October 2006 (PDF) - Antigravity Magazine

[vol.3 no.12 oct. ‘06]
[your new orleans music and culture alternative]
ROTARY DOWNS
“This is a really fun band to be in.”
ALSO: THE CAPITOL YEARS I HAWG JAW
RED BEARDS I IMPULSS I DECEMBERISTS
N.O. BOOKFAIR I THE MASKED BALL I WILLIE?
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[your table of contents]
THE CAPITOL YEARS
“I will leave it that one of us still flips out a bit”_page 15

FREEFLOATING RAMBLINGS
SEND HATEMAIL TO: FEEDBACK@ANTIGRAVITYMAGAZINE.COM OR: P.O. BOX 24584, NEW ORLEANS, LA 70184
Well, look at that. Going
into September I
warned everyone that odds
were against us–neither of our
previous ninth month issues
were a success, with half the
shows in our ‘04 issue cancelled
by a guy named Ivan and our
‘05 edition never getting off
the ground. If there’s one time I’m glad about being
wrong, it’s now. Not only did we manage to get
a full thirty days out of third try, but the Saints
won their first game back in the ‘Dome (look up
to section 634 next home game and scan for the
facial hair) and the month ended with a nice cool
front–three things you won’t find me complaining
about anytime soon. Now we get to look forward
to October, and one of the biggest things for AG–
the Voodoo Music Experience. We were at both
of last year’s Voodoos with our post-K debut, with
yours truly in Memphis and a patchwork AG staff
in New Orleans, so it’ll be doubly nice to celebrate
our second first anniversary at City Park. Our
November issue will first appear on October 28th
on Voodoo grounds, so come by the AG booth and
pick it up–we have a special insert with exclusive
interviews with Voodoo artists simmering on the
AG stove right now and it won’t be available with
the regular run of AG. See you at City Park!
––Leo McGovern, Publisher
Marcia Bernard Ager, R.N., B.S.N., via e-mail
I want to commend you on your magazine’s GREAT
SERVICE TO ALL READERS on your printing of the
interview with Dr. Howard Wetsman on page 9 of
the volume #3, 10 August, ‘06 issue. When I say “all
readers,” I MEAN IT because, even if the reader is not
so afflicted, chances are that they KNOW someone
CLOSE to them that is!!!
I am a registered nurse and I have worked at the
Tulane Student Health Center Uptown campus, and
in MANY other areas of nursing, and I can vouch for
the epidemic of addiction in our culture today. (I am
myself an alcoholic IN RECOVERY, who has GREATLY
benefitted from AA. In fact, AA SAVED my life, after
many other avenues were sought!!!)
I was so impressed with the compassion and
intelligence of this physician. What he said will TRULY
save people.
I commend you and your magazine for doing such a
NEEDED service!!!
I am FINALLY back in my beloved New Orleans after
being in Michigan since Katrina. And I can vouch for the
saying: “Happiness is a large, extended family in another
State!!” They were glad to see me go and I was glad
to leave! Part of their irritation that they felt regarding
my presence was the FACT that I WAS NOT using
and, therefore, casting a glaring light on THEIR usage,
I guess. (This was one area left out of the interview:
the painful fact that, often, when you get well, you no
longer “fit in” with your current “relationship milleau.”
I suspect that this prevents MANY people, young and
old, from taking the recovery path, unfortunately! But,
that may be another article!!!?) Though, believe me, I
was not preaching and DO NOT feel that I come from
a ‘LOFTY PLACE!!!” Alcohol had me “down and out
for the count” and it was something BEYOND me that
saved me. I grew up Catholic and went to parochial
schools for twelve years and came out terrified to say
“The Lord’s Prayer”...”Thy will be done...?!” Oh No!
He’s coming after me!!! But, all that has changed now
and I am grateful for EVERYTHING I went through as it
has brought me to a new way of living that truly IS joyful!
As I dictate
to my friend
Nick (who is typing
every word on my
new ergonomic
split keyboard), I’m
thinking of all the
tasks I am unable
to do ever since
Corporal Tunnel
came to town.
However, things could always be worse. I
can still stomp grapes at a vineyard, ride a
unicycle or play footsie at Sunday school. Life
is good as long as you’re living, and as felt by
the recent passing of Jessie Beach (who once
handed out business cards that simply read,
“Jessie Beach, Outta Reach: Casual Labor”),
things should always be put in perspective.
For example, one evening as Jessie came riding
his bike down the street, he smiled and said
triumphantly, “Man, I love this time of day.”
A few moments later, he disappeared around
the block. These were the last words I heard
him say, and I can only hope that the last thing
I tell someone is as remarkably grateful and
filled with such incorruptible honesty. So in
that case, I’ll just say that arms or no arms—
you’ve always got your feet.
––Patrick Strange, Associate Editor
I wish everyone afflicted with addiction-to whatevercould
find this...and don’t know why I was given this
gift...BUT, the article you published could certainly
help some people to open the door, just a crack, to
THE LIGHT of a new life...WHAT A SERVICE you
have performed.
Once again, THANK YOU!!!
No, no, no...thank YOU. Danny Fox has plans to do a
depression piece, actually, probably in December or January.
In the meantime, the only thing AG is high on is life. Or
something.
goodmangreen@gmail.com, via e-mail
I’m sorry to bust your balls over this, but on page
five of your recent issue of Anti-Gravity you claim to
have a picture of David Tennant at One Eyed Jacks,
but it is in fact a picture of Christopher Eccleston.
Christopher Eccleston did, however, play Dr. Who
in the first season and was later replaced by David
Tennant in second season. Make a quick trip to www.
imdb.com and I’m sure you will see for yourself.
I do hope that no one called him David to his face,
as Mr. Eccleston played a much better Dr. Who than
Mr. Tennant.
“Shoop,” via Myspace
you guys f’d up.
In your article you say no one recognized David
Tennant.
i guess not. b/c it’s Christopher Eccleston.
do your homework.....
See ANTI-News for our correction. As for homework, we
don’t like it. Never did, not in high school, certainly not in
college, so why start now? Seriously, though, I can’t imagine
how we could ever get a Dr. Who fact wrong. As my old
Journalism teacher used to tell anyone who screwed up,
“forty lashes with a wet noodle to you.” A Rose Is A Rose’s
back is all ripped up by linguini.
Can’t wait for
Voodoo Fest’s
battalion of bands to
invade City Park at
the end of October?
You don’t have to:
In September and
October, for reasons
we’re still struggling to
understand (perhaps making up for the spotty
six months prior), the Tour Gods have blessed
New Orleans with more stellar shows than
Billy Clint’s bachelor party. On the heels of
September’s Smallapalooza—an eight-date spate
featuring Junior Boys, Calexico, Sufjan, What
Made Milwaukee Famous, the Long Winters, Jeff
Hanson and Architecture In Helsinki—October
rolls into town with yet another rucksack full of
rock. Check out the six-day stretch run leading
up to November: Decemberists, Lavender
Diamond, Wooden Wand, Drive-By Truckers,
Peelander-Z, Detroit Cobras and the King Kahn
& BBQ Show, not to mention Baton Rouge’s
Spanish Moon foursome of Oxford Collapse,
Chin Up Chin Up, the Mountain Goats and
Jennifer O’Connor. Southern Louisiana as the
country’s rock music capitol? What’s next, the
Saints play the prettiest NFL game of the year?
Oh, wait.
––Noah Bonaparte, Senior Editor
04_antigravity: your new orleans music and culture alternative

ANTI-NEWS
SOME OF THE NEWS THAT’S FIT TO PRINT
Jolie Holland, 11/8 @ the Parish @ House Of Blues
Be Your Own Pet, 11/9 @ Republic
...And You Will Know Us By The Trail Of Dead, 11/20 @
House Of Blues
The Melvins, 11/14 @ One Eyed Jacks
My Morning Jacket, 11/15 @ House Of Blues
El Vez, 11/27 @ Republic
Death Cab For Cutie w/ OK Go, 11/29 @ Republic
Dr. Dog w/ The Black Keys, 12/12 @ House Of Blues
In last month’s NOLA Stalkin’, AG’s Senior Sci-Fi Correspondent
A Rose Is A Rose identified the man in this photo as
one David Tennant, who puts the who in the new Doctor Who
TV series. Unfortunately it is not David Tennant–Christopher
Eccleston, who manned the Doctor spot in the first sixteen
episodes of said Who series, is the one pictured with N.O.’s
own DC Harbold and Reverend Spooky. AG apologies to all
Doctor Who fans.
New Orleans Craft Mafia member, that is. Dismantled Designs
creator Mallory has started MissMalaprop.com, tagged “indie
finds for your uncommon life.” The sewing Capo blogs about
fashion news both New Orleans-centered and national–if
you’re a person that checks woot.com daily or is a fiend for
new underground garments, you can do worse than giving
Miss Malaprop a click or two.
The first opera based on a comic book is officially Too Much
Coffee Man, based on the comic strip called, you guessed
it, Too Much Coffee Man. The opera premiered in Portland,
Oregon to a sold-out crowd on September 22 and ran four
times, through September 29. From the production’s press
release: “The opera details the tragedy of Too Much Coffee
Man, a caffeine-addled everyman in love with his Barista.
Trouble brews when Espresso Guy, a cynical opportunist, alos
makes a play for the ambitious, but frustrated, young Barista.”
No word on if the show will return, but you can read TMCM
creator Shannon Wheeler’s mostly self-deprecating takes on
not only the TMCM opera but his newer strip How To Be
Happy and life in general at tmcm.livejournal.com.
Randy Lander, longtime comics reviewer and columnist for
AG, is a main contributor for new comics review-blog Comic
Pants. Lander, who retired from reviewing in January (sans AG’s
monthly Snap Judgments), says he’s “got reviewing in the blood,”
and just couldn’t resist opining on the state of comics on a weekly
basis. Check out Comic Pants at www.comicpants.com.
Fans of Ballzack can look forward to a full album of bounce
from the Westbank Maestro either in late ‘06 or early ‘07, but
you can get a taste of what’s coming at the BZ website. For
less than 1/10 of a tank of gas–or $.99 in iTunes jargon–you can
own “Wine Candy,” the track originally featured on the 2006
version of WTUL’s Songs From The Basement compilation.
Keith Knight, nationally renowned cartoonist behind The
K Chronicles and AG contributor, came down with pneumonia
on his 40th birthday (see last month’s issue for him puking,
throwing out his back and being taunted by his sister) and had
friends Nina Paley and Bob The Angry Flower do fill-in
strips while he recovered. He’s now back in full form, but you
can send Keef condolences on his 40th at keefknight@yahoo.
com and check out those fill-in strips at www.ninapaley.com
and www.angryflower.com.
We like Juvenile, but he can’t compare to the king of bounce,
a man who invites his special education students to his
shows. Followed by the Black Lips, DJ Jubilee, whose last
release was 2004’s Walk With It, rolled into the Spellcaster
Lodge’s September re-opening early, chatting it up and posing
for photos. He then took the mic and threw down favorites
like “Get It Ready” and “Back That A$$ Up,” surrounded by
sweat-drenched, walk-your-dog-sans-air-conditioning-in-themain-room
diehards. Jub is still fresh, bouncing positive—a hot
boy with a following.
Anthology Recordings, which bills itself as the first all digital
reissue label, launches on October 5th with releases such as
Parson Sound, China Shop, African Head Charge,
Suicide Commandos and more. Both full albums and
single tracks will be accessible, with select product also
available through services such as iTunes and Emusic. Future
Anthology releases include Scientists, Traffic Sound,
Totem and Yahowa 13. Find out more about Anthology
Recordings at www.anthologyrecordings.com.
Please submit sightings to feedback@antigravitymagazine.com.
Celebs in compromising positions preferred.
Rob Lowe, one time boy actor and lifelong perv, was
spotted during the week of September 10 while filming his
latest made-for-TV melodrama, “A Perfect Day.” Through
the opened window of a Garden District mansion, Lowe
was overheard chastising the crew, city and world weather
patterns in general for what he felt was an intense New
Orleans heat. It is reported that after pitching a tempertantrum
and taking off his shirt to reveal a “pudgy, bronze”
torso, Lowe demanded that someone touch up his face,
yelling “makeup for moi.” So much for lessons learned
while starring in all those after school specials.
Nanny knocker and global spokesperson for the benefits
of domestic servitude Jude Law was seen ordering food
and beer at the Napoleon House on Sunday, September 17.
Witnesses say that Law entered the famed establishment
with two fellow Brits and promptly ordered take out and
a Red Stripe, which was on special. While waiting for his
food, a “young, wide-eyed coed” entered the building and
tried to approach the famous actor, at which point she
was stopped by one of his goons. The girl was told that she
did not fit the actor’s tastes and that she should just turn
around, at which she acquiesced and walked “sheepishly
out the bar.”
Surfer-like dreamboat and increasingly beloved Saints
football player Steve Gleason was seen in the Sav-A-
Center checkout line on the night of Friday, September
15. Fellow shoppers claim that the punt-blocking
extraordinaire (pictured below is his Washington State
University photo and blocking another punt vs. Arizona)
was buying “lots of healthy veggies and strong boy food”
worthy of a professional athlete. It is also reported that
the checkout attendant was giddy with excitement as a
result of Gleason’s “incessant charm and locks as glorious
as Samson’s.”
- A Rose is a Rose
antigravity: your new orleans music and culture alternative_05

