King Washington is an L.A. band that certainly can jam when a jam is called for but it might me the lush sweet harmonies that can erupt into gritty wails that is their musical calling card. Creating emotionally crafted songs that span genres and feel like they span generations, they are a musical affair you will want to get all wrapped up in. The boys have been tearing it up on their 7th Tour starting in November. Do try to catch them at one of their remaining dates below.
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Robb Donker
The brand new single "Echo" from Matthew Squires and The Learning Disorders bristles with percolating bright guitar lines and Squires celebratory vocals. Squires often turns his verbose lyrical melodies into a carnival mirror of sorts, his meanings bent and twisted at will. A term of endearment can morph into a sharp bite, a fond memory into a sardonic parable. "Echo" is the first look at his upcoming album "Where The Music Goes To Die" due to drop on December 2nd.
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Robb Donker
Jesse Frohman is known by some as the photographer who shot Kurt. In August of 1993, Frohman was commissioned by the London Observer's Sunday Magazine to photograph Nirvana in New York prior to performing at the iconic Roseland Ballroom. The photo shoot was supposed to last 5 hours at several locations throughout the city but when Frohman arrived as scheduled Cobain showed up notoriously late and not in the best condition. They set up a make shift studio in the basement of the hotel and in a relatively short amount of time Frohman was able to shoot the band there before heading up to the Roseland where he continued shooting the rehearsal. The now iconic images of Cobain, Krist Novoselic and Dave Grohl posing, greeting fans and performing were there last formal photography session before Cobain's untimely death about 10 months later.
The book: "Kurt Cobain: The Last Session " offers more than 100 images of Kurt and his Nirvana band mates as well as a candid interview and introduction by music journalist Jon Savage and an essay from Glenn O' Brien.
Jesse Frohman will be doing a book signing tonight, this Thursday, November 20th celebrating the release of Kurt Cobain - The Last Session by Jesse Frohman. The celebration begins at 9pm and includes a special live performance by The Lovely Bad Things.
Four hours late and completely stoned throughout, Kurt Cobain’s shoot with legendary photographer Jesse Frohman, just months before the frontman’s death, didn’t necessarily go to plan. Yet what Frohman achieved – even if he didn't realise it at the time – would go down in music history as some of the most iconic images ever shot of the grunge prince. Originally a cover spread for London’s Sunday Observer, after copious amounts of cigarettes, a bottle of Evian water – sprayed, rather than drunk, through the front man’s mouth – and a quick stint as a glasses-wearing, leopard fur-clad ballerina; the shoot was over. With his widow Courtney Love’s tell-all biopic looming on next year’s publishing horizon (apparently), Frohman’s upcoming book KURT COBAIN: The Last Session offers this exclusive excerpt of an interview with punk historian Jon Savage. Conducted with Cobain the night before the photographer’s now-infamous shoot, the frontman opens up on the struggles he endured with his father after his parents divorced.
Kurt Cobain: I was born in Aberdeen, Washington, 1967, and I lived between Aberdeen and Montesano, which was twenty miles away, and I moved back and forth between relatives’ houses throughout my whole childhood.
Jon Savage: Did your parents split up when you were young?
Kurt Cobain: Yeah, when I was seven.
Jon Savage: Do you remember anything about that?
Kurt Cobain: Yeah. I remember feeling ashamed, for some reason. I was ashamed of my parents for… I couldn’t face some of my friends at school anymore, because I wanted, I desperately wanted to have the classic, you know, typical family. Mother, father. I wanted that security, so I resented my parents for quite a few years ’cause of that.
Jon Savage: Have you made it up with them now?
Kurt Cobain: Well, I’ve always kept a relationship with my mom, because she’s always been the more affectionate one. My father, I… I haven’t talked to him for about ten years now, up until this last year, where he seeked me out backstage at a show we played in Seattle. And for a long time, I… I always wanted him to know that I, um, I don’t hate him anymore, just I don’t have anything to say to him. I don’t want to have a relationship with a person just because they’re my blood relative. They bore me. My father is incapable of showing much affection, or even carrying on a conversation, so… Just because of the last time that I saw him, I expressed this to him and made it really clear to him that I just didn’t want anything to do with him anymore. But it was a relief on both of our parts, you know? Because for so many years he felt that I really hated his guts, you know?
The rock legend was reportedly high throughout, resulting in playful, less self-conscious imagesPhotography by Jesse Frohman
Jon Savage: I’ve spent a year and a half dealing with this stuff ’cause my father died in March. It’s really serious stuff. It really fucks you up.
Kurt Cobain: Did you have a good relationship with him?
