Death Waltz is a record label from the UK that specializes in re-releasing classic cult soundtracks on vinyl. Their impressive catalog includes House of the Devil, Escape From New York, Zombie Flesh Eaters, Halloween II and III, Donnie Darko, Prince of Darkness, The Living Dead at the Manchester Morgue and more. For these, the company solicits great artists to conceive and design new cover artwork, all of which is outstanding—see above.
There’s just one problem. The label takes this beautiful art, shrinks it, and surrounds it in a style sheet of a blue circle with the Death Waltz logo prominent in the corner.
Plunging to the depths of despair, like a junkie experiencing his first hit of self-realization, the piece at times makes it difficult to keep listening. Though harmonious, the music takes dark turn after dark turn. It holds you against the wall while you watch everything you love burn before your eyes, with no way to help or even turn away. It’s really heavy stuff.
But Tchaikovsky’s symphony somehow flutters out of this terror, and shows that there is beauty in the world. Life is still worth living, and you leave feeling empowered because you’ve been through the worst life can give and still came out on top. It’s one of my desert island pieces of music. It’s referred to as “pathétique” not because it’s deserving of pity, but because it is compassionate and moving.
To hear this live would be great, but to hear this with the Marin Symphony and guest violinist Nigel Armstrong is going to be awesome. I saw this local kid play with the American Philharmonic (or was it the Cotati Philharmonic at that time?) in his teens and was amazed. He was young but had an evident understanding of the music, to say nothing of his technical ability. To see him now that he’s 21 would certainly be something special.
The Marin Symphony plays Sunday, Jan. 20 at 3pm and Tuesday, Jan. 22 at 7:30pm. Tickets are $10 to $70. Marin Center, 10 Avenue of the Flags, San Rafael. www.marinsymphony.org.
I have always had a hard time accepting Rihanna’s extreme popularity. Her music, to me, is bland, and she’s not a good performer. The fact that she is a victim of extreme domestic violence who has since climbed back into the arms of her abuser, fellow pop star Chris Brown, sets a terrible example for others in her situation and actually upsets me.
I’ve never had a way to explain these confusing opinions until Sasha Frere-Jones apparently climbed into my head, organized my thoughts and wrote them for me in the New Yorker’s Dec. 24&31 issue.
He nails the social impact with this:
“With all this drama, it is difficult to think of Rihanna’s stated version of independence, of being a ‘Good Girl Gone Bad,’ as the title of her biggest-selling album would have it, is being the object of badness, being subjugated… What makes this attitude even more disturbing is that it seems to have served only to make Rihanna more popular.”
Without missing a beat, Frere-Jones flings more thought-goo from the cauldron of my stewed brain and it sticks on the wall in this elegant, concise phrasing: “She has an exceptional physical beauty married to an unexceptional, almost disengaged sense of performance–she may be the most successful amateur ever.” I’ve already applied this lightbulb concept to other pop stars that suck, like Lana Del Rey, Ke$ha and Nickelback.
And, as a good critic should do, he calls out the pop star for what should be an obvious “phone-it-in” moment, her “performance” last month on Saturday Night Live. “She moves, in Timberland boots and a fatigue jacket, as if she had perhaps beard the song a few times before. There was one bit that reminded me of dancing.”
Unfortunately the article is paywalled, only available with a subscription or by purchasing the whole issue. But it’s a luxury worth paying for, if for nothing else than Frere-Jones’ music columns.
My favorite music genre changes on a daily basis. When someone asks the seemingly simple question, “What kind of music do you like?” I find myself befuddled, and often reply with whatever I was last listening to, whether that was Wu-Tang, Stevie Nicks, Beethoven, Johnny Cash, Miles Davis, John Cage or Orbital. I actually feel flustered trying to answer the question.