The dome could have been shaking, for all I knew. You know
when you flex your eardrums or ear muscles or whatever and
all you hear is the sound of a wave crashing down (white noise)?
If I wouldn’t have been continually shaken in uncontrollable joy
by the people seated around me, I probably would have been
still enough to realize that I was being deafened by cheering.
I’m pretty sure my parental friends didn’t look so excited
when they found out they’d be fathers.
That earthquake moment, when Saints defensive back Steve
Gleason blocked a Falcons punt and Curtis Deloatch recovered
it in the end zone for a touchdown, was when unbridled voices
joined together to create a universal boom. I like to think that
on Monday, the 25th of September, 2006, we gave back to
nature the sound the hurricane took away from us. That, in
that moment, New Orleans showed the world that it would
not go gently into that good night, that it was resilient, defiant,
and most importantly, back (in black … and gold). Since the
storm, the city hasn’t had such a chance to gather in one place
and shout in unison and in pain, and as a result, the mojo
working in the dome was otherworldly. The city
was together and alive again, screaming in such high
energy that we could have started our own storm.
We may have been reacting to certain plays and calls,
but I really believe it was catharsis. I’ve never felt
more sorry for the Falcons. And I hate the Falcons.
For having subjected the team to the wrath of a city
scorned, Katrina owes the Falcons an apology.
The friends surrounding me that night are all
members of the Black and Gold Bike Patrol. Our
concept is simple. We dress up in quirky Saints
costumes and ride to the game from Uptown, all the
while pumping up those arriving in cars and straining
not to wipeout after high-fiving fellow fans. Our leader
is Bryan Spitzfaden, who has more prescience than
anyone I’ve ever encountered. Spitz knows in advance
that small things he works on will turn into big deals
when spiced up with motivation and group energy.
For example, he knew that if he took the time out to
find 10 helmets and then paint each of them in distinct,
Saints-celebratory ways, that the bike patrol would
be so excited and overcome by the combination of
the game and helmets and everything that we would
assault onlookers with our positive energy and end up
crying at some point during the night.
During the game I looked over at my friend Dave
and said, “Hey, you’ve got something in your eye,” and
he smiled at me and said, “I know.” (We both knew he
didn’t have anything in his eye.) I didn’t get verklempt
until I read a story by Mike Triplett in the next day’s
TP, in which Gleason had this beautiful thing to say
about his punt block: “It was so loud inside my own
head, I could have jumped out of my own skin. I felt like I was
in every inch of the Superdome, up in the crowd, just so happy
that I could do that for the people. I couldn’t ask for anything
more. I’m going to be honest—I just sat, thought about it and
thought about it, believed I was going to make a big play for this
team and this city. And I did it, man.” Gleason is my new hero,
because he’s no Superman (5’11’’, 212lb). He barely made the
team this year, and here he is probably buying the rest of his
career on the strength of one play. How is anyone in their
right mind going to cut him from the team after what he did?
He was the instigator, the sign that the hype was real, that the
team felt it too and that they were going to step up. His block
was the moment when faith becomes reality, and I love him for
it (can you tell I like motivational movies like Rudy?)
After the game, the bike patrol was hanging out at Igor’s
when I went outside to find Spitz. He was talking to a guy
driving a truck, and when I approached, a guy standing on the
sidewalk said, “You better talk to him before he leaves.” And
I inwardly smiled and thought, “Who’s in there, the president
of the former Yugoslav republic of Macedonia?” And sure
enough, there was Gleason sitting behind the wheel. Since
he’s a yearly Jazzfest Triathlon participant, he knows our
group, but you never expect to see a player after a game. I
thought he’d be off somewhere doing something a whole lot
more important. I showed him my helmet, as if to say, “I’m a
fan,” and I shook his hand. He was gracious and cool. Shaking
his hand meant so much to me. If the Saints represented and
held the city’s hopes that night, then I was really shaking the
hand of the city. And people think sports aren’t important in
the overall scheme.
Last night I went to new venue Chickie Wah Wah for
the first time. Before I had even handed the doorwoman
her $10, I felt dejected. When a guy saw what I was paying
and protested to the doorwoman that he had paid $15, a
woman at the bar joined the conversation by reasoning that
Mr. $15 paid more because he was cuter. But that doesn’t
even make sense. Wouldn’t he pay less if he was cuter, or do
we live in a perfect world where the attractive offset their
tendency for sex by paying more at the door? Anyway, I was
like, “Hey, I can hear you, lady.” She shrugged it off. So I said,
“He’s not going to have sex with your alcoholic, wrinkled
ass, anyway.” She straightened up in her seat and recognized
the challenge. “Yeah,” she said, “well you’re ugly.” And that’s
when the needle skipped, the room froze, and all hell broke
loose. One half got on my side, and the other got on her
side, and me and the uncouth pulled out our switchblades
and proceeded to execute wonderfully choreographed
lunges while connected at the arm, just like in the “Beat
It” video. When I yelled to the room that Eddie Van Halen
played guitar on the song, it just blew everyone’s minds and
the room died down.
The band that night was an awesome Latin rock band from
Miami called Locos Por Juana. They had three guitars(!),
a synthesizer, percussion, a trumpeter and a vocalist that
rapped in Spanish and imitated turntable scratches. Very
nice. Locos Por Juana is the reason to go see music you
don’t know on a weekday—because you never know when
you’ll stumble on a really talented group like them. It was
just pop-friendly, super dance-ready music. Locos Por Juana
played tightly structured music that didn’t meander. They
came with the fire that the crowd reacted to, but it took a
two-song appearance by Troy “Trombone Shorty” Andrews
to blow up the spot. Man, he blew into that trumpet and
played with such fiery speed and passion. I’ve seen some
impressive trumpet solos, but this was almost like a good
natured eff-you, like he was rubbed raw to the
point that he just had to let that emotion out the
other end of the trumpet. The best? I gave him the
two rock horns, and seconds later, even though he
hadn’t seen me, he gave them back to the crowd.
Who knew Trombone Shorty gave the horns?
Last weekend I saw the Clint Maedgen Trio twice,
first at the Circle Bar and next at d.b.a. With two
pianists, the trio is a bit more experimental than
Bingo or Liquidrone, though they do versions of
the more established songs. Clint (shown at left with
Liquidrone) played some sort of futuristic looking
homemade guitar that made theremin-like noises as
he moved his hand up and down the fretless neck. I
enjoyed the roominess of the songs, which allowed
for more sax solos. The highlight of the nights was
at the Circle Bar, when pianist Casey McAllister
strapped on an electric guitar. I had never seen him
play electric guitar before, and here he was playing
a new song with the clarity of note you only hear
on later Beatles records. Such tastefulness.
-Read Leonard Cohen’s “Book of Longing.”
-Read the Jim DeRogatis Flaming Lips biography
Staring At Sound.
-Go to the Rotary Downs CD Release Party
October 6 at One Eyed Jacks. Their new album is
better than anything they’ve done.
-See Jeff Feuerzeig’s The Devil And Daniel Johnston.
-See Tim Irwin’s We Jam Econo: The Story Of The
Minutemen.
-According to their booking agent, Blackfire Revelation
has broken up. Bummer.
Pleasure Club, “Shout! You’re Automatic”
Dane Cook, “Not So Kool-Aid”
Beck, “Nobody’s Fault But My Own”
Pearl Jam, “Push Me, Pull Me”
Architecture In Helsinki, “It’5”
High On Fire, “Blessed Black Wings”
Probot, “Shake Your Blood”
Team America: World Police, “America, Fuck Yeah”
2 Skinnee J’s, “718”
Husker Du, “Eight Miles High”
06_antigravity: your new orleans music and culture alternative

antigravity: your new orleans music and culture alternative_07

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08_antigravity: your new orleans music and culture alternative

antigravity: your new orleans music and culture alternative_09

PUNCHING THE CLOCK with
HAWG JAW
by dan fox
Nothingʼs going to stop Hawg Jaw:
not a hurricane, not a thousand miles between band
members, not a van wreck, not a goddamn thing.
After 10 years of slugging it out through every dive in New
Orleans and beyond (mentioning the Jaw immediately provokes
visions of Dixie Taverne’s stained checkerboard floor), they are
as resilient as ever. Their latest lineup with Paul Webb on bass
and Matt Williams on drums has set in like cement. Vocalist
Mike Dares continues to fill up notebook after notebook with
depraved commentary, despite being a new father and family
man, and guitarist Gary Mader is gaining some much deserved
traction after his home above the Dixie and all three of his bands
(Hawg Jaw, Eyehategod, and Outlaw Order) were scattered by
Katrina. Their latest album, Don’t Trust Nobody (Emetic), is the
most faithful reproduction of their live fury and proven formula:
loud + heavy + from dat ole New Awlins = fuckin’ right.
ANTIGRAVITY caught up with Hawg Jaw one night in their
new practice space high above the city at Fountainebleau
Storage, where the crimson string lights, aromatic haze and
the popping of beer cans set the mood for a recap of the past
decade.
ANTIGRAVITY: What was Hawg Jaw’s latest
recording experience like? Is it hard to keep your
energy up in the studio?
Matt Williams: Everything’s turned up in the headphones... it
sounds awesome.
Mike Dares: The thing that gets us in the studio is we’re so
used to hearing [ourselves] through Dixie p.a.’s and through
our equipment, and then we’re finally hearing [it] in a big blown
up way: that’s where the drive takes over. Live, you’re just
feelin’ it and everyone’s there, you’re doing the damn thing,
but then we get to hear it the way we’ve been hearing it in our
heads. That helps.
AG: Which Hawg Jaw song have you played the most?
Gary Mader: “Strike Like a Snake.” We play that every single
show. We end the show with that almost all the time.
Paul Webb: We pretty much play the same set constantly, so
all of them.
MD: “Strike Like a Snake” is our “Tom Sawyer.”
GM: You just think about Geddy Lee when you hear that song.
AG: Is it weird to play songs you wrote 10 years ago?
GM: I feel like I have the same mindset I did ten years ago
[laughs]... It doesn’t really seem like it’s been 10 years because
I haven’t changed that much. I got a couple of different
apartments—
GM: A new dog, a new wife [Tomasa Mader]—so I guess a lot
has happened but musically speaking, I still enjoy playing the set.
AG: It might surprise some to know that Hawg
Jaw is a domesticated band. You all have wives or
fiancees, babies, etc. How does that contribute to
your sound? Does it change your perspective?
PW: We’re more sober at practice so we probably get more
things done, more songs written.
MD: Things have changed in my life, yeah, but at the same time
I still have bad outlooks on a lot of stuff.
MW: My kid influences me. It’s all family-like at home but
then we come here and fuckin’ turn everything up. It’s totally
different—two different worlds.
GM: My wife’s in full support of it. [Fountainebleau] is the only
place that we can come and crank up. I don’t live above Dixie
Taverne anymore so we can’t practice at my house.
AG: Are you nostalgic about that?
GM: It was a fun place to jam, you know?
PW: Yeah, Tomasa doesn’t bring us coffee to practice anymore.
GM: No more coffee, no more weed cookies—I mean …
PW: What are you talking about?
GM: [Laughs] They smoke weed?
AG: Dixie Taverne, Rest in Peace. Want to send it off?
PW: One night I dropped a slide and it rolled under the stage
so it totally fucked up the set for me. I was wondering if I could
go get that back. Is that looting?
GM: I think it’s loot-ed. It’s gone already!
AG: Well if the Dixie could miraculously resurrect
itself for one night, how would a Hawg Jaw show
go down?
GM: We would definitely have a free keg of beer. Even though
it fucked up their sales they would always allow us to bring our
own keg of beer, so everybody would get trashed... Chris Saak
would barbecue hamburgers and by the end of the night there’s
just like a big puddle of beer in the middle of the floor.
MD: We’re an anything goes kind of band and that was an
anything goes kind of bar. We lit firecrackers and threw
them... You can do anything in that place—from the crowd’s
standpoint, too. You could swing on the pole, you could piss
on the floor, bring beer in, ice chests on stage...
GM: And for the most part it was harmless. I mean, they had fights (and
no cops to stop it), but that’s such a small part of all the good shit that
happened there. So many good bands and good times, you know?
AG: What are some of the darkest times in Hawg
Jaw’s ten years?
PW: Every time we’ve gone out of town, period. [Laughs]
GM: In 2000 I almost killed us, so that was by far the worst thing
that ever happened. We got lost in Dallas. We were touring in
my pickup truck with a camper on it and we had one of those
lawn chairs in the back with a blanket. It was 7:30 in the morning
and I fell asleep and when I woke up I was going into a swamp.
I hit the side rail and slammed into the windshield, and then I
made a u-turn in the middle of the highway and floored it (I was
panicking, you know?), and I slammed into the cement divider on
the other side. So I hit the windshield twice and when I got out,
all of our shit was all over the highway because the U-haul got
ripped open like a sardine can. Mike was in the front seat and I
was like “What the fuck happened?!” [Former bassist] Holly was
in the camper, sleeping, so I didn’t know if I killed Holly.
MD: As we’re wrecking, equipment’s passing the wreck.
GM: One of my power amps went in the swamp!
AG: What about some of the best moments?
PW: Having a blowout on the interstate!
GM: We did three days with Manchurian Candidates and
Damad. That was probably the best time we had out of town.
The smoothest, too. And then I wrecked!
PW: Being in Florida with Face First is always fun.
MD: Seeing a Hawg Jaw record, a real one to hold in your hands
that you had to open up. The first one [Believe Nothing] was
vinyl so that was cool... I never thought a record was possible.
AG: Paul, that’s the one you recorded on 4 track,
right?
PW: That’s with Kenny [former drummer] and Durel [Yates,
of Suplecs].
GM: …and Danny [Nick, of Suplecs] too.
MD: It was New Orleans’ Temple Of The Hawg!
AG: It’s hard to know where one band ends and
another begins in this town...
GM: There’s just not enough people to jam, so we gotta do it all!
10_antigravity: your new orleans music and culture alternative

PUNCHING THE CLOCK II with
THE RED BEARDS
by dan fox
The Red Beardsʼ sound has been brewing
in its members for a long, long time.
Their debut self-titled CD (on Heartbreakbeat Records)
documents the release of many sonic emotions as well as takes
the listener on a trip down memory’s winding and kudzucovered
lane. Formed in 2004 from three of the most active
participants of the New Orleans punk and hardcore scene
(former bands include Hatchback, the Faeries, and Eat A Bag Of
Dicks), the Red Beards have taken everything they know and
love about music and put it all out there in one sweaty, hairy
heap. Eric Martinez has developed a howling, fetal guitar sound
that erupts from his otherwise soft-spoken and gentle soul.
Justin Grisoli’s insatiable appetite for instruments has brought
him on a circuitous route from bass, to drums, to guitar, and now
finally guitar-and-drums in the Beards. And though he left the
band several months ago, James Hayes’ voice and songwriting
can still be heard on the CD, a combination of delicate
songcraft and power rock clearly inspired by Elliott Smith and
Nirvana. After Hayes’ departure, Martinez and Grisoli survived
as a two-piece, trading drum and guitar duties as the songs
that each of them wrote dictated; they have incorporated bass
back into their sound with the recent addition of Tate Carson.
Because Martinez and Grisoli switch around, the Red Beard’s
sound expands in a lot of directions. The experience is akin to
finding a tattered, spiral-bound notebook, the pages covered
with all kinds of poetry and sketches, to-do lists and phone
numbers, tic-tac-toe games and even entire pages just missing.
Hey, if it feels good, play it.
ANTIGRAVITY: The Red Beards, that sounds
kind of raunchy. Is there something to that or am
I just a pervert?
Eric Martinez: Um, no it’s raunchy.
Justin Grisoli: You’re definitely a pervert, Dan.
EM: Yeah. [Laughs] It’s not about vagina hair or weenie hair.
JG: Well it’s about pubic, facial ... It’s about me and Eric’s type
of hair, that we get. And then Tate, too.
AG: What’s up with you, Tate? Why don’t you
have a big Jerry Garcia beard like these guys?
Tate Carson: I did. I just got a haircut. I shaved.
AG: Are you a problem? Are you the guy who’s
not going to have the beard?
EM: We like him without the beard.
TC: Eric said it’s a good look, and I should stick with it.
JG: Yeah, he looks like Alfred E. Neuman.
TC: I don’t know who that is.
AG: You don’t know who Alfred E. Neuman is?
JG: Don’t quote us on that. [Laughs]
AG: I have to. Anyway, you’ve had a lineup change.
Is it hard not to play some of those songs that you
worked on for a long time?
EM: A little bit. Not now.
JG: No, it’s not hard to not play them. We’re not that into
those songs anymore. It kind of sucks that we had to lose a
member and lose some songs but we made up for that with
some more new songs and we can move on with that ... We
would be more attached to our new stuff at this point, anyway.
We’re always leaving our old shit behind.
AG: What’s your favorite flavor Hubig?
JG: I like apple.
EM: Apple.
TC: I was going to say apple, too. They stole it.
AG: You guys are lame!
JG: Wait a minute, can I change mine to chocolate? Wait, no...
EM: That one looks gross, though.
JG: That’s why I didn’t want to say it was my favorite, cuz it
looks like, you know...
AG: Eric, did you know that you are one bad
motherfucker on guitar?
EM: That’s not a question.
AG: Yes it is.
EM: No! That’s my answer. [Laughs]
AG: Both of you write lyrics and sing. What are
some of your personal favorites?
JG: I more just hum the melodies; I don’t have a specific lyric
that I like to focus on. For some of the songs I change it up
pretty much every time ... Some of mine are whatever I’m
thinking at the moment.
EM: I write a lot of songs about stories; usually I write them in
bars during happy hour at the Circle Bar.
AG: One of my favorite songs is “By Endurance
We Conquer.” What’s that about?
EM: That’s about Ernest Shackleton when he went to Antarctica
the second time and they got trapped in the ice. There are a
bunch of books and a traveling exhibit that goes to museums
all across the world. The Endurance is a ship that sailed to
Antarctica and it got trapped in the ice and sank. And there
were 28 guys and they were left in Antarctica for a long time.
AG: The refrain you sing in that song, “Oh my God,”
seems to go beyond the colloquial and takes on a
more literal meaning. Are you a religious person?
EM: Not anymore. I’m speaking from the experience of [the
Endurance’s crew]. A lot of them were religious; they believed
in Jesus. There was one night where they said they saw Jesus.
The last lyric which I don’t really sing on the record (I only
sing it live) is “I don’t know what you saw that night but you
deserved it.” They went through hell and they could believe
whatever they wanted to believe.
antigravity: your new orleans music and culture alternative_11

