www.antigravitymagazine.com

STAFF
Publisher/Editor in Chief:
FEATURES: BIG ROCK CANDY MOUNTAIN
Leo McGovern ANTI-News_page 6 HAVE SOME NICE DREAMS ON
[email protected] THE WEST COAST_PG 14
Some of the news that’s fit to print.
Associate Editor:
Ted Leo and the
Dan Fox Pharmacists_page 18
[email protected]
Twitter and Jersey Shore.
REVIEWS EDITOR
Vockah Redu_page 20
Erin Hall
[email protected] Bringing bounce to SXSW.

C on tributing Writers: COLUMNS:

Zachary Anderson Homefield Advantage_page 10
[email protected]
Michael Bateman Has the world ended?
[email protected]
Emily Elhaj The Goods_page 11
[email protected]
Nancy Kang, M.D. Fashion with Ashy Beach.
[email protected]
Dan Mitchell Splash Zone_page 12
[email protected]
Sara Pic A look at the month in theatre.
[email protected]
Mike Rodgers Photo Review_page 30
[email protected]
Shai Rosenfeld The month in photos.
[email protected]
Brett Schwaner REVIEWS (pg. 22):
[email protected]
Mallory Whitfield Albums by Yeasayer, Six Feet Under, Ted Leo...
[email protected]
Derek Zimmer EVENTS (pg. 24)
[email protected]
January listings for the NOLA area...
Ad Sales:
COMICS (pg. 29):
[email protected]
504-881-7508 Egad!, How To Be Happy, K Chronicles, Firesquito.

Vockah Redu cover design by Michael Patrick Welch INTRO

We like stuff! Send it to: Anatomy of a cover: It’s Sunday, February 14th. Despite the cold rain and the
4916 Freret St. murderous traffic trying to get anywhere near downtown, I and two of my
closest buds venture out to see Big Freedia, Sissy Nobby and Vockah Redu
New Orleans, La. 70115 at the Hookah Cafe. I can’t wait to see how packed this place is going to be; if it’s
anything like last year’s Sweetheart’s Ball, it should be a really good time for a sea of
Have listings? Send them to: people. Finally arriving at the club, I find the crowd surprisingly thin. Nothing sadder
events@antigravity than a nice venue half-full of people. Where are all the sweethearts and Valentine’s
magazine.com revelers to celebrate? Probably at home, cuddling on the fucking couch in this
weather. Then the “feeling” leaves. You know, that moment when you’re out and
ANTIGRAVITY is a publication of suddenly it all seems like a huge chore and everything looks like the same tired shit
ANTIGRAVITY, INC. and all you want to do is find a hole (hopefully with a bottle of Scotch in it) to crawl
into and disappear. So I take a walk to Frenchmen, passing all the usual haunts along the way and finding them equally empty. I
Resources: guess Super Gras fatigue has started to sink in. I entertain a glass of that blessed Scotch at the Dragon’s Den (thanks, Christian)
Homepage: and then head back to see if my friends are still there, hopefully ready to leave. One of them, having flown all the way from D.C.
antigravitymagazine.com to witness Sissy Bounce in person (being a part of that post-gender community), is barely conscious, swaying on the almost empty
Twitter: dance floor; in another second, she’s gone altogether, along with the friend we came with. Hmmm. All alone. On Valentine’s. At
twitter.com/antigravitymag a bar, late in the evening, at least a $15 cab ride from home and unable to get drunk. Or happy. And then Vockah Redu hits the
MySpace: stage, a stick of incense burning between his teeth and a pair of Dwayne Wade glasses perched on a face that reveals not a thing.
myspace.com/antigravitymagazine He and his entourage gather themselves slowly about the stage, taking their sweet time ramping up. And then, just like that, it’s
on. There might be ten people watching at this point but you would never know it from Vockah’s performance. His entourage,
now packed three tight behind a microphone, bark out the hype like machine gun fire; and even though it’s an off-night for the
costumes, the whole thing still echoes the spectacle of P-Funk. At one point in his set, Vockah goes a cappella. Though some
might call what’s happening “free-styling,” it feels more like bearing witness to spiritual possession, and these ghosts have skills.
Suddenly, the night seems a lot more encouraging. In the “crowd” I find Alison Fensterstock, who in addition to being one of this
city’s finest music writers (and a member of the Cool Last Name club), is also incorporated somehow into the Sissy Bounce world.
She tells me about how her and Vockah have been up for days, trying to make it back to New Orleans from New York (blizzards),
where they’ve been promoting his music, among other things, and have arrived just in time to play this show. I take advantage of
her sleep-deprived state to pick her brain about Vockah and the possibility of a cover feature in this here magazine. We both agree
that Michael Welch would be a fine writer to tackle the assignment and is there anything that beats this for a cover story for the
month of March, 2010? No. Not for miles (Though we still love and encourage you to check out our BRCM tour diary and Erin
Hall’s Ted Leo interview, in addition to all of the other great stuff in this issue!). Shake, bake, serve and here you have it, Vockah
Redu staring out at you from Welch’s fun cover design and a great first look at what is sure to be a promising and prolific artist.
Hey, it’s just that simple! —Dan Fox, Associate Editor

4_antigravity: your new orleans music and culture alternative



ANTI-NEWS

SPRING HAS SPRUNG: THE CALENDAR’S TORCHE BRING THE HEAT TO THE BIG TOP
FULL OF GREAT TOURING BANDS
Floridian metal giants Torche, currently signed to Hydra Head (the label run by metal behemoth
When other places Aaron Turner), are coming to tear down the Big Top and they’re bringing with them the Israeli
are still ass-deep experimental metal duo Carusella. Back in 2008, Torche stormed the scene and pummeled our
in snow, we’re earholes with their beastly and unrelenting album Meanderthal, an album as solid as any metal record in
walking around barefoot recent years that boasted tracks such as the now-classic “Healer” and the frenetic headbanger “Pirana.”
Since their last full-length, Torche has lost, on seemingly good terms, their second axe-man Juan
and eating crawfish. Spring Montoya, the long-haired beast of a lead guitarist, but they push forth nowadays as a three-piece under the
leadership of front-man and guitarist
is a great time to be a Steve Brooks, formerly of the doom
band Floor.
New Orleanian and it also
Carusella is made up of guitarist/
happens to be one of the vocalist Tamar Aphek and drummer/
vocalist Guy Shechter and are known
most active times of the year for their raucous, in-your-face live
performances that command crowd
for touring national bands participation, as they normally set
up stage in the crowd on the floor
to drop in for a visit. March (Monotonix anyone?). But perhaps
their most impressive quality is their
sees visits from half a dozen musicianship amongst their rippin’
and roarin’ act; the group is known
stellar acts (many of which to throw obscure covers into their
sets, like tracks by Frank Zappa and
you’ll read about in these Melvins; so NOLA be ready for these guys.

pages) including Spoon, Rounding out the show will be sets from local metal dark lords Haarp and our favorite intelli-doom
crushers Thou, who’s fresh off their tremendous 7” split released last month (find yourself a copy of
StateRadio and Citizen this one—killer artwork and as always, total and complete brutality). Moreover, to make things a bit
more interesting, the Baltimore, Maryland sludge/punk outfit Surroundings who are fresh off shows with
Cope. Harvey Milk and Thank You and who have a killer new LP coming out just around the corner, have
jumped on the bill as well. Gear up New Orleans, because the noise is coming. Five bands, one night, all
Austin-bred indie ages, at the Big Top; let’s be honest, does it get any better than this? —Dan Mitchell

stalwarts Spoon stop by Torche plays an all-ages show at The Big Top on Monday, March 15th with Carusella, Haarp,
Thou and Surroundings. Showtime is 7pm and tickets are $7. For more info, go to torcheband.
Republic on Thursday, blogspot.com.

March 18th. Famous for N.O. CRAFT MAFIA NEEDS YOUR SWAG!

both their poppy hooks and The 2010 edition of the Alternative Media Expo, the
multimedia show this magazine hosts once a year, is
impressive instrumental coming up in April with guests such as Karen Ocker (Ray
Nagin Coloring Book) and exhibitors like Dirty Coast, Defend
prowess, Britt Daniel and New Orleans, Charitable Film Network and many other
local artists, designers and DIY-minded individuals. The New
company should bring a great Orleans Craft Mafia have created a tradition at the Expo by
giving the first hundred Expo attendees free hand-assembled
combination of danceability swag bags featuring samplings of many artists’ wares, including
original crafts, stickers, CDs or comics, even t-shirts and coupons
and craftsmanship to the for discounts at exhibitors’ businesses. The Craft Mafia is calling
for artists and businesses who’d like to contribute to the swag
crowd at Republic, riffing on bags to send in their items (a minimum of 25 pieces, preferably
a full run of 100) by April 7th, 2010. Those interested can either
fan favorites like “Everything Hits At Once” and “Don’t Make Me a Target.” They are touring in mail their items to: New Orleans Craft Mafia Swag Bags c/o
Kerry Fitts, P.O. Box 791922, New Orleans, La 70179-1922 or bring them to the Unique Products store at
support of their latest release, Transference, an album that saw them making large sonic leaps and 2038 Magazine St. between 11am and 6pm on Mondays through Saturdays or between 12pm and 5pm on
Sundays. —Leo McGovern
playing around with a new, more sparse sound. Opening for them is a band gaining notoriety in
For more info about the New Orleans Craft Mafia swag bags, e-mail Mallory Whitfield at mallory@
their own right, Deerhunter. The Atlanta-based four piece is famous for their unpredictable and neworleanscraftmafia.com. The Alternative Media Expo is Saturday, April 17th at the Contemporary Arts Center
warehouse (900 Camp St.). For more info, go to alternativemediaexpo.com.
intense live shows. The dreamy art rock group is not exactly in the same wheelhouse as Spoon, but

that’s a good thing. They should add some interesting depth to an already exciting show.

Led by former Dispatch singer Chad Urmston, StateRadio plays Tipitina’s on Saturday, March

6th. Moving away from the jammy nature of his earlier work, Urmston has taken StateRadio in a

punk-infused direction, lacing their lyrics with political and social context. Lest you think they lack

the fun-loving bounce of Dispatch, there are also ska and reggae influences in their work. They

released their latest album, Let It Go, in September of 2009. Opening for them is relative newcomer

American Fangs, an alternative rock band out of Houston who recently released their debut EP.

If all this loud rock is making your head hurt, head to Tiptina’s on Tuesday, March 16th to

catch folk rock troubadour Clarence Greenwood (a.k.a. Citizen Cope). Touring in support of

his latest album, The Rainwater LP, Cope brings a rooted, evocative sound to the proceedings. An

extremely popular festival musician, it’s tempting to cast him as just another “soulful man with

guitar,” but his bombastic and earthy vocals aid him in rising above the crowd. There won’t be a

mosh pit at this show, but if you enjoy understated folk in the vein of Ray Lamontagne and John

Butler Trio, give Cope a try. Tips has not yet announced an opener.

So take your pick dear readers. Spring is a veritable buffet of great local and national music. Just

get out there and see something! —Erin Hall, Spoon Photo by Autumn de Wilde

Spoon & Deerhunter play Republic on Thursday, March 18th. Tickets are $18. For more information
visit republicnola.com.

StateRadio & American Fangs play Tipitina’s Uptown on Saturday, March 6th. Tickets are $12 in
advance and $15 at the door. For more information, visit tipitinas.com.

Citizen Cope plays Tiptina’s Uptown on Tuesday, March 16th. Tickets are $25. For more information,
visit tipitinas.com.

THIS AIN’T YOUR GRANDMA’S RECORD COLLECTION (ALTHOUGH, ACTUALLY, IT
MIGHT BE): WTUL HOSTS ITS SECOND ANNUAL RECORD FAIR

Since the beginning of time, humans have been especially fascinated with round
things and music, so it’s no surprise that the stamped vinyl discs known around town
as “records” hold an especially dear place in our hearts. Whether it’s the glorious
twelve inches of art and insert material (does the word gatefold make your pupils dilate?),
the warm embrace of analog bass and rich, vibrant keys or the nostalgia of connecting with
the past, vinyl continues to soldier on as the medium of choice for audiophiles, despite
the growing mountain of “virtual” music out there. Hunter King, WTUL’s Program
Director and DJ of the excellent Sunday afternoon “Storm Surge of Reverb” show wants
to share his love of vinyl by hosting WTUL’s second record fair in Tulane’s Pocket Park.
Building off the first event, which was held this past November and attracted over fourteen
vendors and great weather, King is excited to bring together a mish-mash of fellow record
lovers, from established shops like Domino Sound and the Louisiana Music Factory
to less formal outfits like the Iron Rail Book Collective and local ska-punk revivalists
Community Records, and even individual collectors. For budding diggers, actual record
players will be available for purchase, too (Oh, and also a few tapes and CDs. Sorry,
purists). Admission is free and tables are $20, with a maximum of two tables. BYO crates.
For more information, go to wtul.fm or look them up on Facebook. And please, try not
to bump the turntables. —Dan Fox

6_antigravity: your new orleans music and culture alternative

ANTI-NEWS

KNOW ONE KNOWS THE TROUBLE HE’S SEEN

Roan “Know One” Smith hasn’t gone anywhere, “I’m tired of feeding the people the people. Every decade has had its path, the last decade…
he’s only been hiding. Stop-started projects, same food over and over again.  It takes blah. It’s time for a new style, and I’m ready to bring it.”
disappearing-act partnerships, multiple tragedies time to patina new flavors.”  He sighs, —Zachary Alan Anderson
and the ever-epic quest for new significance are just a picks something out of a cuticle, “Not to
few of the things keeping his voice temporarily off public mention the fact homey’s gotta pay the The 3 Lucky Stiffs’ album, Live at the Soulhole, is available
PAs. But he’s still here, lurking in the corner, smoke tendrils bills.”  Laughing, he doesn’t have to refer for free download at mcknowone.bandcamp.com.
curling, stirring new style before riding back to the stage. to his day-to-day of housing renovation
In the meantime, he has taken the opportunity to release that makes his mic hand hard and dry.
the lost 3 Lucky Stiffs album, Live at the Soulhole, nearly “I am still producing. I’ve been working
shelved forever by the sudden and horribly incongruous with Sir Dilla out of Boston, Impulss, of
death of his former partner, local freestyle king Nathan course...  Done tracks with [DJ] Quickie
“Bionik Brown” Woods. Listening to any track on the Mart (the third Stiff) and Gotham Green
album (available now for free online) confirms the very on the Haze Diaries... Doing a lot of
large hole left unoccupied in our city’s underground. “But graphic design as well, been stretching out
don’t worry,” Proclaims Know One quietly, still squatting from album and layout design to clothing. I
atop that crater, “We’re bringing it back with something make pretty shirts.”
totally different.  If you like my old stuff—and especially
if you don’t—hold on to your hats ’cause we’re bringing Snowflakes. The new project is called
it ice cold. [My music’s] evolution is like snowflakes, HIFI, largely produced by his longtime
dig? No two breaks alike.” He laughs at how that sounds, and formidable BLANK SPACE partner
but he means it. Bionik Brown’s death is a frightening DamNathan. ”What we do on this record
parallel to Know-One’s own DUI collision only a few is take ourselves to the extremes of what
years ago. Landing on his face and shattering his femur, each of us does personally, then weave our
Smith bounced down Airline Highway, leaving an eyelid separate paths back together. The result is
and other bits on early morning blacktop. He and his now- a world of electronic industrial beat with
wife Kristina survived the crash, but it ended a national hard, high, synthetic melodies. And me,
tour with Galactic before it started and threw him lame on I’m like early Peter Gabriel channeling
a couch or crawling on stage with a creak and a limp. Late my future self and harmonizing.  A
2008 brought another rushed, abrupt death: his father, very different venture than what’s come before.”  Peter
Timothy K. Smith. “[Before,] I was always making music Gabriel?  “Yeah.  Don’t ask me to explain it.  When I
to make my dad proud. With him not around anymore, I perform again, it’s going to be an all-new ride.  Nothing
had to find a new purpose. Reconnect with what I really is obvious; everything is emotion. Something totally new
loved about making music.” for the people. Hip-hop cannot stay the same: stagnation
isn’t an option.  The music has to reconnect with the