But Rock may have solidified its status as my fave with this video:
To be able to play all those riffs in one take it amazing, but what truly impresses me is the fact that I know every single one of those songs by hearing a couple seconds of one instrument playing them. Not every genre can claim that—try playing “name that tune” with dubstep. Rock is a truly unique modern style with its combination of catchiness and badassery.
The temporary roof collapsed over Radiohead’s stage in Toronto June 17, killing a member of the crew and injuring three others.
Radiohead’s drum tech Scott Johnson was pronounced dead on the scene when investigators were able to get to his body through the wreckage at 8pm. The stage had collapsed hours before, while fans were still lining up outside the gates.
“I want you to know, he’s not coming back.” So sings Thom Yorke on Radiohead’s “Knives Out,” a somber tune full of sadness on Amnesiac. The Flaming Lips dedicated the song to Johnson before playing it to a group of fans who had gathered at the Toronto concert the same day after the Radiohead show had been cancelled. “Peace be with their hearts tonight,” said Flaming Lips frontman Wayne Coyne.
Who is at fault, what happened and the ramifications of the accident are all yet to be determined, possibly mired in insurance investigations for years to come.
The lights have dimmed, the group on stage has started playing, and the place is quiet. Dave Holland begins playing a soft note on his upright bass, repeating it, while drummer Eric Harland rattles out delicate, precise, quiet snare rolls. Over on the piano, the WHAT THE FUCK ARE YOU KIDDING.
A bright light flashes next to me, a goddamn phone camera. The guy sitting next to me is taking a picture on his goddamn phone. With a flash. The kind of cheap flash that stays lit for two seconds, invading everyone’s view, currently ruining the opening moments of this concert. Jesus.
Did he not hear the announcer, mere minutes before, say “turn off your phones”? Did he not notice the multiple signs posted reading “No photography of any kind”?
No, he did not. He did not give a shit. He is that guy.
After the bright flash, I figure he’s utterly embarrassed and will put his phone away for good. I figure wrong, of course. Two songs later, while the place is quiet and polite and still, he pulls out his phone again and starts clicking away. The display screen raised high, in everybody’s vision, multiple tries to get the shot just right even though he’s too far away and the stage is poorly lit and the picture is destined to look like shit.
Then he opens Facebook on his phone. No joke, he is posting this crappy picture to Facebook, brightly, vividly, right in the middle of the show, while a dream band of jazz legends is playing. Does he even know what the band is called? No! That’s why he picks up the program and leafs through it to find the name of the group. “Dave Holland Overtone Quartet,” he types into a status update. He tags his girlfriend. He tags the Palace of Fine Arts. He posts the photo.
Fine, you’ve posted it, I think. Now put the phone away. But no, he starts scrolling through his feed, stroking the screen rhythmically with his thumb. With his other arm, he reaches over and places his hand on his girlfriend’s thigh, just to, like, you know, let her know that he cares about her as much as his phone. He is caressing his phone and his girlfriend at the same time as he is reading Facebook, his face alight with that blue phone glow so unmistakable in a dark theater.
After a while, he closes Facebook. He opens Twitter. For fuckin’ real? Yes, for real. He goes through the whole ritual again: type tweet, mention girlfriend and venue, upload photo, online look like a cool guy who does fun interesting cultural stuff but in real life be an irritating guy who doesn’t care about the fun interesting cultural stuff as much as he cares about appearing like the guy who does, even at the expense of all the people around him who do actually care about said fun interesting cultural stuff, etc. Then he scans through Twitter for a while, implementing the same pathetic hand-on-my-girlfriend’s-thigh maneuver while staring into his phone, and not at the stage, where incredible things are happening.
Without a doubt, everyone around me has noticed this guy, because he is impossible not to notice. But I’m probably the only one who went home, searched for “Dave Holland” on Twitter and found his cruddy photo, and, by extension, his name. So congratulations, Matt Jessell of San Francisco, you are the Annoying Facebook Photo-Posting Person of the Night. Why am I not surprised to learn that you’re in marketing? Hope this award strengthens your “personal brand.”