IMPULSS
IMPULSively hip hop,
impulsively new orleans
by carolyn heneghan
Think beyond the hip hop artists
conventionally associated with New
Orleans—Juvenile, Big Tymers, B.G., Lil’ Wayne,
Turk, Hot Boys, Mannie Fresh—because local rapper Danny
“Impulss” Perez is about to revitalize New Orleans hip hop in a
way perhaps only he has been able to envision. From his humble
beginnings spitting rhymes through an ‘80s radio recorder,
Impulss has matured and cultivated his taste, talent and respect
for hip hop, most recently leading to his entrepreneurial stunts
around the city, including his upcoming CD release and monthly
MC Battle at One Eyed Jacks.
After Katrina, little was being done to bring back the oftoverlooked
and underappreciated hip hop scene in New
Orleans. Impulss, however, wouldn’t stand for it. He began
by finishing the production aspects of his CD coming out this
month, Impulss’ Beats And Lagniappe Social And Pleasure Club,
in the studio he built in his Mid-City home. He also recorded
his music video for “Charisma” at the Dragon’s Den, casting
friends and local fans from around the city. From there, he
ran with the Sunday monthly One Eyed Jacks gave him—first
as a Media Darling Showcase with other local artists such as
DJ Quickie Mart, Know One, and Soapbox, and eventually
metamorphosing into the MC Battle he and EF Cuttin’
established as a staple in Post-K New Orleans hip hop.
With his ambition and determination to his beloved
hometown and genre, Impulss can only go one way from
here with his inspiring career—diagonally—because he’s not
just moving up; he’s moving up in the business and pushing
forward the appreciation and recognition of hip hop in this
city.
ANTIGRAVITY spoke to Impulss about burlesque and
breakdancing.
ANTIGRAVITY: You’ve got a new album coming
out this month. What went into making this
album?
Impulss: Most of the album was recorded when I was away
in New York about two years before [Katrina]. There were
some [tracks] even older, some 8 years old, but I still thought
they were clever and recorded them over a newer, fresher
beat so they could still be relevant and fun to do. I did work
with a lot of people on it, although I’d say I did about 85
percent of the production myself. It was just different stages
of times in my life and what I might have been feeling that
day. There is a lot of shit that I wish I could’ve done that I
couldn’t, but people will hear the album and say, “Man, this
sounds really great! How’d you make it sound so good?” And
then I say, “Well, I spent three years learning how to mix that
bitch.” [Laughs] That’s why it sounds so good.
AG: When do you think your next album will
come out?
I: I’m gonna wait a full year before releasing that ‘cause I want
this record to do everything it’s gonna do. But I’ll drop mix
CDs and compilations in the meantime.
AG: On your album, you have these crazy
characters filling the CD with hilarious and
random skits. Who are all these people?
I: All those people are me. I played all those characters ‘cause
I think it’s funny. These voices are always saying crazy shit in
my head, and I chuckle about ‘em to myself, so I wanted to
share them with other people. Some of the voices are based
on real people—like this Brooklyn stock kid Phil I used to
work with is my character on “Act A Donkey.” Phil would
always come to work with these crazy stories, like “[thick
Brooklyn accent] I was at this house party right in the middle
of Prospect Park, Brooklyn, yo, and me and my boys set the
Statue of Liberty on fire.” [Laughter] Shit like that.
AG: You have a CD Release Party scheduled for
Oct 21 at the Howlin’ Wolf. Is this the first time
your fans can purchase your CD?
I: I’ve had stuff available on the internet on iTunes and stuff
like that, and I’ve been selling stuff at shows, but I’ve never
had anything at Tower so you can physically walk in and buy
something. But you can physically bring ya’ ass to the Mushroom
or Louisiana Music Factory so you can buy shit now.
AG: What all is going down at the Release
Party?
I: I want it to be like you walk in and you are immersed in
the most hip hop shit possible. I want you to see a big screen
with Wild Style on it. I want you to look on stage and see
people doing head-spins for three hours straight. [Laughs]
You know, I want people havin’ a good time, dancin’, losin’
their minds. I hope to lock down a very famous New Orleans
second line band who I can’t release until I confirm it, but if
I can’t get them, I’ll just get Indiana Jones to do it. [Laughs]
Actually, I’ll just get Chris Owens and a bunch of butt-naked
ass people doing head-spins. I should just go and book that
right now. The “Burlesque Breakdancin’ Show.” [Laughs]
Well, actually, you’re not supposed to say “breakdancing,”
it’s supposed to be “B-boys” and “B-girls.” That’s it! “The
Burlesque B-Girls Show.” [Laughs] Also, I’ll be performing
with a live band I’m puttin’ together that’s fuckin’ crazy, Jean
Batiste of the Batiste family on drums. I got Rita from Mark
Twain’s Magical Moustache Ride on keys. And then I’m gonna
have some freestyle sessions for people in the crowd so they
can freestyle with the band. It’s gonna be really loud, and
some of that red pepper hot New Orleans shit.
AG: You also have a Listening Party scheduled
September 30 at Handsome Willy’s. What can
attendees expect from this party and how will it
differ from the CD Release?
I: It’s gonna be me DJin’ and playin’; all kinds of fresh stuff and
incorporating sounds from my album. I don’t have a Tower
listening station, ‘cause Tower can’t take any more music.
And I can’t play the same show every week ‘cause people
would say, “Well, I saw that show already.”
AG: Are you going to have just this one or a
couple?
I: I wanna have a series of listening parties for this record. I’m
gonna have Foo Foo BBQ, and we gonna get the grills goin’
out there. Y’know, we gonna get some chicken, some beef,
some… dinosaur… some people. [Laughs] We could even
get zombies out there. That would be live. The meat’s bad
though. So the expiration date is probably out on that one.
AG: And we wouldn’t want to kill your fans
before they hear your album. Of all these, your
biggest show thus far seems to be your monthly
MC Battles at One Eyed Jacks. How are things
going with the battle?
I: The battles did real good. We showed people that there is
12_antigravity: your new orleans music and culture alternative

a scene in New Orleans, but it did everything it was gonna
do, so now we’re gonna move on to something else. I think
some people were intimidated by the competition aspect, so
we’re gonna have something more like a freestyle open mic
night, like a Lyricist Lounge kinda thing in New Orleans. And
if you do that in New Orleans, you gotta have a band with
it, ‘cause this is a band city, not a DJ city. So we wanna have
a live band, so people come, freestyle, and have a good time
and develop more of a community so everyone feels like they
can get involved, not just battle-hungry whippersnappers. I
came back from Katrina, no one was trying to do shit like this
because they were getting so much Katrina love wherever
they were at and they were enjoying the benefits of playing
big cities like New York, Chicago, San Francisco … So I
thought about it and I was like, “Shit, I’m gonna take this
and run with it … like a car with the keys in the ignition and
the windows down, and I can just take it.” And that’s exactly
what I did.
AG: Are you still gonna have it at One Eyed
Jacks?
I: I really enjoyed working with One Eyed Jacks, but we’re
gonna move it somewhere else so that I can develop a
relationship with other venues.
AG: That’s really awesome. I wish more musicians
would branch out so more people that can’t get
“all the way” Uptown or “all the way” Downtown
can still listen to their music.
I: Exactly. And it’ll start to bridge the gap more between
New Orleans hip hop fans. People that don’t know about it
will find out and start going and people who do know and
don’t go because of prejudices they got against a venue or
the crowd a venue brings will go now too.
AG: You sound like you’ve been developing these
projects for a long time. How long exactly have
you been in the music business?
I: I wasn’t actually in the business until my first BRE convention
in ’92, but I’ve been rhyming since about 1986. That’s when
You got someone that looks like Fila
Phil sitting next to someone with
a mohawk in the sky sitting next to
someone who just came from church.
I said my first freestyle line when my pah’tner Augustine
across the street would come over and we would turn on
the radio and rap into the little mic hole. And you know at
that age [11], you try to do what your friends are doing at
some point, so I eventually got a bug for it.
AG: Has your sound changed a lot since then?
I: Well, I mean, I’ve been influenced by different things
over time. Shit gets blown farther and births new things.
I started out on a Tinker Toy and now I’ve got my own
studio room. You grow as a man, meet new people, have
different girlfriends, and you learn from all those people and
grow from that. Right now, my [pianist] fiancé is influencing
my music by putting more actual instruments and vocal
harmonies behind it. Plus I want to incorporate, you know,
red beans on Mondays and Ruthie the Duck Girl and shit, and
all this eventually will bleed more New Orleans from every
cut—that definitive New Orleans hip hop shit. And you’d
think that shit would alienate other people, but then you got,
say, Straight Outta Compton.
AG: Hometown pride. Huge for New Orleans.
I: Huge for hip hop! Yeah, how many rappers you know do
songs about New York or L.A. and shit?
AG: Your battle turned lyricist lounge is one of
the few hip hop testimonials this city still has
to offer. How do you intend to change that and
bring more hip hop shows to New Orleans?
I: Gotta bridge the scenes. You gotta let all people know that
it’s OK to come to this venue and see this hip hop shit. You
got someone that looks like Fila Phil sitting next to someone
with a mohawk in the sky sitting next to someone who just
came from church. I wanna find shows that everyone can get
involved with. A place with hip hop, dancin’, a band, etc., so
there’s something for everyone and the New Orleans hip
hop scene can grow to its potential. Now all these people
will go to this other shit we do ‘cause when I’m doing stuff
with Quickie and EF, the crowds know what’s goin’ down.
And that’s how we bring hip hop back, so that everyone
goes not just to my shit but to everybody’s shit. I create an
infrastructure so they know I’m never gonna leave this bitch,
after being born and raised, and they know that this shit is
a good time. Everyone’s invited, and everyone comes in and
gets down. If I have anything to do with it, they know they’re
coming in for a good ass time.
antigravity: your new orleans music and culture alternative_13

14_antigravity: your new orleans music and culture alternative

THE CAPITOL YEARS
A TERROR IN YOUR BACKYARD
BY NOAH BONAPARTE
In Marchʼs preview of Baton Rouge festival Gas Food
Lodging, ANTIGRAVITY wrote of the Capitol Years:
“[They] mingle within the same Philly clique as
AG faves National Eye, Dr. Dog and the Teeth, so itʼs
only a matter of time before we broker them a NOLA
show (and before Chris Watson gets his grubby paws on
ʻem.)” We were joking around, but apparently old C.W.
wasnʼt. Now Park The Van labelmates with still-AGfaves
National Eye, Dr. Dog and the Teeth—after Chris
made us look psychic by signing the band—the Capitol
Years head to New Orleans (with National Eye in tow) on
the heels of releasing their most accomplished record,
Dance Away The Terror. But since the metaphorical
catʼs out of the nepotistic bag, donʼt take our word
for it. Hereʼs what MAGNET has to say in the current
issue: “Solely based on its awe-inspiring tunefulness,
Terror is easily the finest Philly psych-pop album
since Mazarinʼs ʼ98 local landmark, Watch It Happen.”
Weʼre certainly no experts on Philadelphiaʼs psychpop
scene, but being based there, we bet MAGNET is. In
other words: This Terror is for real, folks.
ANTIGRAVITY called Shai Halperin at home and chatted
up the CY frontman on feathered masks, print hecklers
and the incomparable Coolio.
antigravity: your new orleans music and culture alternative_15