7antigravitymagazine.com_

ANTI-NEWS

MOVE OUT TO THE FOBURG DRIVE-BY TRUCKERS BRING THE EFFING ROCK SHOW

While cities like Portland, NYC and Austin have become major Istood behind her with my feet propping her wobbling jello-legs up. I told her to hold on to the railing. It wasn’t over yet. It’s 6am on
hubs for indie rock over the years, New Orleans has seemingly a Sunday morning during JazzFest in 2005 and my best friend is doubled over with food poisoning, barely clinging to the barricade
hit a glass ceiling, unable to fully escape the binds of its deeply- in front of the stage at Tipitina’s. But she won’t leave. She refuses.Why? Because this is fucking rock’n’roll, my friends. It’s rare to
rooted and historical association as the birthplace of Jazz. However, event witness a live show these days that literally kicks you in the ass and all the while has you on your knees begging for more. This ain’t
organizer Nick Thomas, also with the active New Orleans Indie Rock your daddy’s AM radio. This…is a Drive-by Truckers show. Ever since my introduction to these Alabama hellraisers in 2004, I have
Collective, says that after receiving hundreds of queries from over ninety made an effort to attend every show in my area. I can chart
local and national indie bands looking to book shows locally last year, the phases of my young adulthood using Truckers shows. The
Foburg was born. first one was magical. I walked out stunned at what I’d just
seen and heard, reinvigorated in the knowledge that rock is
“Being in New Orleans is great,” says Thomas, “Because of its rich not, in fact, dead. Nowhere near it—as long as these guys are
traditional music heritage of jazz, blues, and funk. Our local scene has around. Then there was the JazzFest show. It didn’t even start
absorbed some of this...[and] Frenchmen [has remained] the home to until 2am and when I walked home to my dorm, dragging
much of [the city’s] traditional music scene.” my seriously ill friend all the way, the sun was rising on the
horizon. And of course there was the date with destiny, as
Beginning at 10pm each night, Foburg will hold court on Frenchmen they played Tips mere days before the “thing” made landfall
St. between March 12th and 14th, 2010. Venues for the event include and momentarily ruined our unique existence. Marooned
Blue Nile, Checkpoint Charlies, d.b.a., Dragon’s Den, The Maison, far from my beloved New Orleans that fall, I often listened
and R Bar. Local and national artists scheduled to perform include Sun to live Truckers tracks, channeling that power and rage into
Hotel, Givers, Pumpkin, Big Rock Candy Mountain, Caddywhompus, my determination to get home. We would all get home. And
A Living Soundtrack, Giant Cloud, The Blue Party, Silent Cinema, when we did, there would be some serious ass kickin’ to do.
Hurray for the Riff Raff, and nearly thirty additional artists. After the departure of third guitarist Jason Isbell in 2007 (an
absence that had me truly reeling for a while), the band took
“We hope to keep Foburg going as an annual event,” he says, “We some time to regroup and I was able to catch them on The Dirt Underneath tour at Tips, which showcased a much milder version of
intentionally kept [it] to one specific area, but we hope it will grow...while the band, waxing acoustic and reflecting on how they got to where they are. Then they danced with Booker T for a while—lending
keeping Frenchmen as its epicenter.” Equally attractive as its centralized grit to his R&B stylings on his recent album Potato Hole and finding a bit of inspiration of their own along the way. Last fall’s strong
location is its affordable pricing. Interested buyers can purchase advanced performance at Voodoo and the promise of a stellar upcoming album release (watch for my review of The Big To-Do in next month’s
weekend passes for $25, Thomas says. issue) has me unbelievably pumped for not one, but two nights of Truckers at Tipitina’s. If you’ve never heard the Truckers, slap
yourself now. But seriously, if you have any appreciation for the subtle art of absolutely rocking your face off, please give them a listen.
Event organizers feel the event will not only provide a great platform One of the few things I am proud to claim from my home state is this band with their raw passion and unabashed drive. Their triple
to the local and national artists playing the festival, but will also highlight guitar assault is fueled by the communal handle of Jack Daniels they pass amongst themselves at every show. Blessed with not one, but
our great local alternative music scene and become New Orleans’ true two gifted songwriters, expect to hear heartbreaking tales of loves lost alongside anthems of unapologetic Southern pride. Get ready for
alternative street fest on Frenchmen, an area that programs mostly your lessons in Alabama history accompanied by politically charged tales of working-class woe. The gruff one, Patterson Hood, is as
traditional music. steeped in the rich history of Alabama as any teacher I ever had growing up there. His father, David Hood, is a member of the famous
stable of Muscle Shoals studio musicians and Hood’s songs range from personal meditations on life and love to inspired-by-a-true-story
“After receiving hundreds of emails and calls last year,” he says, “We parables of crooked politicians and doomed musicians. Then there is “The Stroker Ace”—Mike Cooley. Smoother than a pound of
knew we had to create a platform for these up-and-coming national artists butter, his compositions showcase a masterful storyteller who could just as easily shoot you in the back of the head as buy you a drink. I
routing through New Orleans on their way to Austin, [Texas] for SXSW,” would try to name songs you should hope to hear, but I can’t even condense it to fit in my already way-past-what-I-said-I’d-write word
which is the week after Foburg. “With Frenchmen as the home to much of count. If you’ve ever wanted to walk out of a venue in the wee hours of the morning covered in sweat with a smile plastered across your
this traditional music scene,” he adds, “We have the opportunity to really face because you just spent a few hours living and really feeling something, then do yourself a favor and go see these guys. You won’t be
mix things up and challenge some of the misconceptions about the street disappointed. Satisfaction guaranteed. —Erin Hall; Photo by Danny Clinch
and the scene itself.”
Drive-by Truckers play Tipitina’s Uptown on Friday, March 19th & Saturday March 20th. Tickets are $20. For more info, visit tipitinas.com.
However, what Thomas feels is the most important aspect of Foburg
is this: “The real exposure is going to be converting people into fans.” — ONE, TWO, READY AIM: MOTO FINALLY RETURNS
Dominique Minor; Photo of Giant Cloud courtesy Park the Van
Fan is short for fanatic, and for MOTO fans in New Orleans (and beyond), the term was practically invented for us. If it were
For more information or a complete band lineup for the Foburg Festival, go to up to me, AG would run a MOTO story every month. Or we’d just change the name to MOTO Monthly and take it back
foburgneworleans.com. to the days of honest-to-god fanzine. With hundreds of songs under his belt and a lifetime of drifting, Paul Caporino, the
engine behind the Moto-cade, finally returns to the city that spawned him and his infectious brand of gnarly pop. His homecoming
show will be Saturday, March 13th at the Circle Bar with the Missing Monuments and Die
Rotzz opening up, and a super secret special guest closing out the night. But then who could
be more special than Caporino himself ? Will he sing “The Turd That Came to Life,” “I Am
the Cheese” or any one of his countless gems? Will Skwirl ride him or will he ride Skwirl?
Will everyone be able to fit in the cozy confines of the Circle Bar or be forced to spill out into
the street?The word from MOTO headquarters is that they’ve been laying low, practicing a
lot of their early ’80s material, some of which you may know from the beloved Single File
and This Corpse is a Warning CDs. A decent portion of the more current hits will be sprinkled
in as well. The show is the same day as the St. Patrick’s Day parade in the Irish Channel, so
remember to pace yourself. You don’t want to miss out. Though Caporino and company are
returning to New Orleans, they’ll leave for a European tour soon after. MOTO!!! —Dan Fox,
with Michael Bateman

8_antigravity: your new orleans music and culture alternative

9antigravitymagazine.com_

COLUMNS SPORTS
HOMEFIELD ADVANTAGE
by leo mcgovern [email protected]

THE END, AND BEGINNING, OF AN ERA

Well, the 2009/2010 Saints football season was the gift that kept on
giving, huh? The post-Super Bowl mania in New Orleans has been well-
documented, so I’ll officially make this the last column of the season by
running through some of my thoughts from the game itself and a short look at free
agency and the offseason.

TO GO OR NOT GO TO THE SUPER BOWL?

I had a chance of the lifetime, and I let it pass (at least partially) because of superstition.
Each NFL team gets an allotment of Super Bowl tickets to sell to their season ticket
holders, with the teams actually in the game getting a larger allotment, obviously. As
a nine-year season ticket holder with four seats on my account, I knew my chances of
winning the lottery (weighted by the number of seats you own and the number of years
you’ve held them) were fairly decent, but I was still stunned when I received the e-mail
from the Saints office stating that I could buy two Super Bowl tickets for $500 each.

My first thought was, “Holy crap, I’m going to the Super Bowl,” but I quickly realized
that if I got on a plane to Miami the Saints would surely lose to the Indianapolis Colts.

Why would one guy getting to live the dream of attending an NFL championship
game have any bearing on the outcome of said game or his favorite team’s performance?
Nothing, probably, but I couldn’t take that chance. I’d written that fateful column
back before the season started, predicting the Saints’ appearance in this game and
detailing the party I’d throw—how could I not make that materialize? Ultimately, I
didn’t buy the tickets and just hoped the next name down the Saints’ list would put
them to good use.

And the party went off without a hitch. We had all the “chips, dips, vegetable trays
and pre-made sandwiches” I’d promised, as well as a keg of Abita Amber and two
bottles of Old New Orleans Rum, “enough to make us forget, if it [came] to that.”
Surrounded by friends and family, we gathered to watch the game, to watch an event
that, win or lose, we’d all remember what we were doing, where we were and who we
were with when it happened.

The scope of the Saints being in the Super Bowl finally began to hit me (though
it still hasn’t fully sunk in even nearly a month after the game) at kickoff. At that
moment, it really felt as if there was no tomorrow, no slate of games to look forward
to next week—just the one game in front of us. The Saints must’ve been as temporarily
shocked as I was, because by the end of the first quarter the Colts were in definite
charge of the game.

The Saints, particularly Drew Brees, settled down in the second quarter and we
finally got to see the Saints offense in rhythm—when that happens I always feel more
comfortable, but in this case a superb second-quarter performance by Brees didn’t
feel like quite enough to overtake Peyton Manning’s penchant for clock-killing (and
momentum-killing, as shown in the first quarter) drives. We were somewhat lucky to
be down just four going into halftime—it would take more than just field goals to beat
the Colts, and we needed a turnover or an extra possession of some sort to turn the
tide in our favor.

That’s what I was thinking while in the bathroom, uh, taking care of some business
just before the 3rd quarter started (we did have a keg of Abita Amber, after all). I
thought, “An onside kick wouldn’t be a bad idea. At worst, the Colts recover and they
only have half the field to bleed clock, and even then if we hold them to a field goal
we’d be all right.”

The room’s reaction to my idea was mixed—but when the football came off the side
of Thomas Morstead’s foot, I jumped into the air, knowing we’d recover the ball, and
yelled “I knew it!” The Saints, between Robert Meachem’s strip of an interception
that turned into a touchdown for him, Brees’ spike and dunk in Miami during that
comeback, and this, truly gave us a lot of great “oh my God” moments this season.
Some people have criticized Sean Payton for that call, as well as calls like the failed
4th and 1 conversion or the reverse that lost yards. There have been times that Payton
has out-thought himself or was cute for cuteness’ sake, but I think even the failed
gambles should be lauded. The Saints’ victory over the Colts was really more to do
with their energy and willingness to gamble than having a markedly better team than
Indianapolis. What a great play, all around.

I can’t fully describe to you the feeling I had as Tracy Porter ran back his interception
of Manning. As soon as Porter had the ball and began his runback, I leapt from my
chair and jumped on my roommate and longtime friend Jason, who’s been with
me at every Saints game I’ve been to, high-fived Pedro, who’s been along for the
ride since high school, and finally into my wife Michelle’s arms. At that point my
head felt like it was going to explode and the world shrunk down into tunnel vision.
Every heartbreaking moment—every last-second field goal that didn’t go our way, the
double-reverses that cost us games, the soul-crunching days of Mike Ditka and all the
other losing seasons—evaporated and, as I always hoped it would be, it all finally felt
worth it. The walks of shame after bad losses at the Superdome, seeing all our division
rivals go to the Super Bowl before we won even two playoff games—all well worth it.

And the rest? You know as well as I, because in a way we were all there together.
I’ll see you next season (maybe, could it be possible?), where we will try and do it all
over again.

10_antigravity: your new orleans music and culture alternative

COLUMNS FASHION
THE GOODS
by miss malaprop [email protected]

GO DOWN TO ASHY BEACH

Ashley Beach is a native New Orleanian who creates stunning handcrafted jewelry
designs, working primarily with silver and gold to hand form and fabricate each
necklace, bracelet and earring herself. I recently caught up with her to find out more
about her work and what inspires it.

Miss Malaprop: How did you get started as an artist?
Ashley Beach: I've always had a drive
to do, to create, to assist the shaping of
my world. As children, we immerse
ourselves in creativity when we play.
We build crazy structures out of sticks or
dirt, blocks or fabric, or whatever we can
get our hands on. We doodle and paint
to bring our own visions of the color
schemes of the universe to the pages.
We sing with jubilation and confidence.
Pots and pans become instruments that
speak all kinds of languages. Everything
we encounter becomes a gateway for our
own unique interpretation of the world. I
never grew out of this. I don't think I ever
will. I don't think anyone should!

I owe the germination of my artistic life
to the New Orleans Center for Creative Arts. I attended NOCCA during my senior year of
high school. Never before had my creativity been so nurtured and encouraged.

I then went on to attend the Savannah College of Art and Design. Like many
of us that dive into the whirlwind of college, I didn't quite know what I wanted to
do aside from simply learn and create. Eventually, I was drawn into the world of
jewelry by my love of working with the materials involved, and the relationship that
people develop with a work of art that they interact with on such a personal level.

I was never a fan of the label «Do Not Touch» on any form of artwork. PLEASE
touch the artwork. Wear it, even. Let it become a part of YOU and your experience.

What inspires your work?
I do a lot of hand forming, which is hammering the metals into certain shapes and patterns.
In this way, the metal often «tells» me where it wants to go. This is why a good bit of my
work has an organic and tribal appearance. Semi precious stones and crystals will sometimes
find their way into my pieces when they whisper their secrets in my ear.

Recently, I've been working with mandalas. Both the creation and the viewing of
these are avenues of meditation in many different spiritual practices. The patterns
resonate with certain virtues and wisdom present in prayer and mindfulness.

I like to put this kind of intention into each piece I make, which is why I primarily
make one-of-a-kind wearable art, or very limited scale production pieces.

What do you do when you're not creating jewelry?
I am a very grateful student of music. My primary instruments are my voice and the acoustic
guitar. I've been so blessed to be in a city that can support and nurture all of my different
musical interests. I have a deep love affair with jazz, and am learning so much about this
truly awesome art. I draw influences from everywhere reggae to folk, India, or even eastern
Europe. The world is such a big place, full of such fascinating sounds.

What are your favorite destinations in New Orleans?
I'm addicted to music in this town, and if I'm not making art or playing music,
I'm definitely out listening to the sounds this city has to offer. I'm often perusing
Frenchman St. following my ears and intuition to the good stuff of life. My
favorite nook by far is a tiny coffeehouse that's been hidden under the radar
for thirty years or so called the Neutral Ground. This place hasn't changed a
bit since I started going there at age sixteen. They're an all ages venue that hosts
live music of all kinds every night of the week. They've got board games, terrific
coffee that's been roasted in-house, and wonderful vegan baked goods. They also
have an excellent open mic night on Sundays!

Do you have any favorite local artists or designers?
I'm in love with Savoy Truffle's work. If there's anyone to applaud for putting a tremendous
amount of love and care into the quality of her art, it's her. She makes beautiful feathered
and vintage inspired fascinators using cruelty free feathers and recycled materials.

What's up next for Ashy Beach Designs?
Between the spring and fall, I plan to put out a new line of mandala-inspired jewelry. I
hope to be able to put this line out in gold as well as silver. Its important for me to make
these designs available to a wide array of people, as they are my wearable prayers for the
everyone in and out of this world.

Where can people find your work?
I am featured at the RHINO (Right Here in New Orleans) Contemporary Crafts Gallery in
Canal Place on the third floor. Some of my on-of-a-kind work can be seen on their website as
well, which is rhinocrafts.com. I also have a website where one can both view and purchase
my work. It's ashybeach.etsy.com.

