November 2006 (PDF) - Antigravity Magazine

[your table of contents]MY MORNING JACKET“I promise you we were having more fun than the crowd.”_page 15

FREEFLOATING RAMBLINGSSEND HATEMAIL TO: FEEDBACK@ANTIGRAVITYMAGAZINE.COM OR: P.O. BOX 24584, NEW ORLEANS, LA 70184This is a big issue forANTIGRAVITY. If you’rereading us for the firsttime, having picked us up atVoodoo ‘06, let me welcomeyou into the fold. We at AGwork to bring you the best inindependent media coveragemonth in and month out,and this issue is no different. If you dig this issue,you’ll want to keep up with us because we coverthis stuff year-round, not just when it’s time tosell some ads for a music festival. November ‘06is also our second first anniversary (our “real”anniversaries are in June), as a year ago we debutedour first post-K issue at both the New Orleansand Memphis Voodoos. Anyway, this issue is a goodprimer for any AG newbie, with The Hold Steady,My Morning Jacket, Stanton Moore, the usualarray of reviews, comics and odd commentary. Wealso welcome a new monthly column by newlyminted Louisiana lawyer Andrew Bizer, who aimsto answer musicians’ questions about copyrightand any other legal issues an artist may have.Next month we plan to add coverage of theatre,with a special contributor to be announced then.We hope you’re looking forward to next monthas much as we are, as we’re planning to featureDr. Dog (finally, for all you Park The Van fans outthere). As always, we’ll see you out and about!––Leo McGovern, PublisherKristy, via e-mailI read this really offensive review of Gene LuenYang’s American Born Chinese graphic novel by RandyLander. It sounds like a great book (that I want to buy),but I couldn’t believe it when I read this: “The resultis an insightful meditation on cultural identity viewedthrough the lens of age-old mythology, modern highschool drama and outrageous ‘minstrel’ style comedy.”(Oct. 2006, page 23)What I want to know is this - since when is “minstrelstyle comedy” a good thing? WTF. The last time Ichecked, minstel comedy was incredibly racist, and itwas something that allowed white people to ridiculepeople of color. I am offended that anyone would writethis in a supposedly progressive paper.I forwarded this to Randy Lander, who had this response:“This is probably my fault, as I was being unclear.I was making a leap, looking at Spike Lee’s use of“minstrel style” comedy in the film Bamboozled, a sortof ownership of a negative stereotype, rather thanclaiming that the original (and deeply offensive) “minstrelstyle” comedies using blackface and racist caricatureswere a good thing. In my defense, Gene Luen Yang’suse of an Asian stereotype (Chin-Kee) for comediceffect was a tweak at the “minstrel style” comedy, justas Bamboozled was, and that’s the comparison I wasmaking. I suspect that if Kristy reads the book, she’llsee what I mean, but she’s right to call me on it, as Iwas being unclear. I apologize if she (or other readers)took offense.”The following e-mails are from an online ticket giveawaywe did for the MC Chris show at Republic. The people whoresponded received two tickets for the show, and all weasked for was an e-mail that detailed their favorite band andwhy it’s their favorite. We figured we’d let the winners plugthose bands here. If you’d like to find out about our ticketgiveaways and other neat things we do online, friend us onMySpace at myspace.com/antigravitymagazine.Craig Brumfield, via e-mailMy favorite NOLA band, and there are many, butat the moment is Spickle. A great instrumental rock/As a favor to mybeloved ownerwho was unable tofulfill his obligations dueto injury, I agreed toserve as the AssociateEditor for this month’sANTIGRAVITY. WhileI’m not accustomed to engaging in such trite – anddare I say it – crude endeavors as this (for a magazinethat takes “rock ‘n’ roll” as its main subject matteris not a publication that I would normally thinkworthy of my acumen), I must admit that I did enjoythe brief sojourn from all my incessant sleuthingand methodical investigating. Even felines needrespite from daily monotony. Why, just the otherday, when I was tracking an extremely clever andresourceful palmetto bug beneath the mahoganyvitrine, I suddenly got the eerie sensation that Ihad been employed in the same activity for days;perhaps weeks on end. Oh, where does the timego? But forgive me, I digress. In all respects, theearnest toil of the past month has been ultimatelygratifying, and I would like to thank Mr. McGovernand Mr. Bonaparte (a man who, among other things,is obviously the progeny of noble ancestry) for theirhospitality and utmost professionalism during theduration of my post. These men are always welcomeat 221B Dander Street.I apologize for my brevity, buttyping is an incredible strain to the paws.- Professor Bumbymetal band featuring guitarist Paul Webb (bass playerfor Hawg Jaw and additional guitar on Suplecs albums,)additional guitar from Gregg Harney (Soilent Greenguitarist) and a fantastic rhythm section rounded outby Bret (bass guitar and former Hawg Jaw bassist) andKenny (drums). Spickle to me sounds like Slayer rapingDon Cabellero while being observed by members ofTool while getting high with members of Bad Brainsand Sleep while the Melvins play in the background.Need one more reason? Earlier this year, at theCircle Bar, Spickle played two free sets and in betweensounds a drunk kept yelling, “Paul Webb!” The guythen taps his girlfriend and said, “Baby, do you knowwho that is? It’s Paul Webb!” My friend who is inseveral local bands asked me who the annoying guywas and I said, “Phil Anselmo...you know…Pantera,Superjoint Ritual?” He shrugged and we turned ourattention back to Spickle.Jeremy Frey, via e-mailI’m going to have to say DoomsDay Device(myspace.com/doomsdaydevice). For my money thereisn’t anyone that sends me on a wim-z-cal ride acrossdementions of time and space, or that frightens me intoboarding myself inside my closet to attempt to swartthe efforts of the hoards of Government Created andtrained zombies.Also i would like to thank you guys for doing sucha great job with your interviews and the selectivenessused when choosing bands.Keep it up.Joe Venta, via e-mailFavorite band: It would have to be Big blue Marble.I first saw them early 2005 and they blew me away.They are one of the best live act’s in town, period!Eugene Ward, via e-mailMy favorite local band? Liquidrone. Why? Theyhave done an excellent job of bringing the electronic/experimental music shy crowd out to see their crazylive performances and have bridged many differentgenres of music. It is hard for these sort of acts tohave a good stage presence, but they, along withThere’s a certainfeeling ofclosure associatedwith the pressingof this issue.A N T I G R A V I T Ybegan its post-K existence withcoverage of RehageAgainst TheMachine 2005, andwhat a long, strange trip it’s been to get back tothis point. We’ve braved an uncertain spring,a stupefyingly boring summer and a blessedlyanticlimactic storm season, and barring theoccasional heinous murder or embarrassingpolitical scandal, things are feeling excitedlyroutine once again. There’s nothing roteabout this edition of the magazine, however:Not with world-beaters like the Hold Steadyand My Morning Jacket heading up our regularcoverage, nor with our issue-within-the-issuereward for Voodoo Fest attendees—an eightpagebun in the AG oven featuring the FlamingLips, Broken Social Scene and Jamie Lidell ininterviews by some of our local musicianfriends.Next item on the agenda: sprucing upa dead December with Dr. Dog and the BlackKeys …––Noah Bonaparte, Senior Editortheir partners in crime, Bingo, have given NOLA a goodreputation.That’s it for this month. Next month we’ll have Dr. Dog(I promise) and a couple of new features (if everything goesright). Anyway, go ahead and get into this issue. It’s a doozy. 04_antigravity: your new orleans music and culture alternative

ANTI-NEWSSOME OF THE NEWS THAT’S FIT TO PRINTTOWER RECORDS CLOSESTower Records was auctioned off to Great American Groupon October 6th, with the new owner choosing to liquidatethe music giant’s eighty-nine stores, including the chain’s N.Peters St. location, which may have been the largest musicoutlet in New Orleans post-K. Tower filed for Chapter 11reorganization in August, citing general decline in music sales,online downloading and competition from stores like Wal-Mart. Tower’s closing, coupled with the non-reopenings ofother music stores like Virgin Megastore and Magic Bus, leavesLouisiana Music Factory (210 Decatur St.) as the only FrenchQuarter music retailer still standing post-K, and the Mushroom(1037 Broadway St.) as the only store you’re likely to find notonly the releases AG covers, but rock in general.MUSIC CAN BE MORE FUN, TOOOne potential bright spot after Tower’s closing, for localindependent artists, at least, is a new shop-within-a-shop atMore Fun Comics called More Fun Music. More Fun managerDC Harbold plans to open the new section in January but isalready accepting materials for consignment. Harbold intendsfor the section to be comprehensive, so local bands of anygenre, as long as they’re independent, are invited to bring intheir materials. For more info, e-mail morefunmusic@yahoo.com or call 504-865-1800.REGGIE GETS FIGUREDMcFarlane Toys has a Reggie Bush action figure slatedfor release in November as a part of its NFL Series 14 line.From McFarlane’s spawn.com: “New Orleans Saints RB/KR:The happiest people to see Reggie Bush playing in New Orleansare the Saints faithful, but a close second are the fans of theother nine PAC-10 schools he abused during his breathtakingcareer at USC. With speed, power, and ridiculous moves,Bush is an absolute weapon in the open field.” Other players inSeries 14 include Chiefs running back Larry Johnson, Chargerstight end Antonio Gates and Steelers safety Troy Polamalu.For more info, go to www.spawn.com.JUSTIN HAWKINS QUITS THE DARKNESS,ADMITS DRUG USEAfter a stint at a British rehab clinic and admiting that he spentover $300,000 dollars on cocaine over a three year period,Darkness glam rocker Justin Hawkins has quit the band hehelped make famous. If $300,000 over three years seems likean extraordinary amount of money to spend on drugs, well,that’s because there are tons of other things you can drop 300large on. If you’re curious as to what else Hawkins could’vespent that money on, the list includes 12,000 VIP tickets toa Big Easy Rollergirls bout, 25,000 copies of the new RotaryDowns release Chained To The Chariot, 300,000 trips over theGNO bridge after visiting the Westbank, and half of AG editorLeo McGovern’s soul.HAVE SOME AG WITH THAT WINEWe’ve written before about Sip, the upstart wine shop onMagazine St. that not only endured the summer of ‘05 to openone year ago but also a not-so-nice ownership battle thateventually left Sip’s original concept-maker Jen Powell as dailyproprietor. Now, more good news emits from the market asANTIGRAVITY takes over the first Tuesday of every month,programming the market’s weekly Sip ‘N’ Spin tasting. Startingat 6:30 and lasting at least until 8:30, you can check out musicfrom artists featured in that month’s AG, as well as new musicthat may be laying around the office.I WANT MY STATIC TVANTIGRAVITY is an official associate of Static TV, which airsevery Tuesday at 10pm on Cox 10. Each episode featuresmusic videos and interviews with both New Orleans andnational artists. The debut episode, which aired on October17th, featured videos by Preservation Hall Band (featuringClint Maedgen), Jamie Lidell, Panther, Cursive, Yeah YeahYeahs and Dr. Dog, and the feature interview was the SpintoBand. Find out more about Static TV at www.myspace.com/static_television.HELP LOCAL BANDS RALLY AROUND RESIDENTLast month, French Quarter resident Tom Haulard was ridinghis scooter through a neighborhood when a car ran throughan intersection that lost its stop sign to Katrina and hitHaulard, breaking his pelvis, arm, and leg. Stuck in the hospitalwith no medical insurance, Haulard is now forced to pay thebill for an accident in which he was a victim. To help with themedical costs, a few of Haulard’s friends — the Good Guys,Blair Gimma, Silent Cinema, Happy Talk Band, and the CraftBrothers of Glasgow — have come together for the I