ANTIGRAVITY: I was just reading about you
online, and Philebrity.com was playfully riffing on
your ability to sell out Delaware.
Shai Halperin: That was the Spinto [Band] effect … they’re
from Wilmington. There were like 12-year-olds there with
their parents.
AG: How was the record release party?
SH: It was great. Totally great, totally fun. The Spinto guys are
doing incredibly well, obviously, and they also happen to be
really down to earth. They’ve been touring the world since
this Summer.
AG: I’ve never had the pleasure of seeing you live,
but a lot of your positive press centers around the
live show. Can you give us a preview?
SH: The live show used to be really over the top, and we
still put that forward in the press release and the bio because
it’s definitely still a part of us. But we used to flip out a little
more.
AG: I’ve read about some Keith
Moon-style theatrics.
SH: We went all out, and we did that for
a while. We’ll see how the tour goes; it’s
been a while since we did steady shows.
We’ll see what kind of trouble we get
into, but I will leave it that one of us still
flips out a lot. There’s so many ways to
do it: costumes, whigs …
AG: The bar’s been set pretty
high: We just had Sufjan
Stevens play here, and his whole
entourage wore bird wings and
feathery masks.
SH: Yeah, yeah, exactly. Which I’m into.
I had some ideas for this one, and the
guys didn’t go for it. People who like
harmonies, we put that out there live so
we can pretty much pull it off.
AG: I was going to ask you that:
Do you layer everything, or do
other band members sing on top
of your vocals?
SH: Well, there’s Jeff … On this record, it
was recorded at home, so I did have a lot
of time to myself and I did a lot of vocals
at home. But Jeff is also on there with the
harmonies, so it’s a mix. It’s always good
to get different voices for the harmonies,
because otherwise you get that lush tone.
Unless you want that specifically.
AG: I saw that you played in
Haifa, Israel, in June, right before the rockets
were first launched.
SH: Yeah. I was born in Israel, and moved here when I was
four. On our first U.S. tour ever we bumped into this guy in
Chicago on our last show of the tour whose name was Shy.
I think we asked him for a cigarette or something and got
to talking. So this guy, Shy Nobleman—he’s up there on our
MySpace page—it turns out he’s like a psychedelic pop/rock
guy from Israel who sings in English, and he gave us a CD at the
show. It was the last day of the tour, and it was the only CD we
were given that was really good, that we would actually listen
to. So we started a relationship up. I went to Israel almost two
years ago—that was the first time I did music there through
him—and then I went back again in June and did four shows,
a solo/acoustic kind of thing. There’s two songs I would do
with his band backing. It was the first time I’d been in Haifa in
a while, and we played a fun show there. And then I leave, and
all hell breaks loose.
AG: That’s nuts.
SH: There was always something going on while I was there,
but obviously it wasn’t that. Watching that on the news and
knowing I had played there a few weeks earlier, it was crazy. I
do have family there, and my parents are actually there visiting
right now. Everybody’s OK though.
AG: What’s the music scene like?
SH: It’s an interesting scene over there. People are trying to do
it: Devendra [Banhart] was over there in July, also like a week
before things happened. So it was just starting to be … as you
can imagine, bands don’t go there as much as they did maybe
during the ‘80s, the ‘70s. So it’s been well known that people
are avoiding playing there. But when I was there I was hearing
about Devendra, the Silver Jews, the girl from Moldy Peaches,
Ladytron—they have some Israeli connections—Black Eyed
Peas, 50 Cent …
AG: They love their hip hop. My girlfriend told me
that Coolio played while she was there, and you
would’ve thought it was 1995. So it hasn’t been
tough for them to book acts?
SH: The only thing I heard from my dad was that Depeche
Mode was going over there and Blonde Redhead was opening.
As the conflict went on, there were obviously some questions
as to whether they were still coming, and they swore to the
last minute, like, “We’re still coming, we’re still coming.” So
they sold like 50,000 tickets or something and they decided
not to come.
AG: Ouch. So getting back to this record: You’ve
previously worked with producer Thom Monahan
(Pernice Brothers, Devendra Banhart). Did your
experience with him make this record easier to
self-produce?
SH: We’ve done four releases prior, and three of those had
Thom involved in some way or another. So I definitely picked
up certain ways to do things that I wouldn’t have known
otherwise. Like, what’s called comping vocals; I wouldn’t really
know what that was, I don’t think, unless we worked with him.
The rest of it is just finding your way as you go along. There’s
things I like doing with the vocal harmonies and the layering—
trying to have a dynamic mix with moments that pop up, even
if they’re at absurd volumes, as long as they stick out. It makes
the song more interesting, gives it some personality. So we
started this in earnest ourselves, and definitely had some
hiccups along the way. And actually, when we first started the
process, it really wasn’t looking good, so it made it that much
more of an achievement when we finished.
AG: What specifically was going wrong?
SH: Let’s see … We started doing drums at a friend’s church
building—he owns this building that is no longer a church, and
we started doing drums there. That was a cool idea, and some
of the drums on the record survived from that session. But
there was just something about that weekend that got a little
grim. I’ll be frank: When you’re doing it yourself—with no
money, no deadlines, no controls—you really have to keep
your wits about you. It’s all about maintaining morale. So
much of the recording process is about everybody’s spirits
not getting down, and knowing that you can’t really judge a
song until it’s almost finished with it.
AG: You have to be your own editor of sorts.
SH: Yep. So in the beginning it was a little sketchy. Once we
moved it to Philadelphia proper, and I got a chance to just sit in
this little room I’m speaking from now and do a lot of random
guitars and little bells and whistles and harmonies and vocals
and stuff, it started shaping up. It worked out.
AG: More like your early days?
SH: Yeah, in a way. Just the chance to have those kind of
moments that are, I guess, serendipity, that you can’t really
have in a studio environment or even with a producer, because
it’s just a different vibe—when you find yourself alone in a
room, you can do a lot of complete crap, but you can also get
lucky. Really, it does feel like luck. Unless you have an idea
going into it for some specific piece or moment, you do really
get lucky, and those are sort of the magical moments.
AG: I get a very Meddle-era Pink Floyd feel from
your vocals.
SH: Track two is definitely the most Floydian thing on the
record. I would say that the only real targeted goal was to
make a record we enjoy listening to. I don’t know if I seek this
out in other artists I listen to, but when I’m making a song I like
the lush harmony thing. Hopefully we’re not going over the
top with it. When we first got together as a band—which was
a real solid two years there of getting the live show completely
rocked out and out of hand, and not
really worrying about any sort of pretty
harmonies—I remember there was
definitely a time where I tried to sing
“rock vocals.” This was during the
making of Let Them Drink. I thought
that was something I’d like to attain:
I wanted to sing like a rock vocalist. I
didn’t know whether I could do it or
not. So we did it, and as time passes
I realize I’m like, “Meh.” Don’t really
need to listen to myself like that, and
I don’t really feel like that all the time.
So we got back to more of the Meet
Yr Acres and Pussyfootin’ style of vocals.
Meet Yr Acres more than Pussyfootin’,
really, because Pussyfootin’ was more
like just me and a four-track.
AG: Some great harmonica on
that record.
SH: Thanks. All my harmonicas are
usually broken. I only have one key of
harmonica, so I’ve never played anything
other than C.
AG: Gives you a built-in
framework to operate within.
SH: Very limited palette, but it’s mostly
out of laziness. So there’s no real target
for this, sound-wise. I will say that there
were other songs that you’d consider
b-sides, and because they don’t exactly
fit into what we felt for the album, they
didn’t get included. So it does end up
taking a certain kind of feel.
AG: Here’s a quote from a review that I wanted to
get your impression on: “It may be impossible to
fully extract the Capitol Years themselves from
the genre in which they’ll inevitably be placed in—
garage rock revival …” Seems silly now, as Dance
Away The Terror is about as far away from garage
rock as you can get.
SH: It’s the kind of thing where if they only hear that record,
they’ll come out with.
AG: Only a few tracks sound like that, though.
SH: I agree, but I suppose they do overwhelm a bit, because
those few tracks that are garage rock are just full-on. So that’s
what makes an impression on people, I guess.
AG: You were the openers for the Pixies reunion
tour, right? That must’ve been a thrill.
SH: That was strictly just random luck, I’d say. I’ll admit, there
was no rhyme or reason for it whatsoever. They didn’t need
an opening band, particularly for their first night.
AG: Did you petition for that, or did it fall into
your laps?
SH: No, we had a booking agent at the time—she had just
started up again as a booking agent, and I guess she still had
her connections from back in the day. This was one of her
connections. I have no idea how she pulled it off. There really
was no reason for it. But we did it. It was definitely a huge
night. I was blown away just to be there in the front row just
to see the show. It was cool, we just had fun with it. One
of the stories I remember: When we walked out on stage,
there was a lot of anticipation of course, and the chorus of
Lou Reed’s “Perfect Day” had just hit. So we’re singing along
with the crowd, and I’m waving my hand out at the crowd,
and everyone’s singing along. I get on the microphone before
16_antigravity: your new orleans music and culture alternative

we start and say something like, “Hey,
thank you guys for being patient. I know
you’re here to see some other band, but I
promise this will be the quickest hour and
53 minutes of your life.” [Laughs] And then
we only played for half an hour. And that
was it. Nothing huge come out of it, but it
is something that actually happened. A little
rock ‘n’ roll asterisk.
AG: I want to ask you about the
creation of “Mirage People.” That
was probably the funniest story
I’ve come across in my few years
of music writing. [The song “Mirage
People” was written in response to
a vitriolic email, sent by anonymous
reader Nom De Plume to the website Philebrity.com,
criticizing Philadelphia’s rock scene and the Capitol
Years specifically. The band then used the letter as
lyrics to an impromptu composition.—Ed.] I know
there was a lot of speculation as to who wrote
that thing—did the guy ever get unmasked?
SH: He did, he did actually. Unfortunately his unmasking was
self-done and completely anticlimactic.
AG: Self-congratulatory, too, I’d imagine.
SH: It wasn’t that; not to pick on the guy or whatever, but the
tone that comes across is very pathetic. He moved to New
York—he was trying to make it in Philly as a writer, and in his
letter it came out: “I was trying to email writers in Philly and
no one would email me back. You guys are so terrible! I move
to New York and everybody writes me back”—stuff like that.
Sounds a little self-pitiful, you know?
AG: Kind of a dead giveaway.
SH: Yeah, and also the Burning Brides reference, who I’m good
friends with. They did skip town, but that was also like two
years ago. So he’s sort of anachronistic with what he’s referring
to. A lot of people here probably don’t even remember that.
“Maybe by the time we
get to New Orleans
weʼll make it one big
Park The Van revue.”
AG: Who is the writer, if you don’t mind me
asking?
SH: His name is Bob Hill.
AG: I think “Nom De Plume” is more distinctive.
SH: “Bob Hill, coach of the Indiana Pacers” … I can’t explain
it. It was a rush doing it that day. If I wasn’t on dial-up, I would
have had it on the internet the same day.
AG: I loved it. Such a great response.
SH: I agree, and people really reacted well to it. It came out
and I was like, “I want to put this on the record, but I want to
write alternate lyrics,” for a couple reasons. And I was never
able to, not even for a split second.
AG: There’s the whole aspect of validating the
guy, too.
SH: I wasn’t too worried about that. Everyone’s entitled, and
we definitely had our heavy, heavy streaks of positive press in
Philly, so every now and then you get people who are negative
about the band. But I knew that he didn’t really know the band.
And a lot of people, if they only know Let Them Drink, they
don’t know the band.
AG: Way to suck the poison out of that whole thing.
SH: I will agree with you—it was a really
wonderful two days, to take something
so negative and make it positive.
AG: Was that the first song you
wrote for the album?
SH: No, that was in the middle of
the whole thing. It was a pretty long
process.
AG: Well, we’re big fans of
National Eye as well, so we’ll be
looking forward to the show.
SH: Park The Van bands couldn’t get any
closer, because we’re actually playing in
each other’s bands. A few people can’t
tour, so three of us are playing with
National Eye, and the National Eye guys
are playing with us. So it’ll be a real mish-mash.
AG: Don’t even have to leave the stage.
SH: We have to figure out how to make that interesting for people.
Imagine watching a band, and then they’re done, and …
AG: You could interlace your songs.
SH: We will do that at some shows. Maybe by the time we get
to New Orleans we’ll make it one big Park The Van revue.
antigravity: your new orleans music and culture alternative_17

18_antigravity: your new orleans music and culture alternative

ROTARY
DOWNS
By Patrick Strange
Photos and Cover by
Tamara Grayson
In 2004, Rotary Downs decided
it was time to make a record.
Four studios, three new
band mates and two years later,
the New Orleans group has not
only finished a record that is an
achievement in its own right, but
in the process has grown into one
of the most seasoned indie rock
bands in town.
antigravity: your new orleans music and culture alternative_19