11antigravitymagazine.com_

COLUMNS THEATER
THE SPLASH ZONE
by sara pic [email protected]

HAPPYB-DAYTOALL-WAYS/MARIGNYTHEATRE

Some of you may have noticed I frequently write about shows at the All-Ways Lounge/
Marigny Theatre.  I recently joked to Dennis Monn, the artistic director, that I should
call my column, “Shows at the All-Ways/Marigny You Absolutely Cannot Miss.” But I
promise—this is not a payola scam. I write about shows at the All-Ways and Marigny because I
truly believe that the most cutting-edge, diverse and entertaining theatre and performance art can
be found there. And so I dedicate my column this month to the All-Ways Lounge and Marigny
Theatre as it celebrates its first birthday. Here’s to a successful first year and looking forward to
many more!

One year ago, Monn took over management and direction of the All-Ways and Marigny
with the intention to create
a performance space that is
open and accessible to all.  To
this end, Monn has kept his
overhead low so that ticket
prices can remain low; shows
typically are no more than $10
per ticket. Monn emphasizes
that 100% of any money not
spent at the bar (door cover,
cost of merchandise, etc.) goes
straight to the performers.   

Also part of making the All-
Ways and Marigny open and
accessible to all is to make
performers feel welcome and at
home there. Monn is dedicated
to bringing in African-
American, queer and other marginalized groups in society, and to make that space safe for them to
perform in. He stresses that this also makes for a more “well-rounded” performance space, which
benefits all audience members. This dedication shows in a few events this month at the All-Ways
and Marigny. First, auditions for Katey Red’s new dance troupe, which will be part of her new
thirty-piece marching band, will be held at the All-Ways. They’re also sponsoring Katey Red’s
new venture and so will feature her first performance with the marching band, which will include
a parade down St. Claude (look for that later in the summer). The Marigny Theatre will also be
showing one of the hits from Fringe Fest 2009, Badu-izms: A Tribute to Erykah. Monn describes
Badu-izms as like the musical Mamma Mia! in that the playwright and director, Pamela Davis-
Noland, has taken songs by Erykah Badu and used them to weave together a story, with Badu’s
music as the foundation. The All-Ways will also be holding a SXSW via NOLA concert series
over several days, showcasing bands that are either headed to or coming from Austin’s South by
Southwest music festival. Monn notes that many of the bands are headed to or returning from
Austin for GaybiGayGay, a day during the SXSW festival that is devoted to queer musicians.

One of Monn’s goals for the All-Ways and Marigny is to welcome and encourage new
performers and performance groups.  Potluck, Second Helping  is another event that Monn is
especially excited about, as he hopes to make this mini-festival of fresh new performances an
annual event. This is the second Potluck, which features eight performances for $8. This year’s
hearty lineup serves you a little music, a little dance and a little theatre. Potluck will feature
shows by Gabrielle Reisman (from the NOLA Project); Nari Tomasetti; Dennis Monn with
Scotty Heron, Chris Lane and Ben Noran playing banjo; Skin Horse Theater; Aura “Fedora”
Shannon (host of the podcast, Backstage on the Bayou) and Warren Usey; Sea Nobles, a dance
troupe; music by Will McClements from Why Are We Building Such A Big Ship? and Aurora
Neland from Panorama Brass Band.

You can always find more than music and theatre on the schedule at the All-Ways and Marigny.
New Orleans Ladies Arm Wrestling (NO LAW) will hold their second brawl at the All-Ways. NO
LAW is a smackdown composed of “the toughest, best-dressed and most bad-ass” arm wrestlers
in New Orleans. Wrestlers have their own distinctive costumes, theme songs and entourages, who
take bets from the audience on who will win the championship. Celebrity judges and referees decide
who advances in each round (sometimes with a little bribery). All money raised through “bets” will
benefit a local charity. The first brawl raised over $1,000 and packed the last bar it was held in, so
bring your dollar bills and get there early if you want to be in the splash zone.

The All-Ways and Marigny also host kid-friendly performances.  Be My Bunny  by Nari
Tomasetti will return from its hit run at last year’s Fringe. Monn describes Tomasetti’s work as
similar to Alice in Wonderland: intelligent enough for adults to enjoy, but kids absolutely love it,
too. Monn laughingly warns that Tomasetti is a “dirty bunny.” Monn recalls that at last year’s
run “There were these two industrial-size fans. I know Nari likes to get dirty so I knew they were
intended for something but I didn’t know what. Near the end of the show, I thought, ‘I’ll go check
on those bunnies.’ I hear screaming and laughing and cheering. I open the doors to a big blizzard.
Feathers had been put in the fans and the kids went crazy; everyone was doing the bunny hop.”
Bunny attire by kids and adults is encouraged.

Enjoy the shows and don’t forget to pin a dollar and celebrate the All-Ways Lounge and the
Marigny Theatre’s first birthday!
 
Auditions for Katey Red’s dance troupe will be held on March 8th from 4-7 pm and are free and open to
all. Badu-izms: A Tribute to Erykah will show on March 20th and March 27th at 8 pm, tickets are
$10. SXSW via NOLA will jam on several nights, check the website for details. Potluck, Second Helping will
run from March 11th to March 13th at 8 pm, tickets are $8 or bring food to serve 8+ people for free entry. NO
LAW is March 19th at 9 pm. Be My Bunny will hop around on March 21st and March 28th at 2 pm and
8 pm, tickets are $5 for kids and $8-$10 for adults. Please check the All-Ways and Marigny’s website for the
most up-to-date info on shows at marignytheatre.org.  

Send me press releases, vague info on shows or theatre/performance art, news or gossip! Holla at sara.pic@
gmail.com.

12_antigravity: your new orleans music and culture alternative

COLUMNS ADVICE
GUIDANCE COUNSELING

this month’s trusted advisors: matt “muscle” russell

THINKING WITH YOUR CABLE

New Orleans is known for
its lovable losers, but even
more impressive is our own
special brand of lovable scumbag.
And who better to lead that charge
than Matt “Muscle” Russell,
longtime nemesis to all things decent,
mediocre and PC? A self-described
racist hippy, Matt is the man behind
the prolific booking juggernaut that
is 86’d productions, in addition to his
duties as singer in local metal warriors
Tirefire. The cuddliest Nazi this side
of the Maginot line, Matt brings a
blitzkrieg of shows to the Saturn Bar
ever month, be it black metal, doom,
punk, hardcore, garage rock, fuzz
pop or anything that his discerning
musical tastes can tolerate. For the
month of March, he’s snagging
his share of SXSW pass-throughs,
like Omaha’s Digital Leather and
Milwaukee’s Juiceboxxx, as well as
the Puppy Hearts from Alabama.
For a complete list of his shows
(practically one every day!), check
out the schedule at myspace.com/86dproductions. Honestly, we don’t know why we chose
Matt for this month’s advice, but we did. Call it tough love. And yes, that is Matt grinding on
Katey Red in that picture, in case you were wondering...

Why do men ask for your phone number and then not use it? I would really like an answer to this one,
so let me know.

Ummm... So have you ever heard of alcohol? It’s a drug found in beer, wine and liquor

that severely impairs your judgment when consumed in large quantities. Sometimes when

dudes are hanging out in a bar, they will do stupid shit like throw people through windows,

break the bathroom sink off the wall, throw bottles at bartenders or talk to you and ask
you for your number. When they wake up in the morning on the floor in a puddle of piss,

wondering why they drank so much wine last night, they will find your number in their

pocket and be all like “who the fuck is that?” Then they’ll throw your number in the garbage
and go puke all over the bathroom, then pass out again in their puke... All while you wait

next to a phone that will never ring with a broken heart like a shattered idiot. You need to

change your approach, lady! If you want a sure thing, get the fuck out of the bar and go look
for love somewhere else... like a coffeeshop! Just find some tool in there... probably reading

a book... and go strike up a conversation about some inconsequential crap like Obama,
“Going Green,” or “Guess who’s got the baddest latte in town?” Then give him your

number and you know what? He will call you... probably before you leave the coffeeshop!
You know why? Because dudes who are into shit like that never get chicks’ phone numbers.

I “dipped my pen in company ink.” Totally shitty situation, but it’s done and now of course
everything at work between me and her is awkward as fuck: everyone else looks at us funny (because
they all know because it started at the bar we all hang out at) and it’s like wearing an itchy suit for eight
hours while we’re working together. And at our place of employment, it’s hard to hide. Please have
something helpful to suggest so we can all relax a little. P.S. It’s never happening again.

HAHA you fucking dumbass! You should never air your dirty laundry in front of your
coworkers! Every idiot knows that! And if you’re gonna “dip your pen,” you shouldn’t
do it at the bar in front of everyone! Go to the bathroom, photobooth, alley, dumpster...
anywhere is better than that! Regardless, you fucked up. It might be time to find a new job,
and if you find yourself unable to resist the temptation of screwing your female coworkers
then maybe it’s time to switch to a more dude-centric work environment. Try working
construction, get a job on a garbage truck, dance at the Corner Pocket. If you find yourself
facing the same problem a few months down the line then you’re on your own, buddy!

I want to get cable TV but I’m not sure who to go with: Cox, Dish Network or DirecTV. What do you
have? Do you like it?

Cable? Really? That shit sucks! It’s a total waste of money! I had free Cox cable once. It
ruled for a while because it was free, but then I found myself watching crap like The Real
Housewives of Orange County, The Real Housewives of New York, and the even more disturbing
The Real Housewives of Atlanta. So when they eventually cut my free cable off I was all like
“Fuck this shit...never again!”  Besides, who cares? I was way too busy asking women at the
bar for their phone numbers, then never calling them anyways.

Got problems? Send your problems, conundrums, quandaries and shit-pickles to advice@
antigravitymagazine.com.

13antigravitymagazine.com_

FEATURE MUSIC

BIG ROCK CANDY MOUNTAIN TOURS THE
WEST COAST AND FINDS THE SEXY

by big rock candy mountain (paul thibodeaux, drums; michael girardot, vocals/keys; andrew hartsock,
guitar; stephen macdonald, bass/vocals)

Big Rock Candy Mountain is either a mean-pop or nice-metal band It was amazing how people started crawling out of the Day 4, L.A. It’s raining. Great. I can tell for certain,
from right here in New Orleans. In mid-January they embarked woodwork once the keg arrived.  We hung out for a bit, wherever Big Rock Candy Mountain goes, rain is sure to
on a west coast tour, and while less dedicated bands might have then killed the lights and proceeded to rock out. We played follow. It seems like the shit has been on our boot-heels ever
cancelled amidst the fanfare swallowing this city, they soldiered on. a great long set, were pretty finished. Then the audience since we left New Orleans. IT JUST DOESN’T STOP!!!!
We asked them to journal their travels for us and being the nice demanded an encore, which we obliged. Then, Stephen put ARGHHH! Rain was definitely there to greet us as soon
guys they are (though not too nice), they happily obliged. Thanks, on his superhero cape and turned into Supertronatron, the as we entered California. From Coachella to Los Angeles,
guys! Mashup Monster. People danced and the DJ set segued to it has been raining on and off for the past two days. There
band jam with some fellow friends and Austin musicians. is nothing scarier than driving through the state’s highway
Day 1, New Orleans. We had a great send-off at One Eyed We finally wrapped it up around 2:30 and got home around dealing with people who don’t know how to drive through
Jacks. Despite the weather and the playoff crowds, our 4 am. We went straight to bed, only to get up shortly rain, especially when the rain causes chunks of the cliffs to
New Orleans friends showed up en masse to support us and thereafter at 6 am and hop in the car to start driving to Las break off and splatter all over the highway. Le sigh. We show
MyNameIsJohnMichael. There’s nothing like playing One Cruces. But before we get ahead of ourselves, let me tell up at this club called the Mint and this dude is like “Hey,
Eyed Jacks. It’s a fucking beautiful club (and honestly one you a little bit about driving through west Texas. THERE Justin Timberlake is here,” and we’re like “Oh, ha ha...”
of our favorites); it always sounds amazing here and you get IS NOTHING HERE! WHAT THE HELL IS WRONG and then we start backing our truck to load in and JUSTIN
a lot of free booze. What a great kickoff show. WITH THIS PLACE!?!?!?! For real. There is NOTHING TIMBERLAKE helps us back it in. It was pretty much,
here. It’s exactly what you’ve heard about. “Hey guys can you back in here?” and we were like “Oh...
Day 2, New Orleans. Wow, this is great. Out of air in the ha ha... Wait, that was Justin Timberlake.” Woo. Anyway,
tires. Out of coolant. The hood won’t open. We woke up Day 3, New Mexico. Last night was ridiculous. Packed we were supposed to have a forty-five-minute set, but
really late. Yeah, we haven’t even left NOLA yet. Austin in a small house full of crazy people. It was fun. Oh yeah: “JT” managed to push us back so that we only had twenty
had better be awesome. Paul is definitely sick. What an asshole. We just played a minutes. It’s okay. We’re still feeling the effects of when he
show in Las Cruces, New Mexico to what you could call a reminded us about Sexy. P.S. $4 PBRs!? In a can!? What the
Day 2, Austin. After driving all day, we show up in “slim crowd.” That means nobody. But we were fed, sold hell, Los Angeles... give the broke musicians a break!
beautiful, clean Austin (where I, Michael, was born and a few CDs and got gas money from the venue. Jazmin, the
raised). My mother graciously stuffed us with food, and booking agent for Equinox, was super-nice and really dug Day 5, Lancaster, CA. We’re staying at Nicole from
then we set off to the house where we would be partying. the music. That is always encouraging and a good morale Sideways Media’s place. She’s sweet. She loves metal.
We showed up, set up and then went and grabbed the keg. booster. We broke some stuff at earlier shows so we had to buy

14_antigravity: your new orleans music and culture alternative

FEATURE MUSIC

replacement gear and other stupid stuff. Saw Colin Farrell at Sam Ash. I’m assuming
he was drunk. It’s still raining in “Sunny California” and all we’ve seen on the news is
“MUDSLIDES! EVERYBODY PANIC!”

Another “slim” show. It was pretty fun, though. We were driving back home through
the mountains and—“DUDE TURN THERE’S A ROCK IN THE ROAD!” Seriously.
This thing was big, like size-of-a-V8-engine big. Immediately  later there is a line of
at least eight cars and trucks with smashed fronts, who must have hit that thing. We
almost had our first literal show-stopper.

Day 6, L.A. Laundry day! By the way, it’s still raining. Ugh... Jersey Shore is funny;
we should all move there, seriously. Our industry showcase was so good that everyone
threw up. Then it was on to hang out in L.A with our gracious host Nicole Poulos
(with Sideways Media). We journeyed to the Rainbow Bar and Grill hangout of famous
’80s rockers and got pizza and beer. John Belushi had his last drink there; Pamela and
Tommy had certain “escapades” there. We saw a guy get punched in the face and
carried out in a stretcher. We also met some guys who were working on a “History
of Metal” documentary for VH1. Andrew almost peed his pants and we shot the shit,
talked metal and music and had a few beers, then walked back home.

Day 7, L.A. Paul and Stephen are sick. They sound like lepers begging for the sweet
release of death. It’s ridiculous. But we’re having fun. We stopped at this hookah place,
and it was the closest thing to an opium den I think we could ever handle. Also, don’t
ever eat at Del Taco. Especially not twice in one day. You will end up shitting in front
of Disneyland, I swear.

Day 8, San Francisco. We just went to a surprise birthday party in San Fran. Weird,
because we didn’t even know the guy. Mike passed out. Andrew humped a keg.
Remember, folks: Always leave a good impression.

Day 9, San Francisco. Paul is not sick. Stephen is still sick. Screw that, though. We
went to a studio today to record “Digital Love” for a compilation by Reapandsow and
Sideways Media. This place was groovy, to say the least. The engineer was literally
Chong’s doppelganger, but way, way, way cooler. I swear, dude. The guys loved us
so much they bought our merch, then bought us margaritas consisting of a pint glass
with 3/4 tequila and 1/4 margarita stuffs. Later: first tour fight, but we were drunk, so
whatever. What was that about? (It was about who likes San Francisco more.)