Even though it won’t be open until next July, I droppedby Chris George and Daniel Majorie’s Living Room Studiorecently to check up on their progress. George founded theLiving Room Studio in, you guessed it, his living room in 1997and started to record artists like Silent Cinema, Glasgow,Big Blue Marble, Suplecs, Spickle, Hazard County Girls, andMangina. Friends since high school, George and Majorie hadrecorded together during semester breaks back in the day, sowhen Majorie called to say he was returning from Tennessee,they started looking for a bigger studio. In October of 2004,the duo purchased a 1930s wood frame former church inAlgiers to serve as the future location of the studio. In Januaryof 2005, they recorded their last client at the old studio – SamSarah – and started work on the church. It sits on nearly anacre of land, and thanks to Majorie’s plumbing and electricalskills and George’s painting and designing talents the place isalready looking pretty fly. I’m going to go ahead and say, withno disrespect to Piety St. and Truck Farm et al, that the LivingRoom will be the most requested local recording space whenall is said and done.ANTIGRAVITY: So, this is going to be a lifetimeinvestment. Is that what you’re thinking?Chris George: Yeah.AG: You’re putting enough work into this so thatyou make it so nice that hopefully, not only willeveryone want to record here, but it would besomething that, if you had kids, you could hand itover to your kids or whatever?CG: Yeah, this is an actual house. This right here (points tomain room) is bigger than the house I used to record in. Wealso have a workshop in the back and a huge yard that partof it we’ll turn into a courtyard. In the shop I’ll have a TV. Ialready have a pinball machine and a pool table. I’m going to setup some fans so that the bands can go back there and smokeand do whatever. If the singer is doing vocals and everyoneelse is bored, you know, they can go into the shop and playbasketball. The key thing is to keep them entertained. Theshit can get so boring. Imagine if you’re the drummer and thesinger is doing 87 takes of a chorus part and he keeps fuckin’up, he’s probably ready to kill himself. Especially if he’s fromMissouri and he can’t go anywhere.AG: What about bunk beds? Is it that big?CG: Well, the ultimate goal is that Daniel and I can move outand turn these two rooms (points to plans) into bunkroomsfor visiting bands. Temporarily, when I buy sofas for the studio,I’m going to buy sleeper sofas. I may even buy some cots. I’llmake it so that they can stay here, because if they have to stayin a hotel, it would suck. It’s like we willed this place into ourexistence. We knew that if we didn’t get this we’d be fucked,emotionally, because we like old cars, I like darkroom stuff,Daniel likes building electronics, so we knew that with thatworkshop, we’d be able to do whatever we wanted. Everyroom I wrote down all the dimensions, and I was working onthis drawing before we owned the place. We’d discuss whatwe should change and what we shouldn’t.AG: Are there any qualities that people enjoyedfrom the old Living Room that you’re going toincorporate into the new one?CG: I think it was because they felt comfortable, maybe. Mostof the bands I recorded I saw live. Half of ‘em I went up to ‘emto a show and went, “Hey, I have this studio. You should comecheck it out. I’ll do it for two weeks for this much money.”They can’t pass it up because if four guys in the band put upfifty dollars each and they record for two weeks, you know?AG: That’s probably exactly what bands want.They want someone to come to them who’spassionate about the music instead of having togo to someone. You’re going to invest more ofyourself because you’re passionate about it.CG: It’s equally terrible for me if I’m not into the band andthey ask me to record them. It goes both ways.AG: Yeah, and if you’re into the music, you don’twant to screw it up because you’re a fan. Whatare some things about The Living Room that’llmake it stand out from other recording studios inthe city, or is it more about relationships?CG: No, it’s going to be about the building, too. I obsess overevery single room. Like, I want them to go take a piss and belike, “Man, this bathroom sounds awesome!”AG: How did you get the ideas for the studio? Areyou modeling it after other recording studios?CG: It comes from stuff that aggravated me in my old place.You know, if I can ever do it right, I’m going to have a retardedamount of shelves to put everything. (Points in the main room)These two rooms will be isolated rooms. Both of ‘em are goingto sound different. One of ‘em is going to be extremely dead,like record a bass amp at 2 a.m. kind of room, and one of themis going to be a little more live.AG: How do you make a room live and make aroom dead? What’s the difference?CG: Depends on what you treat the walls with. The one that’sgoing to be really dead is going to be lined with a rubber thathas a lead liner in it. It’s comparable to a concrete wall.AG: Are there things you can do in a dead roomthat you can’t do in a live room?CG: It’s all about options. A dead room could give you moreoptions as far as adding effects. If you’ve already got a vocalrecorded in the live room that’s already wet with natural roomsound, you don’t really have a lot of room to add more reverbwith a processor, because then that would overdo it. You maywant a certain effect so you track it in a different room (deadroom) so you can add it artificially later for whatever reason.The same thing with a guitar. Out here(in the main room) it maybe a little too loud. You may want to tighten it up. You pieceit all together. It’s like doing a painting. You can do it howeveryou want. You make decisions as you go. Some of the wrongdecisions might end up sounding good. You made that decisionand you’ve gotta live with it. I know a guy that lost a clientbecause of a decision he made. It wound up being their bestsong. He lost the client because they got in this big fight aboutthat decision, and then down the road, it turns into this big song,and he ends up getting more clients because of it.AG: Do you know the history of this church?CG: Yeah, I looked it up. It was Calvary Baptist Church, whichis on Degaulle now. The government bought it from ‘em in ‘56because they didn’t know how much of this land they weregoing to need to build the bridge on.AG: Are you going to be recording with analog orPro Tools?CG: Analog. We have three tape machines.AG: Why analog over Pro Tools?CG: It just sounds better.AG: Do you find that most people agree with you,that analog sounds better, at least?CG: Yeah. That’s not really a secret that it does. A wellmaintainedtape machine sounds the best. It’s a lot of work,but everything that’s great is a lot of work. The computerthing is fine for what it is. I just don’t choose to use it. Myultimate goal is to make an awesome sounding record. I don’tcare about changing a word in a vocal track, editing it out. I’drather have the singer sing right. Everything is so focused onbeing perfect now.AG: Why does it have to be perfect? Where’s theraw...CG: That’s part of the reason music went down the shitter isbecause you can take somebody who can’t sing and you canmake ‘em sing.AG: Yeah, it’s become really commonplaceto separate all the instruments in recording.I understand why people do that, but nobodyrecords live anymore.CG: I’ve always recorded live. Always. Even if it’s separatedwith headphones, it’s still live.“AM I A CHRISTIAN/ARE YOU A JEW/DIDYOU KILL MY LORD AND SAVIOR/MUST IFORGIVE YOU?”I saw a great concert in October at the Republic.David Bazan from Pedro the Lion played an acousticsolo set, and from moment one, I knew the show wasgoing to be special. It was like being in church and verysimilar to seeing Low or Iron and Wine. Most of the50 or so knew the words and sung along with Bazan’sdepressed witticisms. I enjoyed the acoustic soundbetter (because it was more stark, personal, and raw)than his band work with PTL, but of course, after theconcert I went back to the band stuff and was able toappreciate that for being fuller in sound.Bazan asked the crowd if they had questions betweenevery third song or so, and while most asked aboutthe music, people also inquired about what he atethat night or where he had gotten his sneakers. Therewas great vibe in the room, and Bazan was a gracious,funny, and self-deprecating host. His feet-shuffling andface-twitching during songs made him endearing andmade his music seem that much more delicate.Bazan is a modern lyrical master of the gray area, justlike Dylan, of whom Bazan covered “The Man in Me.” Hedeals with uncertainty of the heart constantly, whether itbe in adultery, lies, amorality, or other things we’d rathernot talk about. He talks about things we love to relate tobut hate to think about. He talks about tragedy, and manhis words are hard-hitting (“A white ghost, making his wayup the west coast/Trying to focus his high hopes on a vaginaor two/He’s taking his chances/Meanwhile, back in his livingroom/Bright smiles are watching his toddler run speed trials/Over a grandmother’s rug/And nature advances”). He can befunny too, though – “You’re so creative/With your reviews/Of what other people do/How satisfying that must be foryou/Am I a Christian? /Are you a Jew? /Did you kill my Lord?/Must I forgive you?”His music is pretty great, as well. Some good referencepoints are Elliott Smith, (Smog), and Jeremy Enigk. He doesn’tkeep your attention so much by changing meter but bychanging rhythm. He kept my focus on him for 90 minutes, andthat’s pretty good for one guy on a stage. I wish he would haveplayed for another 90. It’s rare that I hear a singer-songwriterwho has so many good things to say that sound so good.Bazan’s songs are a call to arms. A call for honesty,carefulness, and caring.06_antigravity: your new orleans music and culture alternative

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MPFREECOMPILED ANDSPONSORED BY:SOUND ADVICEENTERTAINMENT AND MEDIA LEGAL TIPSBY ANDREW BIZER, ESQScared to download music from Kazaa or other services thatcould get you sued by big business? No worries here. These are100% free mp3s from artists who know how to promote theirmusic--by letting people hear some of it for free. So check theseout and buy the album or see their show if you enjoy hearing it.Christopher Willits - “Yellow Spring”Indie pop from Surf Boundaries (Ghostly)Beach House - “Apple Orchard”Music for boredom from Beach House (Carpark)Jamie Lidell - “Multiply”Blue-eyed soul from Multiply (Warp)Ratty Scurvics Singularity - “One BrightMoment”Local experimental rock from Tests (Self-released)Otiose Octopi - “A Very Special Ifshmas(Featuring Ifsh)”Experimental blips and beats (Web Exclusive)The Eyelash Carpets - “Demystified”Noisy electronics from Happiness Once Again(Anexia)Yellow Swans - “I Woke Up (excerpt)”Electronic noise from Psychic Secession, (Load)Visit TWX for these free songs and others not listed here.TWX does not profit from the information provided onthe blog or from the mpFree column. ANTIGRAVITY is notresponsible for the content on The Witness Exchange. Pleasecontact the site author if you are one of these artists and wishto have any links or files removed and your request will behonored immediately.Are you an artist with mp3s available on yourweb site or another free music service? If so, sendan e-mail with your URL, along with a descriptionof your sound (press clipping preferred), to:mpFree@antigravitymagazine.com.Dear Andrew,I’m in a band and we just finished recording our first album. We’re not signed and we’llprobably just put out the album ourselves. We are covering “Sussudio” by Phil Collins. Dowe need to get his permission to use the song? How are we supposed to contact PhilCollins? —Waldo J.Waldo,You do not need to track down Phil Collins and ask him for permission, but you will needwhat is called a “mechanical license.” A mechanical license is the license you need to reproducecopyrighted musical compositions on CDs, records, and tapes.Songwriters do not get complete control over their creations. While authors of books can decidewhat publishing house publishes their works, copyright law does not grant songwriters the samecontrol. Once a song has been recorded and released, the songwriter does not control who doesand who does not record and release their songs. Phil Collins does not get to pick and choosewho can cover “Sussudio.” US copyright law states that once a copyright owner has recorded anddistributed a composition to the public (or allowed someone else to do so), a mechanical licensemust be granted to anyone who wants to record and distribute the composition in the US, as longas they pay the royalty rate set by Congress. There’s nothing the songwriter can do to prevent hisor her song from being re-recorded and released, as long as the copyright owner is paid.Currently, the mechanical royalty rate set by Congress is 9.1 cents for recordings of compositionslasting 5 minutes or less. However, if you have recorded “Sussudio,” the extendo-jam version (Godhelp us all), then you must pay an additional 1.75 cents per minute. If your version of “Sussudio”does not exceed 5 minutes (we can only hope), and you press up 1,000 CDs, you must pay PhilCollins $91.00. If you do not, Phil Collins could sue you. Also, you cannot press the CDs, distributethem, and then wait for Phil’s lawyers to send you a nasty letter and then ask Phil for a mechanicallicense. It doesn’t work like that. If you make and distribute CDs before notifying the copyrightholder, you lose your right to a compulsory mechanical license. If you didn’t get the license, Philcould sue you for damages and then prevent your version of “Sussudio” from ever seeing the lightof day (and we’d all suffer from your mistake).So where do you go to get this mechanical license and how do you pay Phil Collins his 9.1cents? A large number of copyright holders of musical compositions (known as music publishers)have authorized the Harry Fox Agency (the “HFA”) to issue mechanical licenses and collectmechanical royalties on their behalf. Luckily for you, Phil Collins’s music publisher uses the HFAto issue mechanical licenses. The HFA website (harryfox.com) is a very user-friendly site. It has asearch feature to let you know if the HFA licenses the song you want to cover. Since the HFA doeslicense “Sussudio,” you can license the song through the HFA website and pay for the license withyour credit card. Fortunately (or unfortunately) Phil Collins himself need not be a direct party tothis transaction.Finally, it is important to note that HFA does not work on behalf of all music publishers.When a song you want to cover is not available for licensing through HFA, you must contact themusic publisher directly for a mechanical license. The best tools for finding out who publishesa particular song are the search features on BMI and ASCAP’s websites. ASCAP and BMI arepublic performance license agencies, so in your case, you don’t need to fool with them to get amechanical license. However, you can use their free search features to get the contact informationof a song’s publisher. In most cases, it even gives you a phone number.Good luck in you quest for a mechanical license for “Sussudio.”Hey Andrew,What’s the best band in town? - DarrylDarryl,The Black Rose Band rules. It’s just that simple.Andrew Bizer, Esq. is an attorney admitted to practice in Louisiana and New York.He previously served as the Manager of Legal and Business Affairs at EMI MusicPublishing and has worked in the legal department at both Matador and Universal/Motown Records. When he was 17, he sang in a grunge cover band with the singerfrom Maroon 5 (no kidding!). This column is to be used as a reference tool. The answersgiven to these questions are short and are not intended to constitute full and completelegal advice. The answers given here do not constitute an attorney/client relationship. Mr.Bizer is not your attorney. But if you want him to be your attorney, feel free to contacthim at andrew@bizerlaw.com. Or, just email him a question and he’ll answer it in nextmonth’s Antigravity.08_antigravity: your new orleans music and culture alternative

