboy, on his own imprint Paw Tracks with a T-Shirt included,
Oval and Liturgy will share a split on Thrill Jockey and Sonic
Above: Record Store Day releases by Sonic Youth, 13th Floor Elevators, the Black Angels
Youth will release a live colored LP entitled Whore’s Moaning: Oz ’93 Tour Edition. Aside from the
releases mentioned above, there are literally dozens upon dozens more coming out on Record Store
Day as well.
Last year, Josh Homme (of Queens of the Stone Age) was the Record Store Day Ambassador; this
time around we have another heavyweight representing the day officially as Ambassador and while
he might be aging and hard to understand at times, this man will certainly eat your soul if you do not
attend; yes, I am talking about Mr. Ozzy Osbourne. So listen to the man when he points his finger at
you and says, “Be there,” because he is right; you should be there-- if not to support your favorite local
music shop (which you should do anyway), then at least to get your grubby mitts on some limited and
collectible music that these artists and labels have made just for you. -Dan Mitchell
5

ANTI-NEWS
AVANT GARDEN: PUTTING A SPRING INTO THE STEP OF
ART MARKET NORMALCY
BY leo mcgovern
The propagation of culture in New Orleans can be intriguing and exhilarating, as quaint ideas--for an
art market, a publication, a song, a t-shirt, pretty much anything creative--can be accepted and become
successful almost overnight. It can also be just as frustrating when fresh ideas quickly expire with the
oversaturation of inevitable imitators, and sometimes a good idea gets corrupted in spite of itself--events
become bigger and more elaborate, somehow losing the unique qualities that made them good ideas in the
first place. So we’re lucky that there’s a constant stream of new ideas and twists on classic themes, and of
this Constance is a perfect example. Two issues of a progressive art, written word and design journal have
begat a blog and Avant Garden, a curated expo of interesting local businesses and artists, held in a backyard
off Esplanade Ave. As for the need of another art market, Constance’s Erik Kiesewetter sums it up when he
says, “I mean, you can only look at hand-painted fleur-de-lis’, defunct New Orleans companies on tiles and
magnets, or Drew Brees-on-a-candle for so long.”
So if the idea of the same old monthly market sends you into a malaise, it’s nothing that can’t be cured by
gathering in someone’s backyard, hanging with friends and surveying a bunch of cool stuff. ANTIGRAVITY
poked the minds of Kiesewetter and Theo Eliezer, the organizers behind Avant Garden, to see what the event
has in store for discerning shoppers.
ANTIGRAVITY: What was the original impetus for Avant Garden?
Erik Kiesewetter: As Constance has begun to expand itself with a few different programs, it seemed important
to continue the tradition of furthering the up and coming designers and artists, as well as established ones.
It was our philosophy from its inception to fill in voids where we can. So with so many similar art markets
happening around the city, it seemed to make sense to offer an alternative venue to artists, designers, makers
and people with interesting collections to have an opportunity to share their work as well. I mean, you can
only look at hand-painted fleur-de-lis’, defunct New Orleans companies on tiles and magnets, or Drew
Brees-on-a-candle for so long. We all love this, don’t get me wrong, but it certainly has its built in audience.
Antigravity’s Alternative Media Expo provides a venue for directors, publishers, diy-ers, and the like. We
are definitely influenced by this and feel it’s important to have all voices heard.
How will the second Avant Garden differ from the first?
EK: Avant Garden has been unofficially been going on for a little while, which began as something to do
Saturday mornings. Joey Buttons and I would play records, blast Italo-disco into the street, drink beers
and sell books, used movies and issues of Constance- all on my stairs on Esplanade. Friends and passerbys
would stop in and hang out. So eventually, Katherine Bray of CANO [Creative Alliance of New Orleans]
approached me to do something for Art Home New Orleans, last December, which invited people to artist’s
homes for tours and whatever. I needed to come up with something a little more special, so I emailed friends,
artists and whomever, to see if they wanted to participate. We slapped it together and it was a success in that
it grew from three ‘vendors’ to twenty-five real artists and vendors.
This time around, we have more time to plan and, with the help of Theo Eliezer, we have invited a new
group of people to participate. It’ll be a little more organized, varied and have drinks other than alcohol
available, as well as food. We were starving last time! However, the fact that people felt comfortable and
people in the neighborhood came to simply socialize, hang out and spend hours with friends—rather than
simply browsing and leaving—felt like we accomplished something crucial that makes us stand out from
the usual art markets.
Avant Garden isn’t an event anyone can simply sign up for—exhibitors are
vetted before they’re allowed to participate. What are some of the inherent
qualities you’re looking for?
EK: We want Avant Garden to remain special. After seeing the Brooklyn Flea
Market a few times when I visit NY, I noticed the incredible amount of quality
and range of artists, collectors and makers. I feel the New Orleans population has
changed in a way that young people are flocking here and they are doing, making
and bringing interesting things to the community. They have a new energy, so we
are trying to harness that with Avant Garden and I think in turn it empowers our
residents to step it up as well.
Theo Eliezer: I find myself draw to an element of thoughtfulness in general when
it comes to art and design, which can be in the form of an artist using excellent
materials with an attention to detail, or a designer creating something particularly
innovative and well executed. Because we’re selecting new vendors for each market
we’re able to spend the months in between looking for new talent that deserves to
be showcased, which will ideally keep things fresh and interesting for each event.
Avant Garden is an outreach of the Constance publication—how are the two
thematically intertwined?
EK: Avant Garden remains true to the intentions of Constance, which tries to shine
a spotlight on and showcase new and interesting people, projects, artists, etc. within
the New Orleans community. It was first approached through our earlier publications
as an answer to the lack of artist venues in the post-Katrina landscape. With the
help of over ten people, we now also continue it in the form of the Constance
Blog, showcasing interesting things that are happening here, as well as outside the
community. So with Avant Garden, I feel we are filling a void for artists, designers,
and makers, allowing them to have a venue, sharing affordable and good products,
and have a space that people feel comfortable in, without all the popup tents and
‘live music’ that tend to accompany most Arts Markets. Essentially we want be able
to promote artists’ work in a genuine way.
At the end of this Spring’s event, what one facet will determine its success in
your mind?
EK: That all people involved have something to take away from this event: of
course monetary support for their arts, but also that the event was an enjoyable,
comfortable experience. It shouldn’t feel like a ‘market’, but more of a place people
can really feel comfortable and enjoy time spent with friends and better yet, meet
other great people in the process.
TE: I agree. In addition to everyone doing well in terms of sales, I’m excited by the
potential for emerging artists and designers to gain visibility for what they create,
which has positive longstanding impact for everyone involved.
Which exhibitors already on tap for this year’s event are already piquing your
interest?
EK: For me, Department of Changes and Defend New Orleans new joint-project
will have a lot of interesting offerings--and I think moreso into the future. Jonah and
Jac are great guys and I know they believe in what they are doing. Of course, Chris
Hannah and his amazing cocktails, but I’m really intrigued by Candy Ellison’s
bizarre, globe-trotting coffee concoction. Can’t wait. InvadeNOLA’s Justin Shiels
should be unveiling a new book as well.
TE: I’m also excited to see Justin’s book, and the clothing by Department of
Changes, as well as the oddities by our vintage collectors who will undoubtedly
show up with some weird and wonderful finds. Alix Petrovich, a set designer whom
I’ve worked with on past shows, is bringing items from her collection which could
range from Edwardian china sets to taxidermy, so I’m curious to see what delightful
and morbid things she has up her sleeve.
What will future Avant Gardens look like? How do you see the idea of the
event progressing throughout 2011?
EK: I think we are on pace to do maybe two a year. It is time-consuming and I think it
makes it more special to make them a semi-annual event; something to look forward
to. I like the idea of having it in our building’s backyard. It’s large enough, yet really
intimate. It will be interesting to see us outgrow this space and trying to find something
that is equivalently amazing. The NOMA sculpture garden? We should talk.
TE: I like the idea of finding so many new inspiring and talented people that we
outgrow our space, like a slow moving ’50s horror creature. The curated Blob. I’m
sure the NOMA will love that.
This season’s Avant Garden takes place on Saturday, April 16th, from 11am-5pm at
2216 Esplanade Ave, NOLA. For more info, go to weareconstance.org/avantgarden.
6

COLUMN
HELLO NURSE!
BY NICHOLE BRINING, LPN
ADVICE
DRUG OF THE MONTH: CAFFEINE
Let’s talk about my buddy caffeine. It is by far the most widely consumed drug besides
alcohol. It is so common in our culture that many never consider it to be a drug. But it is.
And I love it so much. Love love love it! Caffeine is a naturally occurring psychoactive
stimulant, which means it breeches the blood/brain barrier and causes wakefulness, stimulation
of the mind and may even cause euphoria, but unlike hallucinogens it does not alter perception.
Caffeine produces its well known alertness properties by stimulating the central nervous system.
You can find caffeine in coffee, guarana berries, kola nuts, yerba mate and yaupon holly. It is the
most widely used drug in the world. In North America alone 90% of people consume caffeine in
some form every day! We just can’t get enough! Caffeine affects the same chemicals in our brain
as amphetamines, cocaine and heroin. Of course, it is much milder than those drugs but is just as
addictive. That is why many people suffer from headaches, fatigue and irritability when they don’t
get their daily dose of coffee-- those are symptoms of withdrawal.
You don’t have to be a java junkie to be consuming caffeine, though. Caffeine is put into a
variety of products, such as coffee drinks (duh), tea, chocolate (so it’s also in things like chocolate
milk and cocoa), soft drinks (except the clear sodas and root beer), Vivarin, somas, Dexatrim,
Excedrin, Midol, Aqua Ban, Darvon, specialized soap, cosmetics (those touting, firming effects)
and Anacin. It’s everywhere, found in sixty different plants! Just the way I like it.
Some people say the benefits of caffeine far outweigh the health risks. Moderate caffeine can
benefit people who are at high risk for liver disease, increases muscle strength, decreases some
asthma symptoms, helps pain relievers work better and provides increased mental alertness.
Nature created the perfect over-achiever/last minute-doer drug. And keep in mind, caffeine is a
drug. Just because it is not culturally demonized or federally criminalized does not mean it isn’t a
chemical that one consumes to produce a desired effect that normally wouldn’t be present in the
consumer’s metabolism alone.
But all good things can have the potential for nasty side effects. Overdosing on caffeine is a real
thing. (10 grams is considered the lethal dose) And they estimate that 1,000-10,000 people die
a year from caffeine. That may seem odd, but caffeine has some serious side effects. And these
deaths are mostly attributed to bad side effects that could’ve been prevented if caffeine wasn’t
part of the equation.
This is what most people experience if they consume a lot of coffee: dizziness, irritability,
nausea and nervousness. These aren’t so serious, but if you experience tightness of the chest,
swelling of the face, shakiness, diarrhea, trouble sleeping, vomiting, elevated blood pressure,
irregular heartbeat, tremors and/or sudden unexplained bed wetting... then you need to go see a
doctor.
And here’s the clincher. If, while reading this, you decide, “No more caffeine for me!” You
will experience terribly uncomfortable withdrawal effects. You can’t quit caffeine cold turkey.
You’ll get headaches, constipation, anxiety, runny nose, vomiting, ringing in the ears, cramps,
apathy, depression, fatigue and dizziness. Plus, you’ll be a raging asshole and no one will want to
be around you. And withdrawals will start as soon as 12 hours after your last caffeinated beverage.
Caffeine is a stimulant. And any stimulant will tax your adrenal glands. Getting wired on
caffeine sends a signal to your brain that you are in a stressful situation, even if you’re not. Doing
this to your brain everyday is sort of like the story of the boy who cried wolf. If you keep telling
your body it’s stressed when there is no stress, you won’t be able to combat real stress when it
occurs.
So what is the happy medium here? How can one enjoy a stimulating cup o’ joe or chocolate
milk/red bull/Mr. Pibb without all these unpleasant risks?
It’s simpler than you think. Just don’t consume caffeine every day. Start with every other day.
Take a caffeine-free pain reliever if a headache flares up. If you find that you can not go without
coffee every day, a safe amount is two cups a day. And a note to the ladies: Caffeine likes to hang
out in our systems longer than our male counterparts. So drink more water and be a wee bit more
patient in your caffeine regulating.
What’s awesome about weening yourself off of caffeine is that it gets out of your system
quicker than most drugs. If you can bear a few weeks of occasional withdrawal symptoms, you
can dramatically reduce the amount of caffeine you take or cut it out completely.
There are supplements you can take to replenish those worn out adrenals too. One way to tell
if your adrenals are taxed is if you have intense salt cravings. Honor these cravings (pickles...
mmmmmm). Then take some liquid B vitamins. Any over-the-counter blend is fine. Follow it up
with some vitamin C and your adrenals will thank you.
there are some homeopathic remedies as well. Ashwagandha Root extract is touted as an adrenal
replenisher as well as Relora and Jaundice berry.
As an economic side note, the cost of taking care of your adrenals is cheap compared to
supplements for any other part of your body. You can afford to keep yourself in tip-top shape
until the next round of caffeine floods your system.
I love caffeine. I drink it every day, and I make no plans on stopping. Coffee shops are social
meccas for caffeine junkies to get their fix and I especially love going to them. Caffeine is
an economy. The dedication that goes into brewing and roasting coffee beans, the fad that is
caffeinated energy drinks, chocolate covered everything and soda pop that is everywhere to the
delicate tea rituals that have centuries of cultural background and history all point to one sure
thing: Caffeine is here to stay! And with a little moderation of this wonderful stuff, hopefully you
are, too!
8

This month our problem children get a nice dose of therapy from A.C. SlayedHer, one of the
brutal broads of the Big Easy Roller Girls. The B.E.R.G. debut their 16th season on April
16th at UNO’s Human Performance Center on the corner of Elysian Fields and Leon C.
Simon. It’s a double-header featuring the Big Easy All Stars battling (take a breath) Bloomington’s
Bleeding Heartland Rollergirl Flatliners and the Crescent Wrenches going up against the Code
Blue Assassins, also from Bloomington. Let’s hope A.C. brings as much heat to her opponents as
she does this month’s advice-seekers!
There’s a guy who comes into the restaurant I work at and acts kinda creepy (he stares at my
breasts way too long and makes lots of vague sexual innuendos) but always leaves a big tip and is
a regular there... so I have to deal with him often. I can’t decide if I’m more creeped out or can deal
with it and just collect the cash. What should I do?
I used to cocktail waitress at an entertainment place in a Catholic schoolgirl uniform (how wrong
is that?!), and there was a group of men that would come in on Fridays. I knew that if I took care
of them, my rent would be paid. But it also involved this terrible, soul-sucking feeling afterwards
that made me feel grimy from the inside out. 100% of the time I shamelessly flirted with them for
the bucks. I brought them bottles of champagne. I laughed at their jokes, let them stare, sat with
them and rent was paid. Boom. Use what the sweet Lord gave you and pay the bills, sister. Or get
the f out the kitchen.
Got any good band names?
I am a terrible person to ask about this.
The Meanies
Explosive Snot
The Big Sleazy Rollergirls
Blood Clawts
The A.C. SlayedHers
ADVICE
COLUMN
GUIDANCE COUNSELING
THIS MONTH'S TRUSTED ADVISOR: A.C. SLAYEDHER
BE A MAN; SHAKE YOUR MONEY MAKER
This girl in my apartment building always leaves her laundry in the drier too long and someone
has to move it. Last time, I couldn’t help but notice she had some pretty awesome underwear and
now I’m kind of crushing on her hard but don’t know how to broach the subject. I can’t exactly
break the ice with “so I was checking out your underwear the other day...”
Creepin in the laundry room. Awesome. I’d hang down there with a paperback and wait until
she came to get her stuff. No sense in wasting time-- strike while the iron’s hot. I would make
a conscious effort to simply bump into her but not have a plan. Let the words just come. Get to
the point. You want to see her again, right? As a straight girl, I have developed a spidey sense of
when a guy is trying to step to me. I always appreciate the bold or unique approach. The hovering,
lingering and not getting to the point gives me the sense that I might have more testosterone than
the dude, which clearly won’t do. Think about it. Who doesn’t think about sex when they’re doing
laundry? I do. Every time. And if there were a nice young man reading in my general vicinity, I
might think about what it would be like to make out with him as I hastily put my underthings into
the laundry basket. If you attempt an introduction and talk about her underwear, she might find it
endearing, might want to make out or she might slap you. Either situation is hot. But for the love
of God, be a man and make the first move.
9

THEATRE
COLUMN
NOTES FROM
THE SPLASH ZONE
by SARA PIC
SARA.PIC@GMAIL.COM
ENTERING THE JESUS YEAR
This month I turn 33, which some of you may also know as the Jesus Year (it is not about
Christianity specifically). 33 is called the Jesus Year because Jesus was 33 when he died and
he did all his cool shit in that year, so it is a year to focus on myself while also giving back
to the community. To kick off my Jesus Year, I give to you, dear readers, four shows featuring
my very favorite and very different people and themes all for free or low-cost/discount admission.
1) New Orleanians. I am a New Orleans native but I know that there is one thing that binds all of
us who live here in New Orleans, no matter where we were born—that this is our chosen home.
All of us chose to live here, either by choosing to return after Katrina and the federal flood or by
choosing to move here after. Living in this city presents unique challenges that we all navigate
daily. The 7 th Ward Neighborhood Story Project (NSP) presents, in conjunction with Cripple
Creek Theatre Company, a group of community member-writers who will each read her own
memoir that probes the question of how we navigate our lives in this city. Each memoir was written
and honed over several months as part of NSP’s creative nonfiction class by community members
Sonjia Carter, Cherita Harris-Tanks, Amy Loewy, Marie Lovejoy, Deborah Richardson,
Tamar Toledano, and myself. Lea Downing, NSP’s Development Coordinator, began talks with
Cripple Creek’s Andrew Vaught and Alden Eagle about collaborating to bring these stories to
stage, a venture that was an entirely new experiment for both groups. Kristen Gremillion, Cripple
Creek Company Member, relates that the theatre group wanted to work directly with people who
are not part of the theatre community as part of their mission to be culturally relevant. She asks,
“What’s more culturally relevant that community members writing about their own experiences
living in this city?” The show, Home Is Where The ____ Is, will include a potluck and talkback
and is on April 13 th at 7 pm at the AllWays Theatre.
2) Freaks. If you read this column, you know I love freaks. But sometimes the freaks are hard to
find. They live and play on the fringes and if they are in shows, they are the “variety act.” Judith
Eichenbaum (also known as Kali) gifts me, and all of us, with a show of only freaky variety
acts in Freaksheaux to Geaux: The Resurrection on the night before Easter. Freaksheaux is a
revival of older vaudeville and circus shows where performers can showcase “different” talents.
Kali shares that the vaudeville and circus community is a worldwide “big strange family.” The
show will feature out-of-town special performers Khristina and Jenn, contortionists from
Cirque Airotique in Louisville; Hot Todd Lincoln as MC from Twisted Knickers Burlesque
in Washington, DC; the Unkillable Kilian who is from DC but recently moved here to New
Orleans (welcome!); and Charity and Chastity Widdershins, Siamese twins. Local favorites
also performing include VeVe laRoux, escape artist; the clown Kutz the Bi-Courageous;
Cherry Brown as the Bearded Lady from the Storyville Starlettes; Reecy Pontiff, on her
melodious ukulele from the Storyville Starlettes; Pierre Le Gent, with his painproof sideshowstyle
from Singe~; and the blazing Kali from Storyville Starlettes and Singe~. Kali promises a
show of “smooth-running organized chaos where you may have to figure out for yourself what
is happening.” Fly your freak flag high at Freaksheaux on April 23 rd at the AllWays Lounge,
$10 general admission, $5 for students, artists and performers, but also keep an eye out for many
special discounts.
3) Dancing. For my birthday two years ago I went dancing all night until the club closed at dawn.
I would have danced more but couldn’t find anywhere to go (suggestions for post-dawn dance
parties welcome). Since 1982, April 29 th has been celebrated worldwide as World Dance Day
with the goal of increasing the awareness of the importance of dance among the general public, as
well as persuading governments to fund dance at all education levels. On April 29 th , come celebrate
your freedom to dance with the lovely folks at the AllWays. For $10, the AllWays is providing a
“decked out party bus” that will shuttle audience member-dancers from the AllWays Lounge to the
Backyard Ballroom and ending at the Sidearm Gallery. Performances in each space by Tsunami
Dance, Scott Heron, Dennis Monn and more. That’s not even close to the end of the celebration
though. At 10:30 pm on the neutral ground from Elysian Fields to St. Roch, join in for a huge
ten-minute dance party! No cost to shake your moneymaker and get down, get down! Everyone
is invited to this celebration of dance in all its forms. And of course, faithful readers, every one of
you has a spot on my dance card.
4) Kids. I love kids. They have an insight into the world that we lose as we get older and are not
bound by conventions, artistic and otherwise. On May 3 rd witness a free show featuring the wild
beauty of children’s imaginations at the second annual children’s playwrighting festival Play/
Write at the Contemporary Arts Center at 7 pm by Goat in the Road Productions (GRP)
and eighty fifth- and seventh-grade students from the International School of Louisiana and
St. Mary’s Academy in collaboration with ArtSpot Productions, Ashe Cultural Arts Center,
Dillard University Theatre Department, and NEW NOISE. Shannon Flaherty, Managing
Director for GRP, describes the night, which will feature six of the children’s original plays, as
“interesting, fun, dramatic, and absurd artistic works.” We can all learn from kids.
10
Send me press releases, vague info on shows, or theatre/performance art news or gossip! Holla at
sara.pic@gmail.com.