Day 10, San Francisco. Dude... Those redwoods are the tallest anythings we’ve ever seen,
ever. Gives you a weird “deep” perspective on your own life... or whatever. It’s amazing
to come from the swamp, drive halfway across the country through the desert, through the
mountains and end up in one of the oldest forests in the world. These brutes were so tall that
the droplets of water gently falling off each pine needle felt like a punch in the eye socket.
We often found ourselves staring upward in amazement for such long periods of time we
were practically begging to get cold cocked by Mother Nature. P.S. Did you know that the
Golden Gate Bridge has the highest suicide rate in America? Huh...

Day 11, Santa Barbara. Beer Dive: A racing drinking game in which the players throw
cans of cheap beer (e.g. Keystone Light) into a swimming pool when it’s forty degrees
out. The players leap into the pool in search of said beer, “chug” a can, do a lap, swim
to a second can and take it out of the pool. The players then chug that beer in the cold as
fast as possible before leaping back into the pool in search of a third beer. Once you find
it you do a lap and then swim to the hot tub, climb in and drink that one. The winner
gets to shout about how much more manly he is than the other players.

Day 12. GET OUT OF MY HEAD LADY GAGA!!!

Day 13, New Mexico. Desert, cactus, desert, mountains, cactus, mountains, desert,
SNOW, mountains, BLIZZARD, mesa, fog, snow, desert. I haven’t seen this much
snow since Scarface. Oh my God, why is it so cold in New Mexico? I’ll tell you what:
People in Albuquerque are really nice. Thanks for the beds and Zombieland.

Day 14, Denton. WTF! I-40 was closed for blizzards, so we had to take an eight-hour
detour. Good job, Snow Miser. GOD, we’re all sick of driving. Getting out of the car
and walking into Hailey’s in Denton was one of the best feelings ever. The venue
was awesome. The stage was big. The P.A. was loud. They had awesome beers on
tap. I ran into two people I went to elementary school with. We played an awesome
show, Backside Pick was awesome, Oso Closo was awesome. The crowd was huge. It
was a wig-themed show, so everyone wore wigs. We got drunk. We ate Whataburger
afterward. Stephen’s cousin, Kaleo from Spooky Folk, let us sleep on his floor. He has
cats, so the floor smelled like cat. piss. Cat piss. Cat Piss. CAT PISS!

Day 15, Houston. Almost there, and we almost hate each other. :) Mike talked to some
radio about something or whatever. Why are Houston’s roads so big? Let me tell you
that Westheimer is the place to hang and Smiley with a Knife is perfect company.

Day 16, Lafayette. The last show!!! LET’S BREAK EVERYTHING!!!

DAY 17, Home. Time to sleep and shower. I HATE YOU GUYS! I LOVE YOU
GUYS! DON’T CALL ME FOR A WEEK.

Hear more and read more (including more tour stories) at BigRockCandyMountain.net

15antigravitymagazine.com_





FEATURE MUSIC

TWEETING THE NIGHT AWAY WITH
TED LEO & THE PHARMACISTS

by erin hall photo by matias corral

After twenty-one years in the business, Ted Leo day saying, “where’s the new record?!” So we just made this it is on the record where it fades out. But it’s one of things
is still going strong. Famous for both his catchy, record with zero pressure on any front. It was just what we you know…the eternal debate about whether a band is a
poppy hooks and intricately woven lyrics that wanted to do. I think there’s a little more air and a little bit better live band or a better studio band. I kinda think there’s
function as a platform for social and political of room to allow all those influences to just flow through the not really a point. You should do what you can with both
commentary, the Jersey-born punk rocker is embarking on songs. The whole thing just feels a little freer to me. things. For example, when we play “Cork,” live—we don’t
his latest tour with his band the Pharmacists in support of bring acoustic guitars on tour, so we’re not gonna switch
their most recent release, The Brutalist Bricks. They swing You’re obviously a very socially and politically guitars in the middle of the song and play it like it is on the
through New Orleans on Good Friday (April 2nd) at One active musician. Your lyrics are full of sharp-tongued record. But the way that we wanted the song to be iterated
Eyed Jacks. Ted sat down with ANTIGRAVITY to talk commentary on a variety of social and political topics. for the definitive recorded version is what it is on the record.
about the ins and outs of being a middle-aged punk, how Do you think that all your fans really “get” that about That’s just kinda how things evolve.
Twitter has brought him closer to his fans and to give his in- you? Or do they just really enjoy that catchy-as-hell riff on
depth analysis of the social paradigms at play on the MTV “Bleeding Powers”? So do you think that “test driving” songs like that with a
show Jersey Shore. I think that they get it. But I don’t expect everyone to fully live crowd is an effective way of molding new material?
agree with everything I say or fully understand every nuance Yeah, sure. Whether it’s feedback from the crowd or
ANTIGRAVITY: I think this might be the first time of my viewpoint in writing something. Just like you don’t us looking at each other in the middle of the stage when
we’re featuring you in the magazine and we haven’t seen ever get everything that someone means from a song. But something’s just not working and kind of nodding to each
you down here in a while. The new album, The Brutalist that’s the beauty of it. You get a little bit of that, but you also other like “yeah, that’s not working.”
Bricks, is your first record with Matador, right? What’s get what you bring to the table as a listener and a fan. And
been different working with them as opposed to Lookout! it becomes important, hopefully, to you as well. Here’s the So, I follow you on Twitter and I’ve noticed you’re a bit
or Touch and Go? thing—I think that what people do understand about me and of a Twitter addict. And while I’ve seen you occasionally
Ted Leo: Not too much. None of it’s been all that different. us as a band is that while all of that stuff is very important to use it to promote work, for the most part it seems like a
Matador is obviously the biggest of the three labels, but me—it obviously drives a lot of what we do—if it was more very personal form of communication for you where you
within the world of indie labels, they’re all relatively in the important to me than being a musician, then I would be a converse with friends and share tidbits of information
same tier. Or they were before Lookout! and Touch and Go politician or a political science professor or something. But about issues that are important to you—including
collapsed from right under me. Also I’ve never worked with I’m not. I’m a musician. The day that those two things don’t commentary on Project Runway. So, do you think that
a label that’s been looking to find somebody. work together, I will be unhappy. You know, I don’t want being on Twitter has brought you closer to your fans?
one of those things to overshadow the other, but at the end Yeah, I think so. That’s the only reason I like social
You’ve never courted a label? of the day, we make music. So I’m not gonna be bummed if networking. I gotta say—I could take this in a bigger
Yeah, it’s always just been from knowing people. Going all somebody is there for that. In fact, that’s as valid an excuse direction and say that I think the media and industries, by
the way back to the ’80s and being a kid on the hardcore as any for coming to see us play—just for the music. I mean, and large, are still talking about social networking in respect
scene and playing in bands and meeting people that went on that is what we do. We play songs. to “how can we monetize it?”
to work at these labels. I’ve had these personal relationships
with everybody for years. There’s no question that Matador So I noticed yesterday in digging around online that you I think the problem is that the whole point of social
is a bigger label in a lot of ways. So that’s pretty much the have an English degree from Notre Dame. networking is authenticity and connection and if your
only thing that’s different. Put it this way—I haven’t had I do, yeah. whole end goal is to make money then everyone is going
this much opportunity to actually do interviews. I know that to see straight through your ass. It’s never gonna fly.
for some people—hopefully—they’re just happy we have a Do you think that having an English degree has factored And here’s the thing—it’s a real simple equation in the
new record out. But for some people, being on Matador is into your lyricism at all in the way that you structure business world. If there is something that I’m already
interesting enough that it drums up some more desire to find things and your use of wordplay? “Ballad of the Sin subscribed to or a product that I already buy or a thing I’m
out about it. Eater,” for example, is one of my favorite songs because interested in, then it’s useful for them to have a Twitter.
the lyrics are so complex and once I managed to figure it They can send out stuff. Or a band I really like that only uses
When you were constructing this last album, what was all out I had a stroke of “man, this is fucking witty” it for promotion. Sure, I’ll subscribe. Because I wanna know
on your mind the most? You’re popular for both poppy, Yeah, definitely. If there’s anything that I got especially when they send info out. But you’re never gonna catch
infectious songs and ones with a heavy political bent. Did deep into in literature when I was in college it was the urban new supporters or customers or clients by essentially either
you feel it was leaning more towards one direction than realism of the 19th century, like [Emile] Zola and [Joseph] spamming them or waiting for them to stumble upon you.
the other? Conrad and things like that. And early modernism like For me, I do use it when I want to send out information.
Not really. One thing that I’ve always been conscious of [James] Joyce. And one of the most influential pieces on me And I actually feel a little more comfortable doing it now
when writing songs is to not really keep any particular was T.S. Eliot’s “The Waste Land.” One thing I appreciate that I’ve settled into the Twitter thing a little bit because I
influence or style at arms length. If something feels right to about both Joyce and Eliot is their early use of sampling— know that people don’t think of me as someone who just
the mood of the song and the direction I want it to move in, like a mashup of ideologies if you will. If you know what uses it for that. But, for me, the real value in all of these
I try to allow that to happen. Having said that, I think with you’re talking about, you can take a reference and drop it things is that it’s a venue to kinda forge a bit of a deeper
the previous two albums (Shake the Sheets and Living With the in the middle of a line and open up a whole new dimension connection with people who are maybe already a little bit
Living) the writing of those records all took place under… of meaning. That’s something that I have assimilated, interested in you. It’s one way—especially now that I can’t
hopefully successful, in my writing. But that’s not really for answer every email that comes into my inbox anymore—
Bush? me to decide. [Laughs] And other great lyricists from Billy for me to have a conversation with my fans. When we put
Well, yeah. Bush definitely. Granted, I only feel marginally Bragg to countless hip-hop artists really open you up to the out an album or are on stage playing for people, in those
better about what we have right now. I am distrustful of our things you can do with language. It doesn’t have to be just instances I may be doing most of the talking, but I still feel
entire government no matter what party is in power. It’s not diary writing or simple stories. Language is an incredibly like it’s a conversation. Most of my songs, even at their
specific to Bush. But there’s no question it was an especially powerful tool and I like figuring out things to do with it. most angry and political, are rhetorically asking questions
dark time. And for me personally, it was turgid and hard and trying to figure something out. I think this is another
to negotiate all the kinds of questions about why you’re So as you mentioned, a lot of the songs from The Brutalist way to more intimately, and more light-heartedly, keep the
doing what you’re doing and all this existential heaviness Bricks have been floating around for a while now. You’ve conversation going.
and I think that reflected in the songs a lot. Whereas, this played some at shows. I believe I even heard some of them
time around, there was a really long gap between records at Bonnaroo last summer. Do you think some fans will be Speaking of you tweeting about Project Runway, I know
and also the fact that we actually started making this record disappointed in the turn the songs have taken now that that you were a Ping fan. Have you been watching since
without any plans to really put something out. We made it the album has been finalized? she was auffed?
before we signed with Matador. It was simply because we I hope not. I think it pretty well captures the intent of the No, man. I actually got really busy and completely fell off
had a group of songs that we felt could make a good album. songs. We certainly fleshed things out a little more in the the Runway this year.
So, we were like, let’s try to book some studio time and studio. For example, the song “Bottled in Cork”—that trip
record it. If we have to, we’ll put it out ourselves. It just felt to Bonnaroo was the first time we started playing that song You missed a lot. I can’t remember what they kicked her
like the right time. We were definitely talking to different live. I had just written it right before we left for that. And off for, but I do remember that one challenge she sent her
labels, but there was nobody sending me twenty emails a the demo we made—the original intent was to be more like model down the runway in a burlap sack with her whole

18_antigravity: your new orleans music and culture alternative

FEATURE MUSIC

ass hanging out. So you should definitely Hulu that. that I have attempted to keep out of my life, but it just Tiffany’s in New York to get some special “guidette” piece

[Laughs] Oh my God. That’s funny. I’m sure I would love keeps seeping in like cancer. I’m talking, of course, about of jewelry that a friend of hers in Rome was requesting. She
that. Jersey Shore.
was like “Oh, Ted! It drives me crazy how much they love
Oh, yeah.
Jersey Shore over there!” [Laughs] But you know, the other
On to the subject of being a “punk rocker.” I think punk is
thing is—and this is a more serious thought about it—I am
seen by a lot of people inherently as the music of youthful How do you feel about your state being popular because of not immune to watching these reality show train wrecks. In
rebellion. And you’re turning forty this year. How do you a bunch of spray-tanned, faux-Italian, drunken whores? fact, I love it. I love it as much as anybody. It’s amazingly
feel about carrying the torch of punk into middle age? I have a lot of thoughts on this. Let’s just get this out of the entertaining. But, one thing that gets me a little bit angry
Does it feel daunting at all? way—it’s not fiction. I know that they pump up the story a about the Jersey Shore thing in particular is that it’s so fucking

It’s sometimes daunting, but I think I have a pretty good lot for good TV, but that’s certainly one side of Jersey. easy for people, especially people who didn’t grow up in

internal sensor. Let me put New York but who live
it this way—if I felt like I there now or people from
other parts of the country,
“If I felt like I was becoming a self-was becoming a self-parody
or being cheesy or creepy, I to look at this group of
people from New Jersey
parody or being cheesy or creepy, Ithink I would know. I feel
like I have an advantage and laugh at them. And
in being older and having it’s kind of an important
element to the success of
think I would know.”gotten into punk very young.
And that is that when I was all these “human train

growing up, the stuff I got wreck” reality shows that

into didn’t seem like just you get to watch this crazy

teenage rebellion. The Clash stuff and feel good that it’s

seemed like a much bigger not you—that, ultimately,

thing. It seemed like they you’re better or better off

were talking about more. I than these people. And

mean, a lot of the big punk you know…that rubs me

bands of that time, the stars the wrong way a little bit.

of that world, like The Clash I have to admit. Again,

and The Jam and the Sex I watch it. I derive that

Pistols or The Cramps and exact pleasure from it. But

other hardcore bands, they I don’t feel good about it.

seemed like adults to me.

And even though I know So you’re self-loathing in

now that they were much your voyeuristic love of

younger than I am now Jersey Shore?

when they recorded those Yeah. The thing is, it’s

songs, they still seem older safe, it’s really safe, to

to me. Getting into hardcore isolate this group of

in the ’80s, concerns were “guidos” in New Jersey

generally much more and mock them. The fact

immediate. Oftentimes it of the matter is, I have

was teenagers singing about been in this position many

teenagers. And that’s cool times having grown up

too. I did that then. And I there. I’d rather hang out

still sing about the things with those kinds of guys

that concern me, but I hope and girls who are at least

that they’re universally totally honest about just

interesting so that teenagers wanting to party and get

or people my age or even wasted and get laid. I

people older than me can get would seriously rather

something from it. I guess hang out with them

the real point is that I think than with the kind of

the point where someone preppy golden boy who

becomes creepy is when they hides something utterly

start pandering. I don’t talk nefarious…

down to my audience and

I don’t write things to try Behind their $5,000

and sell them on something. smile?

I just talk about what I’m Yeah, exactly. That’s the

concerned about. elite. Those are the people

I think, for some people, who run the country. I

defining “punk” has dunno. It’s one of those

become as difficult as things where the people at

the top of the ladder kinda
defining “indie,” which is such a big topic right now. So But there are a lot of Italian-American groups who are just stir what’s down at the bottom so they can look down
do you feel like punk is more about the youthful sneering infuriated by it, and what’s funny to me is that only and watch it all.
a la Sex Pistols or pushing back against the establishment one of those kids is even from Jersey. The rest are from

a la The Clash? What is “punk” to you? Massachusetts and Rhode Island and New York. And only Okay, so one last quick request. What are my chances of

Well, I would hesitate to limit it. Punk is one of those things a few of them are even of Italian heritage. The one girl, getting to hear a cover of “Dirty Old Town” when you
where it’s pretty easy to draw lines separating it from what the one who got punched, it came out that she’s Chilean. play here?
it’s not, but trying to define what it really is, is also a losing Yeah, JWow’s Irish or something.
Um…I’ll commit to that right now. But you’ll have to
battle. The fact of the matter is, you can be an instrumental
remind me.
band and be a punk band. The sound of the music you make Yeah, I read Spanish-Irish. So they all have tans, but

can be punk in attitude or punk in output. That’s really they’re not actually Italian. So I think some groups are How so?
what it kinda comes down to. That’s why people apply the upset that this is being presented as an Italian way of life. Just yell it out. If you do that, at some point I’ll fold it in
word “punk” to so many things. Whether it’s things that are You know what’s funny about that? I actually have friends in for you.
actually actively involved in the punk world like ’zines or Rome who complain about the fact that there’s this feedback

films or they misuse it to talk about cars. cycle of immigration going on at this point. As much as Ted Leo and The Pharmacists play One Eyed Jacks on Friday,

Italian-Americans are complaining about it, actual Italians April 2nd with Screaming Females. Tickets are $14 in advance
You’re a proud son of the Garden State. Recently, Jersey are emulating those people right now. A friend of mine from and $16 at the door. For more information visit myspace.com/
has experienced a bit of a resurgence due to something Rome visited recently and she was on a mission to go to tedleo.

