Your SAK correspondent went with fellow Press cohort and photoblogger Jonny Leather to see Thee Oh Sees at Death By Audio on Sunday, and big JL did SAK proud with a lovely sequence of weirdo-tripped photos.
Your SAK correspondent helped make sure The New York Press Best Of Manhattan issue made a little less sense with several shout outs to some keepin’-it-real Brooklyn peeps.
Apart from the love for Entertainment4Every1 and Sleep When Dead NYC above, go here for SAK-penned picks for Best Local Rock Band (like you didn’t already know it was The So So Glos?) and Best DIY Venue (Schmarket Schmotel, of shcourse).
Your SAK correspondent saw that this was moved today (in fact, he was alerted by the variety of oracles that keep him abreast of all matters Awesome Vistas related) but even his mid-notch reporting couldn’t bring this to you faster than an on-the-ball commenter simply known as Thomas. And now it’s called the Us Again Festival. Fine, whatever. Can Thee Oh Sees please play now?
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Saturday September 27th –AFTERNOON-1PM– @ MARKET HOTEL
[ this show was moved from THE YARD due to threat of rain ]
|| CHRIS JOHANSON’S US AGAIN FESTIVAL
|| presented by Deitch Projects & Awesome Vistas
|| Thee Oh Sees
|||| Sic Alps
|||||| The Enablers
|||||||| flower of flesh and blood
|||||||||| La Lus
|||||||||||| Dragging An Ox Through Water
|||||||||||||| Linda Hagood
|||||||||||||||| Ty Segall
|| dj Doctor Deco
[ MARKET HOTEL ]
1142 Myrtle @ Bdwy | Bushwick, Brooklyn | doors 1PM
JMZ-Myrtle, L-Jefferson, G-Myrtle-Willoughby | FREE! | all ages
–NOTE–> THIS SHOW WILL BE OVER BY 9PM OR BEFORE!
[ curated & organized by Chris Johanson & Deitch Projects ]
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“Make us look good, eh?” -John Dwyer, Thee Oh Sees
Your SAK correspondent has a link to his Future Islands column, but feels there is no bloggy witticism able to compete with what is perhaps the most persuasive flyer of all time:
Also please note how ably this kicks his Future Islands Sincerity Thesis squarely in the teeth.
Your SAK correspondent, after some serious private investigatory sleuthing (he sent a MySpace message to Flower Of Flesh And Blood, just like Sam Spade would have) has totally blown the lid off this Awesome Vistas Festival deal:
It goes down this Saturday, the 27th, at The Yard (even though they don’t list it on their site, this has been confirmed by multiple sources) in Brooklyn’s Gowanus ‘hood, goes from approximately 3pm to 10pm, and is, like, totally fucking FREE!
Sean from FOFAB further had this to say: “The bands are Thee Oh Sees, The Enablers, Flower of Flesh and Blood, The Sic Alps, Lone Wolf, and three others I can’t remember (sorry).”
There is currently a 90% chance of rain for Saturday. Goddamnit.
Former Beat The Devil frontchick Shilpa Ray (now with added Happy Hookers!) has finally uploaded some recordings to her MySpace jam, just in time for her performance at Pianos tonight. She’ll only have eyes for you. But she’ll have her harmonium and spooky wail in tow for everybody else.
Don’t let The So So Glos know that your SAK correspondent told you this, but their ridiculously good new 9-track EP, Tourism / Terrorism, comes out this Election Day (November 4th). You will be the lamest kid on your block if you don’t have a copy.
There are no publicly available studio recordings yet, but speaking of blocks, here’s a YouTubed, blown-speaker rendition of T/T’s “My Block”:
Your SAK correspondent finds it easier to rock with Golden Triangle amidst the fashions of Williamsburg than at Fashion Week.
I’ve listened to Son Volt’s “Medicine Hat” once each day since this past Friday. It’s a song that’s always resonated with me–Jay Farrar doing his best to sound like a rockin’er (though still jangly) Byrds covering ‘65-era Dylan–despite being a typically tough-to-decipher Farrarian attempt at, well, Dylan’s obtuse, image-riddled quasi-prophetic poetry. I hadn’t given the cut a spin in over a year, I’m sure, and I had no real idea why the song suddenly re-asserted itself as a favorite in the last few days.
Today I was sitting in my kitchen, shoveling the final spoonful of cereal from my bowl as the host on National Public Radio introduced a fairly short piece with only “And now a remembrance of David Foster Wallace,” my roommate Andres concurrently asking “Did you hear about this shit?” I had not.
I rocketed out of my seat, cranked up the volume knob, paced away from the radio and stood in the middle of the apartment, completely upended inside.
David Foster Wallace, 46, found by his wife at their Claremont, California home on Friday, apparently a suicide by hanging.
In the past few months I have managed to re-obsess myself with DFW, reading again each essay in Consider The Lobster, preaching his greatness to various people at parties, the conversation either becoming a mutual lovefest between myself and anyone whose ever read a word the man had written, or the other person vowing to read Wallace’s essay “Big Red Son”–easily the most intelligent, unflinching, insightful consideration of the American pornography industry ever put to paper–at the earliest opportunity.
I went with my friend Brett to watch the daytime qualifying rounds of the U.S. Open last month in Queens solely because Wallace had written an essay about tennis player Roger Federer–his take made the game sound so interesting that I, a professed sports avoider, felt I had to see some racket-wielding professionals tread the courts it in person.
This blog even unintentionally lifts a bigtime conceit from the DFW playbook, as I refer to myself in posts not by the far-more-often blogged with “we” or in the at least standard old “I” but instead as “your [Songs About Knives] correspondent,” essentially a minor modification on DFW’s hilariously clever ability to render himself in the third person when detailing his experiences, a move that somehow managed to spectacularly humanize the events portrayed therein.
The play count for “Medicine Hat” on my laptop now stands at four–once a day since Friday, but this last rotation was suffused with an unfortunate meaning that the song will, for me, probably never shake. “Just like that and the deed is done,” Farrar sings in the chorus, closing out the section by adding: “the time is now to be on the run.” I’ve played it each day since Wallace’s suicide, not yet knowing its meaning had been cemented until today.
A lot of it is epic in its lyrically open-endedness–“there will be signposts of indication / semaphore go signs and warnings”–and reads like the Biblically vague stuff that is oft-counterfeited in powerful (if arguably empty) rock songwriting. I’ve never necessarily believed that Dylan songs really mean anything, and that prospect has never troubled me, so I have always given Farrar the same pass, more because when he’s in his rock-poet mode he’s generally indecipherable, though almost certainly never meaningless.
David Foster Wallace was neither, and suddenly it is apparent that “Medicine Hat” is much the same, equal parts predictive and profound. “Departures raised with no masquerading,” Farrar wails in the first verse, “there will be teachers that die by their own hand.”
David Foster Wallace, R.I.P. 1962-2008