THURSDAY
Gojira/Devin Townsend Project/The Atlas Moth (Granada): While these bands possess a phenomenal amount of technical prowess, it’s hard to understand why there is still a need for this sort of melodic metal, that which contains enough ballad-flirting melody that it wouldn’t be outlandish for Peter Cetera to be caught singing some of it to himself in the mirror, hairbrush for a microphone. Guys, just get it over with and whip out the solo piano records. Did you really need all those algebraic riffs for that sensitivity?
It is artistically tragic, however, that Gojira had to change their name from “Godzilla.” Or maybe it isn’t. At least one heavy or extreme band does deserve the name, but perhaps it’s not this one. — Christopher Mosley
“Discipline” (Rubber Gloves): The prickly gang at this collection-flexing event tends to keep things obscure, and after all, their unofficial motto is “No Humans Allowed,” likely a tribute to the 1982 album by Chrome bearing the same name. I decided to try to reach through that web of the obscure and ask the most visible Disciplinarian, Andrew Haas, what he thought might be played this evening. After brushing off an accusation of resorting to a potential trap version of a a Dogpop track, I was given the following:
Anenzphalia – “Bodies Of Gold”
NON – “Warm Leatherette”
DAF – “Nacht Arbeit”
Forces – “Overland”
And finally, “anything by Stauros to Okema,” Haas said. And now you know more than you should about this event. Tread carefully, but tread nonetheless. — Christopher Mosley
Centro-Matic/Satans of Soft Rock (Dan’s Silverleaf): I can’t go into too much detail about Will Johnson’s repertoire, otherwise I’ll be typing until my demise at this keyboard. But, Centro-Matic’s still staying strong after nearly two decades together, and that’s a pretty impressive feat for any band, let alone one with a leader as enigmatic as Johnson.
Satans of Soft Rock features Tony Ferraro’s talents of bringing back the sound of college burnouts in the early 2000s, complete with minimal melodies (with often dragging chord progressions) and lyrics like, “I ask once, don’t think twice, I’m trying to be real nice.” Not the most intriguing music I’ve ever heard, but not awful either. — Iris Zubair
Negative Approach/Lower Class Brats/Power Trip/Kill the Client/Wild//Tribe (Club Dada): Negative Approach is so deep into their current reunion that I’m now pining for their 2006 days when they completely devastated myself and an audience of 7,000 or so in a Chicago parking lot. It pains me to type this, but they really did make their show-mates, Killdozer and Scratch Acid, seem almost tepid in comparison.
It was a potent reminder as to why the dogmatic and militant sounds of hardcore were so seductive to multiple generations of lost youth, and yet an equal signifier of how good it was to be insusceptible to that same aimlessness. This is a legitimately intimidating headliner, and the opening acts are not sniffable either. — Christopher Mosley
FRIDAY
Vinyl Pilot/Drayter/Midnight Empire/The Bright (House of Blues): I received information about this Dallas Rocks! night the other day and there was definite mention of this being a free showcase. I’m only sure of this because they repeatedly capitalized ‘free’ in their press release, which is nice of them to point out. However, since House of Blues has some pricing options listed for this show, I’m a bit perturbed with how anything free involves a transaction. They might be taking some serious liberties with the word. — Iris Zubair
Atomic Tanlines/Vulgar Fashion/Bukkake Moms/Pocket Change/Bummer Sticker/Macaulay Culkin (Rubber Gloves Rehearsal Studios): As a release show for the newest issue of the local zine, Hissy Fit, expect nothing short of a sustained intensity from both writers and artists alike over the course of the evening, as much of the musical lineup is as unflinching content of the magazine. The third issue of the publication focuses on the dreadful but necessary topic of rape culture and the issue of consent. That’s a timeless topic that is just in time, since it seems there are some in the community who could use a refresher course on the question of consent. Proceeds from the show will go to the Feminist Majority Leadership Alliance. — Christopher Mosley
The Boom Bang/The Rich Hands/Sealion/The Longshots (J & J’s Pizza): Oklahoma’s The Boom Bang describe themselves as “4 pizza-eaters who make loud music.” Though they go to on to explain further, “This is what happens when you’ve listened to Andrew W.K. Since 2001,” the idea remains largely unchanged.
The Rich Hands have been described as 2012’s most underrated band, which seems impossible to qualify, but I can somewhat agree with the sentiment. It’s not often that a band with this much depth appears at such a young age. Go ahead and add “Girl” to your playlist. You might find that one listen is not enough.
The Longshots bring some startling ska flare from Oregon to the lineup, which actually rounds out the whole night pretty well. Check out their jams “Act Right” and “Stand Up” featuring saxophones, trumpets, and Nick Hexum-esque vocals. — Iris Zubair
The Residents (Kessler Theater): It’s hard to understand the vastness of the influence that this anonymous collective has had on modern culture, but rest assured it has probably brushed and nudged your world in more ways than one, even if you have just a passing interest in experimental music, visuals, film, or satire. I recently ran across one particularly fascinating detail about the group, which exemplifies just how far and wide the Residents are known by people far more familiar to the general public. In this lengthy 2001 essay by Roman Sokal, the writer explains how the Residents almost had their 1995 CD-ROM project, Bad Day on the Midway, developed into a television series with one minor detail, David Lynch and Ron Howard would be contributors:
…based on the cerebral possibilities and success that Bad Day On The Midway brought, Ron Howard’s Imagine TV would seize the material and put it development stage for a TV series. Also brought on board was famed surrealist filmmaker David Lynch (Eraserhead, Lost Highway) of whom the band considered to be the only person who could properly translate the material. The Residents themselves were to act as consultants for the 2 hour pilot. A conflict of interest arose within all parties involved (including scores of execs, writers, etc) and the project was shelved. However, talks of other possible Lynch-Residents projects are possibly in store.