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ANTIGRAVITY: Actually, this is kind of funny.When I was around 19, my girlfriend and I used totravel all over to see you guys and we always madeit a point to talk to you. We saw you in Atlanta,Nashville, Houston. Everywhere but Louisiana. Idon’t know if you remember…Patrick Hallahan: Sure. Were you there for the first showwith Carl and Bo, at [Birmingham venue] WorkPlay?AG: Yeah.PH: Yeah, I remember you. That’s awesome, man. You’re ajournalist now?AG: Yeah.PH: Fantastic.AG: How have things been going for you guys?PH: I have absolutely no complaints. I want to thank whoeverit is that’s made this happen.AG: How much have your liveshows changed in the last year orso, since the new record [2005 opusZ] came out?PH: You know, they haven’t really changedany more than they normally change. We’realways in a state of evolution, so I don’t thinkthat it’s that dramatic of a change. I thinkwe’re getting tighter as a band.AG: Do you think that the shift inyour sound has been a result ofadding the new guys or is it Jim’snatural evolution as a writer?PH: You know, that whole period was so incredible, and I’vebeen so close to the source that I don’t know if it’s been thatdramatic of a change. I just know that they [the new guys]were at once a part of the family.AG: So they gelled well with you guys.PH: Absolutely. I mean, you saw the first performance withthem and that was literally two weeks after we picked them.So, if you can remember back to that day and remember thatshow, it was almost scary how easily they fell into their spots.AG: That’s interesting because I remember afterthat show some guy was yelling, “This ain’t MyMorning Jacket! My Morning Jacket is [thenrecentlydeparted members] Danny Cash andJohnny Quaid!”PH: [Laughs]AG: Have you guys experienced much backlashlike that?PH: You know it’s funny, but not that much. If there wasanything like that at all, it was when they first joined the bandand even then there wasn’t much of it at all. Nobody couldreally tell that they were new. It’s really funny, and this was inno way our intention, but Carl and Bo kinda look like Dannyand Johnny [laughs]. So I’ve gotta be honest with you; I don’tthink most people noticed the difference until a little bit lateron, that they had joined the band.AG: The only thing that threw me off was that“One of my only regretsin life is not takingpiano lessons when mydad wanted me to.”I knew Johnny played a SG and I noticed Carlplaying a Les Paul.PH: Well, not everybody’s a gearhead, so we were able tosneak that by them [laughs].AG: Well, it seems like you guys have kind ofbecome the house band at Bonnaroo. I’m not sureif anyone has played there as many times as youguys have. I’ve never been, but I’ve seen videos ofyou playing [the Who’s seven minute operetta]“A Quick One While He’s Away” from this year.You all look like you’re having more fun on theroad and on stage than anybody.PH: I promise you we were having more fun than the crowd,especially playing that song. That was wonderful. We’d talkedabout playing that about a year ago, and I think we tried itwithout practicing or anything, but it didn’t work out. But toget to play that song, try to get it down, try to bring it as closeas you can to what the Who did… it was just so much fun.Man, that was such a great night. But you know, all of ourshows are like that now. We’re really enjoying where we are.AG: A friend and I were watching that videoyesterday — he’s a drummer — and he goes,“Man, you should ask Patrick how much he likesKeith Moon, because he’s totally pulling it off.”PH: [Laughs] I don’t think I’m pulling it off!AG: Well, that’s a pretty high standard to holdyourself to.PH: Well, tell him thank you. That’s a hell ofan aspiration. See, I don’t think you can playthe drums like he did without substances. Iguess that’s the one thing I could do, starta cocaine habit and drink more [Laughs]. Idon’t know, I don’t know how he did that.AG: So is he one of your bigdrumming inspirations?PH: Absolutely. Especially his recklessabandon. I think part of my drum theorydefinitely has that reckless abandon.AG: One of the only real knocks onyou guys is that your live shows are so incrediblethat they can’t be captured in the studio. Is thatwhy you’re releasing Okonokos?PH: We’re releasing Okonokos because we’ve always talkedabout trying to capture a live performance ourselves andreleasing it as a proper album, not like a bootleg or somesoundboard recording. I mean, you can’t forget the fact thatstudio albums and live albums have a different air about them.You don’t want to go to a live performance and hear somethingthat sounds just like the record. We’ve been talking about this16_antigravity: your new orleans music and culture alternative

for a while. I don’t thinkwe were trying to capturesomething that we missedin the studio, I just thinkthat we wanted to archiveour live show so that wecould always have it.AG: Yeah, tell me alittle bit about thevideo. From thetrailer, it looks likeit’s much more thana concert film.PH: Well, we didn’t wantto release just a concert. Imean, that would be okay,but we wanted to dosomething that stood out,so Jim came up with thisstory off of the top of hishead and we went fromthere, you know? We just want to capture ourselves at this point in our careers so that whenwe’re old we can sit back and remind ourselves that we were viable once [laughs].AG: How was working with Cameron Crowe on Elizabethtown?PH: Oh, it was fun. It was a very positive, cool experience getting to learn how the movieworld works. He definitely let us get involved with it. It was a process that we’d never beenaround before.AG: Yeah, it was strange to see you standing behind a keyboard.PH: Yeah, I was living vicariously through film. One of my only regrets in life is not taking pianolessons when my dad wanted me to. So I just play one in the film.AG: Why do you think that your band transcends so many different typesof people? You almost have this universal appeal among hippies, hipsters,country music fans…PH: We aren’t really trying to please any specific type of people. We never wanted to bethe cool kids in high school. We were always in this weird middle ground where we kind offlowed in and out of all these little groups so we’ve never really wanted to be categorizedas one thing, and that carried over into the band. It’s just who we are. It’s just our mindsetand it definitely benefits us while making it very hard for you journalists to pigeonhole us.Sorry about that.AG: Did playing with the Boston Pops open you guys up to any old, bluebloodtype people?PH: Yes! How great is that? Old ladies were writing us from Boston: “Hey, we love you. Webought the live album!”AG: That’s awesome.PH: Eighty-year-old ladies.AG: How was the tour with Pearl Jam in Europe? You guys had early successover there in Holland, right?PH: Yeah, and the cool thing about touring with Pearl Jam was that we got to go places that we’dnever been before. They’re great. We’d just finished a US tour with them, which was awesome.It was scary, because their fans are notorious music fanatics. They’re a hard act to open for. Butwe didn’t get that many “boos.” I mean, no one was trying to tear our shirts off as we walked offthe stage but they weren’t throwing rotten produce, either. They’re a great live band.AG: I think it’s interesting that you guys have chosen to forge your ownpath. You could have made a very comfortable living staying on that wholecountry-rock/jam band circuit for the next twenty years, but you took arisk and it seems to have paid off.PH: Well, we had no choice in the matter. We just follow what our brains tell us.AG: So this is your third attempt to play New Orleans in as many years, allof them scheduled during hurricane season.PH: This time we’re coming.AG: Were you in the band yet the last time the band came here?PH: Yeah. We played with Guided by Voices. It was my first tour with the band, in 2002. Fouryears ago. That was the last time we played there. I think Hurricane Ivan was the first cancelledappearance, right? And then Katrina?AG: Yeah, which was a much more honest threat. Well, I wish you the best of luck.PH: Likewise. Good luck with your journalism career.AG: Thanks. See you in a month.PH: Alright, thanks, buddy.antigravity: your new orleans music and culture alternative_17

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The Hold Steadywere born to rockBy Noah BonaparteThe Killers’ Brandon Flowers has been doing a lot of lip-fl apping in the press of late: about how he discoveredBruce Springsteen before his band began writing its latest record, Sam’s Town; about how Sam’s Town, by pickingup where Born In The U.S.A. mercifully left off, ranks among the best albums of the last 20 years. Irony ofironies—at the time Flowers was making his questionable comments, Sam’s Town wasn’t even the best Boss-aping LP tosee release in the last 20 days. That honor fell to Brooklyn’s the Hold Steady, whose Boys And Girls In America doesn’t somuch evoke the E Street Band as it invites the defunct outfi t over for a revitalizing jam session over beer-can chickensand a backyard BBQ. There’s a certain lived-in quality to this latest batch of classic-rock-reviving road-house beauties,from Craig Finn’s conversational hooks to Tad Kubler’s log-splitting licks and Franz Nicolay’s Southern-baptized pianofi lls. But there’s also an unquestioned melodic focus that never quite materialized on the critically lauded, lyricallydominated Almost Killed Me and Separation Sunday. These new songs are, for perhaps the fi rst time, as much fun to digestas they are to dissect.Somewhere between Los Angeles and San Francisco, Kubler crawled to the back of the band’s rider to speak withANTIGRAVITY about boys, girls and America.antigravity: your new orleans music and culture alternative_19

ANTIGRAVITY: So you’re out in Cali now. Got anyhighlights from the first two weeks of the tour?Tad Kubler: Last night was definitely one of them. Actually, Iwas just really surprised at the turnout. The enthusiasm, stufflike that … People really love this record. They’re having agreat time. The Soul Asylum guys were at our show in Tucson,and Dave got up and did “Chillout Tent” with us. They playedthe next day there. That was really cool. I had never met himbefore. I had met Andy a bunch, but I’d never met Dave. So wehad drinks. Last night, the show was sold out, and the Luceroguys came out to see us; they had the night off. And KieferSutherland was there.AG: That’s funny—I just saw that clip on yourwebsite where you’re discussing the 10 greatestvampire movies of all time. He’s got to rank highon the list of greatest vampire actors, right?TK: Oh, absolutely. He’s been in some of my favorites. It wasso weird to see him there. He looked like he was having agood time.AG: The band’s profile has really grown since thelast tour. Have a lot of these dates been sellouts?TK: No, but we’ve been playing bigger clubs this time. But thepress from the new record has been pretty intense. You don’tknow how it translates until you get out there.AG: Most groups take a year or two betweenrecords to recharge, but with three records inthree years and nearly nonstop touring, you guysseem to feed off of constant activity.“I was just listening to AC/DC [singing]: ‘TNT … Oy! Oy!”And I was like, “We need somestuff like that.’”TK: I don’t know how deliberate that is. We just really enjoydoing it. It’s fun for us. I read articles about some bands thatare like, “I really had to write this song … I needed to letit out … blah blah blah.” For us, it’s more like, open up acouple of beers and let the rock happen, I guess. I wish therewas more of a story or a better formula to it than that, butit’s just us getting together and having a good time. We tourreally well as a band, and we all have a tremendous amount ofrespect for each other, as players and as people. That helpsus hang together. It’s kind of a gang mentality, taking care ofeach other.AG: What’s the Hold Steady like on tour? Seemslike you guys have a lot of fun together.TK: Well, the band started with just Craig and I gettingtogether a couple times a week to drink beer. So it certainlyisn’t anything we take for granted. It’s a tremendous feelingfor us to be out here, having people come out and get excitedabout what we do.AG: I read that a lot of Boys And Girls was put downat your recording studio, Atomic Recording.TK: Yeah, we did some of it there. We actually did all of thedrums and a lot of the bass tracking in Hoboken. It was the firsttime we’ve worked with a producer—John Agnello. He’s beena fan of the band for a long time, and when we were talking toproducers, actually being able to use one on this record, it washis enthusiasm for the music that made us want to work withhim. John had an idea of what he wanted. He was like, “Youguys are such a great live band.” He came to a couple of the20_antigravity: your new orleans music and culture alternative