BY ASHLEY ROBISON
FASHION
THE GOODS
COLUMN
ashe.mischief@gmail.com
LOOKING AT LIFE’S FUNNY SIDE
With cold weather, Mardi Gras and St. Patrick’s Day behind us, the city feels like it’s
opening up. April’s always been one of my favorite months in New Orleans: the
weather is beautiful, there are so many events going on: classes are ending, wedding
season has begun, and life just seems a bit more fun.
When I found Funny Side of Life, I knew I had to interview them--vast collections of fun paper
mustaches, glasses, lips, bow ties, and more. They’re perfect for Spring. They’re playful, great
for large groups of people, and fun memory making--whether at a wedding, playing croquet at the
Fly, or just having a fun Friday night at your favorite bar.
Find Funny Side of Life on Etsy at etsy.com/shop/funnysideoflife.
Describe the guy & girl who loves Funny Side of Life?
In a nutshell, anyone who wants to laugh. I’ve had everyone from generals in the Brazilian army
to little grandma’s in Stockholm order them so I think they are a great fit for anyone. The props
bring out the fun part of everyone and so when people see them they think “why didn’t I think of
that” and realize just how much fun it can be.
I get a lot of orders for weddings, but I have to tell you some of the funniest moments have just
been with a small group of family and friends taking pictures. Watching everyone pick what they
are going to use is as funny as seeing the pictures. It creates a sort of veil and lets people open up
so they will actually pose with the props and people who hate taking pictures somehow seem to be
the ones with the most pictures taken.
What inspired you to create your whimsical costume sets?
Anyone who has ever been to one of my kid’s birthday parties knows they are in for a good time. I
started making the props years ago for the birthday parties and other events. I was laid off 2 weeks
before Christmas and my teenager needed a car in December, so I thought this would be something
we can do together and save the money for a car. Business has boomed and I can honestly say we
never expected to do so well, so we are quite pleased with our little venture. I love that both my
teenage daughters and husband help me. We gather around the table and fill orders and ship them
out but have fun talking and laughing at the same time. It really has helped keep us connected.
How does living in New Orleans impact your creative process?
I love New Orleans. I lived uptown as a teenager (graduated from McMain on Claiborne) and
moved several times, but I have always come back home. My husband and I love to enjoy the
city. We take the kids to all the museums and French Market on a regular basis. We live in a city
unlike any other, and I value that. Having had the opportunity to travel I always compare every
town with ours! A few years back we spent the entire summer with the kids criss-crossing the
US and Canada. My husband said he was kissing the first Southerner he saw once we passed the
Mason-Dixon line because we are friendly people. The further North you go people think you are
gonna rob them for waving!
If you could create a collection with no limits to your creativity, materials used, what would
we expect to see from you?
I really, really want a jeweler’s bench and to do some precious metal work. So I would have to say
my ultimate collection would be made with silver backgrounds and embellished with gemstones.
Everyone needs a little bling in their life, right? Even metalsmithing is something I could get into.
What are your future plans for the Funny Side of Life shop?
I just purchased a silk screening press and heat press so we can make glassware and dishes, along
with making t-shirts and other fun stuff. In the next month or so we will actually have a lot
more added to the site! I love that people buy things that I make--that someone actually likes
something my two hands made, are laughing and having a good time with it... to me there is no
better compliment.
11

COLUMN
SLINGSHOTS, ANYONE?
BY DEREK ZIMMER
WE’RE COMING BACK
LOCAL CULTURE
JUDGEPEREZREVENGE@YAHOO.COM
Disclaimer: This is a personal piece from one individual involved with the
Iron Rail. I do not presume to speak for the collective as a whole; being
a decentralized group made up of many different folks, such a notion
would be silly. Also, as an anarchist writer (not a fucking journalist!),
I do not seek to hide my biases. “Neutrality” and “objectivity” are but
illusions more befitting to the corporatocracy than actual human beings.
How do I craft a response to the bewildering events of the past
month? Just one issue ago, your humble columnist could be
heard singing the praises of the Iron Rail Book Collective and
its importance to my overall well-being; however, on the ash-colored
day following a particularly grueling Mardi Gras, at approximately
2:20pm, the cruel dagger of irony sank its blade deep into the collective
heart of New Orleans’ radical community.
On this highly inauspicious afternoon, the beloved infoshop at
which I and countless others have voluntarily labored over the years
was visited by two police officers—and no, I don’t mean the pigs who
garishly try (and often fail) to disguise themselves as “customers.”
These two badge-clad ruffians, without any prior warning, strode in
unabashedly demanding a “business permit.” When the collective
member staffing that day could not find it, they asked to see “the
boss.” The volunteer clarified that there was no boss—that it
was a completely volunteer- and consensus-based not-for-profit
organization. The cops then cited the lack of this elusive “permit” as
a justification for immediately halting the operations of not only the
Iron Rail but the entire ARK building, which houses other not-forprofit
community initiatives like Plan B Bike Project and Hasbin
Willby’s Recycled Art Supplies. As attested to in a recent Faubourg
Marigny Improvement Association [sic] meeting—attended not only
by representatives of Iron Rail, Plan B, Lost Love Lounge and Mardi
Gras Zone but also the officer who oversaw the Rail’s closure—
the NOPD’s proceedings on Ash Wednesday were described as
thoroughly illegal (surprise, surprise). Not only had the collective
never received the formal two-to-ten-day’s notice to present the
proper permits, the fifth district cops ultimately threatened the
building manager with immediate arrest (what in their speak--pig
Latin?--is called “a warning”) if any of the building’s doors were
re-opened. The cops remained mute and evasive on the source of
their “anonymous” complaint from an “anonymous” city councilor’s
office that brought them out to investigate 511 Marigny that day.
Clearly, the officers of the NOPD either don’t know how to do their
job or wantonly disregard their own protocol. More likely, if the
recent federal investigation into the NOPD is any indication, the two
mingle in sinister alliance. Needless to say, in the wake of their visit
and the “closed” sign going up into an unspecified future, Iron Rail
found itself hurled into a state of crisis and disarray.
Later that night, the collective meeting that took place assumed a
feel more akin to a session of group therapy—a small contingent of us
perched intimately around a backyard campfire, recanting our fondest
memories of the Iron Rail. Of the lovable building manager hoolahooping
in the middle of Marigny Street. Or arriving in a town where
one knew not a soul and being embraced like an old friend and showered
with hospitality, care and community. I told the story of my first visit to
the building at age 16. With a school requirement of 60 extracurricular
hours of “Christian service,” and as a newly “born again” atheist, I had
sought to reconcile this dilemma by completing all of my hours in the
service of the local anarchist infoshop I’d been hearing all about. And
so my fondest, albeit embarrassing memory consists of my teenage self
lingering meekly in the foyer of the ARK while a collective member
assured my worried mother that it was OK to drop me off there. Ah…
The nostalgia…
Still wistful and shellshocked after a meeting that stretched well
into the wee hours of the night, the following afternoon I found myself
wandering like a lost puppy around Frenchmen Street. The finality
was beginning to sink in. I was expecting the grief to hit me ever so
suddenly, for the sensations to overtake as in a patient emerging from
anesthesia. I could feel a heaving storm brewing within and I waited for
the sobs to hurl forth—hoped for them, even, to feel all the weight come
“It’s still bewildering to ponder the
implications of the whole situation. I
had always taken for granted that
the Iron Rail space was an eternal
bastion of cultural subversion, our
epicenter of radical activity in New
Orleans.”
crashing down right there in the afternoon sunshine. Instead, the waves broke calmly upon the rock-like support of
my comrades, whom I stumbled into in similar states of emotional volatility and disorientation in my aimless walk
around Washington Park.
It’s still bewildering to ponder the implications of the whole situation. I had always taken for granted that the Iron
Rail space was an eternal bastion of cultural subversion, our epicenter of radical activity in New Orleans. Indeed it
is, and I do not doubt this is a large reason why we were targeted that day. In my last column I explained how those
spaces which exist contrary to the values of hierarchy and capital are a threat to the established order of things—they
present an alternative to the totality of that order—and subsequently cannot be allowed to exist; it’s disturbing to see
this validated so swiftly and so close to home.
It must be acknowledged that the closure of the Iron Rail is part of a greater attack on “unpermitted” (read: radical)
cultural spaces in the city of New Orleans; it is but a distressing continuation of repression by a corrupt and classist
police force (insofar as any police force, by its very nature, is corrupt and classist) whose allegiance rests with those
higher on capitalism’s hierarchy at the expense of those lower. Please forgive such polarizing cliches, but really—
when the affluent would see the thriving, diverse neighborhood of the Marigny gentrified and whitewashed beyond
all recognition, when the cops enforce this agenda by illegally shutting down a lending library and community
resource of 8 years, the words assume a weight beyond mere rhetoric. This caliber of police repression has been
perpetuated for a long fucking time—and with, it must be noted, considerably more ire upon the black community,
the LGBT community, the homeless, immigrants, sex workers and other marginalized groups. To mark it as anything
new or out of the ordinary does a disservice to those who suffer at the fists, batons, guns and tazers of cops every day.
And in acknowledging this, New Orleans radicals, musicians and artists recently falling under the tyrannical gaze
of bureaucrats and their enforcers have been presented with an opportunity to recognize this repression as part of
a greater current of resistance and join alongside these aforementioned allies in their struggles in more than some
abstract way. Many perceive the closing down of our beautiful infoshop not necessarily as a staggering blow but as
a rich challenge. A new beginning. I speak for myself if not—I daresay-- some others when I say that these past two
weeks have felt electrifying in a way I’ve never known before. As Ursula K Le Guin once noted in her extraordinary
novel The Dispossessed, “There is exhilaration in finding that the bond is stronger, after all, than all that tries the
bond.” For the powers that be don’t realize that when they rob us of our social center, they force us not into retreat
but to organize more effectively. When they push us down, they underestimate the number of waiting arms that catch
us. When they grotesquely abuse their power, they often expose themselves to be the lying authoritarian fascists
that they are better than we ever could. If there is a way to leverage our power in terms of an anarchist response to
repression, it would be not in how well we can stand our own in a duel—for our counterspells are sadly no match and
as Sun Tzu advised, we must never allow our opponent to choose the field of battle. Rather, the best way to leverage
our power would be by how well we spin their curse into a blessing. The heart which breaks, in its healing, grows
capable of holding more.
With that said, Iron Rail is still very much active as a collective and still meeting regularly as we figure out how to
proceed. Though we must tearfully depart our home of 8 memorable years, by no means are we sending up a white
flag—only the red and the black. Always the red and black. We are vigorously seeking out potential new spaces for
relocation and ask for the solidarity of those in New Orleans and elsewhere in any possible way they can offer it.
In the meantime, like the disembodied Voldemort living off his disciples until he may rise to full bodily glory, we
will be haunting the tables at the back of punk and non-punk shows alike. A list of these shows at which we will be
offering literature and smiling faces—as well as other pertinent information—can be found at ironrail.org.
Separate from the strife surrounding Iron Rail, I’d like to conclude by drawing peoples’ attention to other
noteworthy happenings around New Orleans at the moment. One such project is the New Orleans Free School
Network, a curriculum of no-cost classes of varying subjects facilitated all over town. Classes run the gamut from
how-to plumbing and permaculture to studies of Czech film and anarchist theory; the calendar of classes can be
viewed at nolafreeschoolnetwork.blogspot.com. The project’s aim is to deconstruct the linear dynamic of pedagogy
and the notion that learning takes place only in universities, while disseminating knowledge and valuable skills. Any
and all are welcome to participate, of course. In the wake of our social sphere being taken away, we need radical
space now more than ever.
12

SPINNING RECORDS
BY graham greenleaf
COLUMN
BEATS PER MONTH
GREENLEAF@ANTIGRAVITYMAGAZINE.COM
THE SEASONED TURNTABLES OF
TONY SKRATCHERE
JIM RUSSELL'S RECORDS
1837 MAGAZINE ST. NEW ORLEANS, LA 70130 (504) 522-2602
NEW ORLEANS #1 RECORD STORE
LARGEST SELECTION OF
USED VINYL LP's, 45's, CD's, CASSETTES, VHS & DVD's
VIDEO GAMES, LASER DISCS, 8-TRACKS
CLASSIC rock, jazz, R&B, hip-hop, COUNTRY
OPEN MONDAY thru SATURDAY 11am-5pm
WE SHIP WORLDWIDE
Find us on MySpace and Facebook
www.jimrussellrecords.com
Tony Skratchere is a man who knows a thing or two about the art of Turntablism. As one of
only three locals to compete in the DMC battle scene (the other two being Beverly Skillz
and DJ Spin), Tony knows scratching and cutting better than a knife wrapped in poison
ivy. His dedication to this particular art form is widely known and he’s well versed in the history,
technique and etiquette that go along with battling. That’s also one reason he’s been hosting one
of the seven American DMC Regional qualifiers here in New Orleans for the last three years.
DMC had its beginnings in 1985 as a mixing battle; however, the format was changed in 1986
after DJ Cheese won the title by incorporating scratching into the mix. Since then, DMC has
produced some of the most well-known turntablists in the world including Q-Bert, Mixmaster
Mike and DJ Craze. The battle scene is constantly changing and has continued to push the
envelope of what can be done with a turntable. Tony points out that creativity and innovation
drive the scene. “The French are running things right now,” he explains, “everyone is on the
European ‘Le Jad’ style.” Le Jad, a French producer that presses battle records, has been
approached to by several DJs to make custom records for their routines. Incorporating various
genres outside of Hip Hop into the mix such as Drum&Bass, Funk and House has become
a regular occurrence in the scene. Technical ability, speed, timing and fluency have become
paramount to winning a battle in the DMC.
You may be asking, “what does one need to battle in the DMC?” Skratchere explains, “Every
good routine incorporates a little bit of everything. You need some beat juggling, lyric cuts and
tricks. People have even started doing illusions with their records.” But don’t be misled, the
battle is not just scratching records. “People sign up and think they can come in and just do
something on the fly, and it doesn’t work like that.” he continues, “It takes hours and hours of
preparation for months. Some people even practice with stopwatches next to the turntables.”
Battles are broken down into three categories: Advancement (six minute routine), Supremacy
(two minutes head to head), and teams. And to the winner, a pair of gold Technics SL1200s.
The New Orleans DMC Battle takes place April 1 at the Howlin’ Wolf-- too late for this issue’s
pressing, but you can still catch Tony Skratchere at Siberia on April 29 opening for Beans of the
Anti-Pop Consortium.
13