This was in 1998 and was never to be, unfortunately. It ultimately matters little though, in a career that began in the mid-60s and is still relevant to this second. — Christopher Mosley
Toro y Moi/Wild Belle/Dog Bite (Trees): Unfortunately for procrastinators, this show is all sold out. But it should come as no surprise, considering the accolades Toro y Moi’s been getting for headlining the chillwave movement a few years ago. He just released Anything in Return last week and I would encourage a listen for “So Many Details.”
Siblings Elliott and Natalie Bergman of Wild Belle have a unique sense of reggae and indie pop that make their songs nearly as contagious as mono. It doesn’t hurt that Natalie has all the charm and seduction of Lana Del Rey, sans kooky persona and vacant stare. Their video for the summer track, “Keep You,” is equal parts entertaining and weird. — Iris Zubair
New Fumes/Blixaboy/Strange Towers (Double Wide): It will be a better night than usual at the Double Wide, since you should be able to catch any part of this show and still find something worthwhile, as opposed to the glaring lopsidedness of other events at the venue. All three acts are comprised of veteran musicians who have never embarrassed themselves in careers spanning multiple decades, which is easier said than done. Especially worth mentioning is the Dallas debut of Strange Towers. Hopefully we’ll see the act in town more often soon.
Blixaboy AKA Wanz Dover tells me via sophisticated web messaging that he’ll be accompanied by Joe Sparacino, the keyboardist for his other group, The Black Dotz. Wanz went on to say that he would be performing unreleased material and that it “lies somewhere between Detroit Techno, Cold Wave-ish synth pop, and shoegaze.” Nothing wrong with any of that. Okay, some shoegaze is pretty snoozy, but nothing wrong with most of that. — Christopher Mosley
“Bottoms Up” (The Foundry): The featured guest is DJ G, an experienced hand at this relatively new Oak Cliff dance night. — Christopher Mosley
Diamond Age/DJ EXPat (Texas Theatre): Not only is this the after-party for the Sound City documentary, an interesting-sounding look at the famous LA-based recording studio, it also features DJ EXPat AKA Jason Reimer. DJing in your own backyard, such pressure. Lest you think that’s sarcasm, I’m dead serious. — Christopher Mosley
SATURDAY
Cozy Hawks/The Cleanup/Babalou/Hot Coffins (Rubber Gloves): I spoke to Adam Bertholdi, lead singer of Cozy Hawks, yesterday and he mentioned that this was their first show since November. It’s a good thing their friends from The Cleanup are on the bill as well to ease them back into live pit of touring. For more, check out my interview with Bertholdi. — Iris Zubair
Oil Boom/DJ Ronnie Heart/Fungi Girls/Skeleton Coast (The Boiled Owl): This one year anniversary of the charmingly low-frills Fort Worth drinking establishment basically features the most significant acts currently going in the Western part of our beloved North TX, including Ronnie Heart, late of Neon Indian. I caught one of his DJ sets on KNON a while back and it was unsurprisingly excellent. — Christopher Mosley
Doug O’Rourke/Luke Rainwater/Gabrielle LaPlante/The Moncho Poncho/Salim Nourallah (Sons of Hermann Hall): Event organizers are so often informing you of how your money will be funneled into this or that cause, which can sometimes make you a little uneasy. In this case, you can rest easy, since it’s an issue we should all basically agree on: Human rights. Proceeds will benefit the Human Rights Initiative of North Texas, which has the attorney and writer (and sometimes D Magazine contributor) Bill Holston as executive director. We know how lucky we are to have Holston whenever he contributes and I’m sure HRI feels the same way. This is that rare event that I can recommend with a clean conscience. — Christopher Mosley
Filth/Paranormal Romance/Quixod (606 Congress): This will be Filth’s AKA Rob Buttrum’s last performance ahead of a lengthy tour that the artist will embark on with one of his other projects, Terminator 2. Some photos recently surfaced from the trio’s upcoming cassette release on Handmade Birds, and they look ready to be shoved into a paint-stained work van full of pill addicts rushing to the next labor-intensive job-site. Fitting. — Christopher Mosley
“Away from the Numbers” (Single Wide): This sporadically appearing event is now at the Single Wide, and I’m glad to see this marriage, at least for the time being. Single Wide’s music selection is often very good, but can vary wildly, and this ensures that it will be reliably good for the duration of the evening. — Christopher Mosley
Centro-matic/Air Review/Peter Black (Live Oak Music Hall): For the most poetic breakdown you’ll ever read of Air Review’s whole “thing,” please Dick Sullivan’s beautifully written review of the band’s new record, Low Wishes. Again, Sullivan has compared a band’s impact to that of a paper towel, and he leaves me breathlessly wondering: How did he just do that? — Christopher Mosley
Spookeasy/Sir Name and the Janes/Party Static/George Quartz (3510 Commerce): I’m not really sure of the details on this little get-together besides the address, but it looks solid. Plus, George Quartz always knows where to be after 3 am, so there’s that. Hint: It ain’t Buzz Brew’s, honey. — Christopher Mosley
SUNDAY
Chelsea Wolfe (House of Blues): If you’re looking for a respite from where the nation’s obvious focus will be on Sunday, his show is a far cry from anything to do with football, sports, or any sort of outrageous fandom for that matter. Wolfe has honed the craft of artful despair with a haunting, or maybe haunted vocal style, tinkering instrumental passages, and rueful guitar riffs that basically sound like what foreshadowing feels like. It’s a talent to say the least, but self-proclaimed introverts may be the ones to truly appreciate her aesthetic. — Iris Zubair