Some bands have all the luck, garnishing notoriety from an
accidental hit single or chance meeting with some label
exec looking to fill a niche, and wham—they’re leaving their
live-in boyfriends and girlfriends and paying off college loans.
Others, who some might say are the real fortunate ones, must
play on in bars and the occasional two-bit daiquiri shop and
curtail their efforts toward something less glamorous but all
the more worthwhile—simply making good music. Rotary
Downs belongs to this second ilk, as do most other bands
in the city. With no major label in New Orleans and nobody
paying livable wages to the folks who are the city’s bread and
butter, musicians come to New Orleans just to play and hone
their chops. Leave the hip-hop musicals and star-studded
studios to the ATL.
Started in 1999 by current members James Marler (lead
vocals/guitar) and Chris Colombo (pedal steel guitar), Rotary
Downs has since followed a regiment of practicing and
performing often and releasing albums when time and money
affords it. Recording its first album in the small studio of the
now defunct Mermaid Lounge, Rotary Downs continued to
knock around from one local venue to the next while also
managing to release a second full-length, Long After The Thrill,
and finally the Quitters EP a couple years later. Shortly after
cutting the EP, two members of the original group moved to
New York, thus making room for the current configuration.
Presently, Zack Smith (drums), Jason Rhein (bass) and Matt
Aguilez (trombone/keyboard) join Marler and Colombo to
round out the band.
Over recent years, Rotary Downs has built a local following
that is as loyal to the band as the band is to the music that
it plays. Every performance reveals a group that increasingly
becomes more confident and more inventive with its
instrumentation. There are great advantages to living in a place
where City Hall takes the afternoon off for a Monday Night
Football game, especially if you’re in a band looking to practice.
As Marler points out, “[New Orleans] is a place where you
have the free time to generate ideas and work things out.”
“This is a really fun band to be in. Everyone
gets along. We have a lot of ideas and a lot
of parts. I mean…that’s the best thing about
being in a band—getting together and being
creative.” – James Marler
And judging by the band’s ongoing evolution on the local stage,
it’s difficult not to take Marler at his word.
With Rotary Downs’ latest release, Chained to the Chariot, we
get a chance to hear how all the hard work translates to disc.
Begun two years ago and traversing several studios, producers
and the band’s musical trends, the record contains, as might be
expected, a great deal of variation. Some tunes carry sing-songy
chants and reverb guitar, such as “Big Parade,” while others
are chorus driven ballads like “Sing Like The Sun.” In short, the
album almost brings diversity to the tilt, placing jammy fiveminute
tromps, southern-like rock ‘n’ roll and catchy indie pop
numbers side by side by side. However, the wide assortment
is not distracting but surprisingly refreshing, keeping you
guessing to the very end. One common thread throughout
the album—among the many variables—is the vocal work by
James Marler. Unlike live performances, Marler’s voice rises
above the band, breathing new life into old songs and adding
depth to melodies. The lyrics are smart, honest and tinged with
a modest self-awareness. All things considered, Chained To The
Chariot marks the maturity of a band that has seen its share of
growing pains, and points forward to an ever-strengthening
force in the New Orleans rock scene.
ANTIGRAVITY talked with Marler and Rhein about the
troubles of recording, getting along with bandmates and taking
the show on the road.
ANTIGRAVITY: So, your new record has been a
long time in the making. Just how long have you
been working on the album?
James Marler: We actually started tracking some of the stuff
two years ago in an analog studio, so three-fourths of it was
originally recorded to tape. Then, right before the hurricane
we decided to experiment with digital. Afterwards, three of us
ended up in Lafayette…and we found a really good engineer
by the name of Ivan Klisanin who records a lot of Cajun, funk
and country bands. He really liked what we were doing, so we
started to work with him.
AG: Seems like a long span of time and a lot of
stops for a single album.
JM: Yeah, we were unsure about how the whole record was
going to come together in the end with three different studios
and just laying down songs as they came to us, but it came out
surprisingly well.
Jason Rhein: Technically, four studios. We started at Piety St.
and we recorded three tracks, which eventually all made it to
the record although we didn’t use any from that session—
even though we paid more money there than at any other of
the studios and even at that, had the midnight deal…Then,
a couple months later we ended up at Goat’s place in the
Ninth Ward and that was all analog and it was great…then
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we decided to try some digital recordings right before Katrina
hit. Fortunately, I had all the stuff that we transferred on a
drive that I took with me when I evacuated. If we wouldn’t
had transferred that, who knows if we would have even had
completed this record. I know Goat’s place took several feet
of water…so, I guess in a way I feel that some force of nature
wanted this record to happen.
AG: Is there any other reason for all the different
studios and modes of recording besides simple
circumstances?
JM: Well, I’ve always preferred to record analog—probably
because I grew up listening to music recorded on analog. So,
this was our first foray into digital recording. And it’s definitely
more efficient and in a way more versatile.
JR: Plus, you have the ease of digital editing…
JM: But to me, analog is still ideal because I feel that it is
warmer and you get a certain type of ambiance. I like how the
sound comes across and it’s just richer when you record on
tape…but the way to go if you’re on a budget is a little bit of
both, I think, which a lot of people do. But what do I know?
Maybe it’s all superstition [laughs].
AG: When listening to the CD, I noticed that
there is a lot of variety—some songs even sound
as if they could have almost been recorded by
different bands….
JM: Well, there’s a lot of variety on the record because it’s
tracing this trajectory that was started two years ago. It’s a
new drummer since the first recording, a new bassist and a
new trumpet/keyboard player. The first three songs on the
CD were recorded this year and a couple of the other ones
too, but the rest were recorded months ago. So, it’s a mix
off all that stuff. So, there is probably more variety on it now
instead of if we would have plotted it all out at one studio in a
shorter span of time. But at the same time we were surprised
about how well it comes together. So it is something of a
random assortment but there is one continuous thread
through it at the same time.
AG: There are 14 tracks on the record. Were you
afraid that it might run too long?
JM: We thought about cutting two that are on there, “Black
Town” and “Ma Lion Races Ruin,” mostly because the second
side seems to get a little dark. It’s got that one pop song on
it but otherwise it’s heady, darker and drearier than the fist
half.
JR: But we figured that it was OK—the whole side “A,” side
“B” theory [laughs].
AG: With so many different sounds on the record,
would it be safe to assume that the newest ones,
such as the first three tracks, mark a certain
direction that the band is going?
JM: Well, not really…we just put things down as they came
to us and it’s not like we made a decision about what we
wanted to do. It just comes to us and it just happens—what’s
good stays.
AG: Speaking of staying, is everyone back in New
Orleans? I know a few people
were gone for quite some
time.
JR: Matt [Aguiluz], who plays
keyboard and trumpet, went to
Europe with his girlfriend for six
months, but the rest of us got back
to New Orleans pretty quickly.
We were pretty lucky as far as that
goes.
AG: I have to say that Matt
gets the award for looking
most happy on stage when
not playing an instrument.
He always seems very
entertained with himself
when he is just sitting there
waiting for his turn to play.
JM: [Laughs] When he first started
playing with us we had a lot of songs
that he didn’t get to play on. And
he was a smoker then, so we’d
have him bring a novel on stage
and smoke while we were playing.
He would pretend that he didn’t
notice we were there or that he
was surprised when his part came
up [laughs].
JR: Then, he quit smoking and we had to think of something
else for him to do…so I guess he started having more parts
[laughs].
AG: It seems that you guys have a lot fun playing
together…
JM: This is a really fun band to be in. Everyone gets along. We
have a lot of ideas and a lot of parts. I mean, I’d say almost
every other time we get together we generate new ideas and
to me, that’s the best thing about being in a band—getting
together and being creative.
JR: As a “band guy” who has had other bands and projects in
the past, the whole band-as a-collective thing sounds good in
theory, but seldom does it work out. Egos get in the way and
stylistic issues are too disparate. But in this case, it really does
work out and it’s great.
AG: Back to the record—one thing I noticed was
that James’ vocals were much clearer on the disc
than when playing live. I actually was pleased to
hear them and I think they sound great. Was it a
conscious decision to turn up the vocals or was it
just a byproduct of the recording process?
JM: Well, when we play live, we don’t have a soundman of our
own and we probably play loud and the vocals aren’t really
clear—which I’m fine with. But it’s not that I’m being shy or
anything, I just want everything to be in there equally and
kind of rock it out. But, all in all, I think we’ve gotten our live
sound better.
JR: The smaller places that have the smaller set ups can sound
good, but that’s a fine line and often times it doesn’t as far as
the vocals go. James’ voice is in that same frequency range
as a lot of the guitars—it’s not real high and somewhat low
and a lot of sound guys just don’t know really how to boost
that…but yeah, I’m always pushing for us to find better ways
to play because I think the lyrics are really great too.
AG: James, do you write all the lyrics? And if so, is
there any input from the band?
JM: Yeah, I write them all and there is always feedback from
the rest of the band. And that’s the great thing about this
record. Towards the end, there were a couple of songs that I
couldn’t come up with any good lyrics for and Jason and Ivan
would push me to come up with better vocal melodies or
better lyrics and I’m really glad they did …I think the quality
was kicked up a few notches because of that.
AG: Do the rest of the guys usually like what they
hear?
JM: Generally they do…I mean, one particular song on which
I thought the lyrics were cool, the engineer really didn’t like
the whole vocal part. So, that became the one instrumental
on the record [laughs]. For “Big Parade,” I wrote the lyrics
in the car outside in the cold and when I came back in the
studio, everybody really liked the lyrics…So, we sort of have
that back-and-forth.
AG: So James, what’s your personal theory behind
writing vocal parts?
JM: I’m going for sound, first and foremost, if that makes
sense. That to me should rule beyond trying to drive home
some point you’re trying to make…I just don’t see that as
having a place in songwriting.
AG: So, there’s no “Idiot Wind” in the future for
James Marler.
JM: [Laughs] I don’t think so—probably not. But you could
argue that everything I do is an idiot wind [laughs].
JR: …but there are stories behind them as well.
JM: Sure, I mean, they make sense to me and I hope they are
interpretable. I mean, already people have misheard the lyrics
and thought of words that are equally or if not better than
what they really are [laughs]. Their misinterpretations are
better than what I really had. Which is perfectly fine. That’s
how I listen to music.
AG: So, are you going to take this album on the
road?
JR: We’re going to do some stops in the Southeast in
December, and then we want to do some later in January and
February. We’re going to go a little east and little west.
JM: The farthest east we’re going to go is probably Austin and
farthest west is probably going to be Athens. But, this will
be the most extensive tour we’ve had. We’ve only done a
handful of out of town gigs with this band in the past.
AG: Are there any shows that stand out among
the rest?
JM: I remember going to Baton Rouge once, playing with
Elliott Smith in Texas—that was great—and some miserable
daiquiri shop in Mississippi where a guy kept screaming for
Iron Maiden. I kept trying to convince him that we weren’t
holding out, and that we truly didn’t know any Iron Maiden.
[Laughs]
JR: Yeah [laughs], that was a fun gig…But yeah, we’ve had
some good times…like our recent show with Ted Leo. We
were really happy to have so many people there. Usually, for
an early show like that, you expect to just be playing for the
people trickling in but by the time we walked up to play, the
placed was packed. People really were into it and really like
what we were doing.
JM: Yeah, we were really happy to be there…
JR: Afterwards, one girl motioned to me, and I went over
there and she whispered close in my ear, “Do you know
where I can find a quarter bag of weed?” I laughed and I smiled
and said, “No, no I don’t.” And then she said, “Well, how
about a kiss?” [Laughs]
JM: And you said, “Yes, with my whore lips.”
JR: [Laughs] No, I said, “I’m taken but this fellow over here
might oblige…”
AG: So, no big aspirations to take the fans or the
entire continent by storm?
JR: Well, I feel like we’re at a stage in our lives where the
best thing about playing in a band is making good music and
not trying to figure out how to take over the world with it. I
mean, if that just happens by default, then so be it…
JM: I just think it’s a really good hobby, making music. I mean,
if we go a week or something without playing, we start missing
it. That’s the great thing about being in a band. You can always
be playing.
AG: So, last question. If you had to live the rest
of your life with a moustache or a rat tail, which
one would it be?
JM: Moustache. People are too hard on the moustache.
JR: Just the rat tail, not a mullet? Can you grow other facial
hair around the ‘stache? Man, that’s a hard one. I guess the
moustache. But, I’ve never done the ‘stache. I’ve thought
about it but haven’t ever done it. Maybe tonight I will…
AG: Put your money where your mouth is…
JR: OK, well…maybe if people come to the CD release, they
might see Jason Rhein with a whole new moustache.
antigravity: your new orleans music and culture alternative_21

ILLUSTRATIONS
22_antigravity: your new orleans music and culture alternative

American Born Chinese is
described on the inside
front cover of the book
as “a modern fable,” and
that’s really the best way
to describe the tone of this
unusual and highly engaging
book. Gene Luen Yang’s
story weaves together
the story of a young Chinese-American boy making his way
through elementary and high school, the tale of another young
man whose Asian cousin embodies the worst stereotypes and
makes life miserable for him, and the popular Chinese legend
of the Monkey King. It sounds impossible that all three of
these stories could ever come together in the same tale, or
maintain some of the same tone of magic realism throughout,
but Yang makes it work beautifully. The result is an insightful
meditation on cultural identity viewed through the lens of ageold
mythology, modern high school drama and outrageous
“minstrel” style comedy.
My first experience with American Born Chinese was with the
mini-comics that eventually came to make up this collected
volume. I remember at the time being puzzled about where
Yang was going with the stories, as they seemed so completely
different from one another. Two of the stories are mostly high
school tales, but the other is a fairly serious, realistic look at
dealing with cultural identity in a high school setting where
homogeneity is your best defense against ridicule, and the
other features an Asian stereotype named “Chin-Kee.” That
other tale, as I learned when I picked up this volume, was
a version of the story of the Monkey King, a story that has
inspired any number of re-interpretations, including but not
limited to the popular manga Dragon Ball. At least the tales of
Danny and his cousin Chin-Kee and the stories of Jin Wang
and Wei-Chen Sun were both in high school… how did the
Monkey King relate?
The literal answer appears in the latter part of the book, and
it’s one of the book’s most pleasant and hilarious surprises. But
the real answer becomes clear the more you read: American
Born Chinese is about Chinese culture, past, present and future,
and there’s a fable quality to all of the stories. The story of
Wei-Chen and Jin is the most grounded, but even there the
high school love story that develops has a mythical, largerthan-life
quality to it. By the time I’d gotten a few chapters into
the book, I no longer saw the tonal incongruity that I had seen
at the start.
American Born Chinese is a deeply funny book. The antics
of Chin-Kee are outrageously funny, even as there’s a more
serious flipside to Yang’s use of a racist caricature to provoke
and make a point about racism in the character. The adventures
of the Monkey King have a terrific slapstick quality to them as
well. There’s also a warm, inviting comedy about Jin’s growth as
a person during his high school days, as he struggles with shame
over his own cultural identity along with the awkwardness that
every teen faces at that time in their lives. While American Born
Chinese is funny, Yang never sets it at the level of parody…
there are serious characters and serious stories in each
character’s part of the book. Each arc contains a dramatically
satisfying climax, whether it’s the Monkey King’s arrogance,
Jin’s discomfort in his own skin or Danny’s frustration with
Chin-Kee that causes each character’s downfall. And while the
story is specifically about the experience of Chinese characters,
there are universal messages of accepting your own culture
while integrating into another that will resonate with almost
anyone.
The artwork on American Born
Chinese struck my interest when
I first saw the mini-comics, and it’s
even more impressive with Lark
Pien’s colors. Yang’s art style is
cartoony and deceptively simple, but
as you read through the book you’ll
start to pick up on all the little details
that inform his work. Little touches
like the make-up on the animals on
loan to the school from a cosmetics
company, the electrical effects used
to simulate Jin’s building storms of
confidence, or the designs in the
Monkey King story which recall
the look of Genndy Tartakovsky’s
Samurai Jack all show off Yang’s
excellent cartooning skills. He also
has terrific storytelling instincts for
slapstick comedy, action and more
low-key drama as well.
American Born Chinese was
impressive enough as a series of minicomics,
but paired with Lark Pien’s
colors and First Second’s impeccable
graphic novel design, it’s one of the
strongest graphic novels produced
this year.
antigravity: your new orleans music and culture alternative_23

24_antigravity: your new orleans music and culture alternative

PROJECTIONS
Neil Burger’s The
Illusionist is a brilliant
fable in which storybook
love interweaves with death,
evil and magic. It is alive
with wonder, and a sense
that with determination and
cunning, anything is possible.
Based on Steven
Millhauser’s short story
Eisenheim The Illusionist, Ed
Norton plays the magician Eisenheim in turn of the century
Vienna. As a child of a royal servant, young Eisenheim
had a romance with Sophie (Jessica Biel), the daughter of
wealthy aristocrats. After years of travel, Eisenheim returns
home, having transformed himself into a master illusionist.
Eisenheim’s growing fame attracts large audiences to his soldout
performances, as well as the interest of Prince Leopold
(Sewell), now engaged to the beautiful Sophie.
After Eisenheim offends Leopold in a private performance for
the prince’s court, the two men vie for Sophie’s affection while
Leopold becomes consumed with avenging his embarrassment
at the hands of the illusionist. A humble policeman with
a budding interest in magic, Inspector Uhl (the great Paul
Giamatti), gets caught in the middle of this feud. He has much
to gain by remaining loyal to Leopold, but struggles with the
moral responsibility of his situation.
Central to The Illusionist’s success are its fi ne lead
performances. Norton is determined and impenetrable as
Eisenheim, a role with parallels to Andy Dufresne from The
Shawshank Redemption. Here is a man so singularly devoted to
his task that he resists showing his hand to anyone, including
the viewing audience. Rufus Sewell has disappointed in the
past, but the evil and menace he effortlessly exudes as Prince
Leopold is impressive. There’s an aristocratic restraint that
makes the wild look in his eye that much more unsettling. He’s
like a jackal in a tuxedo.
One last thing: Original music for The Illusionist was composed
by the amazing Phillip Glass (The Hours). His endlessly churning
score does its job beautifully, lending a human gravity to the fi lm
and making the already grave stakes seem that much higher.
—James Jones
To paraphrase Zoolander:
Screenwriter Paul Haggis
is so hot right now. He’s
written two of the last three
Best Pictures as voted on by
the Academy (Million Dollar
Baby and Crash), and directed
the latter to boot. And 13
years ago he created “Walker,
Texas Ranger,” so he’s got a
sense of humor, too.
For his latest, The Last Kiss, he’s gone back to the same survey
approach he used in Crash, but instead of applying it to race in
L.A., he’s applied it to relationships and infi delity in L.A. As only
Hollywood can (as shown here and in fi lms like 2005’s bitter
Closer), Kiss asserts that all relationships are essentially doomed
and then asks the audience to forgive a main character who
cheats on his pregnant wife.
Zach Braff is Michael, a young architect who is expecting a child
with his girlfriend, Jenna (Jacinda Barrett). When tempted at a
party by a gorgeous and eager college student (Rachel Bilson),
he pursues her and eventually must deal with the repercussions.
In other plot points, Jenna’s parents (in strong performances
by Blythe Danner and Tom Wilkinson) are having a late-life
marriage crisis, while Michael’s friend Chris (the always quality
Casey Affl eck) has decided that he wants to be in his infant
child’s life, but can no longer stomach being married to its
mother.
In addition to an excess of characters and storylines, Kiss
has another problem in its feuding tones. Braff, creator of
2004’s hipster-friendly Garden State, had to gloss his character’s
dialogue to make it more … Garden State-y. Plus, Braff had to
add his cool indie music hits, which stick out like a full pair of
Depends at a Shins show in this staid, traditional Hollywood
fi lm concept.
Getting back to Haggis: Everyone knows that Crash was hot
garbage to begin with. But after the drudgery of The Last Kiss,
I’m starting to wonder if, for the mind behind “Walker, Texas
Ranger,” Million Dollar Baby was just a fluke.
—James Jones
In the tradition of
Christopher Guest’s 1996
masterpiece, Waiting For
Guffman, Debbie Isitt’s Confetti
is a British mockumentary
with a simple premise.
Confetti Magazine is holding
a contest in which three
couples compete to have the
most original wedding. The
weddings are all to be staged
at the same venue on the same day and will be judged by a
panel of experts. The winning couple gets a brand new red brick
home in the suburbs.
The fi rst fi nalists are a nudist couple who want to have a
“naturist” wedding, which may or may not involve the distinct
lack of a wedding dress. You don’t have to be Carl Sagan to see
how this poses a problem for a periodical about weddings.
Next are the spoiled, competitive country clubbers and
their tennis-themed nuptials. But fi rst they must survive their
constant bickering, her nose job, and a tennis pro named Jesus
trying to come between them.
Finally, we have Matt (Martin Freeman from BBC’s The Offi ce)
and Sam (Jessica Stevenson), an everyday couple, truly in love,
in the unfortunate circumstance of living with her insufferable
family. They’ve chosen a classic, Busby Berkeley musical theme,
which seems to have curried the favor of the magazine’s event
planners, a sweet gay couple trying to slap the reins on the
contest’s inherent madness.
Like Guffman, Confetti is fi lled with colorful characters and
fun gimmicks, and it showcases extended musical numbers in
its fi nale. And Isitt, much like Guest, has a knack for inhabiting
those pregnant silences between the dialogue, where so much
about the characters can be revealed.
Unlike Guffman, Confetti offers up some genuinely likable
characters: Matt and Sam and the wedding planners are sweet,
good people that we can identify with in the swirling, carnival-like
madness that the contest presents. But the ultimate difference
between Guffman and Confetti is that the latter never quite hits
its stride. It’s not laugh-out-loud funny, and the bottom line is
that’s not good for a comedy.
—James Jones
antigravity: your new orleans music and culture alternative_25