MUSIC
BECAUSE WE SAID SO: LIVE PICKS FROM DAN & ERIN
BY ERIN HALL & DAN MITCHELL
Band of Horses/ Tyler Ramsey
Tipitina’s (Uptown)
Wednesday, April 6 th , 9pm
Continuing the great run of indie shows the famous uptown
funk venue has booked this year, Band of Horses pays a visit
to kick off the busy month of April. Lead singer Ben Bridwell
often garners favorable comparisons vocally to Jim James of
My Morning Jacket and Neil Young, so you can expect deep,
throaty vocals and guitar lines filled with booming reverb. The
show is currently listed as sold out, but Tipitina’s hinted that
some additional tickets might be released, so keep checking
their Twitter page (@Tipitinas) and check Craigslist. This is
show you don’t want to miss.
Anal Cunt/ Flesh Parade/ Vulkodlak/ Fat Stupid Ugly
People
Siberia
Saturday, April 9 th , 10pm
For over 20 years now, Newton, Massachusetts’ Anal Cunt (or
A.C. for those that cannot stomach the full spelling) has been
offending, violating, drugging and generally making people feel
uncomfortable with their grindcore, minute-long-song approach
to metal. Their line-up, given the nature of the band and their
extracurricular activities, has gone through many a change, but
one thing has remained constant throughout; they have always
delivered on record and especially live. At this point, only one
original member remains, the madman Seth Putman. A.C. is
on tour in support of their latest release, Fuckin A, which saw
release on the Relapse affiliate label Patac Records earlier this
year. Opening for A.C. is Flesh Parade, another grind great, that
just released their new album a couple of months back, entitled
Dirty Sweet. Birmingham, Alabama’s doomy Vulkodlak and
New Orleans’ own Fat Stupid Ugly People round out the bill.
Be there.
Gogol Bordello
Tipitina’s (Downtown)
Saturday, April 9 th , 9pm
Nobody puts on a show quite like these gypsy punk veterans.
Never lacking in energy and always sure to put a smile on your
face, a Gogol show is the musical equivalent to running through
sprinklers naked on a hot day. Except in this case, you’ll end
up sweatier at the end. This show is being hosted by Jack
Daniels and is hence by “invitation” only. At this point, it seems
they’re maxed out on tickets, but you can go to their website
(jdstudiono7.com) and “register” for the show to be put on the
waiting list. I know it blows. But it’s worth a try. Alternately,
find someone who scored one of the passes – they get a free +1.
Mount Kimbie/ Shuttle Jim-E Stack/ Shanook/ Ryan Pearce
The Hookah
Wednesday, April 13 th , 10pm
$13
A great deal of media attention over the past year has been
paid to the grime/ dub scene of Brighton and London, England.
The artist who has emerged as the central figure is a 21 yearold
virtuoso named James Blake. While Blake has stepped
forward as a solo artist, he got his start working with many
other contemporaries, no more important than his friends in the
electronic duo Mount Kimbie. Their take on electronic music,
specifically dubstep, is glitchy, cyclic, minimal and flat out
enthralling. The duo, which is signed to the Hotflush label, is
currently on tour across the US and lucky for us, Winter Circle
Productions (also responsible for bringing us Das Racist for
Foburg and Cut Copy at the end of the month) has decided to
bring them to New Orleans. Also playing the show is Shuttle
(from Massachusetts and signed to Ninja Tune), local mixer
Jim-E Stack, and the duo of Pearls & Leather, a.k.a. Shanook
and Ryan Pearce. Should be an interesting show, especially
considering that Mount Kimbie is one of the best electronic
duos around right now.
Fight Amp/ Megaton Leviathan/ Solid Giant
Siberia
Monday, April 18, 10pm
Hailing from Blackwood, New Jersey, Fight Amp is a vicious
concoction of punk, metal and grunge that harkens back to
the sound of the late ‘80s before grunge went all sheen-y and
mainstream. In fact, Fight Amp is about as dirty as you can get
in sound, very much recalling the best moments of Melvins in
each and every song that they pen, while still retaining their
own sense of musical self at the same time. One of the two
bands slated to open for Fight Amp is Portland’s Megaton
Leviathan. Megaton is a psychedelic, doomy-drone juggernaut
and their new album, Water Wealth Hell on Earth, put out by
the Spanish label Feretro Records, is an apocalyptic beast and is
one of the better metal albums to be released as of yet this year.
The other opening band is our very own Solid Giant, made up
of drummer Mike Nick and guitarist/ vocalist Jason Meserole.
Solid Giant is making some of the best metal in the city right
now, believe that, and they are just getting started, with two
promising CD-R releases thus far and more to come in the near
future. If you have not yet seen them live, get to this show and
stand in the front row--- they will blow you away. This show is
going to be a brutal affair, so do not miss it.
Titus Andronicus
Hi Ho Lounge
Friday, April 22 nd , 10pm
$10 (no advance tickets – at door only – doors at 9pm)
Originally planned for the Circle Bar, but moved to the Hi Ho a
few weeks back, this show is sure to be one of the most buzzed
about of the spring. And I’m not gonna pass on the chance
to see one of the best new bands of the last year in such earsplitting
intimacy. Titus Andronicus hails from the great state
of New Jersey and their debut album, The Monitor, was lauded
by media outlets far and wide (it earned the illustrious praise
of AG’s own Dan Mitchell). Blistering guitars and infectious,
sloppy sing-alongs sound like a great way to celebrate Good
Friday to me. How about you?
Cut Copy/ Holy Ghost!
Republic
Saturday, April 23 rd , 10pm
$20
Channeling the best of ‘80s synth pop, Cut Copy creates vast
soundscapes of dreamy electronic goodness. They are currently
on tour in support of their recent release, Zonoscope, hailed by
critics for its complex, yet catchy tunes. So rock your best hip
neon threads and head down to Republic to catch this up and
coming Australian quartet; they rarely pass through town so
don’t miss out.
Crystal Stilts/ Jean-Eric
The Howlin’ Wolf Den
Tuesday, April 26, 10pm
$5
The Crystal Stilts, based out of Brooklyn, NYC, is a hyper-cool,
four-piece somber garage-rock band with one full-length under
their belt, named Alight of Night. The record came out on the
Slumberland label in 2008 and was a huge success not only
because of a great critical buzz around the time of its release,
but because it is absolutely fantastic. Singer Brad Hargett croons
with a restrained and muddled style that sounds straight out of
the ‘80s and his approach works perfectly within the band’s
brand of nocturnal rock. Now on a nation-wide tour, the Stilts
will grace us with their presence at the end of the month and
will be joined on stage with our favorite lounge-crunkers Jean-
Eric. The show is sure to boast an interesting dichotomy, given
that the Stilts plays laid back garage-rock and Jean-Eric, well, is
absolutely nuts. Consistently and easily putting on some of the
best shows in town recently, Jean-Eric, comprised of Frank M.
Jones, Sheila Santamaria and Karen Wallace, is certainly the
best band I can think of to enlist to get a party started--- this is
not a show to miss.
PonyKiller/ Cape of the Matador/ Dummy Dumpster
12 Bar
Thursday, April 28, TBA
This show at the 12 Bar on Fulton highlights three local groups
with something to say. First up is PonyKiller, who has recently
signed with Phil Anselmo’s Housecore label and is in the
process of getting their debut album together. The band is made
up of vocalist/ guitarist Collin Yeo (also of Arson Anthem), lead
guitarist Ben Deffendall, bassist Trevor Darling and drummer
Tim Nolan. Having seen PonyKiller play live a few times over
the past couple of months, including getting an opening slot
at the first of two Down shows at the Hangar about a month
ago, it is clear that these guys are going places. Their music is
somewhat unclassifiable; with a noisy hardcore edge that bleeds
seamlessly into a curious pop sheen at times, they fit in right at
home on Housecore, with brother bands like haarp also defying
genre classifications. Also playing this night is the experimental
up-and-coming Cape of the Matador and Chalmette’s Dummy
Dumpster. Check this show out--- these bands are for real.
Beans/ Dick Darby/ Tony Skratchere/ Elespee/ DJ Pr_ck/
Dj Yamin
Siberia
Friday, April 29, 10pm
Beans, the wordsmith from the hip-hop collective the Anti-Pop
Consortium, will grace New Orleans with his presence in late
April after five sets from local DJs and hip-hop artists. Beans,
signed to the venerable Anticon label, released his most recent
album, End It All, last year and enlisted some serious help on
the production side of things, including work from one of my
favorite electronic artists, Four Tet. The album is dense, witty,
nonfigurative and solid to the core. This show is going to make
for a late night with such a packed bill, but that’s what we do
best here in New Orleans, isn’t it? Whatever you do this night,
make sure not to miss this A-list emcee as he tears up the stage
at Siberia on April 29.
Man Man/ Shilpa Ray and Her Happy Hookers
One Eyed Jacks
Monday, May 2 nd , 10pm
$14
Mustache, mustache! This band of Philly miscreants is nothing
but a good time. Weird noises, weirder faces and the beauty
of no restraint are what you get from a Man Man show. So
preemptively agree to treat yourself after what will probably
be a shitty Monday. One Eyed Jacks should be a perfect venue
for the insanity and this show falls just a week before the
release of their new album Life Fantastic, so they should be in
top form with a bucket load of new material.
Black Joe Lewis & the Honeybears/ Stooges Brass Band/
DJ Aquarium Drunkard
One Eyed Jacks
Friday, May 6 th , 9pm
$20
Bringing genuine blues, soul and R&B sound to the masses,
Black Joe Lewis and his Honeybears are the natural evolution
of the “Jazz Fest” sound and while they’re not playing the
fest, they will be playing One Eyed Jacks during the second
weekend. If you’re hitting up Jazz Fest during the day,
consider a trip downtown for this night show. Maybe you
just appreciate an ass shakin’ groove with some smoky soul
vocals? Well then get yourself downtown too. This group is
one of the most authentic and exciting young bands around
and with the Stooges Brass Band on the bill, there will be
plenty of dancing to go around.
15

MUSIC
THE PAINS OF BEING PURE AT HEART FINALLY BELONG
BY DAN MITCHELL PHOTO BY PAVLA KOPECNA
About two years ago, a band from Brooklyn
named the Pains of Being Pure at Heart took
the music world by storm. Their rise was not
unprecedented, given the nature of the Internet
and its relationship to music nowadays, but one curious
thing about their ascension did stick out--- the honesty in
their approach to writing songs. Any other band that would
think to name themselves the Pains of Being Pure at Heart
would do so to sound ironic and cheeky. This band’s name
choice, however, is not ironic; in fact, it is the perfect
descriptor for their music. The songs they write are playful,
down to earth, and at times, very serious. This is not to
say the Pains do not joke around (just think about what a
“Gothenburg Handshake” means) but they do write songs
about what they know best, which is a bit of an anomaly
in the music realm in this day and age. This being said,
I thought it best to speak with Peggy Wang, the band’s
keyboardist, backing vocalist and resident New Orleanian,
about the nature of her group, what it was like recording
their fantastic new record and how she feels about all of
the misplaced hatred that finds its way to the band on an
almost daily basis. As expected, her answers were honest
and forthright, much like the band itself.
ANTIGRAVITY: First, I would like to start with your
thoughts on your whirlwind rise to the forefront of
indie rock over the past couple of years ever since you
released your eponymous debut on Slumberland in
2009. I know you couldn’t have possibly foreseen the
reception, by both critics and fans alike, at that time,
but what has it been like going from playing small
venues in Brooklyn to touring the country and playing
in front of fans that know every word to every one of
your songs? It must have been quite an experience and
must continue to be one.
Peggy Wang: It’s definitely been a huge life change, but it’s
been a pretty comfortable one as well. There are some things
you get used to, some things that you don’t. I think the highs
are high and the lows are low. If I weren’t playing in a band,
I’d probably living in NYC, working 10-6, and leading a
pretty normal life. It’s crazy how much playing a great show
can be the hugest adrenaline rush ever. But playing a bad
show makes you feel totally defeated and suicidal. I guess
that’s what I deal with mostly.
When you first emerged with your debut, twee-pop seemed
to be the designation people were comfortable using to
describe your music and it seemed to work because of your
affiliation with the Slumberland label, among other things,
which started in the early ‘90s with bands like the Lilys and
Black Tambourine. With your newest release, Belong, there
is a marked sonic change in your approach this time around
and I was wondering how much of this can be attributed to
your collaboration with the producer Flood?
Well, we wanted to work with Flood because we wanted a
heavier guitar sound and more dynamics. It’s still a noisy record,
and it’s not like he waltzed in and told us how we were supposed
to sound. Flood helped us get the more immediate sound that
we were after. The songs are still pop songs about feelings
though, and they were written long before we had any inkling
how we wanted the album to sound as a whole.
It was your first work with a ‘real’ producer, and you got to
work with someone who has worked with some very serious
artists in the past including Nick Cave, PJ Harvey, Nine
Inch Nails, Sigur Ros, the Cure and the Jesus and Mary
Chain, as well as other great producers and engineers such
as Brian Eno and Steve Lillywhite. Were you nervous to
work with such an established force in music?
I was nervous because I was scared our tastes might not
converge, and we might get bullied into a record we didn’t feel
comfortable making. I have no idea what a producer does nor
16
had any of us ever worked
with one. But that wasn’t
the case at all. I don’t think
every band needs or should
work with a producer, but
in our case, Flood was
amazing to work with. We
as a band were so inside of
the songs, it helped a lot to
have an objective person on
the outside with really good
instincts to help us work our
way through the record.
The sound on Belong sounds
beefed up, so to speak,
especially the guitar work,
your keyboard presence and
density of the atmospherics
within songs like “Belong,”
“Heaven’s Going to Happen
Now,” “Girl of 1,000
Dreams” and the album
closer “Strange,” yet your
songs sound unmistakably
like your own nonetheless.
“I don’t want to stand on stage and pretend
like I’m really weird or original.”
It sounds like you really hit stride in this collaboration, like you had fun during the recording, trying new ideas and coming
together as a true unit; is this a fair assertion?
Yeah, absolutely! Even if people hate this record, I think that at least we had a lot of fun making it, and
I think there are a lot of positive feelings that went into the record that I can only hope that people can hear.
Like I said, Flood didn’t make us do anything that we hated, but he definitely pushed us. He was also
able to find the signifier in every song and really pull it out of us.
With respect to coming together as a unit, as it sounds you have completely on Belong, do you think the touring that
you have done over the past few years provided you a certain comfort level within the band that in turn contributed to
confidence heard within this new record?
Yeah, I do. We’re still not totally confident people, and I still get nervous before I have to play a show. But we certainly knew
more than we did when we went into make our first record.
Speaking of touring, it must be exciting, for you specifically, to be able to come to your hometown of New Orleans to play
shows as you grew up here, attended Tulane (like me) and DJ’d at WTUL. The last show you played, at One Eyed Jacks,
was a great one with tremendous crowd reception. What does it mean to you to be able to come back home to play a show
here?
I try to visit New Orleans a lot so I just try to do things I would normally do. Go out to eat with my parents, have some crawfish,
drink a daiquiri on the street. The New Orleans show was so fun though, and the kids there were so enthusiastic and so nice. I
was always really frustrated by the lack of good indie shows, and also the lack of attendance, so I guess I wasn’t expecting much.
That was back in the late ‘90s. If the One Eyed Jacks show was any indication, things have certainly changed.
Also, as far as New Orleans goes, are there any particular bars, sections of town, venues or restaurants that hold a special
place in your heart? Are there any places that when you come to town you simply must visit?
Yeah definitely I love Thrift City, any place that has crawfish, Cafe du Monde coffee, Lakeside Mall, the Circle Bar, Kim’s
restaurant on the west bank. And I like to go see a movie at the Palace with my dad.
Lastly, I wanted to talk briefly about my experience writing about the Pains in the past. When I covered your
last EP, Higher Than the Stars, I got an unusual amount of negative feedback on my review of the album. I
gave it a very positive review, but people wrote in saying that your music was nothing new and perhaps didn’t
deserve such praise. A co-writer, who covered your debut when it came out, received the same sort of feedback
and I have noticed that quite a few people out there, especially on the internet, had similar things to say. When
I spoke to my editor about this, he said, “well, they must be doing something right,” which I agree with entirely.
Do you have any thoughts on this? Do you think perhaps the honesty and straightforward nature to your music
scares certain people?
I can certainly see why our band isn’t for everyone. We probably scare most people away with our name, and the brave
people who are left might be put off by how “derivative” our music sounds. It’s pop music, made with guitars and drums
and stuff. We’re not trying to reinvent Western music, and my personal tastes don’t really lean that way anyway. I
don’t want to stand on stage and pretend like I’m really weird or original. I like music that I can relate to, that gives me
a feeling that I might not be able to put my finger on, and that’s what I hope others get out of it. I’m really particular
about my own music tastes, and there’s a sincerity and a context that makes me decide whether I like a band or not. So
I’ll try not to get too defensive about all the negative feedback. Except I will say that everyone that dislikes our music
is obviously completely soulless.
Pains of Being Pure at Heart plays One Eyed Jacks on Thursday, April 7 th with Twin Shadow at 8pm. For more info, go to
thepainsofbeingpureatheart.com.

MUSIC
BLOCKHEADS UNITE! FOR COMMUNITY RECORDS’
FOURTH ANNUAL BLOCK PARTY
BY DEREK ZIMMER
17

MUSIC
Already in the annals of ANTIGRAVITY have I imparted my support and respect for
Community Records and the positive vibrations within the New Orleans DIY scene
that it imbues. In respect to Block Party, I myself have participated multiple years as
a “Blockhead” (as this event’s showgoers are in certain circles referred to) and as part of the
anarchist literary summoners Iron Rail Book Collective-- and this year is no exception. My
relationship with the label’s two primary instigators Greg and D-Ray began in my early years
of punk rock madness, seeing their band Fatter Than Albert slay venues all the way from Fat
City to the Garden District; and over time I have come to count them as close friends. Many
an evening have I sat in deep, contemplative conversation with both Greg and D-Ray on the
nature of radicalism, punk rock music and unfettered self-expression-- conversations which
I often walked away from transformed and inspired by. I am reminded of that inspiration no
better than in the passion and motivation with which these two actively strive for a space
combining all three of those elements: radicalism, punk and self-expression. They believe
in what they do and they pour all their hearts into creating a scene with integrity and ideals.
If I were to describe a scenario of “punks living their dreams,” Community Records would
undoubtedly embody just that.
Can you break down for us layfolk how exactly you’ve managed to put on an annual
punk rock Block Party in proud do-it-yourself tradition? Just demystify the process a
little bit and maybe dispense some advice for those who view such a venture as mindcrushingly
daunting.
The first year (2008) we did this it was because we always wanted to have a “New
Orleans Ska Festival.” This is our fourth Block Party and it seems to have evolved into
a showcase or a presentation for all
things Community Records. The first
year we did it, we had launched the
Community Records website just a
few days before the fest, so it was not
really what it is now. I can’t really
break down the process or give any
concrete advice to anyone else who
wants to do something similar. A few
things do come to mind though: stay
determined, be realistic and think big.
If you are mentally focused enough to
make something happen it becomes
real through planning and hard work.
Block Party will more than likely
always be a “small” festival. I could
not see myself ever being comfortable
with major corporate sponsorship and
I think mass consumption of alcohol
takes away from appreciating the
art that is uninhibited musical selfexpression.
I do drink, but you will
never see a Miller Lite logo on a Block
Party flier. They can keep their cash and
we will keep this thing manageable.
This is just what works for me, there
are a million different paths to create
events.
“I could not see myself ever being comfortable
with major corporate sponsorship and I think
mass consumption of alcohol takes away from
appreciating the art that is uninhibited musical
self-expression... They can keep their cash and we
will keep this thing manageable.”
traveling to be here in New Orleans for Block Party. All of these people are part of the
Community Records family and have been to at least one if not multiple Community
Records shows before. New Orleans is our home base and we will continue to build a
foundation here, but our friends and family extend across many towns and borders.
As far as including the larger New Orleans Community, we are doing what we can
to create a space where alternative perspectives can flourish and be represented. Most
of those perspectives can fit somewhere into the realm of punk, D.I.Y ethics or political
activism through non-traditional means. Most of the groups that are participating have
some sort of reflection of our personal lives and what we hold dear to our heart. WTUL
continually provides alternative audio programming to the city. Gulf Restoration Network
is helping to speak out against the entities that have destroyed our coast. Humidity Skate
Shop provides the supplies for thrashing about the city. The New Orleans Food Coop
is working to provide healthy groceries for New Orleans, Domino Sound Record
Shop has some of the best vinyl in the country. The New Orleans Mission provides
the best shelter that they can for our homeless; we try to support them in any way we
You’ve organized this event under
the umbrella of your DIY label
Community Records. How do you
include the larger New Orleans
community, and what sort of
organizations will be participating
at this year’s Block Party? What can
we expect in the way of bands and
performances?
Block Party is in many ways a
showcase and a reflection of what our
label represents. 10 of the 20 bands
performing are “signed” to our label
and all of the bands playing we would
consider friends. The event attracts
people from all over the country.
We know of at least 80 people (not
including band members) that are
18

