Monday, October 31, 2011
It used to be that you'd meet someone, they'd bite you, you'd develop a taste for flesh and pillage the surrounding town looking for someone nice to eat. Apparently, that won't do anymore.
There's now a furious new wave of Durham-born zombies walking amongst us and rapping as they go. The source of this revolutionary strain, if a new music video is to be believed, is a hot new track from local rapper and producers The Real Laww and Toon, dubbed "Professional Hater (Remix)."
The Real Laww (or J. Lawrence) is a Durham-based veteran of the war in Afghanistan; Toon is a graduate of the Durham School of the Arts. They were documented in the pursuit of BRAINS! by director Saleem Reshamwala (aka Kid Ethnic).
No word on whether anyone survived the onslaught.
Friday, October 28, 2011
Southern Culture’s new Halloween-themed release, Zombified, is a look back as well as forward. That’s because eight tracks are remastered versions of a SCOTS 1998 Australian tour EP, Zombified, joined by five new songs. Befitting the theme, SCOTS exchange their usual fascination with redneck living for a horror movie set dressed in vampires, witches, zombies, undertakers and even a “Swamp Thing.” The EP dates to keyboardist Chris Bess’ time in the band, and the presence of his Hammond organ is a striking reminder of those old days. Since becoming a trio prior to 2004’s Mojo Box, they’ve (necessarily) pursued a more rock-oriented sound.
The keyboard’s effect is subtle—the low, tinkling piano rag in the corners of “She’s My Witch,” the haunting organ peals of the girl group goth-torch “Torture”—but it’s quite the welcome mood-setter. The latter is one of the disc’s highlights, showcasing bassist Mary Huff’s beautiful breathy alto. The slow-burn psychobilly of “Undertaker” is another gem; Miller’s reverb-laden surf/rockabilly guitar work shines particularly brightly here, thanks to some great snaking bluesy leads. Indeed, his playing throughout the entire album is stunning. Miller’s finest moment comes during the instrumental cover of Credence Clearwater Revival’s “Sinister Purpose.” His compact slashes of guitar distortion counterpoint Bess’ soul-soaked keyboards driving each other through the songs’ greasy grooves.
The new tracks match the tone and theme of the original EP, but they aren’t especially fetching. The performances are sharp, but the songs are lacking. Only the instrumental “The Creeper” really stands out. Much of SCOTS’ music’s been unjustly marginalized for the alleged gimmickry of its trailer-park satire, but this release truly is a novelty, suited mainly for its holiday conceit. But if not on par with their best, fans will still appreciate the terrific playing and smirking good humor.
Southern Culture on the Skids plays Motorco Music Hall tonight, Friday, Oct. 28. Their Halloween Hullaballoo features The Straight 8s, The Tremors, The Wiley Fosters and Ormon Grimsby's 3D movie. The 9 p.m. show costs $13—$15.
Wednesday, October 26, 2011
- Photo by Daniel Coston
- The dB's
“Revolution of the Mind,” the new song from influential and underrated indie rock progenitors the dB's, does not sound like the work of a band that hasn't released new music since 1994. The tune, the band's first since the “classic” line-up began playing together again in 2005, is a burst of pop-rock energy with punk overtones and a rebellious message. Click here to download the MP3.
A leftover from the sessions for Falling Off the Sky, the band's forthcoming 2012 reunion album, the Peter Holsapple-fronted track rides a guitar lick that mimics a European police siren. It ricochets off of rock-solid bass and a backdrop chug of drums and rhythm guitar. Holsapple challenges modern notions of security, lashing out at his fellow 40-somethings for losing the revolutionary vigor of their youth: “Buying a Chevrolet is not a revolutionary act,” he taunts. An all-star effort by both local and national standards, the song features supplementary guitar work from Yo La Tango's Ira Kaplan and background vocals from The Old Ceremony's Django Haskins.
Feeding off the times, the band released the song in solidarity with the Occupy Wall Street movement. One of the song’s two music videos is directly tied to the spirit of the protest. Directed by Raleigh's Mike Allen, the clip splices footage of the occupation with other defiant acts, both fictional and historical, and a curiously placed black-and-white cartoon.
“The OWS movement, and similar movements throughout the country and the world, implies to me that, when something is wrong, you can't sit around wringing your hands and hoping for someone to activate change,” Holsapple says. “You have to take the matter into your own hands and make it happen yourself. Hopefully, as with OWS, you will find like-minded individuals who can add to your number, and with that burgeoning number you can feel a certain amount of strength that what you are doing is valid and right and important.”
Shonen Knife and The Ghost of Rock split the bill at Durham's Pinhook last night. Indy photographer Jeremy M. Lange was there.
Forget cake. The real question is, could you make your Shrinky-Dinks in it??
Great piece, Lisa! …
by Jane Hobson Snyder on The rise and fall of the Easy-Bake Oven (Object of Desire)
I'm a physicist (just like Dr. Hansen) and this article is overloaded with misinformation and biases. It is an advertisement …
by John Droz on Duke professor Orrin Pilkey takes on the deniers in Global Climate Change: A Primer (Reading)