19antigravitymagazine.com_

FEATURE MUSIC

VOCKAH REDU BRINGS THE INCENSE AND
BOUNCE TO THIS YEAR’S SXSW

by michael patrick welch Iphoto by chris welcker
t may seem like ANTIGRAVITY will write about any
new local rapper that pops up calling themselves “sissy
bounce,” but 27-year-old model-esque Vockah Redu
is actually one of the originals—he’s just been gone
a minute. And as you’ll read, he doesn’t necessarily align
himself with New Orleans’ newest gender-bending trend.
He’d rather you focus all that attention on
his original brand of bent bounce music,
and his elaborately choreographed stage
show.

20_antigravity: your new orleans music and culture alternative

FEATURE MUSIC

To that end, we avoided asking the dramatic and colorful take it and ball it up until it’s non-existent. It’s awesome. I also merchandise, some people followed me to all six New York

Vockah anything about his sexual orientation. But since it teach in my concerts, and do poetry. shows. Some people from Sundance said they want to make

obviously matters to sissy bounce’s new large fanbase of a music video for me. Then I came back here and did the

white collegiates, punks and fauxbeuxs (who don’t seem to be The show also seems pretty different from other bounce in Valentine Sweetheart’s Ball.

following Chopper or Partners-n-Crime around town) we’ll that the skits and the dancing seem designed to make them

offer this: Vockah does have a five-year-old daughter, and an pay attention to your every move. Aubrey and Alison also hooked you up to perform at the

intensely close relationship with voluptuous, blonde Jayna I definitely try to give people something to pay attention to. upcoming SXSW as part of their bounce exhibit.

Jensen, who minds the artist’s business, keeps track of his Jayna: He brings people up, there are climaxes, then he takes VR: Yes. It’s my first time at SXSW. I don’t think I have a

incense, and sometimes serves as a dancer—the two kiss hello, you down, then brings you back up. whole set to myself, so I’m doing my homework on how I’ma

and Vockah rests his hand on her knee during our interview. interpret myself… I’m looking into something very futuristic.

On the other hand, Vockah was the first male ever on his high That kind of dynamic is what’s missing from most New Everything is neo soul but I’m gonna be like pop rock. You’ll

school dance team, he does keep himself in extraordinary Orleans music, frankly. Bands that play party music will see on my Myspace page the genre is “pop punk,” not punk as

physical condition, and he did open his recent gig at the rarely play a slow song, or switch styles, like they’re not in gay, but punk rock.

Valentine’s Day Sweetheart’s Ball with an Alanis Morrisette allowed because everyone will walk out or something.

instrumental, so… Well I’m the only bounce artist who do that. [Laughs] And I’ve Are these folks at Sweetheart’s Ball and All-Ways Lounge

Y’all figure it out. never had a problem. the same crowds you were playing for before you came back?

More important subjects seemed to be his sudden eruption Meaning, the punks and other white kids.

(or re-eruption) onto the New Orleans scene, and his place That intro skit I saw is pretty un-bounce, where you dance to No it’s a different crowd, and I’m very excited by it. But even

in the “Where They At?” museum exhibit on New Orleans Alanis Morrisette while smoking a blunt. before, when I was performing, which was every week at Club

bounce music, created by world-renowned music photographer That’s an incense, actually. My incense calm me down and set Vibe, I would give each night a theme, like “Vockah Goes To

Aubrey Edwards, and award winning New Orleans music me into a trance, while I’m giving you an introduction of what Disney,” where everyone wear Disney shirts, or else “Vockah

journalist Alison Fensterstock, who are also taking Vockah I represent, which is “pop-rock-neo-Vockh.” Goes Pop,” and everyone dress punk rock. So I get the same

and other bounce artists to this year’s South By Southwest energy from the old to the new, the only real difference is I

(SXSW) music fest in Austin, TX. Your Cru of dancers and backup singers seem like an wouldn’t crowd surf at places in the old days, like I did on New

And, okay, we asked him how he keeps his bod tight, too. interesting, dedicated, talented bunch. Wanna tell us who Year’s Eve at All-Ways Lounge. Cause before they woulda

they are? drop me to the floor. [Laughs] The [white crowd at All-Ways]

ANTIGRAVITY: So, I first heard about you from Nobby Jayna right here is like my promoter, and she also danced with caught me.

and Freedia and Katey Red. When I interviewed them each us in New York.

separately, they all complained there were too many sissy Do you have any albums or mixtapes people can check out?

rappers, but said Vockah Redu was the badass real thing. I saw that clip on-line, “You’re under arrest…” The songs I am performing to now, I call it “World War III,

Vockah Redu: Thank you, man. But I’m totally separate from Yes, “you’re under arrest / put your hands behind your head The Recession Part I.” It’s all my older music I didn’t get to

the rest of the artists because I am theatrical. My concert and move your breasts.” perform very much that I was sittin on. Plus music from my

tells a story. And I don’t really consider myself “sissy first album, Vockduism, and some music from Can’t Be
bounce.” My birth is bounce, though, that’s what I’m Stopped, and some from my three compilations.

“I get the same energyhere to represent: bounce in the form of art and music

and dance. from the old to the new, “Vockduism,” that’s funny. I did notice you have
When did you start out here in New Orleans? an Erykah Badu…thing. Especially with some of the
poses you strike.

I started performing in ’97, when I was still in high school Yes, she’s my birthmother to the industry. Alison
Fensterstock wrote that “If Prince and Erykah Badu was
the only real differenceat NOCCA. Some time after that, Take Fo’ [Records]
were coming to my house; they saw me perform. But to have a child and raise him in the Magnolia, it would

when I didn’t record they went to the Melpomene and be Vockah Redu.”

is I wouldn’t crowd surfwent to Katey Red. And some of the girls who sang in
her group had been singing with me. But she was ready Have you ever met Miss Erykah?

and I was not, and she got with Take Fo’. Then after No, but I met Lady Gaga in Austin, and her sister
bought a Vockah hoodie. I look forward to playing [with
at places in the old days,all that, I met this guy Sam Scully, who said, “Man,
you need to go with a company that’s just going to be Erykah Badu] at the JazzFest this year, though again I

focused on you. Take Fo’ has a lot of artists.” And that don’t get my own time slot…

like I did on New Year’sdid make sense to me, and being an only child I did want
all the attention. So I went with him and dropped [my It’s great that you’ll be there, though; at least someone at
record] like a week after Katey. Then, in 2002, I left for
JazzFest will be representing New Orleans music in 2010.
Eve at All-Ways.”Grambling State University to get my degree in Theatre. But that’s also a case of, again, if you weren’t lumped in

After the storm, I moved away to Houston. I wasn’t with sissy bounce you wouldn’t be playing JazzFest.

performing my music there, just writing, contemplating. And J: [Rolls her eyes] I had just bought my breasts… It’s fun. The Yeah, I’ll go for that lump.
when I’d come back home I kept hearing remixes of my songs, rest of the Cru is Shortee Whop, 9th Ward Jody, Energizah,

people taking samples out of my stuff, and everybody would Alex Hotpants, Mellie… And I am “VaJayna.” My editor, Dan Fox, wanted me to ask you about your

approach me, “Hey come to the studio.” The reunion was me I make up names for everybody. workout routine. You and the Cru are all remarkably ripped.

coming back to my city to perform. I played at Katey Red’s To keep my physique tight, I wake up to a hot pot of tea, I

birthday party, and Jayna, my good friend, was like, “You have Your show also seems to have a sense of humor. Like the skit eat some fresh fruit. I usually take a jog and when I return I

to come back here!” for your song “I Beweave.” meditate and relax. I also am rigorous with my dance routines,

[Laughs] That was me as an only child, raised up on the third practicing those each day. Mostly my workout routine revolves
So you didn’t come back to New Orleans to capitalize on the floor of the Magnolia, and I used to also do hair, and those girls around keeping my head clear and staying relaxed. I like Pilates

sissy blowup? “beweaved” in me. So that’s what inspired that song. Magnolia and yoga a lot and do both as often as possible.

It’s what’s happening. But I think I’m the one to say, “the sissy Shorty, who did “Smoking Gun,” I used to do her hair, and

stops right here.” I always went for a different sound—which, one time we was clownin in the house and I was singin a song, Please explain your name.

it’s never gonna be that different because everybody’s based “Jump high to the sky, watch out for the ceilin / all you sissy My birth name is Javocca Rene Davis. I took the spelling and

on the same beat. But then I started cutting it and chopping bitches need to stop stealin,” which is a switched up line from rechanged it, shortened it and made it rasta with the spelling,

it, and hearing wind and crazy sound effects, to not sound like her song, “Monkey on the Dick.” Magnolia Shorty was like, Vockah. Then I took the R-E from my middle name Rene,

everyone else. Of course, people still followed my trend, using “That’s good!” So she was kind of the first who told me to get then the D is from Davis, and I added U as my fan [points at

the beat I produced myself. But how I’m different is I perform. myself out there. interviewer], so thank you for being a part of this gift.

A lot of people come up to me and tell me they’ve never seen a

bounce show like that before. How did you meet Aubrey Edwards and Alison Fensterstock [Laughs]

to do the museum exhibit? Yeah, I always have to explain that, so it’s kind of rehearsed.

You’re obviously very visual, and it seems like any bounce Well, Jayna saw a flyer for Katey Red’s birthday and pointed

music with a visual element is labeled sissy bounce, no? The out, “Your name is not listed under this picture, so whoever What non-bounce-like, lyrical rappers do you like?

rest of the world’s rappers seem to all dress the same. this person Aubrey [who took the picture] is, obviously don’t Lil Wayne, Common, Jay Z…

Well, I don’t think Chopper and all them would appreciate know that that’s you!” So Jayna called Aubrey, and we ended

that, because they’re thugs. And I know Jubilee wouldn’t up doing a photo shoot. And then I ended up in New York City! And Kool Keith, obviously.

consider himself a sissy bounce rapper but he has a visual, he In New York we played at Aubrey’s and Alison’s show at The Kool Keith?

have boys dancing and stuff. But every dance move in my show Abramson Center, and I met so many people. That was my first

means something, though: in one move [me and the Cru] are time ever being in New York in my life. Super interesting and weird veteran rapper. Very conceptual,

swimming, and then we are on land, taking off the chains and with costumes. He thinks Andre 3000 stole his whole space-

stuff from when we were captured from hatred. If you see in What was it like performing in the museum? age deal. He’s maybe a little…tetched.

some of my concert pictures, where people ballin they fist up Lefty Parker was my DJ and it was one of my best performances We all are.

in the air, it’s because I tell them to take any hate or negativity ever—top notch. It was not my full forty-three-minute set,

people have against you whether it’s your race or whatever, we just thirty minutes. They danced, they watched, they bought For more info on Vockah Redu, go to myspace.com/vockahredu.