MUSIC
can. Antigravity covers many of the “off the radar / alternative” events within the art
and music community. Defend New Orleans has shown their support to many of the
aspects of our home that make it unique, and our friends the Green House Collective are
facilitating to film an HD DVD for this year’s festival. The event will provide vegan and
vegetarian food options and present a space where getting radical is encouraged.
Are the rumors true that you’ve coaxed a ridiculously famous band to headline
the 2011 Block Party? Is it true that in their “rider” they’ve asked for D-Ray to
personally feed them bonbons while wearing a tiara? (To D-Ray: If not, would you?)
That’s not true. They want me (Greg) to do the bonbon feeding and asked D-Ray
to wear an infant body suit (i.e. onesie.) The headliner this year is California’s Rx
Bandits. They have been one of our favorite bands for the past 9 years at least. Many
people may remember them for their early days of ska riffs, dancy beats and catchy
horn lines. However, they (unlike many “ska” bands) have evolved into something
much more interesting. They have some of the most intricate rhythms mixed with
technical guitar riffs layered with beautiful, honest and expressive vocals, all under a
reggae-influenced foundation. If this sounds like fun to you and a bit much to take in
from this description then just come check them out on the 16th. They have some sweet
videos on the internet to check out too.
In addition to a massive ska/punk showdown, Community Records (a busy bunch,
you are!) is set to unleash a compilation for the anniversary of British Petroleum’s
ecocidal atrocity this April as well. What are your intentions for such a comp? Is
it ironic -- perhaps even sinister -- that the initials for your beloved Block Party
match those of the evil corporate beast which wreaked havoc upon our Gulf? Is
there some Illuminati-esque connection?!
Let’s get this straight. We’re the good BP. The Compilation you speak of is called Head
Above Water: a Response To The BP Drilling Disaster. On April 20th (one year after
the Gulf coast oil spill and four days after the Block Party), Community Records will
be releasing a benefit compilation to help create awareness and progress in the wake
of that disaster. For the compilation, we have aligned with three different independent
record labels from across the United States who will be submitting songs: Asian Man
Records in California, Plan-It-X Records in Indiana and Quote Unquote Records in New
York. The compilation will have over 60 songs and will include literature, movies and
other media about the spill. The compilation will be available for 100% free download
on CommunityRecords.org with the option of donating money to the Gulf Restoration
Network. The GRN has played an active role in keeping the ecosystem of the Gulf coast
intact for over 15 years. Head Above Water will only be released as a digital download to
avoid the use of new plastics as well as gasoline to ship them across the country.
What are the most rewarding aspects of the Block Party and what are some “longterm”
or even short term goals and initiatives, such as the kind of environment you
wish to create for the day-- in providing this cultural space every April?
Not many cities have what we have. Block Party may (to some) just seem like
another show in the long list of shows that happen each week here in New Orleans.
But for us, it is a family reunion. There are bands and friends traveling from all over
to be here for this and we have been talking about it since last year’s festival. The
environment we hope to create is an inclusive one. I know we are opinionated
about things, but I also hope for us to be open-minded. We create strength through
positivity and inclusion. I wish for all people who come to feel like they can find
a space to express themselves or be free to be with friends. No one will be turned
away from our doors. We are asking $20 to get in or $17 if you bring food or
clothing for the New Orleans Mission; but even if you do not have enough, bring
a donation of some sort and we can work something out. Our main hope is that
people can take home a positive memory and spread that positivity to others. If
Block Party can do this each year it takes place we will consider it a success.
The Community Records Block Party will take place on Saturday, April
16th at the Big Top, aka 3 Ring Circus on 1638 Clio Street, from noon to
midnight. All ages. Performing bands include Rx Bandits, We Are The Union,
Forthrights, Stuck Lucky, A Billion Ernies, Murphy’s Kids, Matt Wixson’s
Flying Circus, Informant, The Best Of The Worst and locals Caddywhompus,
Mad Conductor, Marathon, Samurai Deli, Chatty Cathies, The Rooks, Big Fat
and Delicious, Joystick, The Lollies, Sun Hotel, Stereohype and Dominique
LeJeune. For more information, check out communityrecords.org
19

MUSIC
BIG DREAMS AND SMALL VICTORIES AT SOUTH BY
SOUTHWEST
BY DAN FOX
Last month my band the Lovey Dovies was fortunate
enough to grab some shows at the gargantuan musical
circus that has become South By Southwest in Austin,
Texas. Of course, being the bottom-feeders that we are, our
shows were far from the Green Zone that is the proper event
on 6th Street and the only bracelet I ever paid for cost me
five bucks and was a simple blue tag allowing me to drink.
If you’re looking for any insight into the next big thing or
some glamorous tales of back-stage, VIP action with the
exciting, buzz-worthy names of today... sorry. As an editor
for a magazine that skirts the margin of “popular culture” and
as the drummer for a band that mostly does the same thing, I
can only relate to you my tales from far outside the big tent.
But as you may already know... that’s where all the action is!
The Dovies (James, Izzy and me) left for Austin around
11:30, mindful of our 8:30 slot at the “punk house” we had
played several months earlier on a trip out west. Driving there
I thought for sure we’d be part of a convoy of vans, but mostly
we were alone save for one tour bus with accompanying
trailer. Who was in there? I wondered. Who has money for
actual tour buses anymore? Lil Wayne? Willy Nelson? We hit
Austin right around 8 and made our way to the house. Pulling
up, I noticed that all of the accoutrements of a good time were
in place and the night seemed promising. Christmas lights
were hung in the tree outside and a haphazard fire pit had been
arranged out of cinder blocks, with a nice fat branch poking
out, waiting to be set ablaze. Then the keg arrived. All right!
A few early-birds lounged about and a couple of dogs ran
around in the street. Though by our standards we had arrived
just in time, we found out that (of course) the show was
delayed a couple of hours. Uh-oh. First bad sign. Second bad
sign: six bands on the bill. Let’s all let out a collective groan
at this all-too-common mistake of house and punk shows in
general. I don’t know if it’s because promoters have too many
friends or if they hate using the word “no” (sooo not punk!)
but this is a scourge of the underground. The good news was
that at this point in the evening the keg was flowing and the
first band had set up. Bad news was the drummer decided to
warm up for an hour. Nice chops, guy, but how about saving
some for the set? When the rest of the band decided to jump in
and play with their homeboy, it was well after 10 o’clock and
now the other bands for the night were there, nervously vying
for the most opportune time slot. One band from New York
had a nice young drummer kid who was being commanded by
his older, ancient guitar player (complete with leather pants
and Alice Cooper makeup) to “go tell him no,” referring to
the guys running the show. Let’s talk about these geniuses for
a minute and why our first night in SXSW left me wanting to
hang myself. I’ve been to every kind of punk house there is,
from the kind with filthy garage kids who’ve jizzed on the
wall to efficient, uptight vegan encampments and everything
in between and I have to say the only thing I can’t stand is
the kind of house inhabited by what I can only call privileged
white youth. Every band ended up playing to an apathetic,
lethargic crowd. Maybe they were that way because a) they
sucked, b) the keg ran out, c) the iPod on top of the PA sat
abandoned and unused, leaving every band to set up in near
silence. Nothing sounds more fun than dead fucking quiet,
eh party people? Fortunately, this was a problem we could
fix when it was finally our turn, jamming a little Velvet
Underground to simulate a party atmosphere, since these
Buttheads (or were they Beavises?) didn’t seem to have a
clue. Thankfully, the band before us, Wounded Lion (from
New York) put on a lively and inspired show and made the
six people in the room jump and dance around with joy. The
singer had these red, red pants and red shoes to match and
he obviously prayed at the altar of Frank Black and Calvin
Johnson-- not a bad combo. Then we played. We had slipped
from third to last, mostly due to the clusterfuck that was a late
show and also to the spineless nature of the kids running it. At
one point, during one of several lineup-change conversations
with James, the kid running the show said “You can punch
me if you want.” Well that wouldn’t be very Lovey Dovie
of us, would it? So we played last, thanks in part to one band
that peaced out, obviously frustrated. Whatever, non-hackers.
By the end of the night I was reminded of Guy Picciotto’s
lament in a Fugazi song about how “I hate the sound of
guitars, a thousand grudging young millionaires.” After so
much mediocre music being blasted in a tiny little shitty
living room all night long it’s easy to feel that way. It was
also easy to think that being in a band was the stupidest thing
ever and that this whole SXSW thing was just perpetuating a
lot of bad music and bad people. Every band before us was
long gone by the time we played and at the end of the night,
we were left to ourselves, these young punks having clearly
bored themselves to sleep. The fire pit remained untouched
all night: a fitting, living metaphor of the night’s show. Even
my plate of Migas at Star Seeds Cafe seemed lukewarm and
loveless, making me wonder if the impressions of Austin that
I had arrived with were way too rosy.
The next morning we got out of the house as quickly
as possible. I myself woke up to this delightful exchange
between two of the housemates: “Hey man, is there any beer
left? Uh, no, man. Damn. Got any weed? Naw. Damn. Oh
wait, I found a beer.” Amateurs. It’s so clear leaving New
Orleans that perhaps we are the only people in the country
who can throw a party with the skill of an experienced
restaurant manager, stocking well up on supplies and taking
personal responsibility for other people’s genuine happiness
and good times.
Our first stop of the day was to the Rio Rita Lounge on
East 6th Street, one of my favorite spots in Austin and a place I
knew the Lovey Dovies could all be comfortable as they serve
both coffee and alcohol, two of our favorite things! Too bad for
me, the espresso machine was broken so I was denied my spicy
Mexican chocolate mocha, but I was still happy to have another
day in Austin and I lived vicariously through the amazing
Bloody Mary Izzy had ordered. When we hit the patio, we ran
into some friends of ours from home. Typical New Orleanians:
we drive hundreds of miles just to search out our own. James
grabbed a copy of Misprint, an irreverent zine that crosses the
Onion-style satire with the sleek and stately design of a fine
literary magazine. First thing we decided was that for the day
we’d skip all the shows. Yeah I know, it was “South-By” and
all but who really wants to sit in some dark, dingy club (or
outside of it, as was the case a lot of the time) when there’s
beautiful weather and Barton Springs to be enjoyed? On our
way there we passed a club where we could see Micah McKee
(of Empress Hotel) wiling out on stage and he looked like he
was having a good time. Sorry we couldn’t stop by, Micah, but
the first dip of Spring was too close!
After a quick trip to Thom’s Market and three dollars to
the attendant at Barton Springs, we were launching ourselves
into the cool Austin water. If you haven’t ever been, Barton
Springs is possibly one of the finest places to swim in the
industrialized world. The bottom is a natural, rocky floor
with all kinds of plant life to squish your toes in, though the
water is crystal clear. It took me a few tries to get the hang of
the diving board (the first couple of runs, my knees buckled
under and I landed in the water, sprawled out) but on the third
jump I went for it all and pulled off a nice flip. Vindication...
and perhaps an omen of vibes on the upswing! Afterwards,
we went to P. Terry’s, a cross between Wendy’s and Whole
Foods, where they serve up a pretty mean free-range, grassfed
burger and hand-cut fries. There was a bar next store so
afterwards we downed a couple of Shiner Bocks and plotted
out some actual show-going.
First up was to go see our friends and jam-space roomies
Suplecs, who were part of a showcase at Trophy’s. The
crowd here was nice and metal and Danny Nick, the bass
player, introduced me to some longtime buds of theirs from
Honky and Dixie Witch. Trinidad Leal, the drummer/vocalist
for Dixie Witch, it turned out, had married Danny and his
wife a few months back. The Suplecs were about to go on,
but first was a set by one-man band and local legend Scott H.
Biram, who was the least insane one-man act I’ve ever seen,
combining all the bluesy-stomp of that genre with some pretty
sick metal riffs. Izzy definitely enjoyed the custom stomp-box
that Biram was using as a kick drum/time keeper and you
could almost see the gears turning in his head for his own
future one man project. Suplecs played next and it was nice
to see these guys in an outdoor setting with a pretty basic PA.
I’ve mostly seen them on a stage with some kind of elaborate
sound system, so it was refreshing to hear them as a raw band,
the way they started out. Talking to Danny and Durel and
Andy, they seemed to be having a pretty good experience at
this year’s SXSW. They were loaded up on Converse gear
(one of their new sponsors) and were set to play a High Times
showcase on Sunday. Sure beats shilling for fuckin’ Scion, I
say. Around the corner of the building, we caught the end of
L.S.D. (Lone Star Demons) who were a great blend of goofy
metal riffs and weirdo vocals. With the sun setting and a few
beers in us, SXSW was starting to come alive, finally.
From this show we headed over to a place called Baby
Blue’s (thanks to a tip from J. Yuenger), which was another
house-type venue but more along the lines of the Pearl or the
Spellcaster. One wall on the inside was completely covered
with an installation of television sets. Arty! The real party was
outside, though, and this showcase was sponsored by Tom
Tom Magazine, a publication dedicated to female drummers.
Who knew? As you may have guessed, the lineup of bands all
featured lady percussionists, but lo and behold did we nearly
shit ourselves when we saw that Migu was going to feature
none other than Mike Watt in their lineup! What a coincidence,
what a blessing from the Goddess herself. It’s almost like the
stack of ANTIGRAVITYs I had brought with me (partly to
rep our lovely magazine and partly to confuse the people of
Austin) had summoned Watt himself (we ran an interview
with him in that issue). So we waited around patiently, but
it was easy because before Migu was Stone Darling, a band
from Los Angeles that mesmerized Izzy, James and me with
their soothing Mazzy-Star-meets-Neil Young lullaby rock.
The drummer seemed so doll-like I looked for the strings. It
also helped that a warm breeze passed through the stage, as if
Mother Nature herself was stage directing. In between the Stone
Darlings and Migu, the Tune-yards played inside and while J.
was excited to see them (“They’re going to be huge,” he said,
“so I want to see them like this while I can.”) I stayed outside,
weather once again winning out over a cramped, sweaty space.
It was great catching up with J. since he had sat in on some
discussion panels earlier in the day, talking about everything
from the width of a record groove to the age-old question of
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21

MUSIC
should a sludge band get a publicist. The double-edged sword of
SXSW was swinging wildly for J. as well, it seems. With access
to more of the proper events of SXSW, J. was also able to see the
demise of the music industry even as people’s love for music was
obviously as passionate as ever. As J. puts it: “people in the music
business are finally ready to admit that the traditional industry is
dead and somebody is going to have to invent a totally new way
of selling music. There was a lot of looking around for this young
genius, to no avail. ‘If there’s no money to be made,’ they said,
‘will all of this just be... a hobby? Will we have jobs next year?’”
We all watched Migu’s set, and though it was disheartening to see
a bass amp fail for Mike Watt, they still put on a trippy and poetic
set as the drummer, a miniature cowboy hat perched on her head in
honor of the locale, told the story of finding a spider in her room,
as her companion joined in with eery guitar tones. This party was
easily going well into the night, but we headed out early to save
energy for the next day, which was going to be the marathon threeshow
run for the Lovey Dovies.
Our first show on Saturday was at the Double Down Lounge,
a bar clearly kept by a NOLAphile; Saints and Abita gear dotted
the walls. After a quick and super delicious breakfast from Rio’s
Brazilian (their Brazilian Breakfast Pockets were amazing!) we
blasted through a quick set that at one in the afternoon felt more
like a wake-up call than a true show. Sun Hotel had played right
before us and they sounded pretty tight. They were very easy on
the ears for so early in the day. Caddywhompus was next but
we had to jet to the next gig, an unfortunate side-effect of SXSW
for many a band. Caddywhompus had done something pretty
ingenious, I think, by posting up flyers around town with those
pull-away tabs cut into the bottom, usually advertising a room for
rent or a free kitten. Their tabs, however, had download codes and
I noticed a few missing. We also got to say hello to our friends in
I, Octopus and White Colla Crimes before we headed to show
#2. This show was at the House of Commons, which is by far
one of the most mind-blowing places I’ve ever played. Situated
right in the middle of fraternity row (as we rounded the corner
we noticed some bro-dawgs tossing a frisbee in the yard of their
house), House of Commons is some kind of utopian dream house
for punks, where the bins of cous-cous and rice were labeled and
organized on commercial kitchen-quality shelves (they also had
a Hobart dishwasher!) but where the beer and good vibes flowed
freely. No Vegan Assassins or Anarcho-Dictators harshing the
mellow. Also, no jizz on the walls. Somehow, in the heart of Texas
was a thriving, breathing cooperative. Aaand they knew how to
work a little dance music into the space between bands! So with
that first warm-up show out of the way we played our best set of
the day to a small but enthusiastic crowd and let the fine beer of
North By Northwest wash away the last of any bad experiences
we may have had. We spent the rest of the afternoon kicking it on
the porch with some of the tenants of the co-op. They were all very
pleasant and fun to hang out with, even the guy passed out from
staying up for 48 hours straight!
The party at House of Commons only started with us but as
the afternoon wore on, Izzy and I were eager to get one last dip
in Barton Springs before night fell. The water was cold but the
diving board was loose and we hit the water a few times before
calling it a wrap on the Springs for this trip. Afterwards, we picked
up James, who, true to his spirit, had stayed with the party. All of
us hungry, he took us to Vespaio (James had worked there after
Katrina), where we feasted as I can only imagine the hot bands
of tomorrow are wined and dined by major labels! I had the best
calamari of my life and my linguini misto mare tamed my seafood
addiction for a minute. It was quite the spread, my friends. With
our bellies bulging (I did my best to eat lightly because I’ve
learned that drumming on a full stomach is not the most ideal
situation) we headed over to the Hole in the Wall where our
friends in Austin’s Megafauna were hosting a “locals only”
show to send off SXSW. Why we were allowed on the bill I’ll
never know. We set up and played our last set around midnight.
Let’s just say it wasn’t the best show we’ve ever played and I
think by then the SXSW fatigue had set in for crowd and band
alike, but we pulled through it and Durel from Suplecs and his
girlfriend Brandi were there to watch us. It’s always nice to
have friendly faces in the crowd. After the show, we hung out
with them for a minute; they gave us a present for the ride back
(thanks y’all!) and we embarked on the death drive home.
At its worst, SXSW is a hipster Mardi Gras: a living,
breathing version of Myspace that makes you feel like
modern music has been left to imbeciles and half-baked,
half-interesting hacks. Like everyone has a band and they’re
all terrible. But at its best, SXSW is a celebration of music
and the people who sink their lives into it with the hopes that
one day they might be heard (and in a few cases, some folks
who have been heard already!)-- in other words, a city full of
peers and friends. One thing that endears me to SXSW is that
every business turns into a venue, from the pizza shop to the
hardware store. There’s music everywhere you go and even if
it’s bad, what’s so wrong with that? Bad music beats no music,
I say. I also thought it was funny that though I could see folks
like J. Yuenger or the Suplecs any day in New Orleans, it
helped being removed from our familiar settings and routines
to provoke some very fresh and inspiring conversations.
The ideas just seemed to explode. I know I left Austin a
better musician and music-lover, my fingertips tingling with
anticipation for more creation and more challenge. I can’t
wait for next year.
22