REVOLUTIONS
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Dostoevsky’s The Brothers
Karamazov is a luxury liner
of a tome, clocking in at around
700 pages of typically Russian
overtalk. Most people give it up after about 250 hard-fought
pages. “It’s like Dostoevsky sat down and said, ‘I’m going to
write the human condition,’ and he didn’t realize what he’d
gotten himself into,” a friend of mine once said. And it’s not
like Dostoevsky is the only writer to take this task on; he’s
simply made the most palatable and endearing attempt. And
you know that Colin Meloy has read the whole thing.
At least that is what one may gather from the Decemberists’
major-label debut, The Crane Wife. What makes it a particularly
breathtaking record is the fact that the band has not only
managed to capture a portion of what makes us human
but that they have done so from an entirely first-person
perspective. While their previous attempts to be Klezmer All-
Stars certainly were not failures, the band could not shake the
fact that they are from Portland in the 21 st Century—not, say,
Eastern Europe in the 18 th . This time, when Meloy tells us that
the Shankill Butchers are “sharpening their cleavers and their
knives/And taking all their whiskey by the pint,” he no longer
appears in the Playbill as the Town Crier; he’s watching the
action unfold for himself, and he’s telling us for a reason. This
change in tone, from storyteller to witness, gives The Crane
Wife an authoritative, parable-like quality.
The entire record flows with the effortless emotion that
the group flashed briefly in Castaways And Cutouts’ “California
One/Youth And Beauty Brigade,” only here it’s sustained for
an entire hour. One early emotional peak—there are many—
occurs in “Yankee Bayonet (I Will Be Home Then),” which
casts Meloy as a Union soldier and Laura Veirs as his bride.
As the pair sends their words off—he from the battlefield,
she from a grand promenade—the listener wonders whether
they will ever meet again, or if it is better for their love if they
remain apart. There are two languages at work here, that of
music and that of words. And as they send out the words—
“But oh, my love, though our bodies may be parted/Though
our skin may not touch skin/Look for me with the sun-bright
sparrow/I will come on the breath of the wind”—we ache as a
people. The Decemberists may be telling stories, but they are
stories of truth; Meloy may not have known how accurate he
was in Picaresque’s “The Engine Driver” when he said, “I am a
writer/I am all that you have hoped on.”
Much has been made in the early reviews concerning the minor
prog influence which shows up in The Crane Wife, most notably
in “The Island, Come and See, the Landlord’s Daughter, You’ll
Not Feel The Drowning,” the first nine minutes of which come
across as Yes all dressed up
in a fake mustache and dusty
bowler. It doesn’t work until
the final gigue, when all the
Casiotones have been locked
away and the band return
to their familiar instruments
in austere reprise. The time
we’ve spent suffering through
the earlier sections—and it is
a bit torturous—is redeemed
by the power of the pedal
steel. It all makes sense now
once you’ve endured it.
After nearly an hour of
tragedy, comedy, murder,
redemption, love, hate and
two songs about birds, the
Decemberists settle into
“Sons And Daughters,”
building repetitively upon a
foundation of accordion and
acoustic guitar into a truly
grand crescendo; a tale of
having arrived, having finished
the race. The tension in The
Crane Wife rises and drops
with Shakespearian precision,
each track carefully calibrated
to bring out the best in its
neighbors. By the time the
group lean into “Sons And
Daughters,” we share the
looks of proud determination
on their faces. It’s a
celebration of the spirit that
triumphs over heartbreak,
over agony, over life.
It’s hard not to give this
record a perfect review,
because by the time “Crane
Wife 1 And 2” fade into
“Sons And Daughters,” any
early missteps have been
completely redeemed. And
for a record about the human
condition, The Crane Wife has
done exactly what it set out to do. We are willing to forgive
the nine minutes of noodling in “The Island,” the faux-reggae
of “The Perfect Crime 2,” and the U2-esque “When the War
Came”—none of which are particularly bad—because of the
overall triumph of the album. It is not a perfect record, but
we are more than willing to see it as one. Looking back at the
rest of it through the lens of its finale, it is hard not to love
The Crane Wife as the sum of its parts.
—Marty Garner
26_antigravity: your new orleans music and culture alternative

Lily Allen’s Alright, Still could
easily serve as the girl’s
guide to lame hipster life in
the dirty-dirty. Much better
to have a toy that plays refrains like “You were fucking that
girl next door/What’d ya do that for” or “Oh my gosh you
must be joking me/If you think that you’ll be poking me”
than that played-out Nagin talkie. Allen, a 21-year-old British
starlet whose “Smile” reached number one on the U.K. single
charts last July, is simultaneously melodic and sarcastic. Some
tracks are fleshed out by saxophones, trombones or trumpets,
while others—especially “Take What You Want”—both rip
and embrace lyrical clichés. Keyboards and vocals dominate
the mix; Allen’s slinking tones complement the tinkling of keys
and effects and her attitude, while an homage to bubblegum
pop, is a welcome departure from the standard, overwrought
stylings of the Britneys and Christinas. A sense of humor has
become a rarity in this sphere, and it’s a relief to find true
royalty in the vein of Princess Superstar—who pokes fun at
dating, men, women and city life without resorting to lame
drama—backdropped by quality pop.
—Lisa Haviland
It’s easiest to consider the
Dears’ output in the context
of developmental phases:
stage one, conception (the
promising, if somewhat pretentious, 2000 debut End Of A
Hollywood Bedtime Story); stage two, growth (wide-reaching
2004 sophomore album No Cities Left, wherein erudite lead
Murray Lightburn indulged his velvet vocals in a Morrissey/
Britpop fetish). All of which sets up Gang Of Losers as the
triumphant maturation stage, in which the frontman cracks
open the Moz cocoon and emerges a fully formed vocalist
with a wide stylistic wingspan. “Ticket To Immorality,” with its
rousing guitar line ringing out just 90 seconds into the record,
quickly saps the suspense—Losers is indeed the Dears’ finest
full-length to date, and one of the top indie rock records of
2006. Maintaining a tighter focus throughout, Lightburn and Co.
fully hit their stride on this third record, fashioning a breathless
run of passionate, thoughtful anthems that perfectly balance
smart pop structures with punchy arena-rock parts. “Hate
Then Love” and “You And I Are A Gang Of Losers” are the
pacesetters; the former is a brash, shifting monster that feeds
on sublime backing vocals and Lightburn’s heart-on-sleeve wails,
while the latter lets one unforgettable hook—soaring refrain
“You and I are on the outside of almost everything!”—do the
heavy lifting. A lean, well-sculpted specimen, the winning Gang
Of Losers outpaces the competition by no small margin.
—Noah Bonaparte
Death Ray have sort of a
“favorite sons” status in
Memphis; only one of them
lives here anymore, so we will all flock to what has become
the rare treat that is their live show. Witnessed live, they take
on a serious krautrock element, with bassist Harlan T. Bobo (of
Harlan T. Bobo fame) and drummer Jeffrey Bouck extrapolating
one rhythm to its outer limits (and then continuing to play
it just to taunt us) and singer/guitarist Nick Ray vacillating
between delayed atmospherics and clattering freak-outs. All
well and good onstage, but thankfully they know to show
some restraint on record. Two of the eight songs go past six
minutes, but this is the kind of concise statement that people
forgot albums are supposed to be. Ray’s vocals, which manifest
mostly as barks live, are more tempered on record, sounding
like a melodious Mark E. Smith. The Fall make a good reference
point in general, with the solid slabs of rhythm allowing Ray
to do whatever he wants with the guitar—which includes, on
“Thieves Oh Glorious Thieves,” an homage that may drive you
crazy trying to place (hint: it’s “Needles in the Camel’s Eye” by
Eno). There are a few experiments: “Dub S.S.” is a competent
try at its namesake, but I don’t see the need; “Pleasure Principle
#19” is an electro-kraut number too minimal for TV On The
Radio but too busy for Colder; and, crucially, there is a big
chorus in “Certain,” made all the more uplifting by the tense
verses it uneasily rests between.
—Darren O’Brien
You’ll forgive me if I’m still
wrapping my head around
this one. TV On The Radio
refuses to be the band that people want them to be—that I
want them to be, anyway. This is to their credit. They could
have put out a whole album of “New Health Rock”-alikes and
I would have been very content. Instead, they had to go and
make a masterwork. Return To Cookie Mountain is a dispatch
from a band progressing faster than they know how to handle,
primarily because they are now well and truly a band. And
even though it is the same people, plus two more, responsible
for Young Liars and Desperate Youth, Blood Thirsty Babes, there’s
really no preparing for this. “New Health Rock,” the dance
party that marked their first outing as a five-piece, is no longer
an accurate touchstone; perhaps only “Dry Drunk Emperor,”
their download-only reaction to Katrina, fits that role. Like
that song, all of this album has an epic quality that is embracing
rather than intimidating, a warm huge-osity that immediately
makes me think of pre-arena Simple Minds, even though they
share nothing but a restless creativity (although the beat on
“Hours” does sound suspiciously like “Don’t You Forget
About Me”). Normally we could attribute that to Tunde
Adebimpe’s infini-tracked vocals, but those are pared down
a bit, occasionally letting what sounds like just one Tunde
weave around guitarist Kyp Malone’s ever-present falsetto
harmonies. And David Sitek’s production aesthetic is relatively
the same, where no instrument is allowed to sound as it is
and things often blend together in one great noise choir. So
the real hat-trick came with the addition of a rhythm section:
bassist Gerard Smith and drummer Jaleel Bunton. They proved
this on “New Health Rock,” and they prove it again here, over
and over again, like the cluster beat on “Playhouses,” the
martial pounding that saves “A Method” from sounding like
something from the O Brother, Where Art Thou? soundtrack,
and the pile-driving lead single “Wolf Like Me,” which sounds
like Cabaret Voltaire covering OutKast’s “Hey Ya!” It often
happens that genius perfectionists, like Lee Mavers or Kevin
Shields, have to have their albums taken away from them and
released unfinished because every idea they have is better than
the one before. Luckily, the guys in TV On The Radio don’t
seem to be perfectionists; at least, they may just be perfect on
accident. Just don’t expect anything to be the same when they
come around again.
—Darren O’Brien
pon scanning the covers
Uand booklet of Relay’s
most recent release, I was left
with one non-venereal, but still
relevantly burning question:
What in blazes is a “Farfisa?” When both my spell check
and dictionary.com violently failed me, I turned confidently
to Wikipedia, which informed me that it is in fact “a brand
name for a series of electronic organs and later multitimbral
keyboards” that was most often used in rock bands and other
combos of the 1960s, and by those attempting to recreate
that sound. This characteristic of Relay’s sound, though not so
much its caliber, groups them with Pink Floyd’s early albums,
and more recent groups such as Brian Jonestown Massacre,
Blood Brothers, Stereolab and Tom Waits, among others.
This is an impressive and eclectic group of musicians to be
compared to; however, these Philly natives still have a little
work to do. They represent a genre of classic shoegazers à
la Sonic Youth and the Appleseed Cast in that they utilize
a brick-layer formation of guitars laden with powerful pedal
action, a strict rhythmic method of drumming and mellow,
stretched out vocals, key aspects to a shoegazing combo. All of
these blended together produce a spacey, ambient disposition
of sound many muster the courage to try, but few succeed.
Relay certainly has succeeded with this LP; however, they’ve
still a bit to learn from their predecessors and a bit of their
own unique style to bring to the forefront of this genre to
reach their euphonious peak.
—Carolyn Heneghan
antigravity: your new orleans music and culture alternative_27