21antigravitymagazine.com_

REVIEWS

charlotte gainsbourg the more melodic (“Anorak City”) and on through the funky (!), effects- THE KNIFE
irm laden, ’70s throwback (“David Comes to Life” from a Daytrotter session TOMORROW, IN A YEAR
in 2008). It is a common misconception, most likely given the course
(because music) and brutal vocal delivery from singer Pink Eyes, that Fucked Up is a (RABID)
hardcore band and nothing more. This is simply not true. And there
Charlotte Gainsbourg’s music is difficult to is no better place to shatter this erroneous belief than on this double After The Knife’s last album gathered
pin down. At times it’s too abstract to fit album. Take the speedy Stooges of “I Don’t Wanna Be Friends With several “best of 2007” plaudits (including
under the pop moniker and at other times it’s You” from the Shop Assistants 7” as prime example. Or look to the track my own), it was with bated breath that I
far too upbeat and melodic to call abstract. “Generation,” which includes a sample in the intro and outro of Hamas anticipated a new release from the group.
The arrangements on IRM are efficient in that members in Palestine that was smuggled back to Canada by one of the Tomorrow, In a Year, an opera based around
they make the most of each element within the sonic landscape. The band members and you begin to realize that this band is very serious Darwin’s writings, is an interesting follow-up to Silent Shout, but it’s
title track mimics the sound of an IRM machine (MRI a Francais) and very multi-faceted. Couple Tracks does not possess the same cohesion unfortunately just not what I want from a new Knife record. Completely
with staccato stabs of noise and a dim hum over pounding drums and that is found on their full-lengths, such as The Chemistry of Common Life, forgoing the moody, atmospheric euro-house of earlier work, Tomorrow
Charlotte’s deadpan sing-speak. Each instrument feels large and defined but Fucked Up is not going for cohesion here. This compilation is more is a slave to its concept, with each track behaving less like a song and
(like the naked kick drums lording over “Trick Pony”) yet each piece of of a gift, complete with fairly extensive liner notes by song, from a band more like a movement within a larger piece. The arrangements are sparse
the band leaves room for the others to breath. The nearest contemporary that appreciates its fans and wants to share with the world what they to a fault, varying from analog blips and beeps to deep bass rumbles,
I can call upon is Sea Change-era Beck (who wrote most of IRM’s songs, have been able to create. Fuckin’ alright. —Dan Mitchell rarely coalescing into a melody and even more scarcely approaching
produced the albums and guests on its most upbeat cut, the martial, the kind of deranged rhythms The Knife is known for. If Karen Dreijer
choral sing-along of “Heaven Can Wait”), but that album owed a large high priest   is present on the album, her presence goes unnoticed. In her stead we
debt to Serge Gainsbourg’s ouvre. It’s really no surprise to see that high priest make do with traditional operatic vocalists whose tremendous talents
kind of familial resemblance in her music when she debuted dueting cannot recreate the gloomy magic that Karen brings to the equation. It
with her father, but Charlotte’s songs are slinkier, less predictable and (independent) isn’t until the closing third of the record that a more expected aspect of
oftentimes rougher around the edges. “Le Chat Du Café Des Artistes” the group’s sound reemerges. Tracks like “Seeds,” with its twee, disco
lets a descending piano progression and dramatic string swells build the High Priest might be the best metal band beat or “The Height of Summer,” which struts on electrified, echoing
tension that her voice underplays, while “Dandelions” invokes an alt- in New Orleans right now. One bonus is percussion and a distinctly Knife-like melody, do their best to capture
country vibe on a driving, twangy blues riff and one-two beat. Over it all that there is not a trace of Melvins worship, the strengths of the band, but they’re just fleeting pleasures in an album
is her tremendous voice, which skips between a seductive whisper and a putting this trio  atop much of the local heap. full of miscommunications between the expectations of the listener
husky croon, not strong in the traditional sense, but adept at conveying Recorded around November 2009 and finally and the intent of the composer. Tomorrow, In a Year is an interesting
emotion and character. Call it singer-songwriter orchestra pop-rock or thrown into (limited) circulation last month, High Priest’s second—and diversion, with what I’m sure will be increasing returns for repeat
not, IRM is laden with great songs and minimal tomfoolery, simple more ‘pro’-sounding—recording should please any true fan of nihilistic listens. But it’s simply not what I want from an album released by The
melodies and high drama built from the ground up. —Mike Rodgers underground Black/Death. Clocking in at only about twenty minutes, Knife. —Mike Rodgers
this disc has been on repeat in my car for over a week. There’s definitely
four tet a sense of pacing and dynamics that keeps it interesting, not to mention LIL WAYNE
there is love in you a well-developed sound and identity. It’s the sort of thing that could REBIRTH
have been recorded today or in 1991. Riffs and song structure borrow
(domino) equally from Death Metal (Autopsy, Immolation) and black metal (CASH MONEY)
(Mayhem, possibly early Samael) with some nods to modern Doom
Over the past fifteen years, Kieran Hebden (Burning Witch). It’s not quite as raw as the band’s first demo, but There is a good reason this album has been so
(a.k.a. Four Tet) has been instrumental in there’s still an organic sound quality and even more convincing black delayed. It’s horrible. Weezy has let his goals
helping to create the thriving electronic music metal vocals this time around. The guitar playing is impressive as well, exceed his reach. A noble goal for a pop star—
culture in England that, especially over the with evil soloing in the right places and fuzzy, doomy bass adding to one obviously not familiar with hubris. In the list
past five years, has taken off. Starting out in the punch. Bolt Thrower-like breakdowns are seamlessly worked in of all possible things, a Lil Wayne rock record
high school as a guitar player with the post-rock outfit Fridge, Hebden with otherwise unrelenting blastbeats on “Vandalia” and “To Worship might not be the worst idea. But the actual execution of said idea is off
has spent the past twelve years creating some of the most unique, in Nothing.”  “Tombs Concealed” keeps a slow and menacing trudge before it’s even begun. First, we have Wayne’s idea of what rock music
both sonic texture and tonality, and influential (see the Hyperdub throughout, which works equally well. The drums really do sound like is: a haphazard collage of sluggish rhythms, Disney-fied sensibilities and
label) electronic music on the planet. While many a producer or DJ hammers falling from the sky on “Lord Agonizer” and “Waging War in sleaze. The queasy mixture of sub radio riffs, obviously-forced bombast
enjoys the limelight and boasts a certain flamboyancy, Hebden is most the Underneath.” Those two tracks absolutely kill. Not sure when their and cringe inducing power ballads turns the album into an unfunny joke
comfortable in the shadows, allowing his music to speak for itself. next live appearance will be, but it’s certainly worth your time and five about rock clichés. Secondly, Wayne has no business warbling his way
In 2003, Hebden, as Four Tet, released one of the best instrumental bucks. PS: Liv Tyler thinks she loves ’em! It’s true. —Michael Bateman through anything resembling a rock record. His auto-tuned yowls and
electronic albums of all time, Rounds, an album so brilliant and diverse croaks mumble through the tracks, disguising his inability to actually
that he could have called it quits and no one would have faulted him. hot chip sing from no one but Wayne and his handlers, apparently. Even when
Alas, Hebden pursued an incredible plethora of projects, including club one life stand he chooses to rap, his flow is so uninspired that Eminem, of all people,
stints behind the turntables, a reunion tour and album with his mates in steals a track out from underneath him. The album’s lyrical content is
Fridge and work with the legendary jazz drummer Steve Reid. The one (astralwerks) equally puzzling. From bi-racial fuck raps, a hater shoot-down set to a
thing that had not come since that breakthrough in 2003 was another ridiculous ska cut and repeated shout outs to Travis Barker’s drumming,
full-length solo album of the same caliber as Rounds. There is Love in You British electropop wizards Hot Chip gained the scattershot tone alternates uncomfortably between tween-styled pop
is the kind of genius stroke we have all been waiting for, albeit one that ground domestically with their infectious, and gangsta rap. All laid over shitty guitars. Who is this album for? Are
takes time to sink in (the mirror of the immediacy of Rounds in many upbeat, club hopping sound. Songs like “Boy power pop fans going to buy a record of Lil Wayne pretending to rock?
ways). There is Love certainly possesses the classic guitar flourishes we From School” and “Ready For the Floor” Are hardcore rap fans going to listen to nearly an hour of auto-tune and
are accustomed to, but there is gentleness and restraint exhibited here made them indie dance darlings, but their latest overproduced guitars? It’s really no wonder this album was pushed back
that positions Hebden as a man in full control with nothing to prove to album, One Life Stand, is mostly devoid of that youthful abandon. What again and again. I wouldn’t want this piece of garbage released either.
anyone. Without momentary breaks in the tide-like flow of the tracks, we have here is a group of guys taking the time to focus on the more Rebirth is an unmistakable sonic disaster. —Mike Rodgers
such as the break at the tail end of “Sing” or “Plastic People,” this album meaningful bits of life. I hesitate to say they’re “growing up” on this
almost comes off as somewhat of an otherworldly reverie or dream. record, as their lyrics have always been hyper-intelligent and layered. THE MAGNETIC FIELDS
There is one thing is to be sure here—there is so much love and care in But the star of this album is Love—in all its twisted, complex forms. REALISM
this man, with respect to music, that we should all feel lucky that we are Whether they’re singing of male bonding (“it’s a wild love that I have
able enjoy his outpourings. —Dan Mitchell for my brothers”) on “Brothers” or romantic love (“please take my (NONESUCH)
heart and keep it close to you”) on “Take It In,” Hot Chip is examining
fucked up that wildest of human emotions with expert instrumental and lyrical Most famous for their 1999 triple album
couple tracks precision. The video game beeps and boops of opener “Thieves in the 69 Love Songs, The Magnetic Fields’
Night” set the stage for a perfect soundtrack to driving all night with its most recent release, Realism, concludes their
(matador) open-air vocals and slow, building tension. “Slush” feels almost gospel “no synth” trilogy. It was preceded by i in
while title track “One Life Stand” utilizes steel pan drums and quirky 2004 and Distortion in 2008. All three albums
Fucked Up is a really good fucking band. instrumentation to sell its carpe diem message. On the whole, this album are completely synth-free (a feat for a band that made its name on the
They’ve made a lot of music over the past is a calmer version of what most Hot Chip fans are accustomed to. Its expert use of synthesizers) though all have a different feel. Distortion,
eight years but, unfortunately, much of this instrumentation is mature, complicated, lush and sprawling—its lyrics for example, bordered on noize rock. Realism, however, is just that—an
music was released only as rare and limited brilliant in their simplicity. It may take time to grow on some fans and at album full of face-value observations on the ups and downs of love,
edition 7” vinyl. Now, thanks to the great people its worst it can feel a bit longer than necessary, but I think eventually this set to the clinking of icy piano keys and the warm strum of the banjo.
at Matador Records, we have a Fucked Up compilation spanning their album will become just another facet of an already impressive outfit. Songwriter/brains-of-the-operation Stephen Merritt has yet again hit
entire career that includes many of those coveted and hard to find tracks —Erin Hall gold with his mix of wit and cynicism. Opening track “You Must Be
as well as B-sides and outtakes from their full-length albums. The album, Out Of Your Mind” is somewhat traditional in its timing and verse-
Couple Tracks, is an absolute must for any fan of the band and showcases chorus-verse structure, but you can’t help but stifle a smirk at dry lyrics
its progression over the years, from the grittier (2002’s “No Parasan”) to like “You can’t go round just staying stuff because it’s pretty / And I no

MUSIC REVIEWS SPONSORED BY THE OFFICIAL RECORD STORE OF ANTIGRAVITY

22_antigravity: your new orleans music and culture alternative

REVIEWS

longer drink enough to think you’re witty.” On “I Don’t Know What ROB ZOMBIE the album is only a hair over thirty minutes long, the tracks become
To Say,” Merritt struggles with yearnings for an ex-lover with lines like HELLBILLY DELUXE II ingrained effortlessly. Only one track on the album, “Mexico,” works
“I could say I gave you everything I had / I could say I’ll save you, as a down-tempo number while the other nine songs exude such energy
but you might think me mad.” But the real beauty comes not too far (ROADRUNNER) that you can’t help but swing along with it and look forward to summer
behind when he concludes, “I could try to shove you off the nearest being right around the corner. File these guys next to your other favorite
cliff.” Who hasn’t felt that way? I love you…I will strangle you. “Walk a After White Zombie dissolved, the creative garage-rocking beachcombers and use this album as a soundtrack to
Lonely Road” is a duet of lost souls, featuring one of the band’s female fire behind Rob Zombie’s music seemed ensure that the good times keep on rolling. —Dan Mitchell
vocalists and Merritt taking turns regaling us with tales of their lonely, to dissipate. Instead of groovy industrial rock,
woesome youths. “Seduced and Abandoned” is the tale of a woman we got chugging nu-metal riffs and boilerplate TED LEO & THE PHARMACISTS
who is sucked in by a sly grin and left standing at the altar. And baby spookshow lyrics. You wouldn’t expect to find THE BRUTALIST BRICKS
makes two. She resolves at the end, “Yes I think I might drink a few / some of Zombie’s best work in years on a record billed as a sequel, but
And maybe the baby will too.” The album is filled with short, sweet Hellbilly Deluxe II is the best solo record he’s yet released. The influences (MATADOR)
ditties. Literally. The longest song is barely over three minutes and the have always been there; E.C. Comics, southern rock and hillbilly
whole album clocks in under thirty-five. Its title seems to reference psychotics should add up to an exciting brew. But the results have always Ted Leo and the Pharmacists’ last album,
both the organic nature of the music itself and the stark and truthful been bogged down by an insistence on flavorless guitar riffs fed through Living With the Living, was released a full
manner in which its subjects are explored. Famous for his musings on the Industro-Metal grinder. In contrast, a song like “Werewolf, Baby!”, two years ago. Last February they became
love, Merritt has delivered another jewel with Realism. And it seems to with its slide guitar chorus and southern-fried stomp wears its influences homeless after their label, Touch and Go
end on a somewhat optimistic note as the narrator whispers “But know on its sleeve. There are dabblings in beach blanket go-go on the amusing, Records, folded. Right before Touch and Go
that I love you / Know that I wrote / My last words to you / From a organ-driven “What?,” psycho-sideshow-barker punk on “Death and called it quits, Leo had amassed an entire album’s worth of material. So
sinking boat.” Love may be a sinking ship, but The Magnetic Fields Destiny…,” and most surprisingly, psychedelia, on the gothic space rock in the gulf between his time there and finding his new home at Matador,
give one of modern music’s most honest and engaging commentaries of “Cease to Exist” and album closer “The Man Who Laughs,” which he noodled. He kept writing and he played new songs at live shows,
on it. —Erin Hall pads its near ten minutes of orchestral metal with a drum solo. The working out the kinks in front of his adoring cult of fans. The result is
angry martial whomp of “Mars Needs Women” even plays dirty with an interesting album that possesses both comfortable familiarity and a
PRESERVATION HALL JAZZ a bare, acoustic country intro, dotting the record with flourishes of real spirit of adventure. The Brutalist Bricks opens with the recently leaked
BAND & SPECIAL GUESTS musicianship absent from most of his previous releases. A Rob Zombie single “The Mighty Sparrow,” which blows the doors off the place the
PRESERVATION album with drum solos, acoustic guitar and classic solos? Even the second it saunters in with its punchy percussion and positively dreamy
guitar playing is better across the board. On less progressive songs like guitar sound. Channeling some of his earlier work, “The Stick” and
(PRESERVATION HALL REC.) “Sick Bubblegum,” the chords are catchier and less processed. Let’s not “Where Was My Brain” are two-minute ditties that are short, distilled
oversell the album though; it’s still a Rob Zombie record with schticky, reflections of his punk rock roots. Both come at you like loaded guns
Anyone who has lived here for any growling lyrics about demons riding hot rods and chunky alt-metal. But and fit nicely amongst the modest collection of barnburners on the
significant amount of time is familiar with it’s easily the most creative record he’s made since his White Zombie album. For those of you fond of Leo’s pop sensibilities, fear not, there
the Preservation Hall Jazz Band. Their home days. Chalk this one up as a relative win for Mr. Zombie. —Mike Rodgers is plenty for you to love too. “Bottled in Cork” is an infectious sing-a-
base, a crumbling corner building on Bourbon long while “Gimme the Wire” marries his love of melody with wildly
Street, is home to some of New Orleans’ most well-aged jazz giants. SIX FEET UNDER shredding guitar. And while familiar sounds dominate the album, Leo
Established as a place for local musicians to continue practicing their GRAVEYARD CLASSICS III also mixes in a bit of experimentation on tracks like “Tuberculoids
craft in their later years, Preservation Hall has become a must-visit spot Arrive in the Hop,” which is a surreal, ambient tune that almost evokes
for tourists the world over. To help keep this historic society going and (METAL BLADE) Elliott Smith with its sparse, organic sound (it closes with the chirping
to fund programs that foster the musical legacy of our city in today’s of crickets). “One Polaroid a Day” is a slow jam that finds Leo singing
youth, they have released an album full of collaborations with some of The pleasure in these Six Feet Under cover in the lowest register I’ve ever heard him attempt. It’s almost a whisper,
the greatest talents in music today. The roster spans from legends like albums is in hearing their grueling sludge- in stark contrast to his powerful and much-beloved falsetto howl. “Woke
Merle Haggard and Dr. John to relative new faces like former Drive-by death style applied to songs that sound nothing Up Near Chelsea” contains echoes of The Who and other Britpop
Truckers guitarist Jason Isbell and indie violin virtuoso Andrew Bird. like that. Standouts on the previous records stars. There are a handful of forgettable tracks though. “Mourning in
The Preservation Hall Jazz Band backs nineteen performers on songs included “California Uber Alles” and “Back in America” and “Ativan Eyes” both have amazing bass work but fall
ranging from heartsick blues to traditional gospel. The album opens Black,” but there’s a problem on the third volume. On the songs most a bit flat in the lyrical department for someone so adept at wordplay.
with Andrew Bird’s velveteen voice cascading over the horns on “Shake foreign to the band’s style, the application of Chris Barnes’ ghoulish All said, The Brutalist Bricks isn’t Leo’s next Hearts of Oak or Tyranny of
it and Break it,” an infectious, fun romp. On “Louisiana Fairytale,” My vocals doesn’t work. On Van Halen’s “On Fire,” the band does an Distance, but it is a solid offering with depth and variety, proving that
Morning Jacket singer Jim James (credited here as his alter ego Yim admirable job of translating the raucous party vibe of the original, but even after twenty-one years in the business, Ted Leo isn’t anywhere close
Yames) delivers his vocals fancifully through a megaphone, recreating Barnes’ vocals completely botch the chorus and on Mercyful Fate’s to slowing down. —Erin Hall
the sound of an antique, crackling Victrola. A musician who fits “A Dangerous Meeting,” Barnes pairs his guttural vocals with King
seamlessly into the fabric of New Orleans, Tom Waits’ twisted take Diamond’s falsetto original and the result is a no contest that saps THESE NEW PURITANS
on “Tootie Ma Was a Big Fine Thing” should be on everyone’s Mardi most of the drama from the cover version. The album is not a total HIDDEN
Gras playlist next year. The sloppy, drunken trombone and stuttering loss, though. Their cover of Metallica’s “The Frayed Ends of Sanity”
percussion render resistance totally futile. Just get up and dance. Jason adds a depth and grimy quality that the slick, bass-less original doesn’t (DOMINO)
Isbell’s aching voice bleeds with delta swagger on “Nobody Knows have. Chris Barnes’ vocals are surprisingly most effective on the simple
You” and NOLA transplant Ani DiFranco lends her quirky, rootsy Ramones song “Psychotherapy,” where his voice drops some of its When These New Puritans came out in
voice to the jovial “Freight Train.” Scottish “blue eyed soul” crooner quaver and the lyrics stay understandable. Six Feet Under also do a early 2008, with their angular, twitchy,
Paolo Nuitini brings gutsy emotion to “Between the Devil and the Deep pounding cover of Slayer’s “At Dawn They Sleep” and transform BTO’s percussive-heavy debut album Beat Pyramid,
Blue Sea” while Brandi Carlile gives “Old Rugged Cross” the heart “Not Fragile” into a death metal dirge. Perhaps the strongest track is these young lads (and lady) out of Southend,
wrenching treatment with her clear, raw, naked vocals. Outlaw country Prong’s “Snap Your Fingers Snap Your Neck.” The band sinks their England were lauded for their intelligent and
legend Merle Haggard takes on “Basin Street Blues” while bluegrass teeth into the whiplash riffing and wide open metal of its chorus, letting hyper-kinetic brand of Fall-infused post-punk music. Driven by the twin
star Del McCoury tackles “After You’ve Gone.” Bingo Show frontman Barnes’ vocals sit between his deeper snarl and cleaner singing. Despite brother songwriting team of Jack and George Barnett (Jack handling the
Clint Maedegen fleshes out one of his original compositions, “There is a its shortcomings, Graveyard Classics III is a fun record for death metal vocal duties, lead guitar and laptop with George taking on the drums),
Light,” with the Blind Boys of Alabama while gypsy jazz chanteuse Amy fans. Just stay away from King Diamond covers, okay? —Mike Rodgers TNP crafted a sound, while not all that original per se, that rose to the
LeVere lays her smoky vocals down on “Baby Won’t You Please Come forefront of England’s already booming post-punk revivalist scene. So
Home.” Hotly debated in many jazz circles, the album features a song THE SOFT PACK what, you may ask, is a band to do on their follow-up record when their
by Louis Armstrong—resurrected, if you will. They pulled the vocal THE SOFT PACK debut left little room to move within the genre? Well, if you ask TNP,
track from a 1962 recording and blended it with the Preservation Hall’s based on their sophomore outing entitled Hidden, they might answer,
backing sound. The magic of engineering has made it seamless, but I’m (KEMADO) “wipe the slate clean and start anew,” or, “find a master producer and go
not sure it feels quite right. I think it’s something Satchmo would’ve for absolute broke into territory previously uncharted.” Either of these
participated in happily if he were alive today but, of course, he’s not. The Soft Pack first entered the collective hypotheticals would work just fine as Hidden bares little resemblance
So is this homage to a legend? Or desecration of the dearly departed? musical consciousness in late 2008 as the to their debut album and, in this case, it works brilliantly. The guitars
You decide. The album ends with West African star Angelique Kidjo Muslims—a catchy, breezy and straightforward become hidden, literally, in the mix (which was not the case on Pyramid)
and local trumpeter Terence Blanchard giving their spin on Edith Piaf ’s four-piece out of San Diego. Due to impolite and allow for brass and woodwinds, children’s choirs, Indian and
signature composition, “La Vie En Rose.” Kidjo’s French is brilliant and comments over the their moniker, they decided Japanese drums and found objects such as melons and swords to take a
her sultry yet sweet vocals are a perfect fit for this timeless track. The to change their name to the Soft Pack in early 2009, but that’s the only commanding place in the forefront of the sound. Hidden, produced by
album is near flawless and if you love the kind of classic New Orleans thing that changed in the group—they continued forth, pumping out Bark Psychosis genius Graham Sutton, is just about as huge in scope as
and Dixieland music that gets inside you and makes you move, it’s a song after song of summertime pop-rock tunes. Now the Soft Pack,
must-have. It bleeds with style and grace and makes me want to dance thanks to Kemado Records, greets us with a debut full-length chock full CONTINUED WITH
barefoot in the tall grass with a cocktail in hand. If that’s not the essence of fresh, youthful and memorable cuts. Upon first hearing these guys, MORE REVIEWS PG. 28
of New Orleans, I don’t know what is. —Erin Hall their music feels as if you had heard it a thousand times before; ’60s
organs abound, ’80s Dino-rock guitars, buoyant and boastful basslines
and a steady 4/4 beat throughout every track. This is not a slight on
them—rather, the familiarity lends itself to repeated listens and since