MUSIC
JAZZ FEST MIXES IT UP: RECOMMENDATIONS FOR THIS
YEAR’S BANDS TO CATCH
BY ERIN HALL
New Orleans is one of America’s richest cities – when it comes
to culture, that is. We have art, food, heritage and a lifestyle
the rest of the country envies. Our rich musical heritage is
unparalleled and for that we should be thankful. The New Orleans
Jazz & Heritage Festival is a celebration of that culture, from the
Gospel Tent to the soft shell crab poboys and the African and Native
American crafts. Now in its 41st year, the festival is staring to really
diversify its musical lineup, much to the chagrin of some hard-line,
long-time fans that think the festival should be strictly jazz and blues.
But for those of us who may appreciate those genres but have wider
interests, this new angle on bookings can only be a good thing. The
atmosphere at Jazz Fest has always been great. The food is amazing
and the spirit is genuinely jovial and friendly. Now the music is
getting diverse enough to justify the ticket price for those who aren’t
diehard jazz fans. Below I’ve listed a few highlights from each day
of the fest. A lot of them have overlapping time slots (the downside
of any festival), but that should account for differing tastes. Most
are the more “offbeat” performers to catch (including many national
acts). But rest assured there is always plenty of gospel, soul, blues
and jazz going on around the grounds each day, so explore!
Friday, April 29 th :
Jeff Beck (3:20pm @ Acura Stage):
Do I really have to explain this? It’s Jeff Beck. Blues guitar icon. Just
go watch him play.
Mumford & Sons (3:25pm @ Gentilly Stage)
This English folk band is quickly gaining ground on the heels of
their debut album Sigh No More going Platinum and a Grammy
performance with fellow folksters The Avett Brothers (also playing
this day of the fest!) and the legendary Bob Dylan. A definite can’tmiss
performance for this year.
Justin Townes Earle (4:25pm @ Fais Do-Do Stage):
The son of iconic singer songwriter Steve Earle, Justin brings the
same air of majesty to his work. Focusing mostly on Americana and
bluegrass, he has an electric presence in his live shows.
Arcade Fire by Anton Corbjin
Robert Plant & the Band of Joy (5:25pm @Acura Stage):
Containing two of the surviving members of the legendary Led
Zeppelin (drummer John Bonham and, of course, lead singer Robert
Plant), Band of Joy isn’t really a hard sell.
Wyclef Jean (5:30pm @ Congo Square Stage):
When he’s not trying to mount a campaign for the presidency in
Haiti, Wyclef Jean is still a pretty badass musician. He and fellow
ex-Fugee Lauryn Hill (that’s MS. to you!) both play the fest this
year. They’ve seen some success as solo acts and are worthwhile
stops to add to your “check out at least 10 minutes” list, but I’m still
holding out hope for that Fugees reunion myself.
The Avett Brothers (5:30pm @ Gentilly Stage:
Mumford & Sons before there was a Mumford & Sons, North
Carolina’s own The Avett Brothers captured the hearts of indie kids
worldwide with their rooted folk rock and emotive live shows.
Saturday, April 30 th :
Big Freedia & Sissy Nobby (12:35pm @ Congo Square Stage):
Sissy bounce at Jazz Fest. YES. While it may frighten some of those
65-year-old, fanny-pack wearing tourists from Rhode Island who’ve
come down for the fest every year since they were 30, this is a big
part of the culture of New Orleans. It’s loud, brassy, in your face and
unapologetic. Take a break from the bluesy pianos and jazzy horns
and shake your ass to that triggerman beat.
Rotary Downs (12:35pm @ Gentilly Stage):
One of New Orleans’ best rock bands, hands down. I think Rotary
Downs has always had the stuff to go national and their last album,
Preservation Hall Jazz Band
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Cracked Maps and Blue Reports, was another great step forward in their evolution as a
band. See them at home while you can. I think these guys will go places.
Hurray for the Riff Raff (1:35pm @ Lagniappe Stage):
Another great local band with national potential, Hurray for the Riff Raff brings classic
rural folk into the modern age, breathing life and luster into songs that could’ve easily
been sung in the Appalachian Mountains 100 years ago. A great low-key show.
The Low Anthem (2:05pm @ Gentilly Stage):
The Low Anthem deftly mixes classical and folk instrumentation with haunting, tender
vocals to create lush landscapes. Lay in the grass for this one.
Sunday, May 1 st :
Dr. John & the Lower 911 (3:10pm @ Acura Stage):
It’s been a huge year for Dr. John. He was recently inducted into the Rock’n’Roll Hall
of Fame and his latest record, Tribal, was nominated for a Grammy. If you haven’t had
the chance to see him in concert, seize the moment people. He’s a building block of the
New Orleans music scene and he’s on a creative hot streak right now.
The Decemberists (5:25pm @ Fais Do-Do Stage):
With their roots firmly entrenched in the storytelling tradition of European folk music,
The Decemberists are a lively, charismatic group with songs ranging from epic prog
rock operas about filicide to accordion-driven jigs about battling mortal enemies in the
belly of a whale. Their latest release, The King is Dead, is still (in my opinion) the best
album to be released in 2011 thus far. If you see nothing else this day, do not miss them.
John Legend & The Roots (5:30pm @ Congo Square Stage):
Soul crooner John Legend paired with funky hip-hop outfit The Roots last fall for
an album entitled Wake Up! – a collection of ‘60s and ‘70s soul covers with a focus
on social awareness and empowerment. The idea came to Legend in the wake of his
campaign efforts for President Barack Obama.
Arlo Guthrie (5:30pm @ Blues Tent):
Blues singer-songwriter and son of the legendary Woody Guthrie, Arlo Guthrie continues
to press on in his father’s footsteps, providing the world with cerebral, contemplative and
powerful music that challenges us to fight injustice and take part in the world around us.
Thursday, May 5 th :
Gov’t Majik (11:10am @ Acura Stage):
For a taste of something really different, check out these funky afrobeat masters. Nothing
like a little early morning groove.
Gal Holiday & the Honky Tonk Revue (11:25am @ Gentilly Stage):
I make no efforts to hide that I’m not big on country. Despite being born and raised in
Alabama, I have little love for Nashville and its stars. But what I do dig is old country.
The kind I used to listen to in my dad’s pickup on the way to the river. Waylon. Hank.
Johnny. Patsy. The kind of “broke down, no-good, tears in my whiskey cause she left
me” country. Gal Holiday channels the era perfectly and puts the soul in honky tonk.
Sasha Masakowski (12:20pm @ WWOZ Jazz Tent):
A shining star of the young jazz scene in New Orleans, Masakowski has the kind of pure
vocal talent that American Idol wishes it could stumble upon. She is in turns vintage and
saccharin, all the while remaining intensely alluring.
Lucinda Williams (1:40pm @ Acura Stage):
Originally hailing from Lake Charles, Williams is one of the most heralded female
singer-songwriters of all time. 33 years into her career, she remains a force of nature and
it’s an absolute joy to watch her work.
Wilco (5:20pm @ Acura Stage):
No stranger to Jazz Fest or New Orleans, Wilco is the grandfather of today’s up-andcoming
alt-country/Americana bands. Jeff Tweedy & Co. have been tirelessly touring
and churning out quality records for almost 20 years now. The band recently started their
own label and there is a rumor they’re working on a new album (pssst: they are – a little
birdie tells me it’s out in September…don’t tell anyone I told you) so maybe we’ll get to
hear some of this new material.
Cyndi Lauper (5:25pm @ Gentilly Stage):
Girls just wanna have fun dammit. I don’t care what anyone says, Cyndi Lauper is RAD.
This iconic ‘80s weirdo doesn’t exactly fit with the normal Jazz Fest demographic, but
who cares? She puts on a great show with tons of energy that proves her talent lasted
long after the era of crimped hair and blue eye shadow passed.
Friday, May 6 th :
Hurray for the Riff Raff by Brady Fontenot
Ingrid Lucia (12:25pm @ Lagniappe Stage):
She was my first in-person introduction to the smoky jazz chanteuse. I used to see Ingrid Lucia at the
Funky Butt at least once a month when I first moved here. She’s from a family of homegrown musicians
and her sense of style and charm could melt even the coldest of hearts. Not to mention her smoky Betty
Boop-esque vocals.
Kermit Ruffins (2:35pm @ Congo Square Stage):
HBO’s Treme may have made him semi-famous, but if you’ve lived here for any amount of time, you
know Kermit is just doing his thing. Blow that trumpet. Have a drink. Get the crowd moving. Wash, rinse,
and repeat. And yet, it’s still a damn good time. So if you need to get your dance on, make your way over
to see Kermit.
Arcade Fire (5:35pm @ Acura Stage):
In February, these guys caused the collective jaw of a nation to drop when they snatched the Best Album
of the Year Grammy from the likes of Lady Gaga, Katy Perry and Eminem. The win sparked an outcry
from 90% of humanity that went something like this: “WHO THE FUCK IS ARCADE FIRE?!” For those
of us encouraged by this coup, though, Arcade Fire is quite familiar. The Canadian indie rock powerhouse
is well renowned for mixing orchestral instrumentation with pop hooks to create sweeping anthems. The
appeal might be lost on some of the Jazz Fest crowd, but if you haven’t seen them live, make a point to
swing by. It’s worth it.
Willie Nelson (5:45pm @ Gentilly Stage):
How can I make this list and not recommend you see Willie? Willie is awesome. And he probably needs
your money to settle another possession case. But seriously, if you’ve never seen the man live (you
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may be living under a rock, but whatever) do yourself a favor.
He’s funny, he’s engaging and he’s still got it. He’s like your
grandpa, but not your grandpa, because your grandpa isn’t
stoned.
The New Orleans Klezmer Allstars (5:45pm @ Lagniappe
Stage):
Celebrating their 20 th anniversary this year, the Klezmer
Allstars are a delightful international experience, folding in
traditional Jewish music with Balkan beats. Representing the
more European flavors of our city, their shows are always
good for jumping around and making friends with your closest
bouncing neighbor.
Saturday, May 7 th :
R Scully’s Rough 7 (11:20am @ Gentilly Stage):
Noise rock collides with classic soul. With Ratty Scurvics’
crazy ass on keys! What’s not to like?
The Strokes (5:20pm @ Gentilly Stage):
I don’t think I need to point out how totally weird this booking
is. The Strokes were the igniters of the New York garage
rock revival of the early 2000s, but they have little to do with
jazz, blues, funk, gospel or the like. But I won’t complain,
because they happen to be one of my favorite bands of all time.
Reuniting after a 5-year hiatus and having just released their
fourth album, Angles, The Strokes are a can’t-miss show for
this year’s festival.
Ms. Lauryn Hill (5:25pm @ Congo Square Stage):
Yes, she may have gone a touch crazy. She may fly off the
handle in interviews. She may have taken her PR advice from
a cult leader. It’s all been said. But at the end of the day, she’s
still a provocative and gifted soul goddess. So check it out.
Wilco by Autumn De Wilde
Aaron Neville’s Gospel Experience (5:50pm @ Gospel Tent):
Aaron Neville could sing me the phone book and I’d show up
(I blame my mother for the ad-nauseum spins of his Christmas
records for the duration of my childhood – I am indoctrinated
now) but his latest release, the gospel album I Know I’ve Been
Changed, takes his sound in a new, decidedly more authentic
direction. Get your dose of the sweet Lord with this one.
Sunday, May 8 th :
Generationals (3:10pm @ Lagniappe Stage):
Gaining steam with the national press, Generationals are
poised to break into the big time any minute now. Darlings of
local label Park The Van, Generationals are a delightful mix of
catchy pop and dreamy indie rock.
Preservation Hall Jazz Band (4:35pm @ Economy Hall
Tent):
What a busy year these guys have had. They released one
of the best records of the year in 2010 with Preservation –
a collection of duets with artists ranging from Tom Waits to
Andrew Bird and Ani Difranco. They toured with My Morning
Jacket and made a film with its lead singer, Jim James, called
Louisiana Fairytale that just screened at SXSW. Honoring and
keeping the tradition of New Orleans music alive in popular
culture, these guys are a joy to see live. They’re spontaneous
and fun and often have special guests stop in.
Robert Randolph & The Family Band (5:20pm @ Blues
Tent):
He’s come a long way from his beginnings in a New Jersey
church. A master of the pedal steel guitar, Randolph’s live sets
are high-energy and innately danceable.
The Radiators (5:30pm @ Gentilly Stage):
They’re retiring. After 34 years together, one of the biggest
bands to ever come from New Orleans is hanging up its hat.
This is to be one of the band’s last shows (they call it quits
officially in June). If you haven’t seen them before, do it now.
Generationals by Brian Balamonte
25

REVIEWS
COLD CAVE
CHERISH THE LIGHT YEARS
(MATADOR)
Matador Records re-released the
debut full-length by the nocturnal
Philadelphia goth/witch/dance
group Cold Cave in November of
2009. The album originally came out
on group leader Wesley Eisold’s own Heartworm imprint
earlier that year and was well received universally by fans
and critics alike. Back when I reviewed Love Comes Close at
the close of 2009, I gave it a very emphatic review and spoke
about the lyrical content found within as I saw it relating to
the world around us, a world of increasing paranoia and a
world that celebrated mediocrity and endorsed criminality
in our own government, military and private sectors. It was
a record that spoke of the outside world in critical poetics
and was downtrodden and dreadfully danceable musically,
which was a dichotomy I found to be unique and strangely
uplifting. Fast forward 18 months and the world appears
to be no better than it was at the turn of the new decade,
worse many would say, but with respect to Wes Eisold and
his project Cold Cave, a light has emerged that is absolutely
undeniable. It is not a light that shines outwardly however,
but rather one that burns bright within. Moving away from
Philly in favor of the dreary downtown streets of NYC,
Eisold began to look within himself for inspiration, and
into his past musical influences. The result is Cold Cave’s
newest offering, the aptly titled and flat-out inspired Cherish
the Light Years. Gone are the down-tempo, repetitious and
stripped-down tracks that populated Love and in their place
we are met with exuberant, amalgamated and propulsive
anthems; put simply, songs you would never even imagine a
band like Cold Cave circa ’09 penning. Cherish opens with
the punk-infused burner “The Great Pan is Dead,” a song
that recalls faintly the Cold Cave of yesteryear in overall
tone, but thrashes about with such force and exactitude in
placement of instrumentation that it sounds like a different
group altogether. The song is a great opening cut in that it
obliterates all expectations and allows for the rest of the
album to develop in its own right. “Catacombs,” the fourth
cut, opens with ominous atmospherics before giving way to
an upbeat, Cure-meets-Suede swank, complete with jangling
guitars and Eisbold offering the all-too-perfect gem, “good
god, when acid rain floats your brain from the dirt;” it works
perfectly within subject matter of the track, which follows
the character’s dredging of the catacombs of her brain.
The next two cuts, the two album highlights, “Underworld
USA” and “Icons of Summer,” along with the Nick Cave-y
“Burning Stage,” stand as deliriously dark dance-outs, with
“Icons” giving Light Asylum’s “Dark Allies” a run for
the title of best dance track of this year so far. Cold Cave
and Wes Eisold present us with an eloquent, aggressive,
meticulous and brilliant album here on Cherish the Light
Years; the year’s best dance album that must be heard to be
believed. –Dan Mitchell
DEATH
SPIRITUAL-MENTAL-PHYSICAL
(DRAG CITY)
What a strange world we live in, a
world full of narratives built to explain
the ebbs and flows of history. And then,
like a diamond hidden away in a pile
of sand we stumble over something so
exciting and unexpected that it throws the preconceived narrative
out the window. Death is one such diamond in the rough. Starting
out as a funky soul trio in Detroit, they later incorporated rock
and roll into their sound and presaged punk rock. Their one and
only record was rereleased last year under the title …For the
Whole World to See and now a trove of demos sees the light
of day. Make no mistake; Spiritual-Mental-Physical is rough
around the edges. The tracks here are demos so the band is loose
and the sound quality is garage level, but the power of Death’s
groovy, proto-punk transcends even these limitations. The raw
energy of Death powers through on the whirlwind swing of
“Views,” combining the ferocity of punk with a funk groove
and the more said the better about the snarling grind of “The
Masks” and its peanut butter-and-chocolate pairing of full bore
hardcore and a hook straight out of ‘70s arena rock. It’s easy to
get swept up in superlatives when hit with such an unexpected
and amazing piece of rock history like this, but don’t let this
release be your only experience with Death. As a collection
of demos, there are issues that invariably crop up. Though the
strength of the record’s opening half is undeniable, side B is a
collection of loose jams and instrumentals that are better than the
majority of the weak punk rock flooding the market, but don’t
live up to the band’s own high standards. Ultimately Spiritual-
Mental-Physical is a nice afterword to the legacy of Death with
enough high water marks to blow out their modern successors.
–Mike Rodgers
EARTH
ANGELS OF DARKNESS,
DEMONS OF LIGHT 1
(SOUTHERN LORD)
Compared to their debut, the music
found of Angels of Darkness, Demons
of Light 1 sounds like an entirely
different Earth. The mournful,
western-influenced style that Dylan Carlson has employed since
his comeback remains in place, and stylistically this record holds
no real new tricks. It’s almost a little disappointing to hear the
same twangy guitars plodding along the restrained beat; I mean, I
love this music, but there’s certain stagnation in the songwriting.
The one new element is the addition of cellist Lori Goldston.
At times her playing is cautious, dragging a bass hum beside
the riff and at others it becomes chaotic, careening into staccato
screeches that counterpoint the melody. It can also be said that
this is Earth’s most melodic album. In relation to the band’s
drone metal past and its hypnotically repetitive present, that’s
not exactly a difficult thing to accomplish, but nevertheless there
is a newfound respect for melody in these songs. I mentioned
stagnation earlier, but maybe that’s too harsh; there are signs
of musical growth to be found on Angels, it’s just that they’re
incremental steps as opposed to paradigm shifts and in almost
every way the record feels transitional. That’s also not to say
that Angels is a bad album, far from it. I’ve said before that I
believe Earth to be the band that most succinctly captures the
spirit of America: from the grandiose self-image we project to
the vacancy that lies within. The ever-circling riffs and dusty
atmosphere belong only to Earth and no other group even
remotely approaches their particular place in music. With all
indicators pointing to an Angels… 2 sometime later this year,
we will have to wait and see if there’s a new twist coming for
Carlson and Co. or if Earth stays the course. –Mike Rodgers
FLOGGING MOLLY
SPEED OF DARKNESS
(BORSTAL BEAT)
Flogging Molly lead singer Dave
King was born and raised in Dublin
but has been living in the U.S. for the
better part of the last 30 years. He’s
spent the last few years watching his
homeland’s economy disintegrate from afar while, at the same
time, Detroit – the hometown of his wife, Flogging Molly
fiddle player Bridget Regan – was continuing to fall apart at the
seams, a victim of America’s own failing economy. It was this
mental environment that bred Speed of Darkness, which was,
consequentially, recorded in the Motor City. With strong social
and political undertones and some bold musical steps outside
of their standard box, Speed of Darkness is the best and most
present Flogging Molly has sounded in years. There is still plenty
of Irish on the album though, so fans need not fret. “So Sail On”
and “The Heart of The Sea” are minimalistic, fiddle-driven
tunes that could easily slide on to the band’s earlier albums and
“This Present State of Grace” will be a perfect live sing-along
with its handclaps, tin whistle and lines like “So celebrate/Live
your life/Live it and raise hell.” But otherwise, the songs fall
into heavier territory with abrasive and broad electric guitar
backbones and colossal, thudding bass lines. The single, “Don’t
Shut ‘Em Down” (straight ‘80s Clash with its reggae groove and
rounded bass) is a desperate plea for all those suffering from our
collapsing economy. King sings about “buildings decomposing
in slumber” as he paints “life in a modern town.” Immediately
following is “The Power’s Out,” a driving, determined, swollen
rallying cry that sneers about “blood-sucking leech CEOs” and
proudly declares, “We don’t want your pity/We just want a
job.” Not missing a chance to get in a dig at his most-loathed
historical character, Oliver Cromwell, “Oliver Boy (All Of Our
Boys)” begins very stoically before ripping down the middle
and surging into an incredibly powerful anti-war anthem, King
yelling “where there’s blood there’s death, not glory” With all of
this power and grit, one of the most affecting songs on the album
remains “A Prayer For Me In Silence,” a brief two-minute duet
between King and Regan that aches with pure, earnest love as
the pair repeat the simple line, “let us never fall apart.” With this
record, Flogging Molly is proving it can do more than just loud,
fast and Irish. A true tour-de-force. –Erin Hall
27