ehearsals when we were writing the record, and he wantedto create a space for us, both physically and mentally, wherewe were really comfortable playing together. So that wasdefinitely part of it. And (keyboardist) Franz (Nicolay) and BobLevine—on the last record, they were kind of new membersat the time. This time, we did so much touring for SeparationSunday, I think we found our stride as a full band. The writingof it was really great, a real collaborative effort.AG: There’s your guitar licks, of course, but Ithink the sound that really defines the record isthat amazing grand piano. Like, somewhere outthere Bruce Hornsby is pumping his fist.TK: [Laughs] Franz is such an incredible player and an incrediblemusician. I’ll bring in an idea for a song, and we’ll just sit downtogether and hash stuff out. We deliberately wanted to featurethe piano on this one.AG: What were some of the other goals headinginto the studio?TK: Obviously, a big element was going into this as a bandmore so than in the past. And the other thing is, Craig hadbeen writing so much—he’s constantly writing stuff. I wouldalways look over at him in the van, and he’s scribbling stuff inhis notebook. While it certainly isn’t a concept record like thelast one, we definitely had a solid theme that we wanted totry and tackle on this one. And I think that (opener) “StuckBetween Stations” was the first song we actually wrote for therecord. Listening to the lyrics come together on that one, weall sat down and talked about what, thematically, we wantedthe record to be about. It had a really heavy influence on thesongwriting.AG: Was it obvious right away that it would bethe first track on the album?TK: Um … We didn’t know it would be the first song onthe record. But after we got all the tracks down and startedthinking about which ones would make the record, we werelike, “This would be a great way to open.” And it’s even gotthe (Kerouac) line in it: “Boys and girls in America have sucha sad time together.” It was like, alright, let’s let people knowwhat we’re doing. And with Craig really having such a cohesivehandle on what he wanted to sing about, it was easy to writethe record around.AG: In one of your reviews, the writer statesof Craig’s singing, “It’s a unique and, at times,profoundly irritating voice.” I thought it funnythat even when he’s annoying someone, Craig stillmanages to make it profound. Are some of themore vocally impressive tracks like “Citrus” and“First Night” a kind of fuck-you to your critics?TK: First of all, let me start off by saying we’ve been incrediblyfortunate with the critical praise we’ve gotten so far. It’scertainly not a reaction oranything like that. I thinkthat he intentionally wantedto try and use his voice asmore of an instrument onthis one. I’ve been playingwith Craig since Lifter Puller,and he’s a great singer. It justdepends on what he’s tryingto articulate. Sometimes thenarrative direction of thesong takes precedent. Butwith Franz and I singing a lotof backups on this record…AG: I was going to askyou about that—thebackup vocals on thisrecord really are great.Is that all you?TK: Yeah, yeah, on thegang vocals. Like, I wasjust listening to AC/DC[singing]: “TNT … Oy! Oy!”And I was like, “We needsome stuff like that.” Gangvocals have always been myfavorite—bands like NakedRaygun totally championthat. So that was definitelya big influence. Songs like“Citrus” and “First Night,”that’s just us growing andprogressing as a band, trying to step out of our comfort zoneas players and try new things. The guitar part on “Citrus” wasjust this little thing I wrote for my daughter that I played forher all the time.AG: I read a hilarious quote from you about that… You were saying to Craig, “Please don’t make itabout some chick who ODs.” I can just see him inconcert: “This one goes out to Tad’s little girl!”TK: [Laughs] Yeah, totally. But with things like that, I probablynever would have brought that in to the band in the past.The bands that I really appreciate, bands like Fugazi and Wilco,when you look at their first record and what they’re doingnow, there’s a real, obvious growth. This sounds like such arock ‘n’ roll-cliché fucking answer, but to watch their craftgrow like that, to watch them grow as players—that’s alwaysbeen super inspiring. Hopefully, we’ll continue to do that.AG: You’ve said that album sequencing hasbecome something of a lost art …TK: Where did you read that?AG: Not sure—in one of your recent interviewsonline, probably.TK: I really do believe that. Obviously on the last record,Separation Sunday, the sequencing was something that we hadto think about, but just given the narrative thread throughoutthe record, that played into the sequencing. On this one,because it wasn’t a concept record with a real cohesivenarrative thread, it was one thing that we tried to pay realclose attention to. [Laughs] And came to blows a couple oftimes over what songs should be first and what songs shouldbe last.AG: Really? There were arguments over theorder?TK: I mean, I shouldn’t say that. But a lot of, “Oh, that songshouldn’t be there.” In the end, we really left it up to John.That’s what’s so great about having a fresh set of ears—somebody who’s not attached to the songwriting process.Working with a producer like that, it was kick-ass to hearwhat he had to say about it.AG: Side A just kills. I think the first four songsare the best beginning to any album this year.TK: Yeah, when I hear it now, I love the way the record opens.There was a lot of debate over what songs should be first andwhat songs should be second. I think we went through threeor four different sequences, and the final one, after listening toit, we were like, “Yep.”AG: I want to ask you about some specificinstrumentation from the record. In my notes on“Chips Ahoy,” I just have “organ/guitar orgy.”Can you explain?TK: [Laughs] Yeah. I think in the past I would’ve thrown a bigguitar solo in the middle of that breakdown. Instead, on thisone, it’s like, “Man, this motherfucker can play. Let’s let himdo it.” It’s really tremendous to watch Franz in the studio. I goin, have a couple beers … I wouldn’t say I’m blasé, but I just letit happen. Whereas he goes in, and it’s so intense when he’sdoing overdubs and stuff—he’s painstakingly accurate. I kind oftake the Jimmy Page approach. [Laughs] The dynamic that thekeys play in the band right now, I just think it’s great. Therearen’t a lot of bands that are doing that.AG: Totally. There’s this perfect quote from Craigin a recent interview: “Irony is the enemy of theHold Steady.” There’s no less ironic instrumentthan a grand piano, right?TK: [Laughs] Exactly. We did this little private showcaseyesterday at the Gibson showroom in L.A., right in the lobby.And we got to play with one of Liberace’s old grand pianos.The sound guys are setting up the stuff, and Franz just bee-linesright for it. He sat down at it and just started to do this huge,grand solo. I literally almost got tears in my eyes, watchinghim with his fucking mustache sitting at this mirrored, concertgrand piano. [Laughs] Now that’s right, you know?AG: Never thought I’d be saying this, but there’ssome fantastic Frampton-like guitar talk on “HotSoft Light.”TK: That’s me and Franz—he’s actually on a Wurlitzer runthrough a wa-wa pedal. It’s me soloing with an octave pedal,kind of like … What’s that song? [Humming] “Fool In TheRain,” that’s it. (Led Zeppelin’s) “Fool In The Rain” was anenormous inspiration for that one, as far as the guitar solo andthe piano going back and forth, the organ solo on that one.AG: Wow—that’s a keyboard? It really sounds likea guitar. How’d you do that?TK: Literally, he just ran a chord out to a wa-wa pedal, andthen into an amp and we mic’d it. You should’ve seen it! It wasinteresting to watch.AG: I have this idea of the Hold Steady’s worstnightmare: the five of you alone in a dark alleywith Rod Stewart, a pack of rabid DJs and theRapture. [Laughs] Craig even makes fun of thedance/punk bands on your MySpace page.TK: [Laughs] Actually, I do the MySpace page, and I like to takelittle jabs. Not so much at other bands or other scenes somuch, because I never want to be that guy who takes the easyroute and makes fun of shitty bands. And plus, there are somany great bands out there. But as far as the dance/punk thinggoes, it’s just like, “You know what, dude? … Yeah.” [Laughs]Chicks aren’t into that. Come on. And if they are, they’re notthe kind of chicks you want to be hanging out with anyway.Give me a break.AG: You guys do live in Williamsburg though,right? That’s like ground-zero for the dance/punkmovement.TK: Hey, I live in the city, man. Come on. And Craig’s actuallyin Park Slope now. But we both used to live in Williamsburg.Like, if you looked out our back windows, you could see eachother’s apartments. About a year ago I moved into the city,and then he moved out to Park Slope. Which sucked, becauseI loved our old neighborhood. But me being a parent now, it’seasier.AG: Has the success of the band enabled you toquit your day jobs?TK: A little bit. Our schedule’s been so crazy. All of us sort ofwork here and there still. For the most part, the band has justtaken up so much of our time. Knock on wood, hopefully thatcontinues. It’s funny: A friend of mine owns a restaurant in NewYork called Freeman’s, and I’ll fill-in bartend on the weekends.This girl that waitresses there, Cat, she’s hilarious—I come inone morning for a Sunday brunch, and she’s like, “Dude, I sawyou guys in Spin yesterday, and you’re playing Irving Plaza thismonth?” So I’m like, “Yeah … “ and she goes, “What the fuckare you doing here?” [Laughs] It’s like, “Rock ‘n’ roll is a muchdifferent proposition than it was 20 years ago, baby. You haveno idea.”antigravity: your new orleans music and culture alternative_21

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The only book evenremotely in contentionwith Criminal #1 for the titleof “Best Debut of 2006” isEscapists #1, and I’m not sureeven a Brian Vaughan-writtenfirst issue can top the returnof Brubaker and Phillips tothe pure crime genre. OK,you got me… I’m a true believer on this one. But even a skepticis going to have a hard time turning away from this book afterreading this first issue, which is about as perfect a setup for a heiststory as you’ll read in comics. From the interesting characters tothe gritty, lived-in world that Phillips portrays to the twists andturns that show a lifetime of watching and reading noir, Criminalis like heroin distilled into comic book form for the crime noveljunkie. And fans of Brubaker’s dark, character-driven superherowork like Captain America and Daredevil are going to find plentyto like here as well.Criminal is a brand new ongoing series about crime. Alltypes of criminals, all types of crime, all filtered through thesensibilities of Ed Brubaker, Sean Phillips and colorist ValStaples. The first arc starts off with a look at pickpockets andbank robbers, a mixture of Grifters and Heat, and it’s got allthe compelling protagonists, moral ambiguity and twisty plotyou could ask for. The staples of the genre are there — theguilt-ridden pro pulled in for “one last job,” the femme fatale,the bent cop, the sleazy fixer, the secret agenda, the old jobgone-badthat haunts them individually and ties them togetheras a group — but they all have a bit of a twist; not enoughto render them unrecognizable, but enough to make thesepotential crime cliches read as fresh and engaging.For one thing, the retired pro isn’t really retired, he’s justshifted gigs from robberies and scores to petty pickpocketingin the name of identity theft. He’s not an old man, he’s a youngman, and he lost his real father to prison and his surrogatefather to Alzheimer’s and heroin addiction. That’s our lead,Leo, and he’s a fascinating lead. In the opening scene, we seehim at his job-gone-bad, with a particularly clever escape routeplanned out, and we watch him sail through the waters of theunderbelly of criminal society throughout. Leo is a new twiston the criminal protagonist, someone who’s smarter than heis tough, and who has an achilles heel (revealed in the last fewpages) that is uncommon in the hard-boiled world of crime,where protagonists tend to be two-fisted or trigger-happy.It’s clear that Brubaker has a whole criminal world in hishead for these characters. The common ground is TheUndertow, a dive bar where thugs meet to take down scores,but a level of “honor among thieves” keeps even rivals frompreying on each other while inside the bar. Then there’s Leo’slowlife social circle, including epileptic con man Donnie and thebitter mother and widow, Greta. Brubaker and Phillips create aworld and pull the reader right in, and I’d be surprised if there’sanyone who can read this first issue, get to that last page andnot immediately want to put their hands on the next.Speaking of Phillips, he’s always been great, but he’s justphenomenal here. Working with Val Staples, he createsa world that is shadowy and real, yet more brightly lit thanI’m accustomed to seeing in crime drama. Phillips createsmoments that stay with you, like the sight of Terry Watsonshot in the alley, begging his friend with his eyes to stay withhim even though it means getting caught. He also creates vividbackdrops, like the run-down Undertow, which is at once thekind of place normal people would be scared to walk into andthe kind of place a lifelong crook would fallon his knees and thank God for finding.Along with this more subtle world-buildingand character-based emotional storytelling,Phillips brings his gift for action storytellingand danger, as displayed in those cracklingopening pages of heist turned shootout.If the rest of the series can live up tothis home run of a first issue, and I’ve noreason to believe it can’t, we’re lookingat something special. Criminal has all thehallmarks of being a defining moment inthe careers of everyone involved. Just asyou can’t talk about Frank Miller withoutthinking of Daredevil or Dark Knight, AlanMoore without Watchmen or V For Vendettaor Garth Ennis without Preacher, I predictthat in years to come, Brubaker and Phillipswill be forever linked with Criminal. I’maware that I’m setting the expectations bara bit high here… but it’s that good, and fansshould take advantage of a chance to get inon the ground floor. Seriously, this is one ofthose “I can only afford to buy one comic,and Criminal is it” type of books.Read a six-page “trailer” of the series atedbrubaker.com/current/criminal.antigravity: your new orleans music and culture alternative_23