NEW ORLEANS
The Big Top
1638 Clio St., (504) 569-2700
www.3ringcircusproductions.com
Cafe Brasil
2100 Chartres St., (504) 947-9386
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 St., (504) 304-4714
www.circlebar.net
Circle Bar
1032 St. Charles Ave., (504) 588-2616
www.circlebar.net
Coach’s Haus
616 N. Solomon
D.B.A.
618 Frenchmen St., (504) 942-373
www.drinkgoodstuff.com/no
Goldmine Saloon
701 Dauphine St., New Orleans, (504) 586-0745
Hot Iron Press
1420 Kentucky
The High Ground
3612 Hessmer Ave., Metairie, (504) 525-0377
www.thehighgroundvenue.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
Le Bon Temps Roule
4801 Magazine St., (504) 895-8117
Maple Leaf
8316 Oak St., (504) 866-9359
Marlene’s Place
3715 Tchoupitoulas, (504) 897-3415
www.myspace.com/marlenesplace
McKeown’s Books & Difficult Music
4737 Tchoupitoulas, (504) 895-1954
One Eyed Jacks
615 Toulouse St., (504) 569-8361
www.oneeyedjacks.net
Republic
828 S. Peters St., (504) 528-8282
www.republicnola.com
Sip Wine Market
3119 Magazine St., (504) 894-7071
www.sipwinenola.com
Shiloh
4529 Tchoupitoulas, (504) 895-1456
Tipitina’s
(Uptown) 501 Napoleon Ave., (504) 895-8477
(Downtown) 233 N. Peters
www.tipitinas.com
BATON ROUGE
Chelsea’s Cafe
2857 Perkins Rd., (225) 387-3679
www.chelseascafe.com
The Darkroom
10450 Florida Blvd., (225) 274-1111
www.darkroombatonrouge.com
North Gate Tavern
136 W. Chimes St.
www.northgatetavern.com
Red Star Bar
222 Laurel St., (225) 346-8454
www.redstarbar.com
Rotolos (All-Ages)
808 Pettit Blvd.
www.myspace.com/rotolosallages
The Spanish Moon
1109 Highland Rd., (225) 383-MOON
www.thespanishmoon.com
The Varsity
3353 Highland Rd., (225)383-7018
www.varsitytheatre.com
PREMONITIONS
IF IT’S BOLD, WE’LL BE THERE!
Richard Buckner, Doug Gillard, Happy
Talk Band, One Eyed Jacks
Linnzi Zaorski, Circle Bar
Yoga w/ Pilates, Big Top, 6pm
The Fens, Checkpoint Charlie’s, 10pm
St. Louis Slim, d.b.a., 10pm
Wrister, Gang of Creeps, Neutral Ground
Coffeehouse, 6pm
Papa Grows Funk, Maple Leaf
Tuesday, 10/3
DJ Shadow, House of Blues, 9pm, $25
DJ Shadow After-party w/ The Gaslamp Killer, One
Eyed Jacks, FREE
Vextown Niceup: Ska, Dub, & Rocksteady,
Handsome Willy’s
Acoustic Open Mic Night w/ Jim Smith, Checkpoint
Charlie’s, 10pm
Russell Batiste and Friends, d.b.a., 10pm
Kirk Joseph’s Backyard Groove, Chickie Wah Wah
Rebirth Brass Band, Maple Leaf
Sip And Spin, Sip Wine Market, 6:30pm
Wednesday, 10/4 Wednesday, 10/4
Nina Nastasia, A Particularly Vicious
Rumor, One Eyed Jacks
Alex McMurray, Circle Bar
Kenny Holiday and the Rolling Blackouts, Checkpoint
Charlie’s, 10pm
Electric Six, Aberdeen City, The Blue Van, House of
Blues, 9pm, $12
Les Poisson Rouges, Le Bon Temps
Walter Wolfman Washington, d.b.a., 10pm
Sky Child Featuring Eddie Christmas, Allen Dejan,
Jamell Williams, Chickie Wah Wah, 10pm
Twelve Gauge Valentine, War of Ages, Common
Yet Forbidden, Demise of Eros, High Ground, $7,
10pm
Ladies Night w/ Beatgrrl, Brice Nice, Lady Lolo,
Handsome Willy’s
Thursday, 10/5
Blair Gimma, Circle Bar
American Cheese Trio, Checkpoint Charlie’s, 10pm
Fast Times ‘80s Dance Night, One Eyed Jacks
Soul Rebels, Le Bon Temps
Guy Forsyth featuring Drew Landry and the Dirty
Cajuns, Tipitina’s, 9pm, $10
Gubernatorial Candidates, Carrollton Station
Bryan Lee, d.b.a., 10pm
Rebirth Brass Band, Chickie Wah Wah, 10pm
The Project: Sounds of New Orleans Underground,
Handsome Willy’s
Friday, 10/6
Rotary Downs CD Release Party with DJ
Art Damage, One Eyed Jacks
Sparta, Sound Team, Lola Ray, Parish @
House of Blues, 10pm, $15
10 Years, Evans Blue, 32 Leaves, Allele, House of
Blues, 8pm, $15
Chris Scheurich, Sol Fiya, Le Bon Temps
Ivan Neville’s Dumpstaphunk, Tipitina’s, 10pm, $15
Susan Cowsill Band, Carrollton Station
The Rites of Swing, d.b.a., 6pm
Egg Yolk Jubilee, d.b.a., 10pm, $5
Edge Set Mary, Automoon, Ethylene, Darkroom,
7pm, $8
Vivaz, Asheson, DJ Nasty, Howlin’ Wolf, 10pm
Roberto and Lissa, Checkpoint Charlie’s, 7-9pm
Gebra and the Creole Souls, Checkpoint Charlie’s,
10pm
Friday Paycheck: Funk, Soul, Hip Hop, Handsome
Willy’s
Saturday, 10/7
Monday, 10/2
Tuesday, 10/3
Thursday, 10/5
Friday, 10/6
Saturday, 10/7
Country Fried, Circle Bar
Art Opening: David Rex Joyner, Big Top, 6pm
Vern, Checkpoint Charlie’s, 7pm
Darby Band, Checkpoint Charlie’s, 11pm
Will Hoge, Moses Mayfield, One Eyed Jacks
The Freddy Fred Show Starring Jen Kober, Parish
@ House of Blues
Bob Schneider Solo Acoustic, Charlie Mars, Parish
@ House of Blues, 9pm, $12
Soulfly, Full Blown Chaos, Scars of Tomorrow,
Incite, House of Blues, 7:30pm, $15
Kirk Joseph’s Backyard Groove, Le Bon Temps
First Annual Loop Magoo: The Uptown Allstars
Featuring Ivan Neville, Willie Green, Nick Daniels,
Renard Poche, Rebirth Brass Band, The Burnside
Exploration, Tipitina’s, 10pm, $15
Cajun Fais Do-Do Featuring Bruce Daigrepont,
Tipitina’s, 5-9pm, $7
Bustout Burlesque, Tipitina’s, 8 & 10pm
Gravy, Carrollton Station
John Boutte, d.b.a., 7pm
Wiley and the Checkmates, d.b.a., 11pm, $5
As Blood Runs Black, Endwell, For The Fallen
Dreams, Darkroom, 7pm, $10
We’re Only In It for the Honey, Outer Banks, 9pm,
$5
DJ Garlick and Scoob, Handsome Willy’s
Sunday, 10/8
Country Night with DJ Matty, Circle Bar
Gill and Ryan, Checkpoint Charlie’s
MC Battle, One Eyed Jacks
Sunday Music Workshop Featuring Theresa
Anderson Band, Tipitina’s, 12:30-3:30, $5
Cajun Fais Do Do Featuring Bruce Daigrepont,
Tipitina’s, 5-9pm, $7
Linnzi Zaorski, d.b.a., 6pm
Jimmy Horn, d.b.a., 10pm
Leavenworth, By My Hands, Ghosts in Lowlights,
Darkroom, 7pm, $5
Shai Hulud, Dead To Fall, One Dead Three
Wounded, Twelve Tribes, Phoenix Mourning, High
Ground, 7pm, $10
Monday, 10/9
Sunday, 10/8
Monday, 10/9
Chris Tomlin, House of Blues, 6pm, $26.50
Yoga w/ Pilates, Big Top, 6pm
The Fens, Checkpoint Charlie’s, 10pm
Drive In SIN, One Eyed Jacks
Klezmurder, d.b.a., 10pm
Papa Grows Funk, Maple Leaf
Tuesday, 10/10 Tuesday, 10/10
Buju Banton, House of Blues, 10pm, $20
Vextown Niceup: Ska, Dub, & Rocksteady,
Handsome Willy’s
Acoustic Open Mic Night w/ Jim Smith, Checkpoint
Charlie’s, 10pm
Russell Batiste and Friends, d.b.a., 10pm
Kirk Joseph’s Backyard Groove, Chickie Wah Wah,
10pm
Catholicon, Knever, Quartering, Headlok,
Darkroom, 7pm, $6
Rebirth Brass Band, Maple Leaf
Sip And Spin, Sip Wine Market, 6:30pm
Wednesday, 10/11 Wednesday, 10/11
The Afterparty with Luke Allen, Circle Bar
Kenny Holiday and the Rolling Blackouts, Checkpoint
Charlie’s, 10pm
Larry Halls Blues Band, Checkpoint Charlie’s, 7pm
Buckethead, The One Guy, Republic, 8pm, $18
Lips and Trips, Checkpoint Charlie’s, 11pm
Rock and Roll Karaoke, One Eyed Jacks
Chris Scheurich, Le Bon Temps
Walter Wolfman Washington, d.b.a., 10pm
Sky Child Featuring Eddie Christmas, Allen Dejan,
Jamell Williams, Chickie Wah Wah, 10pm
Zydepunks, Dragon’s Den, 10:30pm
Thumbscrew, High Ground, 7pm, $6
45 Grave, Howlin’ Wolf, 10pm
Ladies Night w/ Beatgrrl, Brice Nice, Lady Lolo,
Handsome Willy’s
Thursday, 10/12Thursday, 10/12
MC Trachiotomy, Circle Bar
American Cheese Trio, Checkpoint Charlie’s, 10pm
Fast Times ‘80s Dance Night, One Eyed Jacks
Soul Rebels, Le Bon Temps
The Omega Project, Tipitina’s, 10pm, $8
Palmeto Bug Stompers Brass Band, d.b.a., 10pm
Infinite Hours, Howlin’ Wolf, 10pm
Rebirth Brass Band, Chickie Wah Wah, 10pm
Steve Winwood, House of Blues, 9pm, $40
Veruca Salt, Parish @ House of Blues, 9pm, $13
Nathan and the Zydeco Cha Chas, Mid City Lanes
The Project: Sounds of New Orleans Underground,
Handsome Willy’s
Friday, 10/13
Wednesday, 10/11
Now It’s Overhead, Spanish Moon
On all three Now It’s Overhead records—
the self-titled 2001 debut, 2004’s Fall
Back Open and the recent Dark Light Daybreak
(Saddle Creek)—the Athens, Ga., band
beckons you to enter its mystic and dreamy
world. Frontman Andy LeMaster’s vocals soar
over layers of electronic sounds and melodic
electric guitar that’s loud and encompassing.
LeMaster has a vast understanding and
knowledge of all things music, having been
involved in almost every aspect of the
business—he owns Athens’ Chase Park
Transduction Recording Studio, which has
recorded bands like R.E.M., Azure Ray (whose
members Orenda Fink and Maria Taylor work
and tour with Now It’s Overhead), Bright
Eyes, Seaworthy, The Glands, and others.
-–Sally Tunmer
Friday, 10/13
Better Than Ezra, House of Blues, 8pm, $27.50
The Points, Circle Bar
Roberto and Lissa, Checkpoint Charlie’s, 7-9pm
Storyville Starlettes Burlesque, Big Top, 8pm
Whiskey Life, Checkpoint Charlie’s
EOE CD Release Party, Republic, 8pm, $10
New Orleans Film Fest Party, One Eyed Jacks
Morning 40 Federation, Le Bon Temps
Mike Miller, Pete Winkler, Colin Brown, Carrollton
Station
Hot Club of New Orleans, d.b.a., 6pm
Corey Henry and the Youngfellas, d.b.a., $5
In Tomorrow’s Shadow, Swarm of the Lotus,
Vengeance Over Victory, High Ground, 7pm, $6
Friday Paycheck: Funk, Soul, Hip Hop, Handsome
Willy’s
Saturday, 10/14Saturday, 10/14
Better Than Ezra, House of Blues, 8pm, $27.50
The Ettes, Circle Bar, 8pm
Mod Dance Party, Circle Bar, 10pm
New Orleans Food Co-op Fundraiser, Big Top
Charlie Hunter Trio, One Eyed Jacks
Big Sam’s Funky Nation, Le Bon Temps
Big Blue Marble, Tipitina’s, 10pm, $7
Bustout Burlesque, Tipitina’s, 8 & 10pm
Refried Confuzion, Eric Fausch, Carrollton Station
John Boutte, d.b.a., 7pm
New Orleans Klezmer All Stars, d.b.a., 11pm, $5
28_antigravity: your new orleans music and culture alternative