REVIEWS
Your enjoyment of Starting From
Nowhere depends wholly on your
ability to appreciate subtlety. If
you’re expecting the kind of manic,
schizophrenic comedy that populates
Tim & Eric Awesome Show Great Job! then you’ll be sorely
disappointed. Heidecker and the show’s composer Davin
Wood have instead crafted an homage to the kind of soft rock
that’s currently piling up in clearance tubs and dads’ CD towers
across the country. The music is so spot-on that it hardly counts
as parody. From the lilting vocals, to the bland “funky” bass
lines all the way to the banal electric piano melodies, the music
on Starting From Nowhere is adult contemporary at its finest.
Therein lies the conundrum; the spoof is so close that it’s not
really a spoof. Heidecker & Wood have an obvious love for
this kind of music, whether it’s the folksy hum of a Simon
& Garfunkel tune or the jazzy meh of Steely Dan. The joke
lies in their close approximation and the slight jabs taken at
its expense. Record opener “Cross Country Skiing” weaves a
faux-inspirational acoustic ballad around the titular activity,
noting details like a belly full of warm coffee and a sack
of, “raisins, nuts and corn.” Songs are imbued with insights
undercut by their banal triviality, (“The Grandest Canyon” –
“Maybe a canyon’s just a canyon and a man is just a man.”),
and the dopey, gutless instrumentation surrounding them. This
is a difficult record to make peace with, as it never settles
which side of the fence it lies on and ambiguity, especially in a
“comedy” record, is a tough thing for an audience to swallow.
I can’t say the album on musical merits alone is worth adding
to a heavy rotation, but there’s something about the sly punch
lines and skewed take on the trappings of AOR that makes me
chuckle. I suspect that there will be those who can’t look past
the white bread songwriting and yacht rock, but that for those
who can, Starting From Nowhere will provide a new laugh or
two on each listen. –Mike Rodgers
For six years, Jason Isbell was 1/3
of the massive triple guitar attack of
lauded southern rock band, the Drive-
By Truckers. But four years after
parting from his former bandmates,
Isbell is well on his way to establishing a strong solo career with
his backing band, The 400 Unit. Here We Rest is the group’s
second outing (the third solo effort for Isbell) and they’re clearly
settling into a groove. Isbell was always the most “romantic”
of the three guitarist/songwriters for the Truckers. He penned
heartfelt ballads like “Goddamn Lonely Love” and stirring
odes to fatherhood like “Outfit.” He softened the rough edges
of the group and brought an air of gentility to their work. The
tracks on Here We Rest continue in that vein, exploring themes
of love, heartbreak, loneliness and isolation. Opener “Alabama
Pines” is a stirring tune about the very real ache for home that
forms when you’re on the road for too long. “We’ve Met” and
“Stopping By” both deal with running into someone from your
past and dredging up all the old baggage – a bittersweet mix
of nostalgia and regret that most of us have experienced at
some point. “Daisy Mae” and “Save it for Sunday” are perfect
examples of Isbell’s talent for minimalist, acoustic beauty that
relies mostly on his poignant songwriting and expressive vocal
delivery. “Never Could Believe” is all juke joint strut where
“Heart on a String” is pure soul. The album has good variety,
but I’d by lying if I said I didn’t miss the edge his Truckers
compositions had. I understanding needing to take a step away
from that after leaving the band, but it’s been a few years and
I’d love to see him integrate a bit more grit and stomp into his
next album. All in all, though, Here We Rest is an admirable
outing that solidifies Isbell’s talent and sets him up for what
will hopefully be a long career. –Erin Hall
28
HEIDECKER & WOOD
STARING FROM NOWHERE
(LITTLE RECORD COMPANY)
JASON ISBELL & THE 400 UNIT
HERE WE REST
(LIGHTNING ROD)
KVELERTAK
KVELERTAK
(INDIE RECORDINGS)
The first thing that might strike the
listener about Kvelertak, even before
proper spinning of the songs, is the
worm-limbed, rose-crowned, daggereyed
owl smothering two fair skinned
innocents amidst vibrant colorings on the cover artwork. If
you cannot picture this properly, take the image described and
set it to the surreal artwork of John Dyer Baizley, who did the
artwork here, and who is the front man and artist of Baroness.
While the Kvelertak artwork is great here, as always with
Dyer Baizley’s, the reason I mention it is because he always
lends his talents to genre-slashing metal acts and Kvelertak is
certainly no exception. This six-piece from Stavanger, Norway
is unclassifiable certainly, yet inside their genre-bending
approach lies a very assured and matchless style shared by no
other band I can think of at present (reference points could be
Dawnbringer or Kylesa). Kvelertak formed in 2007 as a punk
band, a three-chord experiment between friends that morphed
into the dense and brutal beast it is today after years of playing
with one another. This eponymous debut stands as the first
official worldwide release of the band’s music and it is damn
good--- they just recently won two Spellemann Awards in
Norway and now I know why. The lyrics are sung primarily
in traditional black metal guttural scowlings, entirely in
Norwegian, but it is the music and instrumental prowess the
band exhibits throughout the debut that impress the most. Take
a song like “Sultans of Satan,” the only song with an English
title, and the picture becomes clearer. The song kicks off as a
Refused-like punk anthem before breaking into a lighter, calland-response,
guitar solo laden, catchy as fuck (even though
lyrical deciphering is impossible) chorus before taking off once
again. The truly curious turn occurs just before the 2-minute
mark however, when the drums restrain to only rapid cymbal
graces and the guitars unite in solo exaltation, before the music
thereafter switches again into what the Melvins might sound
like with three guitarists and a bit more funk, only to then break
down into a Syknyrd-meets-Motorhead race to recapitulation
and finish. Every song on this album can be broken down in
similar fashion and that is what is best about Kvelertak--- they
are unpredictable, ferocious, studied and talented with a capital
T. –Dan Mitchell
MALACHAI
RETURN TO THE UGLY SIDE
(DOMINO)
Malachai is a difficult band to get
a clear picture of. At times grimy
and patchwork, at others lush and
symphonic, Return to the Ugly Side
is a record with shifts and spins at
every turn. The duo from Bristol blend elements of ‘60s mod
psychedelia, orchestral grandness and rock into a chopped
and pasted pastiche of sampled beats. From the stutter step
drum breaks of “Anne” to the scritchy-scratch trip hop of
“Monster,” Malachai weave dusty old LP drum samples with
a haze of murky sound; creaking strings, whistling sirens and
wax scratches populated the background while Gee’s hoarse
vocals sit front and center. His distinctive groan is half the
magic to the tracks on Return. On the record standout “The
Don’t Just,” sluggish, clanging chords ring out like funeral
bells before erupting into a fevered wash of psychedelic swing
while Gee wails, at times sounding broken hearted, others
desperately passionate. There’s a warmth to the record that this
kind of sample cutting music excels at that most synth-based
electro can’t replicate. The snares pop with a hiss, the sounds
have a natural depth to them and there’s a definite sense of
something organic living at the core of the record. The oddly
beautiful “Rainbows” is exemplary, letting gentle treble-heavy
riffs and clicking percussion frame up a soft, almost sultry
duet that reminds me more of Serge Gainsbourg than Massive
Attack. Return is a record of disparate parts all colliding
together, its personality remains dark, even brooding, but the
tenor constantly changes, from the dusted jungle of “(My)
Ambulance” to the Tom Waits-on-acid spiral of “Hybernation”
that draws the album to a close with 808 pops. Malachai remain
just as difficult to explain once the record has stopped spinning
as they were before, a darkly trippy amalgam of breaks, riffs
and sampled soul. –Mike Rodgers
MOUNTAIN GOATS
ALL ETERNALS DECK
(MERGE)
Over the past 20 years, John Darnielle
has been a bit of a haphazard artist
in many people’s eyes. This, simply
chalked up, can be explained by the
fact that the man is restless as fuck,
never remaining in one place for long, always yearning for
new inspiration. Unlike many people who prefer to remain in
place until that space begins to make sense, Darnielle refuses
sedentary situations and proclivities in favor of a pursuit of
motivation through twitchy and agitated means. His new album
under the moniker Mountain Goats, named All Eternals Deck
(produced in part by Erik Rutan), speaks to this notion of
restlessness, motion and yearning in a way that no other previous
release has up this point in his now three decades-long career. It
is the perfect incorporation, a man at peace and at odds with the
world around him simultaneously. The songs inside the album
vary greatly from one another and this is what makes the album
feel so cohesive--- Darnielle is not content in any single sort, his
manner, at best, as it is here, finds representation through various
hues, subjects and emotions that often conflict with one another
as much as they marry. The songs ooze and crack, splinter and
reform with such eloquent ease that in the end, the only way to
truly describe them is as breathtaking. Eternals starts with two
vivid, stately and articulate songs, “Damn These Vampires” and
“Birth of Serpents,” tales of man’s journey into new worlds,
complete with places and headspaces of horror and yet of endless
possibility nonetheless--- these cuts are inspiring and haunting at
once. Then the album breaks open with “Estate Sale Sign,” a
punk spider web of a rocker complete with dramatic imagery
and spectacular vocal delivery from Darnielle that ring as devout
and anarchic at once. The album moves forth beautifully, with
other highlights like “The Autopsy Garland,” where “fat, rich
men love their 12 year-olds, deco cuff-links and cognac by
the glass,” “Beautiful Gas Mask,” a song of loss, anguish and
retribution and the spiritual, harmonized, rising striker of “High
Hawk Season.” This is an album that fans of the Mountain Goats
will hold dear and share only with others of their ilk, but that
goes against the spirit of the record, as Eternals is a journey for
all to find the “signposts on the path to the inner self” as mapped
through the songs themselves. –Dan Mitchell
O’DEATH
OUTSIDE
(DRAG CITY)
Brooklyn quintet O’Death has been
playing together since 2003, and
Outside will be their fourth fulllength
record. That’s about the end
of the available knowledge on these
guys; this lack of information is almost as woeful as some
of the tunes that yelp and thrash their way out of the band’s
instruments and vocal chords, but it’s also in keeping with the
riverside, backwoods, bonfire aesthetic the band cultivates with
those same songs. The small slice of psychedelic Appalachia
the band carves out is undeniably dark and hauntingly frantic.
Outside is dirge-y and cave dwelling, and even a bit resigned,
but not at all mopey. It’s actually hopeful in the way that
work songs and field hollers were. In “Long Black Dress,”
about Small Factory Town, USA, vocalist/guitarist Greg
Jamie yowls, “the drugs for years had been wearing off/which
reminds us why we sing.” It’s a dark black journey, but with
song titles like “Howling Through” and “Pushing Out” there’s
a sense of plodding on and forward movement throughout
the record, which is driven hard by Gabe Darling’s banjo
and ukulele, and punctuated by choral handclaps and David
Rogers-Berry’s chain links on kettle drums. The sonic result is
something like Paul Simon and Iggy Pop gobbling a bunch of
acid and collaborating to score an episode of Deadwood. The

REVIEWS
dark subject matter and soundscapes are nothing new for the band; this has been their groove since
well before Rogers-Berry’s recent battle with cancer, but it’s certainly not anything that’s worn
out. For all the darkness of O’Death, Outside is vibrant with the light of lanterns in the coalmine.
–The Rev. Dr. Daniel P. Jackson
THE STREETS
COMPUTERS & BLUES
(ATLANTIC)
TRAP THEM
DARKER HANDCRAFT
(PROSTHETIC)
What the hell happened to Mike Skinner?
Since his debut he’s been one of the most
promising and at first satisfying artists in the
UK music scene. His sophomore effort A Grand Don’t Come for Free was a
masterpiece of homemade beats and storytelling. His everyman repartee and
genuine pathos carried that record to the favorite lists of critics and listeners
alike. His follow up The Hardest Way to Make an Easy Living was good
fun, but it wallowed in the woe-is-me celebrity traps of ego and cocaine and
the less said about Everything is Borrowed and its maudlin, sappy nature the better. So it was with
deep misgivings that I waited for this, supposedly the final Streets record. After a few good listens I
can only really say I’m glad it’s to be the last, because Skinner just doesn’t have it in him to be great
within The Streets framework again. Computers & Blues is definitely a step or ten beyond Borrowed,
but even its strongest moments aren’t up to par with the best of the other records. There’s no unifying
theme to the album as far as I can gather and the kind of intimately detailed yarns Skinner once
populated his records with are replaced with generalized sing-speak. The Streets’ strength was always
in content, not Skinner’s vocal skills, so without that to fall back on, his delivery feels awkward as
opposed to intriguing. Skinner’s beats are still delightfully ramshackle and remain one of the bright
spots of The Streets. The cut and paste rock stomp of “Going Through Hell” is a bit of goofy fun,
despite the omnipresence of its bleating hook. There’s a definite rave vibe running throughout the
record, from the stuttered strings of “Soldier” to the skittering drum snaps and diva vocals of “OMG”
and the higher tempos and off kilter rhythms add dimensions to the songs that the vocals just can’t.
Let’s hope that whatever direction Mike Skinner moves in, he either recaptures the emotion and
intimacy of his first few records or just focuses on his quirky beat making. –Mike Rodgers
THE STROKES
ANGLES
(RCA)
After a five-year hiatus and on the heels of a heavily
publicized rift amongst the band members, fans
weren’t sure what to expect from Angles, the first new
material from The Strokes camp since 2006. Unlike the band’s three previous
outings, the songs on Angles are credited to the band as a whole, deviating
from the status quo of lead singer Julian Casablancas controlling all aspects
of the creative process. In fact, Casablancas didn’t even record with the rest
of the band – he sent his vocals in digitally. This obviously caused some
serious strife and unfortunately, that’s evident on the album, which feels in places disconnected and
lacking in flow. There are, however, quite a few bright spots and some moments of real brilliance.
Opener “Machu Picchu” is jubilant with its touches of synthy reggae. Single “Under Cover of
Darkness” and standout “Taken For a Fool” have that vintage Strokes feel – all syncopated guitar
and charmingly disaffected vocals. Definitively stepping away from the Velvet Underground and
Television comparisons, Angles is full of new sounds and influences. “Two Kinds of Happiness” sees
the guys tapping The Cars and Tom Petty for a throwback heartland sound whereas “Gratisfaction”
is a fun, strutting Billy Joel/Thin Lizzy romp. Both “Games” and “Call Me Back” are quieter tunes
that grow on the listener over time, but placing them together does no favors to the pacing of the
album, which feels lazy. And not lazy in that effortlessly cool way that The Strokes have always been
“lazy,” but rather genuinely lacking in care. None of the tracks are terrible (though “You’re So Right”
is incredibly left-field compared to everything else on the record), but as a whole the album simply
lacks cohesion. Extreme fans of the band will just be glad to have them back, but people who always
considered them one-album wonders won’t have their minds changed by Angles. The band has been
quoted as saying that enough material was left over from this session that they plan to go back into the
studio soon to record their fifth album – the last on their RCA contract. Hopefully they will choose to
do it as a unit this time and will rediscover the magic that is still so obviously there. Otherwise, this
division threatens to be the thing that undoes them for good. –Erin Hall
Some metal bands exist most comfortably
within the confines of a certain genre.
Some exist best in blending sounds and
genres, while some (rarely) craft a sound unheard before. Some just simply
brutalize. Trap Them brutalize, period, end of discussion. While their new
album, Darker Handcraft, is just over 30 minutes in length, there is enough
recalcitrant vile mixed with shocking precision that it feels like it lasts a
lifetime. From the onset of the opening punk chords of “Damage Prose”
until the slightly down-tempo hysteria that recalls Flipper, more-than-faintly, on closer “Scars
Align,” the four-piece does not relent. On Darker, bearded singer Ryan McKenney’s delivery
is consistently vicious and pained, drummer Chris Maggio pummels his kit with such might and
exactitude that it sounds inhuman, guitarist Brian Izzi is just plain fucking nuts, matching hardcore
abandon with early-Cephalic, fleet-fretted frenzy seamlessly, and bassist Stephen Lacour, perhaps
the band’s unstated resident madman, never strays from the song’s core, driving it all home every
track, without fail. Produced by the great Kurt Ballou, Darker Handcraft finds the band at its
absolute--- to say this album is impressive is an understatement. The album works best as a whole,
but two tracks do stand out; the restrained, almost transcendent, Thou-channeling guitar of “Drag
the Wounds Eternal,” and my favorite cut of them all, “The Facts.” On “The Facts,” Trap Them
have crafted the best song of their career, the most multifaceted and their most poignant--- just
listen for the Misfits-referencing repeated line from McKenney, “I ain’t no goddamn son of a
bitch.” This repetition in lyric we all know and love from Danzig does not come off contrived here;
rather, this new appropriation works perfectly, if for no other reason than the listener has no choice
but to believe it--- so fucking believe it. –Dan Mitchell
29