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PROJECTIONS Since he burst on the scenewith 2000’s best fi lm,the mind-bending Memento,Christopher Nolan hasestablished himself as oneof Hollywood’s premierdirectors. Most recently,Nolan helmed last year’sfranchise re-launch, BatmanBegins, and turned in one ofthe best superhero fi lms evermade. He has an uncannyknack for breathing fresh air into the somewhat stale suspensegenre, while remembering to stay focused on his charactersand not simply his plot twists (a lesson that would serve theoverwrought M. Night Shyamalan well), and Nolan’s skill set isput to good use in his latest, The Prestige.Written by Nolan and his brother, Jonathan, The Prestigeis a riveting tale of rival magicians who become consumedwith revenge. Set in turn of the century London, the film is anintelligent, thought-provoking study in obsession.Robert Angier (Hugh Jackman) and Alfred Borden(Christian Bale) are two magician’s understudies, learning thetrade from Cutter (Michael Caine). When Borden accidentallykills Angiers’ lover during a trick, the stage is set for the twomen’s lifelong rivalry. Over the years, as they each grow moreadept at the art of illusion, the two attempt to sabotage eachother’s lives and careers in a bitter contest of one-upmanship,which seems to consume the totality of their existence.The performances in The Prestige are uniformly excellent.Bale simmers as the brash and angry Borden, a man whosefamily life is eroding due to his all-consuming drive to be agreat magician. This is Bale’s best work since American Psycho.Bale’s co-star, Jackman, is equally as engaging as a man drivenby revenge. Initially, Jackman is the more wholesome of thetwo and the lengths to which Angier is eventually driven areastonishing. And Jackman has a nice little comedic turn in thefi lm which garnered multiple big laughs from the audience.One fi nal note—I’m not the sort of viewer who figures outa fi lm’s shocking revelations ahead of time, but The Prestige’ssecrets are surprisingly easy to surmise. So much so that Iwondered if the movie telegraphed them on purpose. I wasdiscussing this with some friends, however, and we all agreedthat easily surmising the ending didn’t affect our opinion ofthe fi lm negatively at all. Each of us still thought it was great.The Prestige is brooding and lush and it keeps your mindworking for the entirety of its running time. It’s on the shortlist of the most entertaining films of 2006.—James Jonesantigravity: your new orleans music and culture alternative_25

REVOLUTIONSTHE OFFICIAL RECORD STORE OF ANTIGRAVITYMUSIC, DVDS & MORE SINCE 196910am–MIDNIGHT7 DAYS1037 BROADWAYNEW ORLEANS, LA 70118504-866-6065IT’S WORTH THE TRIPBUY-SELL-TRADE NEW + USED MUSIC + MOVIESYOUR ROCK ‘N’ ROLLHEADQUARTERSOn its painstakingly languiddebut LP, Baltimore duoBeach House calls the meritsof blind sonic variation intoquestion. After all, there is something to be said for hittingessentially one note—in this case, a fuzzy, electric-blanket organdrone—and holding it for nine songs while still managing to holdfinicky attention spans. It doesn’t hurt that there’s a considerableloveliness at play, both in Victoria Legrand’s trampoline-in-slomovocals and the gauzy instrumentation (e.g., bells, thumps andunderwater found-sounds) that colors each track like shards ofweather-beaten stained glass. “Apple Orchard” finds Legrandtrading sonar verses with what sounds like a whale call, while“Master Of None” achieves a kind of Mazzy Star-dom throughits sultry singing and hypnagogic, half-awake guitar.ANTIGRAVITY called Legrand for a more thorough walkthroughof Beach House’s aesthetic.ANTIGRAVITY: There’s not a lot of press on howyou and Alex met. Can you shed some light on howyou came together?Victoria Legrand: I guess we’re mysterious. Alex and I have a lotin common: We’ve both been playing music since we were kids,and we’re both classically trained, been in bands since we wereteenagers. We met a few years ago and we were actually playingmusic together before Beach House. It wasn’t a serious thing atall; we just were trying to put something together and it didn’treally work out. Beach House evolved because we had verysimilar musical styles. We like similar things, and we are inspiredby a lot of the same eras of music: Motown, the ‘60s, evenearly ‘90s, all that stuff. We just started writing over a year andhalf ago. It was the summer, I think, and it was really hot. Westarted on small things, and they just grew. The first song weever wrote—we wrote a bunch of little things, but “Saltwater”seemed to be the first song that really came alive. The tone andsound of the music was pretty much instantaneous. The albumitself is a collection; it’s like the first Beach House family, youknow? We’re already writing stuff for the second record, andI think we like to put things into collections. We worked onthis record for six or seven months, and then we recorded it inFebruary. We’ve even dabbled in opera—although you probablywouldn’t be able to tell with the way I sing now, in my old age.AG: What are you, like, 25?VL: [Laughs] I’m 25.AG: Was that watery sound something you hadto strive for, or did it come naturally when youstarted recording?VL: We didn’t intend, like, “It’s going to sound like this.” We likethe sound of layers, and Alex likes the lo-fi sound, the sound ofa tape—the crackling, gravely feeling.AG: Lots of that old AM radio thing on thisrecord.VL: Yeah, the old AM radio thing, which I’ve always loved.That’s why I love ‘60s recordings. A lot of the songs that werepopular then, if they were recorded now, maybe they wouldn’tbe so popular. But because of the way they sound—the reverb,the echo—it’s all intentional. It’s the world that we love: thiswet, dreamlike thing in a cathedral. I’ve always thought thosevocals sound really beautiful, in a haunting way.AG: Your singing really is lovely—they go a longway in defining the sound of the record. Did youuse any filters or treatments?VL: The way that I was already singing was languid and sortof fluid; it already sounded like that. We did these four-trackrecordings very, very early on—when we were just buildingup the songs, doing the sketches—and they sounded far away,like you’re on the other end of tunnel. It’s in the past; it soundsolder. So we were already in love with that quality, and themore we played, the songs grew. There’s always been thiscombination of pre-recorded, four-track layering. The drumsounds are either the beat from the inside of an organ that’sbeen mic’d and recorded, or a beat that we’ve made ourselvesusing a bell or something. Like, on “House On The Hill,” weuse a clanking bell.AG: [Laughs] Every time that part comes on mystereo, I jump up to see who’s at the door.VL: Right! That was this crazy, dense bell shape, and whenit was hit it created this clanking sound, like a ship dockedunderwater. So the ocean/water thing, it’s not just a cliché.The Beach House name—it all fell perfectly into place,coincidentally it seems. The way that I sing, and the reverb …I mean, yes, we did try to make things sound “better” oncewe recorded the record. We played the songs live; there wasno over-production or over-dubbing. We went back and didthe harmonies, but all the playing was live, with room mics allover the place. The guy that recorded the record, his nameis Rob Girardi. He actually works with Celebration—do youknow them?AG: Oh, sure.VL: He’s the sound guy for Celebration, and he’s also donenumerous projects. We recorded in Alex’s basement, andthen we mixed it in his house. So we weren’t in some nicestudio. That’s the amazing thing about the record: it sounds sorich, and that’s because of way it was recorded, with the mics.Rob did a great job capturing that.AG: Do you and Alex have set roles within theband?VL: Alex is sort of the engineer. He’s always been in chargeof the layering. I play the organ, then he plays the slide guitar,and we create this texture and rise out on top of that. That’sbeen the natural process since the beginning: just letting thingsgrow, piece by piece.AG: Feels like there’s a lot of spontaneity as well.I don’t know if you can call anything that’s 30bpma jam, but it does seem like you feed off eachother.VL: In terms of writing, we collaborate together. Each songcame about in a different way. For example, “Apple Works,”I came with the full chords; everything’s written. But then wehad to create the way that it feels. The lyrics … sometimesthey were pre-written, but often they come out like bubbles.When you play the song over and over again, the words kindof fall in. The melody comes to me sometimes very quickly,because of the spirit of the sound. It’s like they’re out thereand I just have to go get them.AG: That’s how good writing feels as well.VL: Yeah. It’s sort of a feeling that you trust, that you can catchit. I compare it to fishing, but up in the sky.—Noah Bonaparte26_antigravity: your new orleans music and culture alternative

The Body, The Blood, TheMachine was produced byFugazi’s Brendan Canty andappears to be some kind of concept record about how muchChristianity sucks. Well, it might not be a concept record perse, but pretty much all of the songs rage against those whouse Christ as a tool to control people. For example, HutchHarris describes certain Christians as “the ambitious warmongers,those who seek to enslave humanity in the nameof Jesus rather than follow the true teachings of Jesus andembrace all of humanity with love.” Pretty heady stuff, huh? Itgets headier — dig this sample lyric: “Our power doesn’t runon nothing, it runs on blood and blood is easy to obtain…”The Thermals sing about a world on the brink of destruction,a world that our country’s leaders have brought into being(seriously, that George W. guy is a total dick). While the lyricsmay be depressing as all hell, the music of the Thermals isincredibly upbeat — the tunes are bright and hopeful even asthe lyrics speak only of doom and gloom. The Thermals havegrown in leaps and bounds since their previous release, FuckinA, which took a mere four days to record. And yes, there’seven a ballad or two on The Body, The Blood, The Machine, andthat’s how you can tell the band has matured, people.—Joseph LarkinIII was originally releasedin 1991 and is consideredby many to be the definitiveSebadoh record (I don’tknow if that’s true, but itwas certainly the first Sebadoh release that people actuallypaid attention to). Prior to this reissue’s release, I hadn’theard III in at least ten years, so imagine my surprise whenI took this double disc set for a spin and found that mostof the material on it, unlike Hustler publisher Larry Flynt,still stands up. Sure, III is nowhere near as good as 1994’sBakesale, the band’s crowning achievement, or even 1996’sHarmacy, but it’s still a good listen, especially after all theseyears of tepid indie rock and pale imitations. Wanna knowwhere people like Bright Eyes and Ryan Adams get theirshtick from? Look no further than the Lou Barlow-pennedtunes on III, a multi-layered album that is ten times moreinnovative than the vast majority of albums made by bandsinfluenced by Sebadoh’s particular brand of lo-fi rock and/or roll. From the opening jingle-jangle of “The Freed Pig”to the closing psychedelic noise fest of “As the World Diesthe Eyes of God Grow Bigger,” III is a curious mixed bag oflow fidelity pop songs that sounds unlike anything else thatwas being made at the time. Yeah, Lou Barlow got calleda “pussy” for his introspective acoustic contributions tothe band’s catalog, but Sebadoh never really relied on girlyacoustic numbers as much as the cynics would have youbelieve. What those fat cats in Washington, DC don’t wantyou to know is that most of the trio’s output is far noisierthan it is folky. Sebadoh was a prolific band, recordingnot only 23 songs for III but also an additional 18 songsduring the same period of time. These 18 songs, whichinclude the tunes that made up the infamous Gimme IndieRock! EP, are the extra special content of the bonus disc inthis deluxe reissue. Sure, a lot of these bonus tracks areinferior to the songs that were actually released on III, butthey’re still fun to listen to, unlike a Bright Eyes album.Do I really need to convince you to buy this? You shouldalready own it and know it by heart.—Joseph LarkinSparklehorse is MarkLinkous and Dreamt forLight Years in the Belly ofa Mountain, Sparklehorse’s fourth long player, is the firststudio album that Linkous has released in five years, partlydue to health problems and partly due to troubles withthe vintage recording console on which Linkous recordedthe majority of the album. Linkous chose to work witha number of surprising collaborators on Dreamt for LightYears, namely famed DJ Danger Mouse, Tom Waits (whomade his first Sparklehorse album appearance on 2001’sIt’s a Wonderful Life), Joan Wasser from the Dambuildersand Steven Drozd of The Flaming Lips. Linkous may havesome famous friends, but Sparklehorse is still his baby, forLinkous plays all the instruments on no less than threesongs on the album. It should come as no surprise thatmuch of the material on Dreamt for Light Years sounds likevintage Sparklehorse when considering the fact that fourof the songs on this album were previously released as b-sides, bonus tracks and compilation cuts during the band’sIt’s a Wonderful Life era. Yup, all the hallmarks of a typicalSparklehorse release are here, including distorted vocals,woozy mellotrons and melancholy melodies. Having saidthat, some of the material on Dreamt for Light Years breaksnew ground for Linkous, as some of these songs are actuallysomewhat upbeat and the instrumental title track soundsmore like the background music to an especially hauntingmovie than one of the sad pop songs we’re used to hearingfrom Sparklehorse. All in all, Dreamt for Light Years in theBelly of a Mountain is a satisfying album from a wonderfulman who was officially dead for a full two minutes followingan accidental drug overdose, a trauma that caused his legsto be pinned beneath his unconscious body for almostfourteen hours — it’s a long story. (Please note that mynose bled like a stuck pig while I listened to this album forthe first time. Make of that what you may.)—Joseph LarkinDark Meat hails fromAthens, GA (hometownof R.E.M., dontcha know!)and started out as a NeilYoung cover band (no, seriously, they really did). UniversalIndians is the group’s first album — and to give you an ideaof how ambitious this recording is, I’ll tell you that 23 peopleplayed on it and it took five months to record. UniversalIndians boasts walls of horns, piles of percussion, chirpingbirds, footsteps and even children’s voices. The songs arebombastic yet catchy. Honestly, I don’t even know how toproperly describe this racket — the music of Dark Meat isimpossible to categorize. I will say this: I saw some picturesof the band on their label’s website and they look like afilthy hippie collective. Make of that what you will. I willalso tell you that the band’s horn section is called the VomitLasers. Still not sold? I’ll also point out that someone on theinternet said Dark Meat is “Funkadelic meets the Stoogesmeets the Manson Family.” Doesn’t that sound like a goodthing? Of course it does. Buy this CD and then see this bandlive when they hit the NOLA area twice in November. Orjust fuck off, you dirty tosser.—Joseph LarkinDark Meat plays Ernie K-Doe’s Mother-In-Law Loungeon 11/16 and The Big Top on 11/18almost lost my virginity toI Yo La Tengo’s classic I CanHear the Heart Beating as OneLP. I say “almost” because I experienced my first and onlyepisode of erectile dysfunction that horrible night, due in nosmall part to the incessant blaring of this Hoboken threepiece’spatented brand of adult alternative music, whichmade it virtually impossible for me to perform in bed. Toomuch information? Anyway, my point is that Yo La Tengo willalways have a place in my blackened heart, even if the band hadrewritten the same exact album five times in a row now. Butwhat’s this? Not only does this new Yo La Tengo disc have thegreatest title for an album ever, but the fifteen songs on this LPactually sound slightly different than those found on previousefforts! I Am Not Afraid... opens and closes with two verylong psychedelic freak-outs—we’re talkin’ ten-plus minutesof pointless guitar solos (to be fair, the ten-plus minutes ofguitar wankery don’t seem nearly as long—they feel morelike eight or nine minutes). In case you hadn’t guessed, Yo LaTengo is giving fans their money’s worth with this sprawling75-minute album. In between the freak-outs, the listener willfind 13 of the catchiest and most varied songs in Yo La Tengo’svast catalog, most notably the first single, “Mr. Tough,” a jazzylittle number that is sung in falsetto, and “Watch out for Me,Ronnie,” a pseudo-rockabilly tune. Each song on this recordhas been augmented by lush musical arrangements—the bandhas added oodles of instruments to the mix, creating a densesonic stew for hungry ears to eat up…or something like that.Put simply, I Am Not Afraid... is the best album Yo La Tengohas recorded in years—no home is complete without a copyof this fine LP.—Joseph LarkinWoven Hand is DavidEugene Edwards,former frontman for thelamentably late SixteenHorsepower. When I sayWoven Hand is David Eugene Edwards, I’m not exaggerating—Edwards produced Mosaic, created the gorgeous sleeve art forMosaic, plays most of the instruments on Mosaic and wrote themusic and lyrics to all but two of the twelve songs on Mosaic.To call Woven Hand a pet project of David Eugene Edwardswould be an understatement. Those “in the know” probablyaren’t surprised to see Edwards taking complete control ofthis project, seeing as Sixteen Horsepower split due to “anaccumulation of differences, mostly political and spiritual.” Yousee, David Eugene Edwards is an unapologetic Christian and,presumably, his former bandmates were not of the same holymind. Also unsurprising is the copious amount of God-glorifyingfound on this release (hell, the name Woven Hand refers tothe image created by two hands folded together in prayer)— Mosaic, Woven Hand’s fifth release, is a musical valentine tothe man upstairs. Don’t let the testifyin’ Edwards does on thisrecord scare you off — the religious tug-of-war he documentsin his songs is a compelling one, even for heathens like you,dearest reader. The spirituals on Mosaic are moodier thanmy ex-girlfriend, though not nearly as crazy, and it probablygoes without saying that fans of Sixteen Horsepower will digthis disc, which sounds not unlike a mellower version of theband Edwards used to front. Granted, Woven Hand’s musicisn’t nearly as gripping or rockin’ as the music Edwards madewith his ex-bandmates, but it’s still quite good and it’s certainlybetter than anything DC Talk ever came up with. So pick upMosaic and get yourself some religion, boy — your wearysoul will thank you for it. You’re still gonna burn in hell for alleternity, but at least you’ll have some pretty melodies to playin your head as you endlessly surf the lake of fire.—Joseph Larkinantigravity: your new orleans music and culture alternative_27