The City Life, Blair Gimma, Greg Vendetti,
Howlin’ Wolf, 10pm
Luke Starkiller, Din Burlesaue, Through What Was,
In Fear of the Fall, Darkroom, 7pm, $8
The Flaming Tsunamis, Fatter Than Albert, Samurai
Deli, Screams of Triumph, Stereohype, High Ground,
6:30, $6
Two Ton Boa, Red Beards, Outer Banks, $5
Alias and Tarsier, Astronatalist, Electric President,
Spanish Moon
Anders Osborne, Mid-City Lanes
DJ Garlick and Scoob, Handsome Willy’s
Sunday, 10/15
Heart, House of Blues, 8pm, $55
Slewfoot, Cary B., Checkpoint Charlie’s, 10pm
Charlie Hunter Trio, One Eyed Jacks
Cajun Fais Do Do Featuring Bruce Daigrepont,
Tipitina’s, 5-9pm, $7
Linnzi Zaorski, d.b.a., 6pm
Skip Heller, d.b.a., 10pm
Misery Index, Strong Intention, Fuck the Facts, Kill
the Client, 13 Deep, Vertigo Sun, Darkroom, 7pm,
$10
Monday, 10/16
Friday, 10/13
Man Man, Spanish Moon
It’s not traveling gypsies who will be stopping
by the Spanish Moon in late October—it’s
Philadelphia’s psychedelic foursome Man Man.
Be prepared to witness an overwhelming and
insane performance that Rolling Stone named
the best live show at this past year’s SXSW. The
band’s sophomore album Six Demon Bag is one
of the most playful albums of 2006. It sounds
like a Danny Elfman creation for a dark Tim
Burton film, but if possible, even more eccentric
and whimsical. Honus Honus, Tiberius Lyn,
Clint Killingsworth and Steven Dufala forge a
crazy combination of synth, horns, percussion
and bass to make a chaotic yet distinguished
sound. Honus’s vocals combine Tom Waits’
excessive-cigarette-smoking roughness and
Frank Zappa’s weirdness. Six Demon Bag is
impossible to listen to without moving your
feet. Get ready to dance.
-–Sally Tunmer
Saturday, 10/14 (Cont.)
Sunday, 10/15
Monday, 10/16
Linnzi Zaorski, Circle Bar
Yoga w/ Pilates, The Big Top
The Fens, Checkpoint Charlie’s, 10pm
Drive In SIN, One Eyed Jacks
Joe Krown Organ Combo, d.b.a., 10pm
Papa Grows Funk, Maple Leaf
Tuesday, 10/17 Tuesday, 10/17
Girl Talk, Shiloh
David Bazan, Republic, 8pm, $10
Vextown Niceup: Ska, Dub, & Rocksteady,
Handsome Willy’s
Peter Holsapple, Circle Bar
Acoustic Open Mic Night w/ Jim Smith, Checkpoint
Charlie’s, 10pm
Zombie vs. Mardi Gras FILM, One Eyed Jacks
Russell Batiste and Friends, d.b.a., 10pm
Kirk Joseph’s Backyard Groove, Chickie Wah Wah,
10pm
Gunshy, Andrew Bryant, Raise High, Eldon’s House,
8pm, $5
MC Chris, Spanish Moon, 10pm
Rebirth Brass Band, Maple Leaf
Sip And Spin, Sip Wine Market, 6:30pm
Wednesday, 10/18
Nintendo Fusion Tour Featuring Hawthorne
Heights, House of Blues, 5:30pm, $25
Alex McMurray, Circle Bar
Cripple Creek presents “Kingdom of Earth” by
Tennessee Williams, Big Top, 8pm
Kenny Holiday and the Rolling Blackouts, Checkpoint
Charlie’s, 10pm
MC Chris, Republic, 9pm, $12
Rock and Roll Karaoke, One Eyed Jacks
Clockwork Elvis, Le Bon Temps
Walter Wolfman Washington, d.b.a., 10pm
Sky Child featuring Eddie Christmas, Allen Dejan,
Jamell Williams, Chickie Wah Wah, 10pm
Soliquest of Sound and Glue, Spanish Moon
Ladies Night w/ Beatgrrl, Brice Nice, Lady Lolo,
Handsome Willy’s
Thursday, 10/19Thursday, 10/19
Scissor Sisters, Small Sins, House of Blues,
8pm, $25
Cripple Creek presents “Kingdom of Earth” by
Tennessee Williams, Big Top, 8pm
American Cheese Trio, Checkpoint Charlie’s, 10pm
Fast Times ‘80s Dance Night, One Eyed Jacks
Soul Rebels, Le Bon Temps
Neil Stastny and Dane Fouchet’s Comedy Show,
Carrollton Station
Gal Holiday and her Honky Tonk Revue, d.b.a.,
10pm
Rebirth Brass Band, Chickie Wah Wah, 10pm
Geno Delafose and French Rockin Boogie, Mid-City
Lanes
The Project: Sounds of New Orleans Underground,
Handsome Willy’s
Friday, 10/20
Pat Green, House of Blues, 8pm, $26.50
Jedi Mind Tricks, R.A. the Rugged Man, Parish @
House of Blues, 10:30pm, $12
Eric Lindell, One Eyed Jacks
Cripple Creek presents “Kingdom of Earth” by
Tennessee Williams, Big Top, 8pm
Roberto and Lissa, Checkpoint Charlie’s, 7pm
Gill Landry, Checkpoint Charlie’s, 11pm
Morning 40 Federation, Spanish Moon
Truckstop Honeymoon, Le Bon Temps
Brotherhood of Groove, The Zoo, Tipitina’s, 10pm,
$8
Blair Gimma, Les Poisson Rouges, Carrollton Station
Hot Club of New Orleans, d.b.a, 6pm
Blue Runners, d.b.a., 10pm, $5
The City Life CD Release Party, Whisky and a
Revolver, Howlin’ Wolf, 10pm
Little Richard Nixon, Raley’s Revenge, Darkroom,
7pm, $8
Friday Paycheck: Funk, Soul, Hip Hop, Handsome
Willy’s
Saturday, 10/21Saturday, 10/21
Celtic Frost, Goatwhore, House of Blues, 9pm, $20
Cripple Creek presents “Kingdom of Earth” by
Tennessee Williams, Big Top, 8pm
I Tell You What, Checkpoint Charlie’s, 7pm
Andre Bouvier and the Royal Bohemians, Checkpoint
Charlie’s, 11pm
The Public, One Eyed Jacks
Fleur de Tease Burlesque, Spanish Moon
Billy Iuso and the Restless Natives, Le Bon Temps
Bustout Burlesque, Tipitina’s, 8 & 10pm
The Zoo, Carrollton Station
John Boutte, d.b.a., 7pm
Tin Men, d.b.a., 11pm, $5
Impulss, Howlin’ Wolf, 10pm
Jena Berlin, The Armoury, Asking for the End,
Darkroom, 7pm, $8
If Hope Dies, The Human Abstract, Oh Sleeper,
ThroughWhatWas, High Ground, 7pm
Duwayne Burnside, Maple Leaf
DJ Garlick and Scoob, Handsome Willy’s
Sunday, 10/22
Friday, 10/20
Sunday, 10/22
Ani DiFranco, Jesse Harris, House of Blues, 8pm,
$33.50
Gito Gito Hustler, Black Rose Band, Circle Bar
Slewfoot, Cary B., Checkpoint Charlie’s, 10pm
Suplecs, Totimoshi, Year Long Disaster, One Eyed
Jacks
Sunday Music Workshop Series Featuring Mike
Dillon Quartet, Tipitnia’s, 12:30pm, $5
Cajun Fais Do Do Featuring Bruce Daigrepont,
Tipitina’s, 5-9pm, $7
Linnzi Zaorski, d.b.a., 6pm
Mike West and the Truckstop Honeymoon, d.b.a.,
10pm
Monday, 10/23
Saturday, 10/21
Jenny Lewis And The Watson
Twins, The Parish @ House Of Blues
There’s more than just great bangs and
excellent fashion sense to admire about
Jenny Lewis. On 2006 debut Rabbit Fur
Coat, the Saddle Creek sweetheart sets out
on her own, working between Rilo Kiley
gigs to master her first solo project. The
record was conceived in contemplative,
isolated downtime, a mood fully realized
in the final product. Lewis crafts her own
style of contemporary country aided by the
Doublemint charm of the Watson Twins. The
tracks on Rabbit Fur Coat span from upbeat
and knee-slapping tunes to folk driven songs
to forlorn, lost-love laments. As most of the
Omaha scene members are rarely alone on
side projects, Lewis invited some friends to
contribute on “Handle With Care,” a song
originally recorded by supergroup Traveling
Wilburys. Conor Oberst, Ben Gibbard and
co-producer M. Ward sing the parts of Bob
Dylan, Roy Orbison and Jeff Lynne, with
Lewis filling in for George Harrison.
-–Sally Tunmer
Monday, 10/23
Thunderbirds Are Now!, Rescue, Oakley
Hall, One Eyed Jacks
Black Crowes, House of Blues, 8pm, $45
Michael Ian Black, Michael Showalter, Parish @
House of Blues, 9pm, $15
Linnzi Zaorski, Circle Bar
Yoga w/ Pilates, Big Top, 6pm
The Fens, Checkpoint Charlie’s, 10pm
Neslort, d.b.a., 10pm
Papa Grows Funk, Maple Leaf
Tuesday, 10/24 Tuesday, 10/24
James Hunter, Parish @ House of Blues, 9pm, $15
Geraniums, Circle Bar
Acoustic Open Mic Night w/ Jim Smith, Checkpoint
Charlie’s, 10pm
Fleur de Tease Burlesque Spooktacular, One Eyed
Jacks
Thunderbirds Are Now!, Rescue, Spanish Moon
Vextown Niceup: Ska, Dub, & Rocksteady,
Handsome Willy’s
Mike Dillon Duo, d.b.a., 10pm
Kirk Joseph’s Backyard Groove, Chickie Wah Wah,
10pm
Rebirth Brass Band, Maple Leaf
Sip And Spin, Sip Wine Market, 6:30pm
Wednesday, 10/25 Wednesday, 10/25
Kenny G, House of Blues, 8pm, $50
Alex McMurray, Circle Bar
Runoft, Howlin’ Wolf
Cripple Creek presents “Kingdom of Earth” by
Tennessee Williams, Big Top, 8pm
Kenny Holiday and the Rolling Blackouts, Checkpoint
Charlie’s, 10pm
Plains Mistaken For Stairs, Justin Bailey, Spanish
Moon
Groovesect, Le Bon Temps
Walter Wolfman Washington, d.b.a., 10pm
Sky Child featuring Eddie Christmas, Allen Dejan,
Jamell Williams, Chickie Wah Wah, 10pm
Ladies Night w/ Beatgrrl, Brice Nice, Lady Lolo,
Handsome Willy’s
Thursday, 10/26Thursday, 10/26
The Decemberists, House of Blues, 8pm,
$20
Cory Morrow, Wes Loper, Parish @ House of Blues,
9pm, $10
Gorch Fock, Circle Bar
Cripple Creek presents “Kingdom of Earth” by
Tennessee Williams, Big Top, 8pm
American Cheese Trio, Checkpoint Charlie’s, 10pm
Fast Times ‘80s Dance Night, One Eyed Jacks
Soul Rebels, Le Bon Temps
Motorway, Carrollton Station
Rotary Downs, d.b.a., 10pm, $5
Voodoo Crawl, Love Zombie, Gatorbait, Dead City
Shackers, Howlin’ Wolf, 10pm
Coliseum, Haarp, Neutral Ground Coffeehouse, 9pm
The Project: Sounds of New Orleans Underground,
Handsome Willy’s
Eyehategod, Spickle, Chickie Wah Wah,
10pm
New Orleans’ most influential band since
The Meters regroups to ring in this year’s
Halloween. EHG performances are becoming
increasingly rare and may be even rarer if the
Louisiana criminal justice system has its way
with singer Mike Williams. Bring out your
mean face and whatever narcotics you have
to throw on stage like so much trick or treat
candy (EHG has never been shy about asking).
The mighty Spickle opens.
-Dan Fox
Friday, 10/27
Friday, 10/27
Friday, 10/27
Deadboy and the Elephantmen, Priestess,
One Eyed Jacks
Wooden Wand, Radio Atlantic, Ayn,
Eldon’s House, 8pm, $5
Black Elk, Circle Bar
Cripple Creek presents “Kingdom of Earth” by
Tennessee Williams, Big Top, 8pm
Badfish, House of Blues, 8pm, $13
Dominic, Checkpoint Charlie’s, 7pm
Roberto and Lissa, Checkpoint Charlie’s, 10pm
Anders Osborne, Le Bon Temps
Troy “Trombone Shorty” Andrews and Orleans
Avenue, Big Sam’s Funky Nation, Tipitina’s, 10pm,
$10
Twangorama, Carrollton Station
Am, d.b.a., 6pm
Otra, d.b.a., 10pm, $5
Voodoo Vixens Present: Big Blue Marble as Neil
Young, White Bitch as Nirvana, The Public as The
Smiths, Rob Cambre and Potpie as King Crimson
and the MC5, Howlin’
Wolf, 10pm
EyeHateGod, Spickle, Chickie Wah Wah, 10pm
Rural Routine Nine, The Armoury, Cities Killed
Starlight, One Warmer Blue, Two Years Apart,
Darkroom, 7pm, $8
Johnny Sketch and the Dirty Notes, Maple Leaf
Friday Paycheck: Funk, Soul, Hip Hop, Handsome
Willy’s
Saturday, 10/28Saturday, 10/28
Oxford Collapse, Chin Up Chin Up, Shark
Attack, Spanish Moon
The Drive-By Truckers, Tipitina’s, 10pm
antigravity: your new orleans music and culture alternative_29

Friday, 10/27
Turducken’s Masked Ball with Big Blue
Marble, The Public, Potpie, White Bitch,
Howlin’ Wolf
This year’s Voodoo Fest might look
impressive, but for Anthony DelRosario,
the lineup probably elicits a yawn. After
all, he’s been booking the hugest names
in rock for a decade now, demanding they
forgo their guarantees and sometimes even
their own mortality to play for Turducken
Production’s annual Masked Ball. Over the
years, in its former home in the Mermaid
Lounge (R.I.P.), the Ball has hosted Blondie,
AC/DC, the Pixies, Jimi Hendrix, the Doors
and countless other seminal bands. This year’s
lineup is equally impressive, with Nirvana
coming out of retirement/early death, the
Smiths, Neil Young, MC5 and King Crimson.
What’s that? Voodoo Fest has the actual
members, and not local bands dressed up
and playing somewhat loose interpretations?
What the hell does that matter? This is
Halloween, for God’s sake, and if the White
Bitch is going to be Nirvana, well, at least we
can all sing along. And who knows? Maybe
Dave Fera can actually improve on Neil
Young’s singing when BBM becomes Crazy
Horse. The Public will be taking the Smiths’
role and Potpie and Rob Cambre and friends
will honor the spirits of the MC5 and King
Crimson. This year’s Masked Ball heralds
a new day for Turducken Productions.
Despite the closure of the Mermaid and
Anthony’s self-described work as a “math
hooker,” we should be seeing the famously
subdued Turducken show posters tacked
onto telephone poles again—yet another
sign that things are fi nally, fi nally getting right
again.
-Dan Fox
Saturday, 10/28
New Orleans Bookfair, Barrister’s
Gallery, 1724 Oretha Castle Haley
Blvd., 10am-6pm
The tagline associated with the New
Orleans Bookfair describes the festival
as “ a celebration of independent publishing
featuring small presses, zinesters, book
artists, anarchists, rabblerousers, weirdos,
and more,” and there may be no better
way to explain the festival. In its fi fth
year, the Bookfair can simultaneously be
subversive and dynamic, depending on
what table you’re standing before. The
Bookfair is headed by Kyle Bravo, author
of Microcosm’s Making Stuff and Doing
Things and features readings, a “Dunk The
Media” booth with N.O. semi-celebrities,
and the opening of Babylon Lexicon, a book
arts show with work by local and national
book artists. Other participants include
the Aboveground Zine Library, ACLU
of Louisiana, AK Press, Bluecamp Arts,
Bottletree Productions, Fauborg Marigny
Books, Last Gasp, Icon Studios, the Iron
Rail Book Collective, NOLA DIY, and many
more. Up-to-date info on participants and
events surrounding the Bookfair can be
found at www.nolabookfair.com.
-Leo McGovern
Dirty Dozen Brass Band, Jon Cleary and the
Absolute Monster Gentlemen, House of Blues,
9pm, $17.50
Mod Dance Party, Circle Bar
Cripple Creek presents “Kingdom of Earth” by
Tennessee Williams, Big Top, 8pm
Zydepunks, Checkpoint Charlie’s, 10pm
Morning 40 Federation, Americans, One Eyed
Jacks
Anders Osborne, Le Bon Temps
Bustout Burlesque, Tipitina’s, 8 & 10pm
Dash Rip Rock, Carrollton Station
John Boutte, d.b.a., 7pm
Burnside Exploration, d.b.a., 11pm, $5
Johnny Sketch and the Dirty Notes, Kirk Joseph’s
Backyard Groove, Howlin’ Wolf, 10pm
Scarlett Speedster, Ratzinger, Darkroom, 7pm, $8
6 Pack Deep, Northgate Tavern, 10pm, $5
Da Capa Pretta, Outer Banks, 9pm, $5
DJ Garlick and Scoob, Handsome Willy’s
Sunday, 10/29
Saturday, 10/28 (Cont.)
Sunday, 10/29
Supagroup, Peelander-Z, One Eyed
Jacks
Gal Holiday and her Honky Tonk Revue, Circle
Bar
I Tell You What, Checkpoint Charlie’s, 10pm
Supagroup, Peelander-Z, One Eyed Jacks
Mike Dillon and Go-Go Jungele, Le Bon Temps
Sunday Music Workshop Series Featuring Larry
Keel, Tipitina’s, 12:30pm, $5
Cajun Fais Do Do Featuring Bruce Daigrepont,
Tipitina’s, 5-9pm, $7
“Boograss” with Larry Keel and the Natural
Bridge, Kirk Joseph’s Backyard Groove, Tipitina’s,
10:30pm, $10
Linnzi Zaorski, d.b.a., 6pm
Monday, 10/30 Monday, 10/30
Black Rose Band, Circle Bar
El Radio Fantastique, Baby Rosebud,
Thrift Store Romeos, Fox Paw, One
Eyed Jacks
Anberlin, Greeley States, Monty Are I, House of
Blues
Yoga w/ Pilates, Big Top, 6pm
Patient Zero, Checkpoint Charlie’s, 7pm
The Fens, Checkpoint Charlie’s, 10pm
Dirty Mouth, Checkpoint Charlie’s, 1am
El Radio Fantastique, Baby Rosebud, Thrift Store
Romeos, Fox Paw, One Eyed Jacks
James Singleton, d.b.a., 10pm
Papa Grows Funk, Maple Leaf
Tuesday, 10/31
Mountain Goats, Spanish Moon
John Darnielle’s lyrics suggest he’s an
introspective, sensitive guy, all alone in the
world. Delicate and sweet, he sometimes
sounds like he’s trying not to wake someone
in the next room. Get Lonely is one of many
concept albums by the Mountain Goats,
following up the previous album, The
Sunset Tree, which dealt with Darnielle’s
relationship with his abusive stepfather. The
subtle cameos of instruments throughout
the album—including strings, piano and
xylophone—are all beautiful in sound
and placement. Some longtime fans may
be disappointed with the departure from
the lo-fi production from the Goats’ early
work, but the quality of each new direction
reinforces the band’s merit.
-Sally Tunmer
Tuesday, 10/31
The Mountain Goats, Jennifer O’Connor,
Terror of the Sea, Spanish Moon
The Detroit Cobras, King Kahn and the
BBQ Show, Taylor Hollingsworth and
the Spider Eaters, Parish @ House of
Blues, 9pm, $10
Eaters, Parish @ House of Blues, 9pm, $10
The Cult, House of Blues
Clockwork Elvis with the Storyville Starlettes,
Circle Bar
Box Car Satan, 400 Blows, Spickle, Stinking
Lizavetta, Checkpoint Charlie’s, $5
The New Orleans Bingo Show, One Eyed Jacks
Galactic, Mike Dillon’s Go-Go Jungle, Hot 8 Brass
Band, Tipitina’s, $20
Morning 40 Federation, d.b.a., 11pm, $10
Bella Morte, Hanzel Und Gretel, LabWrk with
Torrent Vacine, The Danger Dolls,
DJ 8-Bit, Howlin’ Wolf, 10pm
Kirk Joseph’s Backyard Groove, Chickie Wah
Wah, 10pm
Zydepunks, Hellbinki, A Chalmatian Wedding,
Dragon’s Den, 10:30pm
Vextown Niceup: Ska, Dub, & Rocksteady,
Handsome Willy’s
Sip And Spin, Sip Wine Market, 6:30pm
30_antigravity: your new orleans music and culture alternative

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