EVENTS
N.O. VENUES
12 Bar, 608 Fulton St.
All-Ways Lounge/Marigny Theatre, 2240 St. Claude Ave., (504) 218-5778, marignytheatre.org
Banks St. Bar And Grill, 4401 Banks St., (504) 486-0258, www.banksstreetbar.com
Barrister’s Art Gallery, 2331 St. Claude Ave.
Bayou Park Bar, 542 S. Jeff. Davis Pkwy.
The Big Top, 1638 Clio St., (504) 569-2700, www.3ringcircusproductions.com
The Blue Nile, 534 Frenchmen St., (504) 948-2583
Broadmoor House, 4127 Walmsley, (504) 821-2434
Carrollton Station, 8140 Willow St., (504) 865-9190, www.carrolltonstation.com
Checkpoint Charlie’s, 501 Esplanade Ave., (504) 947-0979
Chickie Wah Wah, 2828 Canal Street (504) 304-4714, www.chickiewahwah.com
Circle Bar, 1032 St. Charles Ave., (504) 588-2616, www.circlebar.net
Club 300, 300 Decatur Street, www.neworleansjazzbistro.com
The Country Club, 634 Louisa St., (504) 945-0742, www.countryclubneworleans.com
d.b.a., 618 Frenchmen St., (504) 942-373, www.drinkgoodstuff.com/no
Der Rathskeller (Tulane’s Campus), McAlister Dr., http://wtul.fm
Desperados, 801 Frenchmen St., (504) 943-9900, desperadospizza@yahoo.com
Dragon’s Den, 435 Esplanade Ave., http://myspace.com/dragonsdennola
Eldon’s House, 3055 Royal Street, arlovanderbel@hotmail.com
Fair Grinds Coffee House, 3133 Ponce de Leon, (504) 913-9072, www.fairgrinds.com
Goldmine Saloon, 701 Dauphine St., (504) 586-0745, www.goldminesaloon.net
The Green Space, 2831 Marais Street (504) 945-0240, www.thegreenproject.org
Handsome Willy’s, 218 S. Robertson St., (504) 525-0377, http://handsomewillys.com
The Hangar, 1511 S. Rendon. (504) 827-7419
Hi-Ho Lounge, 2239 St. Claude Ave. (504) 945-4446, www.myspace.com/hiholounge
The Hookah, 309 Decatur St. (504-943-1101), hookah-club.com
Hot Iron Press Plant, 1420 Kentucky Ave., hotironpress@hotmail.com
House Of Blues / The Parish, 225 Decatur, (504)310-4999, www.hob.com/neworleans
The Howlin’ Wolf, 907 S. Peters, (504) 522-WOLF, www.thehowlinwolf.com
Kajun’s Pub, 2256 St. Claude Avenue (504) 947-3735, www.myspace.com/kajunspub
Kim’s 940, 940 Elysian Fields, (504) 844-4888
The Kingpin, 1307 Lyons St., (504) 891-2373
Le Bon Temps Roule, 4801 Magazine St., (504) 895-8117
Le Chat Noir, 715 St. Charles Ave., (504) 581-5812, www.cabaretlechatnoir.com
Lyceum Central, 618 City Park Ave., (410) 523-4182, http://lyceumproject.com
Lyon’s Club, 2920 Arlington St.
The Maison, 508 Frenchmen St., maisonfrenchmen.com
Maple Leaf, 8316 Oak St., (504) 866-9359
Marlene’s Place, 3715 Tchoupitoulas, (504) 897-3415, www.myspace.com/marlenesplace
McKeown’s Books, 4737 Tchoupitoulas, (504) 895-1954, http://mckeownsbooks.net
Melvin’s, 2112 St. Claude Ave.
MVC, 9800 Westbank Expressway, (504) 234-2331, www.themvc.net
Neutral Ground Coffee House, 5110 Danneel St., (504) 891-3381, www.neutralground.org
Nowe Miasto, 223 Jane Pl., (504) 821-6721
Ogden Museum, 925 Camp St., (504) 539-9600
One Eyed Jacks, 615 Toulouse St., (504) 569-8361, www.oneeyedjacks.net
Outer Banks, 2401 Palmyra (at S. Tonti), (504) 628-5976, www.myspace.com/outerbanksmidcity
Republic, 828 S. Peters St., (504) 528-8282, www.republicnola.com
Rusty Nail, 1100 Constance Street (504) 525-5515, www.therustynail.org/
The Saturn Bar, 3067 St. Claude Ave., www.myspace.com/saturnbar
Side Arm Gallery, 1122 St. Roch Ave., (504) 218-8379, www.sidearmgallery.org
Southport Hall, 200 Monticello Ave., (504) 835-2903, www.newsouthport.com
The Spellcaster Lodge, 3052 St. Claude Avenue, www.quintonandmisspussycat.com
St. Roch Taverne, 1200 St. Roch Ave., (504) 945-0194
Tipitina’s, (Uptown) 501 Napoleon Ave., (504) 895-8477 (Downtown) 233 N. Peters, www.tipitinas.com
The Zeitgeist, 1618 Oretha Castle Haley Blvd., (504) 827-5858, www.zeitgeistinc.net
Vintage Uptown, 4523 Magazine St., askmexico@gmail.com
METAIRIE VENUES
The Bar, 3224 Edenborn, myspace.com/thebarrocks
30
APRIL 2 ND THROUGH APRIL 30 TH
Mystic Blue Signs (2212 Magazine St.): New
Orleans Lettering Arts Association Annual
Calligraphy Exhibit, During Gallery Hours
MONDAY 4/4
Dragon’s Den: Mars, Most Heinous, NOLA Fam,
Nutria Assault, Solid Giant, 10pm
Tulane Dixon Hall: Simone Dinnerstei, 8pm, $25
($10 Students)
TUESDAY 4/5
House Of Blues: Scissor Sisters, 8pm; Del the
Funky Homosapien 20th Anniversary Tour, 9pm
(The Parish @ House Of Blues)
Irvin Mayfield’s Jazz Playhouse: Jason
Marsalis, 8pm
Republic: The Residents, Consortium of Genius,
8pm, $20
Tipitina’s: The Wailers, Duane Stephenson, 9pm, $25
WEDNESDAY 4/6
Banks Street Bar & Grill: Big Fat & Delicious
Acoustic, Kernal Garner and the New Strangers, 9pm
Fair Grinds Coffeehouse: Broken Water,
Firebrand, Halfys, 8pm, $3
Howlin’ Wolf: Kicks N Snares Celebrity Beat
Battle f/ Mannie Fresh
Irvin Mayfield’s Jazz Playhouse: Irvin Mayfield’s
NOJO Jam, 8pm
Tipitina’s: Band of Horses, Tyler Ramsey, 9pm
(Currently Sold Out)
THURSDAY 4/7
Backyard Ballroom (3519 St. Claude Ave.):
Hedwig and the Angry Inch f/ Whom Do You
Work For?, 8pm, $10
The Big Top: Growth Patterns: New Works by
Morgana King (Opening Reception), 6pm
Checkpoint Charlie’s: Dirtbag Love Affair
d.b.a.: Shamarr Allen and the Underdawgs, 10pm,
$5
The Hookah: WCP Presents Heyoka, Octopus
Nebula, 10pm
Howlin’ Wolf: Benefit for Mission Honduras f/
the Benjy Davis Project; Erika Flowers (Live in the
Den)
Irvin Mayfield’s Jazz Playhouse: Sasha and Steve
Masakowski, 2:30pm; Piano Tribute to Jelly Roll
Morton f/ Tom McDermott and Evan Christopher,
5pm; Bill Summers and Irvin Mayfield: Los
Hombres Calientes, 8pm
One Eyed Jacks: Aquarium Drunkard Presents
Pains of Being Pure at Heart, Twin Shadow, 8pm
Preservation Hall: Late Night at the Hall Presents
Aurora Nealand and the Royal Roses, 11:30pm
Republic: Warpaint w/ PVT, Family Band, 8pm,
$14
FRIDAY 4/8
AllWays Lounge: The Other Planets’ “Rocket
Surgery Orchestravaganza w/ Felix, 10pm
Backyard Ballroom (3519 St. Claude Ave.):
Hedwig and the Angry Inch f/ Whom Do You
Work For?, 8pm, $10
Banks Street Bar & Grill: Lavish Radish, Visual
Performanze, 10pm
The Big Top: Dancing Room Only Presents
Straight From the Crates w/ NinjaPlease, Tony
Skratchere, Dubla, Yamin, 10pm, FREE
d.b.a.: Linnzi Zaorski, 6pm; Joe Krown Trio w/
Walter Wolfman Washington and Russell Batiste,
10pm, $5
Dragon’s Den: DJ Dara
The Hookah: Kourney Heart Live w/ DJ EF Cuttin
Howlin’ Wolf: Lillian Axe
Irvin Mayfield’s Jazz Playhouse: Celebration
of Modern Jazz Masters Ellis Marsalis, Harold
Battiste and James Black, 2:30pm
One Eyed Jacks: Ghost Note Presents Billy
Iuso and the Restless Natives w/ Big Chief Monk
Boudreaux
Republic: Jean-Eric, 10pm, $5
Rock & Bowl: Big Sam’s Funky Nation, 9pm, $10
Siberia: Die Rotzz, Rayon Beach, Flesh Lights,
Cowabunga Babes, Vomettes, 10pm
Southport Hall: Know Your Enemy, Alchemy,
Schematics, No Room for Saints, Punch Drunk
Apollo, TAOMG, 9pm
Tipitina’s: Break Science f/ Chali 2na w/ Eric
Krasno and Kirk Joseph, Gypsyphonic Disko,
Gravity A, 10pm, $16
SATURDAY 4/9
12 Bar: Cliff Hines, 10pm
Babylon: Calibrate the Massacre, Dropkik, the
Mothercell, Pursuance, 9pm
Backyard Ballroom (3519 St. Claude Ave.):
Hedwig and the Angry Inch f/ Whom Do You
Work For?, 8pm, $10
Banks Street Bar & Grill: Gal Holiday & the
Honky Tonk Revue, 10pm
Bayou Park Bar: Penguin, Interior Decorating
d.b.a.: Little Freddie King, 11pm, $5
Dragon’s Den: Simple Play Productions, War Amps
Hi-Ho Lounge: Zydepunks, My Graveyard Jaw,
10pm
House Of Blues: Guster, Jukebox the Ghost, 8pm
Howlin’ Wolf: Slow Burn Burlesque Presents the
Big Sleazy, 11pm, $15 ($20 VIP)
Irvin Mayfield’s Jazz Playhouse: Baby Boyz
Brass Band, 2:30pm; Piano Tribute to James
Booker f/ Joe Krown, 5pm; Irvin Mayfield and the
Jazz Playhouse Revue; Brass Band Jam f/ Hot 8,
Midnight
One Eyed Jacks: Vaud and the Villains, 8pm;
Fleur de Lindy, Midnight
Siberia: Anal Cunt, Flesh Parade, Vulkodlak, Fat
Stupid Ugly People, 10pm
Spotted Cat: The Davis Rogan Band, 10pm
SUNDAY 4/10
d.b.a.: Iris May Tango, 10pm, $5
Dragon’s Den: Bass Church w/ Gris Gris, Carmine
P. Filthy, Mr. Cool Bad Guy, Unicorn Fukr
House Of Blues: Forever the Sickest Kids, Breathe
Carolina, This Century, Before Their Eyes, Tonight
Alive, 5:30pm
Irvin Mayfield’s Jazz Playhouse: Leo Jackson
and the Melody Clouds, Noon; Glen David
Andrews, 2:30pm; Bill Summers and Orchestra
Yoruba Afro America, 5pm; Shannon Powell Trio,
7pm
Siberia: Marvin Hirsch’s B-Day Bash w/ the Sluts,
Pallbearers, the Bills, DJ Penetrol, 10pm
MONDAY 4/11
One Eyed Jacks: SimplePlay Presents Lyrics Born
Siberia: Gene Loves Jezebel, Kindest Lines,
Killing Moon DJs, 10pm
TUESDAY 4/12
House Of Blues: Fair to Midland, Periphery, Scale
the Summit, 8pm (The Parish @ House Of Blues)

EVENTS
Irvin Mayfield’s Jazz Playhouse: Jason
Marsalis, 8pm
Louisiana Music Factory: Ken Colyer Trust
Party f/ Kid Simmons’ New Orleans Band, 6pm
Siberia: Apache Dropout, Billy Druid, 10pm
WEDNESDAY 4/13
Banks Street Bar & Grill: Major Bacon,
10pm
The Hookah: WCP & APP Present Mount
Kimbie, Shuttle, Jim-E Stack, Pearls&Leather
f/ Ryan Pearce and Shanook, 10pm
Howlin’ Wolf: Daryl Hance (Live in the Den),
8pm
Irvin Mayfield’s Jazz Playhouse: Irvin
Mayfield’s NOJO Jam, 8pm
Siberia: Joe Buck Yourself, the Sawyer
Family, Viva Le Vox, Michael James and His
Lonesome, 10pm
Snug Harbor: Delfeayo Marsalis, 8pm
THURSDAY 4/14
The Big Top: Justin Peake Trio f/ Brian
Coogan and Jesse Morrow, 9pm
d.b.a.: Paul Sanchez, 7pm; Ernie Vincent & the
Top Notes, 10pm, $5
The Hookah: SimplePlay & Social Service
Present Sub Swara, Eprom, HighTop Kicks,
Rus, 9pm
House Of Blues: Fake Problems,
Pomegranates, Laura Stevenson and the Cans,
Now, Now, 9pm (The Parish @ House Of
Blues)
Howlin’ Wolf: Camp Tiger Battle of the
Bands, 9pm
Irvin Mayfield’s Jazz Playhouse: Little
Freddie King, 8pm
Republic: The Raveonettes, Tamaryn, 9pm,
$18
Siberia: Only Thieves, Teeadora Nikolova,
10pm
Tipitina’s: The Bridge, Johnny Sketch and the
Dirty Notes, 9pm, $12
FRIDAY 4/15
Banks Street Bar & Grill: The Unnaturals,
10pm, FREE
Café Prytania: College Hip-Hop Show f/
J. Finney, Jack Fiskio, Mastermind, L.S.D.,
E.C.M.E., Top Billion, Lyriqs da Lyraciss, DJ
Ruffkut, 9pm
d.b.a.: Hot Club of New Orleans, 6pm
Dragon’s Den: Fatter than Albert’s Pre Block
Party Party
House Of Blues: Who’s Bad: Michael Jackson
Tribute, 10pm; Sugar Hill Gang, 9pm (The
Parish @ House Of Blues)
Howlin’ Wolf: Zoogma, Greenhouse Lounge,
Earphunk
One Eyed Jacks: Debauche w/ Valparaiso
Men’s Chorus
Republic: Big History, 10pm, $5
Spotted Cat: Voodoo Town, 10pm
Tipitina’s: Smoke Dogg Tribute to Nate
Dogg f/ Derrick Freeman’s Smoker’s World
w/ Johnny Sketch, Corey Henry, Koan, M@
Peoples, 10pm, $12
SATURDAY 4/16
12 Bar: Groovesect, 10pm
Banks Street Bar & Grill: Roarshark, Magic
Weapons, 10pm
Bayou Park Bar: Country Fried
Big Top: Community Records Block Party
2011 f/ Rx Bandits, We are the Union,
Forthrights, Stuck Lucky, Caddywhompus
& Various Artists, Noon, $20 ($17 w/ N.O.
Mission donation)
Dragon’s Den: Shanghi Nites; DJ Hectik
House Of Blues: Revelation Part 1: the Root of
Life Tour f/ Stephen Marley, 8pm
Howlin’ Wolf: Doug Benson f/ Special Guests,
9pm; MC Know One Album Release Show
(Live in the Den)
Irvin Mayfield’s Jazz Playhouse: Shannon
Powell, 8pm; Brass Band Jam f/ Brass-A-
Holics, Midnight
Louisiana Music Factory: Kelcy Mae, 2pm;
Lynn Drury, 3pm; Ken Swartz, 4pm
One Eyed Jacks: Lost Bayou Ramblers
Siberia: Downtown Brown, Felix, 8pm; Disko
Obscura Dance Party, 11pm
Spotted Cat: The Jazz Vipers, 10pm
Tipitina’s: Glen David Andrews “Trumpets
Not Guns” w/ Special Guests, 10pm, $21 ($76
VIP)
SUNDAY 4/17
d.b.a.: Andrew Duhon w/ Kristin Diable,
10pm, $5
Dragon’s Den: Capsule, Baby Boy (Early
Show); Bass Church f/ Innerlign, Rus, Unicorn
Fukr, Mr. Cool Bad Guy
One Eyed Jacks: Fleur de Tease
Siberia: Violence of Humanity, Toxic Rott,
Donkey Puncher
MONDAY 4/18
Banks Street Bar & Grill: The Local Skank,
the Slomski Brothers Vaudeville, 9pm
Dragon’s Den: Busy, Aqua Force
Siberia: Fight Amp, Megaton Leviathon, Solid
Giant, 10pm
TUESDAY 4/19
House Of Blues: Revolt Tour 2011 f/
Hollywood Undead, 10 Years, Drive A, 6pm
Howlin’ Wolf: Pete Yorn, Ben Kweller and the
Wellspring
Irvin Mayfield’s Jazz Playhouse: Jason
Marsalis, 8pm
One Eyed Jacks: Acid Mothers Temple, the
Melting Paraiso UFO w/ Shilpa Ray and Her
Happy Hookers, 10pm
WEDNESDAY 4/20
Banks Street Bar & Grill: NOLA County, 10pm
House Of Blues: Family Force 5 Presents:
TOURANTULA, 7pm (The Parish @ House
Of Blues)
Howlin’ Wolf: Curren$y’s 420 Showdown
Irvin Mayfield’s Jazz Playhouse: Playhouse
2 nd Anniversary Celebration / A Love Letter to
New Orleans Book Release Party, 8pm
Louisiana Music Factory: Drew Landry, 5pm
THURSDAY 4/21
The Big Top: Helen Wheels (Helen Reddy
Tribute) w/ Helen Gillet and Ratty Skurvics
d.b.a.: Jimbo Mathus and the Tri-State
Coalition, 10pm, $5
The Hookah: Road Warrior Tour w/ BBC 1
Radio’s Mary Anne hobbs, Gonjasufi, Lorn,
11:30pm
House Of Blues: A-Trak, Kid Sister, the
Gaslamp Killer, 9pm; Jessica Lea Mayfield,
Nathaniel Rateliff, 9pm (The Parish @ House
Of Blues)
31