23antigravitymagazine.com_

EVENTS

NEW ORLEANS VENUES NEW ORLEANS (Cont.) MONDAY 3/1 Euphonic Conceptions, WCP, Mimosa, Gravity
Royal Chord, Circle Bar
45 Tchoup, 4529 Tchoupitoulas (504) 891-9066 Marlene’s Place, 3715 Tchoupitoulas, (504) A, One Eyed Jacks, Midnight
897-3415, www.myspace.com/marlenesplace STS9, Big Gigantic, House Of Blues, 9pm
Banks St. Bar And Grill, 4401 Banks St., (504)
486-0258, www.banksstreetbar.com McKeown’s Books, 4737 Tchoupitoulas, (504) TUESDAY 3/2 TUESDAY 3/9
895-1954, http://mckeownsbooks.net
Barrister’s Art Gallery, 2331 St. Claude Ave. Dongles, Rabbit, Radical Temple, Banks Street Giant Cloud, Circle Bar
Melvin’s, 2112 St. Claude Ave. Bar & Grill, 9pm
Bayou Park Bar, 542 S. Jeff. Davis Pkwy., Southern Culture on the Skids, Mad Tea Party, WEDNESDAY 3/10
MVC, 9800 Westbank Expressway, (504) 234- Tipitina’s, 10pm, $12
The Big Top, 1638 Clio St., (504) 569-2700, 2331, www.themvc.net Birdfight, Circle Bar
www.3ringcircusproductions.com WEDNESDAY 3/3
Neutral Ground Coffee House, 5110 Danneel St., THURSDAY 3/11
The Blue Nile, 534 Frenchmen St., (504) 948-2583 (504) 891-3381, www.neutralground.org Dark Star Orchestra (An Evening With), House
Of Blues, 8pm Awesome Color, Tyvek, Circle Bar
Broadmoor House, 4127 Walmsley, (504) 821- Nowe Miasto, 223 Jane Pl., (504) 821-6721 Dirt Daubers w/ Steve Eck and The Midnight Homegrown Night, Tipitina’s, 8:30pm, FREE
2434 Still, Circle Bar Luke Winslow King & Hurray for the Riff Raff,
Ogden Museum, 925 Camp St., (504) 539-9600 Mayday Parade, There for Tomorrow, d.b.a., 10pm, $5
Carrollton Station, 8140 Willow St., (504) 865- Herrington, The Parish @ House Of Blues, 7pm Paul Sanchez, d.b.a., 7pm
9190, www.carrolltonstation.com One Eyed Jacks, 615 Toulouse St., (504) 569- Stooges Brass Band, Hi-Ho Lounge, 9:30pm
8361, www.oneeyedjacks.net THURSDAY 3/4 Tower of Power, House Of Blues, 8pm
Checkpoint Charlie’s, 501 Esplanade Ave.,
(504) 947-0979 Outer Banks, 2401 Palmyra (at S. Tonti), Brandi Carlile The Give Up The Ghosts FRIDAY 3/12
(504) 628-5976, www.myspace.com/ Traveling Show, Gill Landry, House Of Blues, 8pm
Chickie Wah Wah, 2828 Canal Street (504) outerbanksmidcity Downlab, The Bar, 10:30pm Benji Davis Project, MyNameIsJohnMichael,
304-4714, www.chickiewahwah.com Jon Cleary, d.b.a., 7pm Todd Carey, Howlin’ Wolf
Republic, 828 S. Peters St., (504) 528-8282, Pomo Galactica, Ixnay, Circle Bar Blair Album Release Party w/ The Bellys, One
Circle Bar, 1032 St. Charles Ave., (504) 588- www.republicnola.com R. Scully and The Rough Seven, d.b.a., 10pm, $5 Eyed Jacks
2616, www.circlebar.net Stooges Brass Band, Hi-Ho Lounge, 9:30pm Eric Lindell, Tipitina’s, 10pm, $12
Rusty Nail, 1100 Constance Street (504) 525- Thursday Free Music Showcase, The Bar, 10pm Foburg Fest, Various Frenchmen St. Venues
Club 300, 300 Decatur Street, www. 5515, www.therustynail.org/ V Day New Orleans Presents: Eva Ensler’s The Foburg Fest f/ Dark Dark Dark, Dragon’s Den
neworleansjazzbistro.com Vagina Monologues, Howlin’ Wolf The Green Demons, Sons of Payne, Lawrence
The Saturn Bar, 3067 St. Claude Ave., www. Benjamin and The Messengers, Circle Bar
Coach’s Haus, 616 N. Solomon myspace.com/saturnbar FRIDAY 3/5 Hairy Lamb, Hi-Ho Lounge, 10pm
Hank III, Assjack, Kyle Turley, House Of Blues,
The Country Club, 634 Louisa St., (504) 945- Side Arm Gallery, 1122 St. Roch Ave., (504) 11 Blade, The Pests, The Bar, 11pm 8pm
0742, www.countryclubneworleans.com 218-8379, www.sidearmgallery.org ActionActionReAction Indie Dance Party, Circle Bar Ingrid Lucia, d.b.a., 6pm
City Park Skate Park Benefit f/ Clockwork Elvis, Lost Bayou Ramblers, d.b.a., 10pm, $5
d.b.a., 618 Frenchmen St., (504) 942-373, www. Southport Hall, 200 Monticello Ave., (504) 835- Hi-Ho Lounge Throwback f/ Know Your Enemy, Republic
drinkgoodstuff.com/no 2903, www.newsouthport.com Funk Leukemia, Los Po-Boy-Citos, Howlin’ Wolf
Groovesect, d.b.a., 10pm, $5 SATURDAY 3/13
Der Rathskeller (Tulane’s Campus), McAlister The Spellcaster Lodge, 3052 St. Claude Hot Club of New Orleans, d.b.a., 6pm
Dr., http://wtul.fm Avenue, www.quintonandmisspussycat.com/ Indigo Girls, A Fragile Tomorrow, Tipitina’s, Bustout Burlesque, House Of Blues, 8pm, 10:30pm
tourdates.html 10pm, $25 Dave Mooney, La. Music Factory (210 Decatur), 4pm
Dragon’s Den, 435 Esplanade Ave., http:// Justin Peake’s Beautiful Bells, Dragon’s Den Debauche, d.b.a., 10pm
myspace.com/dragonsdennola St. Roch Taverne, 1200 St. Roch Ave., (504) (Upstairs) Fatter Than Albert, Informant, Shoot the Daily
945-0194 Robert Earl Keen, Sons of Bill, House Of Blues, Edit, The Lollies, Big Fat & Delicious, High
Eldon’s House, 3055 Royal Street, 8pm Ground, 6:30pm, $8
[email protected] Tipitina’s, (Uptown) 501 Napoleon Ave., (504) Rotary Downs Album Release Party, One Eyed Foburg Fest, Various Frenchmen St. Venues
895-8477 (Downtown) 233 N. Peters, www. Jacks Helen Gillet, Freddie Brink, McKeown’s Books,
Ernie K-Doe’s Mother-in-Law Lounge, 1500 tipitinas.com Shanghai Night w/ Mic Phedushia, Dragon’s Den 8pm, FREE
N. Claiborne Ave. (Downstairs) Madeline Adams, One Man Machine, All-Ways
The Zeitgeist, 1618 Oretha Castle Haley Blvd., Throwback f/ Dee-1 w/ 2nd Story, Republic Lounge, 10pm
Fair Grinds Coffee House, 3133 Ponce de (504) 827-5858, www.zeitgeistinc.net V Day New Orleans Presents: Eva Ensler’s The Misery Index, Kill the Client, The Bar, 11pm
Leon, (504) 913-9072, www.fairgrinds.com Vagina Monologues, Howlin’ Wolf MOTO, Missing Monuments, Die Rotzz, Circle
Vintage Uptown, 4523 Magazine St., Bar
Fuel Coffee House, 4807 Magazine St. (504) [email protected] SATURDAY 3/6 Noisician Coalition Cacophony Ball, One Eyed
895-5757 Jacks
METAIRIE VENUES B.G., House Of Blues, 9pm Rebirth Brass Band, Tipitina’s, 10pm, $12
Goldmine Saloon, 701 Dauphine St., (504) 586- Bionica Album Release Party w/ Gov’t Majik, Robin Kinchen: An Evening of Blues, The Parish
0745, www.goldminesaloon.net Airline Lion’s Home, 3110 Division St. Oso Closo, One Eyed Jacks @ House Of Blues, 9pm
BOMB Fest New Orleans Presents: Roots of Savoir Adore, Mon Khmer, The Gills, Dragon’s
The Green Space, 2831 Marais Street (504) 945- Badabing’s, 3515 Hessmer, (504) 454-1120 Music Fundraiser w/ Rebirth Brass Band, Free Den, 10pm, $7
0240, www.thegreenproject.org Agents Brass Band, Stooges Music Group, Velveteen Elvis, Hi-Ho Lounge, 10pm
The Bar, 3224 Edenborn, myspace.com/ Howlin’ Wolf The White Bitch, Ratty Scurvics, Dragon’s Den
Handsome Willy’s, 218 S. Robertson St., (504) thebarrocks ELLE!oh!ELLE, Dodging Cathrine, Chase
525-0377, http://handsomewillys.com McCloud, Heidi, The Parish @ House Of Blues, SUNDAY 3/14
Hammerhead’s, 1300 N Causeway Blvd, (504) 6:30pm
The Hangar, 1511 S. Rendon. (504) 827-7419 834-6474 First Time, The Bar, 11pm Family Portrait, The Lucks, The Demon Beat,
J.J. Muggler Band, New Orleans Moonshiners, Circle Bar
Hi-Ho Lounge, 2239 St. Claude Ave. (504) 945- The High Ground, 3612 Hessmer La. Music Factory (210 Decatur), 2pm Foburg Fest, Various Frenchmen St. Venues
4446, www.myspace.com/hiholounge Ave., Metairie, (504) 525-0377, www. Little Freddie King, d.b.a., 11pm, $5 Happy Talk Band, Dragon’s Den
thehighgroundvenue.com Raise the Dead Fest, Hi-Ho Lounge, 9pm Tea Leaf Green, One Eyed Jacks
The Hookah, 309 Decatur St. (504-943-1101), State Radio, American Fangs, Tipitina’s, 10pm, Tipitina’s Foundation Presents Music Workshop
hookah-club.com BATON ROUGE VENUES $15 Series f/ Craig Klein, Doug Bellote, Brian
Tim Barry, Ninja Gun, Why Are We Building Coogan, Tipitina’s, 1pm, FREE
Hostel, 329 Decatur St. (504-587-0036), The Caterie, 3617 Perkins Rd., www.thecaterie.com Such a Big Ship?, Blackbelt, Zeitgeist, 7pm
hostelnola.com Truth Universal, Dragon’s Den MONDAY 3/15
Chelsea’s Café, 2857 Perkins Rd., (225) 387-
Hot Iron Press Plant, 1420 Kentucky Ave., 3679, www.chelseascafe.com SUNDAY 3/7 ANTIGRAVITY Presents: Rogue Wave, Avi
[email protected]
The Darkroom, 10450 Florida Blvd., (225) 274- BLACKIE, High Priest, Dun Bin Had, Dragon’s Buffalo, One Eyed Jacks
House Of Blues / The Parish, 225 Decatur, 1111, www.darkroombatonrouge.com Den, 10pm, $3 Hull, Caltrop, Slow Form of Suicide, Dragon’s
(504)310-4999, www.hob.com/neworleans Coot, d.b.a., 10pm Den, 10pm, $3
Government St., 3864 Government St., www. Fleur de Tease, One Eyed Jacks, 8pm, 10pm Mayer Hawthorne and The County, Nikki Jean,
The Howlin’ Wolf, 907 S. Peters, (504) 522- myspace.com/rcpzine The Imagination Movers, Mahalia Jackson
WOLF, www.thehowlinwolf.com Theater, 1:30pm, 4:30pm The Parish @ House Of Blues, 8pm
North Gate Tavern, 136 W. Chimes St. RE:CREATION (STS9 After-Party) w/ Stephanie’s Id, Kelcy Mae, Circle Bar
Kajun’s Pub, 2256 St. Claude Avenue (504) 947- (225)346-6784, www.northgatetavern.com Torche, Carusella, Haarp, Thou, Surroundings,
3735, www.myspace.com/kajunspub
Red Star Bar, 222 Laurel St., (225) 346-8454, Big Top, 7pm, $7
Kim’s 940, 940 Elysian Fields, (504) 844-4888 www.redstarbar.com

The Kingpin, 1307 Lyons St., (504) 891-2373 Rotolos, 1125 Bob Pettit Blvd. (225) 761-1999,
www.myspace.com/rotolosallages
Le Bon Temps Roule, 4801 Magazine St., (504)
895-8117 The Spanish Moon, 1109 Highland Rd., (225)
383-MOON, www.thespanishmoon.com
Le Chat Noir, 715 St. Charles Ave., (504) 581-
5812, www.cabaretlechatnoir.com The Varsity, 3353 Highland Rd., (225)383-7018,
www.varsitytheatre.com
Lyceum Central, 618 City Park Ave., (410) 523-
4182, http://lyceumproject.com

Lyon’s Club, 2920 Arlington St.