PREMONITIONSIF IT’S BOLD, WE’LL BE THERE!NEW ORLEANSThe Big Top1638 Clio St., (504) 569-2700www.3ringcircusproductions.comCafe Brasil2100 Chartres St., (504) 947-9386Carrollton Station8140 Willow St., (504) 865-9190www.carrolltonstation.comCheckpoint Charlie’s501 Esplanade Ave., (504) 947-0979Chickie Wah Wah2828 Canal St., (504) 304-4714www.circlebar.netCircle Bar1032 St. Charles Ave., (504) 588-2616www.circlebar.netCoach’s Haus616 N. SolomonD.B.A.618 Frenchmen St., (504) 942-373www.drinkgoodstuff.com/noGoldmine Saloon701 Dauphine St., New Orleans, (504) 586-0745Hot Iron Press1420 KentuckyThe High Ground3612 Hessmer Ave., Metairie, (504) 525-0377www.thehighgroundvenue.comHouse Of Blues / The Parish225 Decatur, (504)310-4999www.hob.com/neworleansThe Howlin’ Wolf907 S. Peters, (504) 522-WOLFwww.thehowlinwolf.comLe Bon Temps Roule4801 Magazine St., (504) 895-8117Maple Leaf8316 Oak St., (504) 866-9359Marlene’s Place3715 Tchoupitoulas, (504) 897-3415www.myspace.com/marlenesplaceMcKeown’s Books & Difficult Music4737 Tchoupitoulas, (504) 895-1954One Eyed Jacks615 Toulouse St., (504) 569-8361www.oneeyedjacks.netRepublic828 S. Peters St., (504) 528-8282www.republicnola.comSip Wine Market3119 Magazine St., (504) 894-7071www.sipwinenola.comShiloh4529 Tchoupitoulas, (504) 895-1456Tipitina’s(Uptown) 501 Napoleon Ave., (504) 895-8477(Downtown) 233 N. Peterswww.tipitinas.comBATON ROUGEChelsea’s Cafe2857 Perkins Rd., (225) 387-3679www.chelseascafe.comThe Darkroom10450 Florida Blvd., (225) 274-1111www.darkroombatonrouge.comNorth Gate Tavern136 W. Chimes St.www.northgatetavern.comRed Star Bar222 Laurel St., (225) 346-8454www.redstarbar.comRotolos (All-Ages)808 Pettit Blvd.www.myspace.com/rotolosallagesThe Spanish Moon1109 Highland Rd., (225) 383-MOONwww.thespanishmoon.comThe Varsity3353 Highland Rd., (225)383-7018www.varsitytheatre.comWednesday, 11/1Wednesday, 11/1 Saturday, 11/4Monday, 11/6Walter Wolfman Washington, d.b.a., 10pmAlex McMurray, Circle BarCross Canadian Ragweed, House of Blues,8pm, $12Evening High, Chickie Wah Wah, 10pmHazel St. Vincent, Dead Elephant Bicycle, RattySkurvics, Invisible Gabling Jews, Dragon’s DenKenny Holiday and the Rolling Blackouts,Checkpoint Charlie’sAgainst All Authority, The Flatliners, TimeAgain, Darkroom, 7pm, $10Wheatus, Melee, Mayday Parade, Fall ofTransition, Lakes, Highground, 7pm, $10Thursday, 11/2Thursday, 11/2Craig Paddock, Frozen Concentrate,Bipolaroid, UVA URSI, Dead On, Tipitina’s,9pm, $5Danava, Witchcraft, One Eyed Jack’s, 8pmFast Times ‘80s Dance Night, One Eyed Jacks,11pmAndy J. Forest, d.b.a., 10pmSoul Rebels, Le Bon TempsFear Factory, Suffocation, Hypocrisy,Decapitated, House of Blues, 7pm, $19New Found Glory, Cartel, Parish @ House ofBluesSuplecs, Dixie Witch, Chickie Wah Wah,10pmDJ Bombshell Boogie w/ special guests,Dragon’s DenThistle, Shannon Murray, Adhamh Roland,Neutral Ground Coffee House, 8pmGravy, Carrollton StationAmerican Cheese Trio, Checkpoint Charlie’s,10-2amRoger Creager, The VarsityJamie McLean, Chelsea’s, 10:30pmFriday, 11/3Friday, 11/3The Capitol Years, National Eye,Silent Cinema, RepublicRites of Swing, d.b.a., 6pmJuice, d.b.a., 10pm, $5Three Legged Dog, Circle BarGeorge Porter and the Runnin Pardners,Tipitina’s, 10pm, $12Brotherhood of Groove, Le Bon TempsThe Fray, Damnwells, House of Blues, 8pm,$25Soul Project, Chickie Wah Wah, 1amEl Pueblo, El Punto Ey Clave, Howlin Wolf,9pm, $20Nomadic Belly Dancers, Mardi Gras Indians,Dragon’s DenKelcy Mae Band, John Frank, Carrollton StationRoberto and Lissa, Checkpoint Charlie’s, 7-10pmKiley Michael, Checkpoint Charlie’s, 10:30-2amThe Last Name Change, Fire at the Empire,The Armoury, The Fight Between Frames,Darkroom, 7pm, $8Always the Runner, Spanish MoonThe Flamethrowers, The VarsityInternational Night, Chelsea’s, 10:30Saturday, 11/4 Saturday, 11/4Stu Fest ’06 featuring Slang Angus, TheAmerican Tragedy, Danny from Punch People,Howlin Wolf, 9pm, $7Marlon Asher, DJ T-Roy, Tipitina’s, 10pm,$25Parade, The Public, One Eyed JacksThere’s more coming out of the ATL thanthe Dirty Souf pioneers, who certainlyshouldn’t go anywhere, and there’s somethingspecial brewing in practice spaces next toWhite-T Lane. Parade, whose members andstyle are a hybrid of Athens and Atlanta,emerges in the young indie rock scene andproves that it has staying power. Theirpleasurable and gripping pop/rock is tight andfocused and more mature than you wouldexpect for its young members. In 2006,the band released its first full length, A RedButton, which indulged everyone’s curiosityand in the end got everyone hooked. Theband’s adoration for each other and funsense of humor is manifested in their liveperformances. Hitting the road with theirbrand new van, Beverly, Parade embarks ontheir first extended tour around the southand southeast.—Sally TunmerJohn Boutte, d.b.a., 7pmSoul Rebels Brass Band, d.b.a., 11pm, $5Good Guys, Bipolaroid, Circle BarPalo Viejo, Spanish MoonThe Revealers, Le Bon TempsSusan Cowsill Band “covered in vinyl series”w/ U2’s The Joshua Tree, Carrollton StationJohnny Sketch and the Dirty Notes, ChickieWah Wah, 10pmArt Opening: Daphne Loney, Big Top, 6pmDominic, Checkpoint Charlie’s, 7-10pmRetard-O-Bot, Dearest Azazel, Landmines,Baby!, Roman Gabriel Todd’s Beast RiS.I.N.gUp Out of the Sea, Darkroom, 7pm, $10The Esoteric, Aggro-fate, Bowser, Highground,7pm, $8Hexbone Family, Checkpoint Charlie’s, 10:30-2amRetro Active, The VarsityWeary Boys, Chelsea’s, 10pmSunday, 11/5Sunday, 11/5Linnzi Zaorski, d.b.a., 6pmWayne Maureau Trio, d.b.a., 10pmCountry Night with DJ Pasta, Circle BarRwake, Da Capa Preta, Outer Banks, 7pm, $5Shamarr Allen, Elliot Cohn and Cosmic SweatSociety, Le Bon TempsGravity A, Chickie Wah Wah, 10pmSunday Music Workshop Series featuringStanton Moore Quartet, Tipitina’s, 12:30-3:30,$5Cajun Fais Do Do featuring Feufolet, Tipitina’s,5-9pm, $7Truth Universal and DJ Ef Cuttin w/ DJMazmillion, DJ Kazu, MC Roah, Lyrikill, OneEye, Dragon’s DenMezcal, Checkpoint Charlie’s, 9pmFleur de Tease Burlesque, One Eyed JacksDrive In S.I.N., One Eyed Jack’sNaked on the Floor, d.b.a., 10pmRich Vogel Trio, Chickie Wah WahZion Trinity, Dragon’s DenDeath Before Dishoner, No Turning Back,Darkroom, 7pm, $10TJ Black and the Black Sound Parade, Chelsea’s,10pmPatient Zero, Checkpoint Charlie’s, 7pmThe Fens, Checkpoint Charlie’s, 10amTuesday, 11/7 Tuesday, 11/7ANTIGRAVITY Sip ‘N’ Spin, Sip WineMarket, 6:30-8:30ANTIGRAVITY Presents: AScreening of loudQUIETloud, thenew Pixies DVD, One Eyed Jacks,9pm, FREEMike Dillon Duo, 10pmHappy Talk Band with Nick Jania, Circle BarSol Fiya, Chickie Wah Wah, 10pmBingo, Chelsea’s, 10:30pmAcoustic Open Mic Night with Jim Smith,Checkpoint Charlie’sBradley Hathaway, Darel Jr., Cities KilledStarlight, One Warmer Blue, Darkroom, 7pm,$10The Hanks, Million Billion, Red Lipstick Letter,Travel By Stars, Highground, 7pm, $6Wednesday, 11/8Tilly And The Wall, Spanish MoonIt’s another wide-eyed band from Omahawho are so cute you want to punchthem. But then again, you realize that youwant to join in on the fun and sing along,so you put down your dukes. Superficially,Tilly and the Wall look like another groupof tragically hip kids with cool clothes andasymmetrical haircuts who try really hardto look apathetic. Looking beyond theiroutward appearances, however, you findthat they are really modern-day flowerpeople. It’s clear from the music theymake that they believe in exploiting theiryouth and milking its advantages for all itsworth. Their most recent release, Bottomsof Barrels, shows they have matured andgrown wiser lyrically and musically, havingmore skill with their instruments and songcomposition. Personally, I’d rather live in theidealistic world of the appropriately titleddebut, Wild Like Children, but I suppose weall have to grow up sometime.—Sally Tunmer28_antigravity: your new orleans music and culture alternative