EVENTS
THURSDAY 4/21 (Cont...)
Howlin’ Wolf: Who the Hell is Tony Green
Documentary Screening w/ Tony Green and
Gypsy Jazz
Irvin Mayfield’s Jazz Playhouse: Shannon
Powell, 8pm
Dragon’s Den: NOLA Fam
Siberia: Art/Official Dance Party, 10pm
FRIDAY 4/22
Babylon: Ryan Rivers Experiment, 9pm
Banks Street Bar & Grill: P.Y.M.P., 10pm
The Big Top: Friday Night Music Camp w/
Suave and the Blackstar Bangas, 5pm
d.b.a.: The Elastic Waste Band f/ Members of
Morphine, 10pm, $10
Dragon’s Den: Gov’t Majik; Slangston
Hughes
House Of Blues: Jonny Lang, 8pm
Howlin’ Wolf: The Help f/ Barbara Menendez,
House of Surf
One Eyed Jacks: Meschiya Lake and the Little
Big Horns
Republic: Force Feed Radio
Siberia: Egg Yolk Jubilee, Norco Lapalco, 10pm
Tipitina’s: Eric Lindell, Flow Tribe, 10pm, $15
SATURDAY 4/23
12 Bar: The Shadowmen, 10pm
Banks Street Bar & Grill: Rabbit, 10pm
Bayou Park Bar: Fat, Stupid, Ugly People
The Big Top: Crescent City Cupcakes Present:
the Myths, the Legends Burlesque Revue, 9pm,
$7
d.b.a.: Tommy Malone and the Mystic Drone,
11pm, $10
Dragon’s Den: DJ Resin’s Session in Dub
Hi-Ho Lounge: Debauche Russian Mafia
Party, 10pm
Howlin’ Wolf: Future Leaders of the World
Irvin Mayfield’s Jazz Playhouse: Glen David
Andrews, 8pm; Brass Band Jam f/ Hot 8,
Midnight
Louisiana Music Factory: Creole
Syncopaters, 3pm; Big Chief Juan Pardo, 4pm;
Tony Green, 5pm
Republic: Cut Copy, Holy Ghost
Siberia: White Fang, She’s Still Dead, 10pm
Spotted Cat: Meschiya Lake and the Little Big
Horns, 10pm
Tipitina’s: Egg the Homeless Benefit for New
Orleans Mission f/ Jake Smith, the Chee Weez,
9pm, $13
SUNDAY 4/24
d.b.a.: Jeremy Lyons and the Deltabilly Boys,
10pm, $5
Dragon’s Den: Bass Church w/ OttO, SpamM
Kidd, DJ Pr_ck, Mr. Cool Bad Guy
Mudlark Theater: Nat Baldwin
Siberia: Underskore Orkestra, Magnolia
Beacon, 10pm
MONDAY 4/25
House Of Blues: Brooke Fraser, Cary
Brothers, 8pm; Kina Grannis, 8pm (The Parish
@ House Of Blues)
TUESDAY 4/26
Dragon’s Den: The Atom Age
House Of Blues: Interpol, School of Seven
Bells, 8pm
Irvin Mayfield’s Jazz Playhouse: Ashlin
Parker, 8pm
One Eyed Jacks: Peelander-Z, Anamanaguchi,
the Local Skank
Siberia: Cobalt Cranes, In Elevators, Dead
People, 10pm
WEDNESDAY 4/27
Banks Street Bar & Grill: Major Bacon,
10pm
House Of Blues: LG Ones to Watch Presents
the Dirty Heads, 8pm
Irvin Mayfield’s Jazz Playhouse: Irvin
Mayfield and the Jazz Playhouse Revue, 8pm
Siberia: Crackbox, Doom Town, 10pm
THURSDAY 4/28
The Big Top: Illuminasti Orchestra f/ Skerik,
Mike Dillon and James Singleton, 9pm
d.b.a.: Colin Lake Trio, 7pm; Chris Thomas
King, 10pm, $10; Good Enough for Good
Times, 1am, $10
Dragon’s Den: Big Easy Brawlers
Irvin Mayfield’s Jazz Playhouse: Shannon
Powell, 8pm
Republic: Bassik f/ Distance, J. Rabbit,
Hellfire Machine, Uprise, Shanook
Siberia: Cloudland Canyons, Pontiak, White
Hills, Chef Menteur, 10pm
Tipitina’s: J.J. Grey and Mofro, the Pimps of
Joytime, 9pm, $23
FRIDAY 4/29
Babylon: Voodoo Highway Cover Band, 9pm
Banks Street Bar & Grill: Earphunk, 10pm
33

EVENTS
34
FRIDAY 4/29 (Cont...)
d.b.a.: Linnzi Zaorski, 6pm; Pine Leaf Boys,
10pm, $10; Zydepunks, 1am, $10
Dragon’s Den: DJ Ribs and Low Motion;
Ready Teddy, the Swamp Daddys and All-Star
Review
Hi-Ho Lounge: Marionette Circus of Love
Variety Show, 10pm
House Of Blues: Lil’ Band of Gold: an
Evening of Bobby Charles Music, 10pm
Howlin’ Wolf: Ivan Neville’s Dumpstaphunk,
the Meters Experience f/ Leo Nocentelli and
Special Guests, Rebirth Brass Band, 9pm
One Eyed Jacks: The New Orleans Bingo!
Show, Terry Reid
Republic: Crocodiles, Fresh & Onlys,
Young Prisms (Early Show); Big Gigantic,
MartyParty, PYMP (Late Night Show)
Siberia: BEANS, Dick Darby, Tony
Skratchere, DJ Pr_ck, DJ Yamin, 10pm
Tipitina’s: Bruce Hornsby, 9pm, $33; Galactic,
2am, $30; Backbeat Foundation Presents
Anders Osborne, 10pm, $30 (Tipitina’s French
Quarter); Bonerama, 12:30am, $20 (Tipitina’s
French Quarter)
SATURDAY 4/30
d.b.a.: Dirty Dozen Brass Band, 11pm, $20;
Little Freddie King, 2am, $10
Dragon’s Den: Heavy Apes; Corporate America
Hi-Ho Lounge: Mystic Drones f/ Tommy
Malone, 10pm
House Of Blues: Keb’ Mo’ Band, 9pm;
Trombone Shorty and Orleans Ave., 2am;
Break Science, 10pm (The Parish @ House Of
Blues)
Howlin’ Wolf: Mos Def f/ Hot 8 Brass Band
One Eyed Jacks: Morning 40 Federation
Republic: Cowboy Mouth, Dash Rip Rock (Early)
Siberia: Rotary Downs, Big History, 10pm
Spotted Cat: Dominick Brillo and the
Frenchmen St. All-Stars, 10pm
Tipitina’s: Dr. John and the Lower 911, 9pm,
$36; Backbeat Foundation Presents Tea Leaf
Green, 1am (Tipitina’s French Quarter); ALO,
3:15am, $25 (Tipitina’s French Quarter)
SUNDAY 5/1
d.b.a.: John Cleary Trio, 9pm, $10; Papa
Grows Funk w/ Big Chief Monk Boudreaux,
Midnight, $15
Dragon’s Den: Big Easy Brawlers; Voodoo
Town; Bass Church w/ Paul B., R.Monic,
Zander, Unicorn Fukr
House Of Blues: An Evening w/ the Radiators
Farewell Tour, 10pm; An Evening w/ Richard
Thompson, 9:30pm (The Parish @ House Of
Blues)
Irvin Mayfield’s Jazz Playhouse: Bob French
and the Original Tuxedo Jazz Band, 8pm
One Eyed Jacks: Honey Island Swamp Band
Republic: Questlove (DJ Set), Biz Markie (DJ
Set)
Tipitina’s: The Funky Meters, 9pm, $36
MONDAY 5/2
d.b.a.: Luke Winslow King, 5pm; the Tin Men,
8pm; Glen David Andrews, 11pm, $10
House Of Blues: Piano Night: A Benefit for
WWOZ, 7:30pm
One Eyed Jacks: Defend New Orleans
Presents Man Man, Shilpa Ray and Her Happy
Hookers
Tipitina’s: Instruments A Comin’ 2011 w/
Galactic, Big Sam’s Funky Nation, Ivan
Neville, Trombone Shorty & Orleans Ave.,
Honey Island Swamp Band, the Cosimo Effect,
Renard Poche, Hot 8 Brass Band and Various
Artists, 5pm, $40 ($200 VIP)
TUESDAY 5/3
d.b.a.: Johnny Vidacovich Trio w/ Robert
Walter and Billy Martin, 10pm, $15; Karl
Denson and Spyboy, 1am, $10
Dragon’s Den: Corporate America; Climate
Change Hip-Hop
Euclid Records: Rotary Downs
House Of Blues: Seether, My Darkest Days, 8pm
Irvin Mayfield’s Jazz Playhouse: Sasha
Masakowski and Musical Playground Album
Release Party, 8pm
One Eyed Jacks: Dragon Smoke
WEDNESDAY 5/4
House Of Blues: Gregg Allman, 8pm
Howlin’ Wolf: Megalomaniacs Ball f/ Garage a
Trois, Illumanasti Trio, Stanton Moore Trio, 9pm
One Eyed Jacks: Aquarium Drunkard Presents
Jon Spencer Blues Explosion
WEEKLY EVENTS
MONDAYS
Banks Street Bar & Grill: N’awlins Johnnys,
9pm [Dark 4/18]
Bayou Park Bar: The Hooch Riders, 9pm
Checkpoint Charlie’s: Mad Mike, 8pm
Circle Bar: Kelly Carlyle, 6pm
d.b.a.: Luke Winslow King, 6pm; Glen David
Andrews, 9pm, $5
Desperados: Kickball Disassociation After
Party & Old Timey Music, 9pm
Dragon’s Den: Slide Guitar Domenic
Hi-Ho Lounge: Blue Grass Pickin’ Party, 8pm
Irvin Mayfield’s Jazz Playhouse: Bob French
and the Original Tuxedo Band, 8pm
Spotted Cat: Brett Richardson, 4pm; Dominick
Grillo and the Frenchmen St. All-Stars, 6pm;
The Jazz Vipers, 10pm
TUESDAYS
Bayou Park Bar: Open Mic
The Big Top: Brit Wit, 8pm
Carrollton Station: Acoustic Open Mic, 9pm
Café Negril: John Lisi and Delta Funk, 7pm
Checkpoint Charlie’s: Acoustic Open Mic w/
Jim Smith, 10pm
d.b.a.: New Orleans Cottonmouth Kings, 9pm
Desperados: Noxious Noize Tuesdays, 9pm
Dragon’s Den: Climate Change Hip-Hop Nite
Hi-Ho Lounge: Euclid Records Triva w/ DJ
Lefty Parker, 8:30pm
Howlin’ Wolf: The Big Busk, A Night of
Burlesque and Live Music (Live in the Den)
The Maison: Caroline Fourmy, the Sextet
The Rusty Nail: Open Mic w/ Whiskey T., 8pm
The Saint Tikioke, 9pm, FREE
Spotted Cat: Brett Richardson, 4pm; Smokin’
Time Jazz Club, 6pm; Meschiya Lake and the
Little Big Horns, 10pm
WEDNESDAYS
AllWays Lounge: Marygoround & The Tiptoe
Stampede
The Bar: Musician Appreciation Night, 7pm
Bayou Park Bar: Dale Galatas and Friends
Blue Nile: United Postal Project, 8pm; Khris
Royal and Dark Matter, 10pm
The Box Office: Dan Wallace Quartet, 7pm

EVENTS
Carrollton Station: Standup Comedy Open
Mic, 9pm
Checkpoint Charlie’s: Kenny Holiday and
the Rolling Blackouts, 9pm
Circle Bar: Jim O. and The No Shows w/
Mama Go-Go, 6pm
d.b.a.: Tin Men, 7pm; Walter Wolfman
Washington and The Roadmasters, 10pm, $5
Deckbar: Blues & Beyond Jam w/ John Lisi
& Delta Funk, 8pm
Dragon’s Den: DJ T-Roy Presents: Dancehall
Classics, 10pm, $5
Hi-Ho Lounge: Local Piano Night w/ Various
Musicians, 8pm
Howlin’ Wolf: Booty Trove Brass Band, FREE
Irvin Mayfield’s Jazz Playhouse: Sasha
Masakowski, 5pm
The Maison: Jerry Jumonville, Cats Pajamas
The R Bar: DJ Lefty Parker
Spotted Cat: Brett Richardson, 4pm; Free
Swing Dance Lessons, 5pm, The Orleans,
6pm; St. Louis Slim and the Frenchmen St.
Jug Band, 10pm
Yuki: Mojotoro Tango Trio, 8pm
THURSDAYS
Banks Street Bar & Grill: Dave Jordan’s
Neighborhood Improvement, 10pm
Bayou Park Bar: Classic Country w/ Ron
Hotstream and the F-Holes, 10pm
Blue Nile: DJ T-Roy, 10pm; Gravity A, 10pm
(Upstairs)
Checkpoint Charlie’s: The Fens w/ Sneaky
Pete, 10pm
Circle Bar: Sam and Boone, 6pm
Desperados: Loose Marbles, 9pm
Dragon’s Den: Basebin Safari w/ DJ Proppa
Bear, 10pm
Hi-Ho Lounge: Stooges Brass Band, 9:30pm
The Hookah: Exhale: A Ladies Night, 10pm
Howlin’ Wolf: Comedy Gumbeaux, 8pm
(Live in the Den)
Irvin Mayfield’s Jazz Playhouse: Roman
Skakun, 5pm
La Nuit Comedy Theater: A.S.S.tronot, 8:30pm
Le Bon Temps Roule: Soul Rebels, 11pm
The Maison: The Crescent City Ears
One Eyed Jacks: Fast Times ’80s Dance
Night
Spotted Cat: Brett Richardson, 4pm; Miss Sophie
Lee, 6pm; New Orleans Moonshiners, 10pm
Republic: LEGIT, 10pm, $7
FRIDAYS
Bayou Park Bar: Friday Night Dancy Party
The Big Top: Friday Night Music Camp, 5pm
Blue Nile: Mykia Jovan and Jason Butler,
8pm; DJ Real and Black Pearl, Midnight
(Upstairs)
Circle Bar: Jim O. and The Sporadic Fanatics,
6pm
Desperados: Michael James and His
Lonesome, 9pm; Bobby Bouzouki, 11pm
The Hookah: The A-List Unplugged w/ EF
Cuttin’, 10pm
Irvin Mayfield’s Jazz Playhouse: Piano
Tribute to Professor Longhair f/ Tom Worrell,
5pm; Leon “ Kid Chocolate” Brown, 8pm;
Burlesque Ballroom f/ Trixie Minx and Linnzi
Zaorski, Midnight
La Nuit Comedy Theater: God’s Been
Drinking, 10pm, $10
The Maison: Clarence and the Funky People,
5pm; Buena Vista Social Latin Night
Republic: Throwback, 11pm
Spotted Cat: Brett Richardson, 4pm;
Washboard Chaz Blues Trio, 6pm; New
Orleans Cottonmouth Kings, 10pm
Tipitina’s: Tipitina’s Foundation Free
Friday!, 10pm
SATURDAYS
Blue Nile: Washboard Chaz Blues Trio, 7 pm
Circle Bar: The Jazzholes, 6pm
d.b.a.: John Boutte’, 8pm
The Hangar: Ladies Night
The Hookah: Hookah Hip-Hop w/ DJ EF
Cuttin, 10pm
House of Blues: Sabado, Fuego, DJ Juanes,
DJ Q, Midnight (The Parish @ House Of
Blues)
La Nuit Comedy Theater: ComedySportz
(1st/3rd Saturdays), 7pm
LePhare: DJ Jive
The Maison: Cristina Perez, 5pm
Republic: DJ Damion Yancy, 11pm
Spotted Cat: Luke Winslow King, 3pm;
Panorama Jazz Band, 6pm
SUNDAYS
Banks Street Bar & Grill: Open Mic Jam w/
Ron Hotstream and the F-Holes
Bayou Park Bar: Swing w/ Johnny Angel, 9pm
Blue Nile: Mainline, 10pm
Café Negril: John Lisi and Delta Funk, 7pm
Checkpoint Charlie’s: Acoustic Open Mic w/
Jim Smith, 7pm
Circle Bar: Drink N Draw, 3pm; Micah
McKee and Friends, 6pm
d.b.a.: The Palmetto Bug Stompers, 6pm
Desperados: Stumps the Clown’s Variety
Show Sundays f/ Jo Robbin, Stalebread Scotty
& More, 9pm
Dragon’s Den: Base Church, 10pm (Upstairs)
The Hookah: Ear Candy w/ DJ Rik Ducci,
10pm
House of Blues: The Sunday Gospel Brunch
Howlin’ Wolf: Brass Band Sundays w/ Hot 8
Brass Band
Irvin Mayfield’s Jazz Playhouse: Tyler’s
Revisited f/ Germaine Bazzle and Paul
Longstreth, 7pm
Spotted Cat: Rights of Swing, 3pm; Pat
Casey, 10pm
The Maison: Dave Easley, 5pm, the Rhythm
Jesters, 7pm
Tipitina’s: Music Workshop Series, 12:30pm;
Cajun Fais Do Do f/ Bruce Danigerpoint, 7pm
W I N E • P A S T A S • S P E C I A LT Y P I E S
PIZZA BY THE SLICE • ANTIPASTI • SALAD • CALZONES
featured cocktail:
BLUSHING LADY
Pama Pomegranate Liqueur
and Pink Grapefruit
Featuring Sobieski Vodka
Served Up with a Sugared Rim
and a Lemon Wheel
w w w . s l i c e p i z z e r i a . c o m
1 5 1 3 S T. C H A R L E S A V E . 504.525.PIES (7437)
5538 MAGAZINE ST. 504-897-4800
PIZZA BY THE SLICE • ANTIPASTI • SALAD • CALZONES
Come try our
“Cucumber Margarita"
— Made with Lunazul Blanco 100% Agave Tequila —
It’s Refreshing and Clean!
The Perfect End-of-Summer Cocktail.
UPTOWN
2018 magazine Street | New Orleans, Louisiana 70130
(504) 569-0000
MIDCITY
4724 South Carrollton Avenue | New Orleans, Louisiana 70119
(504) 486-9950
www.juansflyingburrito.com
35

Get the first issue of FEAST,
published by ANTIGRAVITY!
28 over-sized newsprint pages
of new work by NOLA cartoonists
(like Caesar Meadows, Happy
Burbeck, and Jeff Pastorek)
plus out-of-town artists like Josh
Neufeld (A.D. New Orleans After
the Deluge) and Josh Simmons
(Happy)!
Available in comic shops and other
cool locations around New Orleans,
and for three bucks out-oftowners
can order online at:
feastcomic.com
36

COMICS
37

PHOTOS
38

PHOTOS
39