The Maison, 508 Frenchmen St.

Mama’s Blues, 616 N. Rampart St., (504) 453-9290

Maple Leaf, 8316 Oak St., (504) 866-9359

24_antigravity: your new orleans music and culture alternative

EVENTS

TUESDAY 3/16 Drive-By Truckers, Tipitina’s, 10pm, $20
Good Enough for Good Times, d.b.a., 10pm, $5
Citizen Cope, Tipitina’s, 10pm, $25 Green Project’s 3rd Annual Salvations Furniture
Kimya Dawson, Angelo Spencer, Emily Auction and Gala w/ Loose Marbles, Shops at
McWilliams, The Big Top, 7pm, $5 Canal Place (333 Canal St.), 7pm
Screens, Aa, Electric Tickle Machine, Circle Bar Hot Club of New Orleans, d.b.a., 6pm
RX Bandits, The Builders and The Butchers, Lillian Axe w/ Randy Jackson: Benefit for the
Zechs Marquise, House Of Blues, 8pm Hard Rock Hall of Fame, Howlin’ Wolf
Smiley With a Knife, Caspian, Arms & Sleepers, No Fuego, Big Boots and The Boss, Groovocrats,
Dragon’s Den The Bar, 10pm
This Moment in Black History, Sun God, Saturn Throwback f/ M@ Peoples Collective, Republic
Bar WCP Presents: Lazer Sword, One Eyed Jacks
WCP Presents: Little Dragon, One Eyed Jacks
Withered, Legions of Hoar Frost, Suspended SATURDAY 3/20
Obscurity, The Bar, 10pm, $5
Alesana, A Skylit Drive, Of Mice and Men, The
WEDNESDAY 3/17 Word Alive, We Came as Romans, High Ground,
7pm, $15
Dick Dale, Howlin’ Wolf Church of Burlesque, Spooky LaStrange and Her
Maddie Ruthless, Shockwave Sound, Hi-Ho Billion-Dollar Baby Dolls, The Swaggers, Hi-Ho
Lounge, 10pm Lounge, 10pm
Off With Their Heads, Pumpkin, Opposable Drive-By Truckers, Tipitina’s, 10pm, $20
Thumbs, The Big Top, 7pm Enharmonic Souls, Dragon’s Den
Man at Home, Circle Bar
THURSDAY 3/18 Sole Pursuit, Pandemic, Luke Starkiller, Howlin’
Wolf
Alex McMurray, d.b.a., 10pm, $5 Train Wreck in Beijing, The Bar, 10pm
Black Tusk, Tombs, Graves of Valor, Mars, WTUL Record Fair Round 2, Tulane University’s
Banks Street Bar & Grill, 10pm, $8 “Pocket Park,” 10am, FREE
Centric Presents: Chrisette Michele Epiphany
Tour, House Of Blues, 8pm SUNDAY 3/21
Jon Cleary, d.b.a., 7pm
Lovehog, Schocholautte, Circle Bar American Cheeseburger, Necro Hippies, Small
Spoon, Deerhunter, The Strange Boys, Republic Bones, Dragon’s Den, 7pm
Stooges Brass Band, Hi-Ho Lounge, 9:30pm Attack Attack!, Breathe Caroline, I See Stars,
Askin Alexandria, House Of Blues, 5:30pm
FRIDAY 3/19 DJ Soul Sister, Dragon’s Den
Jeff & Vida, d.b.a., 10pm
A.F.I., The Loved Ones, Scarlet Grey, House Of Silent Cinema, Royal Bangs, Pariah Beat, Circle
Blues, 6pm Bar
Debauche Russian Mafia Party, Hi-Ho Lounge,
10pm MONDAY 3/22

The Woes, Jupiter One, Loren Murrell, Circle Bar
Uzuhi, Suzi Trash, The No-Hawks, Dragon’s Den,
10pm, $3
Van Halen II: Rise of the Machines, Dragon’s Den

TUESDAY 3/23

Vivian Girls, Wetdog, Happy Birthday, Circle Bar

WEDNESDAY 3/24

Exodus, One Eyed Jacks
Honor Society Here Comes Trouble Tour, House
Of Blues, 6pm
Seedy Seeds, Peasant, Circle Bar

THURSDAY 3/25

Alkaline Trio, Cursive, The Dear & Departed,

House Of Blues, 8pm
J. The Savage, d.b.a., 10pm, $5
Linnzi Zaorski, d.b.a., 6pm
Stooges Brass Band, Hi-Ho Lounge, 9:30pm
Tennessee Williams Fest, One Eyed Jacks, 7pm

FRIDAY 3/26

ATC & FMC Present: Musicians Bringing

Musicians Home VI: A Benefit for Sweet Home

New Orleans, Tipitina’s, 9pm
Gal Holiday & the Honky Tonk Revue, Circle Bar
Ingrid Lucia, d.b.a., 6pm
Joe Krown, Walter Wolfman Washington,

Russell Batiste Trio, d.b.a., 10pm, $5
Pat Green, House Of Blues, 8pm
Proppa Bear’s Quarterly Art Party, Dragon’s Den
Smily With a Knife, Female Demand, The

Acropolions, Café Prytania, 10pm
Throwback f/ The Blue Party, Republic

SATURDAY 3/27

Belleville Outfit, The Parish @ House Of Blues, 9pm
Burlesque to the Future: A Night of Burlesque/

Comedy/Sideshow Entertainment, Howlin’ Wolf

25antigravitymagazine.com_



EVENTS

SATURDAY 3/27 (Cont...) THURSDAYS

The Cholesterol Ball: A Benefit for the American Big Freedia’s Hookah Bounce, The Hookah, 10pm
Heart Association w/ Bonerama, Dr. Funk, Billy Iuso, The Box Office, 7pm
Tipitina’s, 7pm, $40 Come Drink with Matt Vaughn, R Bar
Drum & Bass DJ Night, Hi-Ho Lounge Dave Jordan and Guests Acoustic Showcase,
Honey Island Swamp Band Album Release
Party, One Eyed Jacks Banks Street Bar & Grill, 9pm
Michael Juan Nunez, La. Music Factory (210 DJ Brown Sugar, Bayou Park Bar, 10pm
Decatur St.), 3pm DJ Frenzi, DJ Daniel Steel, Dragon’s Den
Pitts vs. Preps, The Bar, 9pm (Downstairs), 10pm
Suplecs, d.b.a., 11pm, $5 DJ Kemistry, LePhare
White Colla Crimes, The Local Skank, Circle Bar DJ Matic, Hostel
Fast Times ‘80s Dance Night, One Eyed Jacks
SUNDAY 3/28 The Fens w/ Sneaky Pete, Checkpoint Charlie’s, 10pm
Hap Pardo Jazz Trio, All-Ways Lounge
Booker T Jones, House Of Blues, 8pm Jeremy Davenport, The Davenport Lounge @ Ritz-
The Choke, Circle Bar Carlton New Orleans
DJ Rusty Lazer, Dragon’s Den Karaoke Fury, La Nuit Comedy Theater, 10pm
Louisiana Hellraisers, d.b.a., 10pm LEGIT, Republic, 10pm, $7
Ovis, The Box Office, 10pm
WEDNESDAY 3/31 Pure Soul, House Of Blues, Midnight
Rabbit Hole, La Nuit Comedy Theater, 8:30
Robin Thicke, House Of Blues, 8pm Sam and Boone, Circle Bar, 6pm
Soul Rebels, Les Bon Temps Roule, 11pm
THURSDAY 4/1 Stinging Caterpillar Soundsystem, All-Ways
Lounge

Stooges Brass Band, Hi-Ho Lounge, 9:30pm FRIDAYS

FRIDAY 4/2 Brown Comedy Improv, Banks Street Bar & Grill
DJ Bees Knees, Hi-Ho Lounge
Big Rock Candy Mountain, Republic, 10pm, $5 DJ Digital Presents: Get Famous Fridays, The
Hill Country Revue, The Lee Boys, Howlin’ Wolf Hookah, 10pm
Ted Leo and The Pharmacists, One Eyed Jacks DJ Kemistry, Metro
Friday Night Music Camp [3/12 w/ J. The
WEEKLIES & DANCE NIGHTS
Savage, 3/26 w/ Sarah Quintana], The Big Top,
MONDAYS 5pm
God’s Been Drinking, La Nuit Comedy Theater,
Blue Grass Pickin’ Party, Hi-Ho Lounge, 8pm 8:30pm, $10
Glen David Andrews, d.b.a., 9pm Jeremy Davenport, The Davenport Lounge @ Ritz-
Jak Locke, The Box Office, 8pm Carlton New Orleans
Mad Mike, Checkpoint Charlie’s, 8pm Jim O. and The Sporadic Fanatics, Circle, 6pm
Missy Meatlocker, Circle Bar, 5pm Olga, The Box Office, 6pm
Noxious Noize’s Punk and Metal Night, Dragon’s Open Mic Stand-Up, La Nuit Comedy Theater,
Den (Downstairs) 10pm, $5
Smooth Jazz Combo, Banks Street Bar & Grill, 9pm Ratty Scurvics Lounge, All-Ways Lounge
Trivia Night, Circle Bar, 8pm Rites of Swing, The Box Office, 9pm
Throwback, Republic
TUESDAYS Tipitina’s Foundation Free Friday!, Tipitina’s, 10pm
The Way, St. Roch Tavern, 9pm

The Abney Effect, Hostel SATURDAYS
Acoustic Open Mic, Carrollton Station, 9pm
Acoustic Open Mic w/ Jim Smith, Checkpoint DJ Damion Yancy, Republic, 11pm
Charlie’s, 10pm DJ Jive, LePhare
Cottenmouth Kings of New Orleans, d.b.a., 9pm DJ Kemistry, Metro
Open Jam w/ Fat Sweat, Hi-Ho Lounge, 10pm The Drive In w/ DJ Pasta, R Bar
Open Mic w/ Whiskey T., Rusty Nail, 8pm Hookah Hip-Hop w/ DJ EF Cuttin, The Hookah,
Reggae Nite w/ Big, Fat & Delicious, Banks 10pm
Street Bar & Grill Javier Drada, Hostel
Talking Pictures Hosted by Chris Fontana, Bayou The Jazzholes (1st & 3rd Saturdays), Circle Bar,
Park Bar, 10pm 6pm
The Tom Paines, Circle Bar, 6pm Jeremy Davenport, The Davenport Lounge @ Ritz-
Carlton New Orleans
WEDNESDAYS John Boutte’, d.b.a., 7pm
Ladies Night, The Hangar
Dan Wallace Quartet, The Box Office, 7pm Louisiana Hellbenders, The Box Office, 7pm
DJ Lefty Parker, R Bar
DJ T-Roy Presents: Dancehall Classics, Dragon’s SUNDAYS
Den, 10pm, $5
Gravity A, Banks St. Bar and Grill, 10pm Acoustic Open Mic w/ Jim Smith, Checkpoint
Jim O. and The No Shows w/ Mama Go-Go, Charlie’s, 7pm
Circle Bar, 6pm Attrition, Dragon’s Den (Upstairs), 10pm
Kenny Holiday and the Rolling Blackouts, Cajun Fais Do Do f/ Bruce Danigerpoint,
Checkpoint Charlie’s, 9pm Tipitina’s, 5:30pm, $7
Lynn Drury and Friends, Bayou Park Bar, 10pm Cocktails & Crafts, Circle Bar, 3pm
Marygoround & The Tiptoe Stampede, All-Ways Ear Candy w/ DJ Rik Ducci, The Hookah, 10pm
Lounge Free Swing Dance Lessons w/ Amy Chance,
Mojotoro Tango Trio, Yuki (525 Frenchmen St.), 8pm d.b.a., 4:30pm
Musician Appreciation Night, The Bar, 7pm Live Team Trivia, Bayou Park Bar, 8pm
Standup Comedy Open Mic, Carrollton Station, Mambomundo Latin Dance Party, Banks Street
9pm Bar & Grill, 9pm
Tin Men, d.b.a., 7pm Micah McKee and Friends w/ Food by Bryan,
Walter Wolfman Washington and The Circle Bar, 6pm
Roadmasters, d.b.a., 10pm, $5 Music Workshop Series, Tipitina’s, 12:30pm
The Palmetto Bug Stompers, d.b.a., 6pm
The Sunday Gospel Brunch, House Of Blues

27antigravitymagazine.com_

REVIEWS

These New Puritans, Continued from page 23...

a record by a rock group can get. Featuring an astounding number of instruments and recording techniques,
including the Foley method, this record is a bold and confident step forward for this young English four-piece.
It’s hard to argue when you listen to tracks with the propulsive edginess of “Attack Music” or the cyclic
madness of “Drum Courts-Where Corals Lie.” These New Puritans take many chances on Hidden and, more
often than not, the gambles succeed wildly. This is an album to behold and this is a group to keep on your
radar; it looks like 2010 may have its first masterpiece. —Dan Mitchell

wu-tang clan
return of the wu & friends

(gold dust media)

It’s always a gamble when a new Wu-Tang album drops. The Wu empire has been
so spread out over the years (as planned) that anything with that magical “W”
stamped on it can’t exactly inspire automatic confidence that it’s going to be great.
Ever-growing, the Wu-Tang family has had its ups and downs, with sequel albums
proving disappointing but follow-ups recapturing the glory. Unfortunately, Return of
the Wu & Friends is clearly one of the “downs” and falls into the “absolutely forgettable” category, without
one single standout track that would make this worth buying. From the start, Return of the Wu splashes its
producer credit across the front, making it clear that DJ Mathematics is at the helm. In other words, not the
RZA (Wu-Tang’s mastermind and grand visionary). So even though the whole clan is represented throughout
(Ghostface, Raekwon, Method Man, the GZA...) the beats they’re coming in over are sub-par at best and
lack the heavy atmospherics and dramatic flair that really ties all of that talent together. If you need your Wu
fix, try picking up last year’s Wu-Tang Chamber Music, a weird and winding album that hearkens back to the
Wu’s good-ol’-days of film clips, gutter beats and lyrical prowess. Executive-produced by the RZA but built
on music by the Brooklyn soul group the Revelations, Chamber Music also provides insight into the RZA’s
philosophies, such as this gem: “In the Kung Fu flicks, you see the abbot... he don’t come back to fight the
villain; he train a student for that job.” Some of his students, like DJ Mathematics, still have a long way to
go. —Dan Fox

yeasayer
odd blood
I(secretly canadian)
 
n late November 2009, Yeasayer, the Brooklyn multi-instrumentalist, globo-
eccentro outfit, released their debut single, entitled “Ambling Alp,” off their
forthcoming sophomore album. Upon first listen, two things became immediately
evident; one being that it was the best song the band had ever penned and the other
being that Yeasayer was going in a new direction with their sound, away perhaps from
the globe-trotting density of their debut All Hour Cymbals and towards a more dance-oriented electronic vibe.
Their debut, released at the end of 2007 on the We Are Free label, took many by storm and presented the
band as not only extremely talented and capable musicians but as inventive songwriters adept at genre-leaping
enmeshment in sound. Now here we are, a little over two years later, and Yeasayer has become a three-piece
after losing Luke Fasano, and have a new style indeed. The stringed instruments that charmed and wove
through Cymbals have largely been put aside in favor of electronics and a more beat-centric core to the songs.
This will undoubtedly turn off fans of the previous effort that still cling to the early Animal Collective-esque
tendencies exhibited on the debut, but just as Animal Collective has moved towards a more electronic sound,
so too has Yeasayer followed. Songs like the aforementioned “Ambling Alp,” the sweaty, techno-infused
Ibizan club-bumpers “Rome” and “Love Me Girl” and the ridiculously fetching “Mondegreen” show the
band in full force and absolutely comfortable in their newfound direction and style. While overall a bit less
impressive then their debut album, Yeasayer succeed once again with Odd Blood, engaging the listener and
remaining steadfastly unique at the same time. —Dan Mitchell

28_antigravity: your new orleans music and culture alternative

COMICS

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PHOTOS

30_antigravity: your new orleans music and culture alternative

PHOTOS

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