Wednesday, 11/8 (cont.)Rock and Roll Karaoke, One Eyed Jack’sWalter Wolfman Washington, d.b.a., 10pmAlex McMurray, Circle BarJealous Monk, Le Bon TempsEvening High, Chickie Wah Wah, 10pmThe Other Planets, Dragon’s DenKenny Holiday and the Rolling Blackouts,Checkpoint Charlie’sWednesday, 11/8Greyson Capps, Le Bon TempsBruce Bruce, House of Blues, 7:30pm, $30Tony Lucca, Ernie Halter, John Hoge, Parish@ House of BluesSoul Project, Chickie Wah Wah, 1amBig O Presents: “The Clawfoot & HottubInterview,” Big Top, 7pmBourbon Cowboys’ CD Release Party,Carrollton StationNomadic Belly Dancers, Government Magik,Dragon’s DenRoberto and Lissa, Checkpoint Charlie’s, 7-10pmPar 3, Checkpopint Charlie’s, 10:30-2amJustin Bailey, We the Living, Darkroom, 7pm,$8The Slits Reunion Tour, Apes, Hello Stranger,Spanish MoonThe Chee Weez, The VarsityThe Myrtles, Timebomb Town, Blind Deer,Chelsea’s, 10pmThursday, 11/9Pallbearers, Checkpoint Charlie’s, 10-12amDrain Brammage, Checkpoint Charlie’s, 12-2amRetro Active, The VarsityClub of Sons, Baak Gwai, Spanish MoonSunday, 11/12 Sunday, 11/12Fleur de Tease Burlesque, One Eyed JacksSunday Music Workshop Series featuringPhillip Anselmo, Jim Bower, Pepper Keenan,Kirk Weinstein, Tipitina’s, 12:30-3:30, $5Cajun Fais Do Do featuring Bruce Daigrepont,Tipitina’s, 5-9pm, $7Linnzi Zaorski, d.b.a., 6pmGal Holiday and her Honkey Tonk Revue,d.b.a., 10pmNew Orleans Klezmer Allstars, Dragon’s DenSuper Party DJ the NO1, Circle BarShamarr Allen, Elliot Cohn and Cosmic SweatSociety, Le Bon TempsGravity A, Chickie Wah Wah, 10pmRehab, Sean C, House of Blues, 8pm, $10Gill and Ryan, Checkpoint Charlie’s, 9pmMonday, 11/13Monday, 11/13Wednesday, 11/15Bobbo’s Rock & Roll Karaoke, One Eyed JacksPretty Girls Make Graves, She Wants Revenge,Monsters Want Revenge, The VarsityMy Morning Jacket, Wax Fang, House of Blues,8pm, $24Big Sam’s Funky Nation, Jealous Monk, ProjectColor 3, Howlin Wolf, 10pm, $10Jason Boland and the Stragglers, Sweet Root,Parish @ House of Blues, 9pm, $10Clinton Fearon, Meta Diya, Republic, 9pm,$15Rock and Roll Karaoke, One Eyed Jack’sWalter Wolfman Washington, d.b.a., 10pmAlex McMurray, Circle BarGal Holiday and her Honkey Tonk Revue, LeBon TempsEvening High, Chickie Wah Wah, 10pmSky Child, Dragon’s DenThe Showdown, High Ground, 7pmHi Five, Spanish MoonKenny Holiday and the Rolling Blackouts,Checkpoint Charlie’sJolie Holland, The Parish @ HOBJolie Holland sings from a bygone era whendrinking moonshine with cowboys, missinga past lover and passing out in a barn was anightly routine, and 2006 release SpringtimeCan Kill You is the time machine that takes usback to her. Not only is the subject matter ofher songs dated-in-a-good-way, but so is hervoice, sounding like it belongs in the samedancehall as Judy Garland. Her 2003 releaseCatalpa is intentionally unedited, much likeBob Dylan’s earlier recordings where a midsongcough or a chuckle went unchecked.Catalpa is primarily a folk record, butSpringtime Can Kill You is strictly a countryalbum. It’s filled with traditional countrythemes: alcoholism, unrequited love, imagesof long and winding back roads and wideopenspaces. The lap steel and Holland’svoice drenched with twang and drawl top itall off. The overall theme of the album, towhich the title alludes, is that although springis a time for new life and love, it’s also just atrap that leads to failure in both.—Sally TunmerThursday, 11/9Thursday, 11/9Who’s Bad, Tipitina’s, 10pm, $10Fast Times ‘80s Dance Night, One Eyed JacksJamie Mclean, d.b.a., 10pm, $5Jon Frielich and Chaz, Circle BarSoul Rebels, Le Bon TempsRebirth Brass Band, Chickie Wah Wah,10:30pmDJ Bombshell Boogie w/ special guests,Dragon’s DenBig O Presents: The Clawfoot & HottubInterview,” Big Top, 7pmGravy, Carrollton StationAmerican Cheese Trio, Checkpoint Charlie’s,10-2amThe Burning Season, Too Pure to Die, Stick toYour Guns, As Blood Runs Black, Aggro-Fate,By His Blood, Darkroom, 7pm, $10Eric Lindell, Chelsea’s, 10:30pmFriday, 11/10Friday, 11/10Ladyhawk, One Eyed Jack’sConverge, Some Girls, Modern Life Is War,Kylesa, High Ground, 7pm, $12Taj Mahal, Marva Wright, BMWs, Tipitina’s,9pm, $25Hot Club of New Orleans, d.b.a., 6pmNew Orleans Klezmer Allstars,d.b.a., 10pm, $5Goodnight Loving with Night Terrors, Circle BarBe Your Own Pet, Republic, 9pm, $12Don’t let the vibrant outfits of the raggedyet powerful garage rock openers throwyou off — Brooklyn bad boys Awesome Colorstretch far beyond the vocabulary of a middleschool-aged art critic. Most often referencedto the Stooges and Black Sabbath, their soundgrinds and howls with ‘70s-esque guitarwails (sometimes played by guitarist DerekStanton’s bare feet) and crassly delivered lyricsatop a near perfect rhythm section, but ofcourse, not without a splash of that awesomecolor everyone keeps talking about. Picked upalready by such press as Rolling Stone and TeenPeople, Be Your Own Pet possesses uncannytalent considering that the mean, median, andmode of their ages are all just 18. Hailing fromNashville, these hard rocking post-adolescentsboast a Karen O of the Yeah Yeah Yeahsbreed of vocalist as well as pestling guitar riffsand buoyant, catchy drum beats.—Carolyn HeneghanSaturday, 11/11 Saturday, 11/11The Spores, Hello Stranger, One Eyed JacksLower Decatur Street Annual Holiday CraftBazaar, 1100-1300 blocks on Decatur, 10am-6pmEric Lindell Big Band, Tipitina’s, 10pm, $10Phunk Junkeez, Impulss, Fuego, Howlin Wolf,10pm, $10John Boutte, d.b.a. 7pmKenny Brown, d.b.a., 10pm, $5Junior League, Circle BarSoul Fiya, Le Bon TempsMala Suerte, Bowel, Outerbanks, 9pm, $5Double A, Footloose, Dragon’s DenBig O Presents: The Clawfoot & HottubInterview,” Big Top, 7pm6 th Annual Scorpio Party, Carrollton Station,6pmBig Blue Marble, Carrollton Station, 10pmBlood In/Blood Out, Will to Live, Darkroom,7pm, $10Thumbscrew, Gaza, The Network, InTomorrow’s Shadow, High Ground, 7pm, $7Larry Halls Blues Band, Checkpoint Charlie’s, 7-10pmRob Wagner Trio, d.b.a., 10pmMatterlink , Elmapi, Red Beards, Circle BarRich Vogel Trio, Chickie Wah Wah, 10pmKillswitch Engage, Shadows Fall, Bury YourDead, House of Blues, 8pm, $19Reverend Glass Candy, Dragon’s DenTJ Black and the Black Sound Parade, Chelsea’s,10:30pmPatient Zero, Checkpoint Charlie’s, 7-9pmThe Fens, Checkpoint Charlie’s, 10-2amTuesday, 11/14Tuesday, 11/14Sip ‘N’ Spin, Sip Wine Market, 6:30pmMelvins, Big BuS.I.N.ess, One Eyed JacksStanton Moore Duo, d.b.a., 10pmGuitar Lightning, Circle BarSol Fiya, Chickie Wah Wah, 10pmBowling For Soup, House of BluesBrain Damage, Dragon’s DenCross Canadian Ragweed, The VarsityAcoustic Open Mic Night with Jim Smith,Checkpoint Charlie’sThe Plot to Blow Up the Eiffel Tower,Landmines, Baby!, Darkroom, 7pmTuesday, 11/14The Melvins, One Eyed JacksThis ain’t your daddy’s Melvins — it’sa whole new beast, one that’s beenaugmented by the truly awesome duo BigBusiness. That’s right, kids, the Melvins haveadded two new members for this tour; notonly will you get to see Big Business openingfor the Melvins, but you’ll also get to see ‘emplaying with the Melvins. We’re talking twodrummers here, people. This is easily the bestsuper-group since Damn Yankees! It’s like awonderful gift from heaven! The bands aretouring together in support of their album(A) Senile Animal and it’s unknown if this newlineup will be permanent, so you better goto this show if you want to see rock ‘n’ rollhistory in the making.—Joseph LarkinPretty Girls Make Graves, VarsityTheatreEither Pretty Girls Make Graves really knowhow to build anticipation, or they just taketheir sweet time in producing new records. Nomatter the case, the three years it took themto follow up The New Romance has been wellworth it. Elan Vital, their most recent release,is expectantly biting and unapologetic, but alsogoes well beyond their previous work. Theyhave calmed down from being consumed withso much angst and resentment and have sinceturned their energies to polishing their sound.Elan Vital departs from the Sleater Kinneyriot-girlstyle to new prog-rock ventures.There’s no doubt that Paul Hinojos was theangel perched on their shoulders as theywrote their early songs with At The Drive-In being a prominent influence. Also, it seemsthat Mars Volta provides inspiration for thenew material, resulting in a more daring andcultivated sound.-—Sally TunmerThursdWednesday, 11/15Thursday, 11/16Les Georges Leningrad, Duchess Says,Republic, 8pm, $8Fast Times ‘80s Dance Night, One Eyed JacksRed Stick Ramblers, d.b.a., 10pm, $5Soul Rebels, Le Bon TempsRebirth Brass Band, Chickie Wah Wah,10:30pmSoul Rebels, Bamboula 2000, Sir Dilla,Tipitina’s, 10pmDJ Bombshell Boogie w/ special guests,Dragon’s DenGravy, Carrollton StationVern, Checkpoint Charlie’s, 7-10pmAmerican Cheese Trio, Checkpoint Charlie’s,10-2amCity Of Ships, Darkroom, 7pm, $8Leftover Crack, The Sainte Catberines, Deadto Me, In Distress, High Ground, 7pm, $8antigravity: your new orleans music and culture alternative_29

