Update: It's not snowing anymore.
More Bomb news: WOTT gave us the heads-up on the new HIBTB video for "Mothership." Set in a spacecraft with theater seating, in which android architects duel/collaborate with holograms and foam fingers, the video follows Jon Burr as he watches the action unfold through opera glasses, Denis Deck wields a power-glow glove and a bunch of keyboard-related stuff happens--in the future! I've watched it twice and have no idea what's going on. Leave your interpretations in the comments, and don't forget to watch "Salvage Mission" if you haven't already.
If there's one thing a hipster hates, it's having to wear last year's ironic outfit aping two decades prior. The best solution in these tough times? Work at hipster fashion central.
Open interviews for the Urban Outfitters store in the Gulch kick off this Friday, Jan. 30, and will be held from 9:30 a.m. to 5 p.m. So put on your best Castro cap and iron that Free People dress (on second thought, don't iron it) and head over to Marathon Village.
I've never worked retail, so I don't have any authentic snarky advice for landing a job. But I can make some up! If I were interviewing, I would at least be prepared to master that blase-cool yet helpful disposition critical to pushing peasant blouses and jelly shoes. Also, I probably wouldn't bring up that whole Urban Counterfeiters thing.
We brought you word of The Glib's last show/CD release at The Basement Jan. 24, and The Spin can tell you it went off without a hitch. Caitlin Rose and several members of Eureka Gold, including the Scene's very own Adam Gold, joined in on the vocals to "Scrotality" (above). Lead singer Joe Mormann lambasted targets deserving and undeserving, and, in the clip following the jump, not-so-hesitantly divulged the identity of an unknowing muse. God bless those drunken miscreants known as The Glib, and may they rest in peace.
While doing some web research for my politicians' iPods post last week, a friend and I stumbled across a couple of YouTube clips of interest produced and performed by Mr. Adam Dread, Esq. For those of you unfamiliar, Dread is the third best local DUI attorney, a former city council member, a Nantucket Island frequenter, seemingly a total perpetrator of self-editing his Wikipedia entry and apparently a Renaissance man. You can hear him above butchering a song I always thought was unbutcherable, "Cowboy" by Adam Gold's second least favorite contemporary musician.
And here I thought Nashville didn't have a sports-themed answer to Weird Al. Hear Dread molest The Ramones after the jump.
According to a post yesterday on the website Metal Underground, Casey James, former guitarist for the L.A. glam metal band Lizzy Borden, was reportedly killed in an automobile accident last Saturday morning here in Nashville.
I don't know the exact details of the accident, but I suppose now is as good a time as any to make the observation that we as Nashvillians, given the amount of time we spend in our cars, aren't very good at operating them.
Check out the slideshow for more photos.
The impossibly catchy chorus to The Virgins' very first song last night stated, "Teen lovers don't wait / Vacation is over." Or something like that. As best we could decipher the song seemed to be the band's mandate for teenage doin' it, so clearly these guys aren't the virgins they advertise themselves to be. Must be that irony stuff we've been hearing so much about.
Debauchery was sort of the running theme of the set: cocaine brunches, K-holes, more sex--all set to a crisp and clean new wave backdrop. For all that danger and excess, you've gotta pull off the child-proof cap to get to it. That's maybe why New Wave never really interested us as much as first wave punk--it's almost falsely advertised. Sure, first wave and post-punk can easily be just as contrived, but at least with those styles one gets the sense that this isn't for everybody.
"What you got there? That ain't no fiddle."
"Mister...this here's a cotton-pickin', finger-lickin', barbecued, 110-volt Nashville Moog."
In 1972, Gyl Trythall made an "experimental" album called Country Moog: Switched On Nashville. Two things strike me as interesting to me about this whole exercise. First, that a piece of musical instrument technology like the synthesizer could seem so revolutionary. (Sure, we've got Auto-Tune, but no one's re-orchestrating Bach or Beethoven's Ninth as a result. I hope.) Second, in this clip, Trythall's underlying premise is that country music is country music no matter what kind of crazy newfangled instrument you play it on--even if it's a big crazy-looking synthesizer with so many wires coming out of it that it looks like "a stump full of daddy long-legs."
What a stark contrast to today, when you put some banjo or fiddle in the background of a pop song and call it country. In any case, let's have more synth-country bands, shall we?
Yeah, OK, so this was bound to happen. Some designer dude created this lady torso stereo as part of his "object remix series" to, as he puts it, "force the music source into the center of attention and create a radically new user interface."
Sure, sure, but mostly I just think "Tune in Tokyo." Cool or heinous?
Green Day in before The Replacements Red Hot Chili Peppers in before The Meters Rush…
Anon sweet stallion, to the branches of the mighty oak where I might find sustenance!
They call me....Wild Nuts Hickok.....
With regards to Ida, they have a few songs that I always put in my…
new releases... Sturgill Simpson - Metamodern Sounds In Country Music Steelism - 615 To Fame…