Friday, 11/17Sunday, 11/19Islands, Subtitle, The Parish @ HOB,7pm, $10Nicholas “Neil Diamonds” Thorburn andJamie “J’aime Tambour” Thompson,of the now defunct band the Unicorns,collaborated on a new project completewith more assorted instruments and worldlygenres than could ever be imaginably packedinto one single musical effort. Thompsonhas since left the band, but Islands’ soundelasticizes even farther than that of theirfirst project, and the consistently modulatinglineup keeps both their album releases andlive performances at an equally awe-inspiringlevel. Opener Subtitle is a precocious L.A.hip hop act hot off releasing the latest albumTerrain to Roam last month and is ready toroam with The Islands this year.—Carolyn HeneghanFriday, 11/17Blue Cheer!!!, Suplecs, One Eyed JacksGinger Envelope, Dark Meat, SpanishMoonPandemic, Fate’s Loss, Point of Reason, HowlinWolf, 10pm, $7Anders Osbourne Live CD Recording,Tipitina’s, 10pm, $12Hot Club of New Orleans, d.b.a., 6pmJeremy Lyons and the Deltabilly Boys, d.b.a.,10pm, $5Plow Boys, Circle BarRobert Mecurio, Jeff Raines, Brian Coogan,Simon Lott, Le Bon TempsBig Sam’s Funky Nation, Chickie Wah Wah,10pmSoul Project, Chickie Wah Wah, 1amNomadic Belly Dancers, Clint MaedgerProject, Dragon’s DenStoryville Starlettes Burlesque, Big Top, 8pmMNSKP, The Space Heaters, Carrollton StationCDC, Darkroom, 7pm, $10Ayn, Julie Odell, Project Color 3, Smiley witha Knife, Luke Starkiller, High Ground, 7pm, $6Roberto and Lissa, Checkpoint Charlie’s, 7pmSlewfoot, Cary B, Checkpoint Charlie’s, 11-2amSaturday, 11/18 Saturday, 11/18Dark Meat, Ginger Envelope, Big TopPutumayo Holiday Concert, Howlin Wolf,9pm, $10John Boutte, d.b.a., 7pmWiley and the Checkmates, d.b.a., 11pm, $5Mod Dance Party, Circle BarJeremy Lyons, Schatzy, Le Bon TempsSean C, Chickie Wah Wah, 10pmImogen Heap, Magnet, House of Blues, 8pm,$18.50Corey Smith, Parish @ House of Blues, 8pm,$10Impulss, DJ Proppa Bear, Dragon’s DenStanton Moore Trio featuring Robert Walter,Will Bernard, plus Skerik, Mark Mullins,Midnight Disturbers, Tipitina’s, 10pm, $15Beatin Path, Carrollton StationKingston Falls, Demise of Eros, TodayForever, Call to Preserve, Stellarfall, Ghostsin Lowlights, Aggro-Fate, Roseline, Darkroom,4:30, $12Captain Bringdown and the Buzzkillers, TheFad, Samurai Deli, Sticky Bandits, AngryBanana, High Ground, 7pm, $6Retro Active, The VarsityBrenton and the Brentones, Spanish MoonSunday, 11/19 Sunday, 11/19Fleur de Tease Burlesque, One Eyed JacksDeftones, Deadsy, House of Blues, 9pm, $30West Bank Mike, d.b.a., 10pmCountry Night with DJ Pasta, Circle BarShamarr Allen, Elliot Cohn and Cosmic SweatSociety, Le Bon TempsFreddy Fred Sideshow BBQ, Chickie WahWah, 6pmGravity A, Chickie Wah Wah, 10pmSunday Music Workshop Series featuringStanton Moore Quartet, Tipitina’s, 12:30-3:30, $5Cajun Fais Do Do Featuring Beau Soleil,Tipitina’s, 5-9pm, $7Fat Frog, Dragon’s DenGill and Ryan, Checkpoint Charlie’s, 9pmMonday, 11/20Monday, 11/20...And You Will Know Us By The Trail ofDead, Blood Brothers, Celebration, Brothersand Sisters, House of Blues, 9pm, $15Drive In S.I.N., One Eyed JacksSchatzy, d.b.a., 10pmWashboard Chaz Blues Trio, Circle BarSimon Lott, Chickie Wah Wah, 10pmEd the Clown, The No Nothings, Dragon’s DenGrand Buffet, Gil Manteras Party Dream,Spanish MoonPatient Zero, Checkpoint Charlie’s, 7-9pmThe Fens, Checkpoint Charlie’s, 10-2amTuesday, 11/21Tuesday, 11/21Sip ‘N’ Spin, Sip Wine Market, 6:30pmAn Evening with Queensryche: Full Productionof Operation Mindcrime I and II, House ofBlues, 8pm, $36.50Beach House, Over the Atlantic, OneEyed JacksMike Dillon Duo, d.b.a., 10pmSol Fiya, Chickie Wah Wah, 10pmProppa Bear, Dragon’s DenBingo, Chelsea’s, 10:30Acoustic Open Mic Night with Jim Smith,Checkpoint Charlie’sPeachcake, Less Pain Forever, Darkroom, 7pm, $8WednesWednesday, 11/222 nd Annual Thanksgiving Musical with WorldLeader Pretend, James Hall, Fred Leblanc,Theresa Anderson, Brian Spitzfaden, WWL’s LeeZurick, The Bally Who, Tipitina’s, 10pm, $12Rock and Roll Karaoke, One Eyed JacksWalter Wolfman Washington, d.b.a., 10pmAlex McMurray, Circle BarEvening High, Chickie Wah Wah, 10pmFreddy Fred Giving Thanks Big & Easy, ChickieWah Wah, 7pmSusan Cowsill and Russ Broussard, CarrolltonStationKenny Holiday and the Rolling Blackouts,Checkpoint Charlie’sRadio Atlantic, One Warmer Blue, HighGround, 7pm, $6Die Young, In Tomorrow’s Shadow, NeutralGround Coffee Shop, 9pm, $5Thursday, 11/23Thursday, 11/23Birdfinger’s 5 th Anniversary Turkey Fest w/My New Best Friend, Royal Family, HowlinWolf, 10pm, $7Fast Times ‘80s Dance Night, One Eyed JacksEgg Yolk Jubilee, d.b.a., 10pmJohn “Papa” Gross, Anders Osbourne, AlexMcMurray, Carrollton StationSoul Rebels, Le Bon TempsRebirth Brass Band, Chickie Wah Wah,10:30pmDJ Bombshell Boogie w/ special guests,Dragon’s DenAmerican Cheese Trio, Checkpoint Charlie’s, 10amFriday, 11/24The Radiators, Howlin Wolf, 10pm, $15Hot Club of New Orleans, d.b.a., 6pmJohn “Papa” Gross, Anders Osbourne,Theresa Andersson, Gary Herstius, CarrolltonStationMercurio Raines, d.b.a., 10pm, $5Benjy Davis Project, The Terms, Republic,8pm, $10Rebirth Brass Band, Tipitina’s, 10pm, $10Roberto and Lissa, Checkpoint Charlie’s, 7-10pmMike Darby Band, Checkpoint Charlie’s, 11-2amRed Stick Ramblers, Chelsea’s, 10:30Saturday, 11/25 Saturday, 11/25Ben Lee, Rooney, John Ralston, Parish @House of Blues, 6pm, $15John Boutte, d.b.a., 7pmLittle Freddy King, d.b.a., 11pm, $5Egg Yolk Jubilee, Part Time Hoodlums, Circle BarTerance Higgins, Swampgrease, Chickie WahWah, 10pmRadiators, Sera Buras, Tipitina’s, 10pm, $15Urban Gypsies, Checkpoint Charlie’s, 7-10pm3 Legged Dog, Checkpoint Charlie’s, 10:30-2amJohn “Papa” Gross, Anders Osbourne, JohnFohl, Jimmy Robinson, Carrollton StationSimon Lott, Dragon’s DenBingo!, Spanish MoonEight Fingers Down, Silent Game, NeutralGround Coffee House, 10pm, $5Sunday, 11/26Friday, 11/24Sunday, 11/26Fleur de Tease Burlesque, One Eyed JacksLady Sovereign, Young Love, House of Blues,9pm, $10Linnzi Zaorski, d.b.a., 6pmWashboard Chaz Blues Trio, d.b.a., 10pmCountry Night with DJ Pasta, Circle BarShamarr Allen, Elliot Cohn and Cosmic SweatSociety, Le Bon TempsGravity A, Chickie Wah Wah, 10pmSunday Music Workshop Series FeaturingGalactic, Tipitina’s, 12:30-3:30, $5Cajun Fais Do Do Featuring Bruce Daigrepont,Tipitina’s, 5-9pm, $7Neil Stastny and Dane Fouchet’s ComedyShow, Carrollton StationJeff Albert Improvised Music Trio, Dragon’sDenGill and Ryan, Checkpoint Charlie’s, 9pmReach Here Thy Hand, Death to Juliet, Roseline,Fire at the Empire, Darkroom, 7pm, $6Monday, 11/27Monday, 11/27Bingo!, One Eyed JacksMurphy’s Law, Radionation, Howlin Wolf, 9pm,$8El Vez Merry Mexmas Party, Republic, 9pm,$15GWAR, The Red Chord, Municipal, Waste,House of Blues, 8pm, $17Drive In S.I.N., One Eyed JacksRick Trolson, Gringo do Choro, d.b.a., 10pmRich Vogel Trio, Chickie Wah Wah, 10pmTJ Black and the Black Sound Parade, Chelsea’s,10:30pmPatient Zero, Checkpoint Charlie’s, 7-9pmThe Fens, Checkpoint Charlie’s, 10-2amTuesday, 11/28Tuesday, 11/28Sip ‘N’ Spin, Sip Wine Market, 6:30pmZiggy Marley, SKYE, House of Blues, 8pm,$29.50Amazing Nuns, Dragon’s DenMike Dillon Duo, d.b.a., 10pmGeraniums, Circle BarSol Fiya, Chickie Wah Wah, 10pmBingo, Chelsea’s, 10:30pmAcoustic Open Mic Night with Jim Smith,Checkpoint Charlie’sRemembering Never, The Warriors, FullBlown Chaos, War of Ages, High Ground,7pm, $10Wednesday, 11/29Rock & Roll Karaoke, One Eyed JacksDeath Cab For Cutie, OK Go, Republic, 7:30,$28Rock and Roll Karaoke, One Eyed Jack’sWalter Wolfman Washington, d.b.a., 10pmAlex McMurray, Circle BarEvening High, Chickie Wah Wah, 10pmTrio de Janiero, Dragon’s DenKenny Holiday and the Rolling Blackouts,Checkpoint Charlie’sThursday, 11/30Fast Times ‘80s Dance Night, One Eyed JacksClint Maedgen, d.b.a., 10pmJon Frielich, Circle BarSoul Rebels, Le Bon TempsRebirth Brass Band, Chickie Wah Wah,10:30pmCripple Creek presents: “A Christmas Carolfor George Wallace,” Big Top, 8pmThe “Still Standing Show” Featuring DougDuffey Band, Jimmy Messa, Big Daddy O,Amanda Walker, John Autin, Tipitina’s, 8pmDJ Bombshell Boogie w/ special guests,Dragon’s DenAmerican Cheese Trio, Checkpoint Charlie’s,10-2amGiant Squid, Zoroaster, Darkroom, 7pm, $8Saturday, 12/2Lucero, Drag The River, Chelsea’sAccording to Wikipedia, the freeencyclopedia, “Lucero is a grunge/punkinfusedcountry music band that is based inMemphis, Tennessee.” Bitching! It’s aboutdamn time someone played grunge andcountry! Further investigation revealed thatLucero is in the area promoting their newalbum, Rebels, Rogues & Sworn Brothers. Butwhat about Drag the River? Wikipedia says,“Drag the River is an alt-country band hailingfrom Ft. Collins, CO.” Equally bitching. I didsome more digging and learned that Dragthe River is promoting their latest album, It’sCrazy. Thanks to Wikipedia, I’ll never have todo any real research ever again!—Joseph Larkin30_antigravity: your new orleans music and culture alternative

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