Jon Savage: No, but we made it up at the end, and I’m really glad we did. I just felt I had to do it.
Kurt Cobain: It’s really important to do that, to make amends. And if you can do it before you almost have to, you know? Like at a time where if you know that one of the… someone is going to die, it’s… At least it happened.
Jon Savage: I’m very lucky that I had a year to deal with it, but it was very, very painful. I’m very glad it’s over now… You can’t duck it.
Kurt Cobain: It’s what I’ve done all my life though. I’ve always quit jobs without telling the employer that I’m quitting. I just wouldn’t show up one day. Same with high school: the last two months of high school, I quit. So I’ve always copped out of things all my life, so to face up to my father was… Although he chose to seek me out, you know? But it was a nice relief.
Jon Savage: Do you write about this at all? There’s a lyric about your father on “Serve the Servants”…
Kurt Cobain: Yeah. Yeah. It’s the first time I’ve ever really dealt with any parental issues. I’ve never written about—I’ve hardly ever written anything obviously personal, to myself or to anyone else, on that scale.
Excerpted from KURT COBAIN: The Last Session, by Jesse Frohman, available from Thames & Hudson Inc. as of 10th November.
Yeah, I am definitely smiling. The Smashing Pumpkins single "Tiberius" from the highly anticipated "Monuments to an Elegy" album might have some musical cues and breaks that sound too slick and mainstream to fully fuel the most die hard Pumpkins fans BUT the guitars are fuzzy and thick, the drums potent and Billy Corgan still has that dreamy hippie heart beating in his vocal performance and that makes me so happy. Yeah, I am smiling big time.
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Robb Donker
Get the exclusive 'Monuments to an Elegy' sampler including “Tiberius”
when you pre-order the album on LP or CD at these select indie retail
stores while supplies last: http://smarturl.it/MTAEindie
South London's Savage Nomads say that the official music video for their new single "Pinkie's Little Light" ( single dropping November 24th) is their playful homage to directors like David Lynch, Martin Scorsese and Quentin Tarantino. For me, it is a Tarantino-esque Grindhouse film on acid complete with Madonna / whore complexes, a machete versus baseball bat fight to the death, trippy fever dream surgeries, a bloody heart in hand and Bad Mother Fucker's wallet. Directed by the band and Piotr Obal, it is fast moving, colorful and campy. There does seem to be some sort of narrative running through the video but for me the main narrative is fun and, I must say, the boys play their roles well.
It isn't easy to carve out your own unique sound in the indie pop world but Savage Nomads have succeeded. With flavors that feel contemporary and retro I have described them to friends as kind of like The Smiths and The Talking Heads having a baby doing tropical punk and indie pop all in one. Pour yourself a drink, check out Pinkie's Little Light and let me know what you all think.
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Robb Donker
As reported by the Santa Barbara Independent (you can read Kelsey Brugger's words here), last night Mac DeMarco was detained by UCSB police during a concert at the hub for climbing the rafters after crowd surfing. Apparently he climbed to a second level and was detained as he was coming down the stairs. The police didn't even know that he was the performer. Amazingly, the police were on stage shining flashlights into the audience 10 minutes into the concert. I know as of late a lot of artists and concert attendees have been objecting to all the cell phone cams detracting from the concert experience well police shining flashlights in your face is about 900 buhzillion times worse. According to the aforementioned article there is speculation that the police were looking for people smoking pot. Whaaaaat???
This is the thing. The actions of the police in this situation was the problem. At indie venues every night across the country, kids mosh, band members crowd surf and YES hang from rafters or climb on unsteady PA speakers. Kids smoke some pot too. Usually crowds at indie shows do a good job of regulating themselves. If crowd surfers get out of hand the bands shame them. If moshers get too pushy the crowd calms the situation. No police, no moms or dads needed.
This whole story is even more disturbing after all the recent stories about the increase in sexual assaults and rape at UCSB. Comments by concert goers seem to indicate that the armed police presence was severe including one officer wearing a bullet proof vest. I would only hope that UCSB police would use their resources, would shine their flashlights during campus patrols to heighten their presence in general to make the campus safe for real crimes as opposed to unruly moshers at an indie concert.
The last time I saw Mac DeMarco was at Burgerama 3 back in March. This festival had around 70 bands and a huge police presence by the Orange County Police Department. The OC police are no nonsense kind of scary dudes and to their credit did not over step their boundaries. Their mission their was to keep the peace. At all the stages people moshed, crowd surfed and their was copious amounts of pot smoke in the air. To my knowledge their were no obvious arrests. No polices on stage shining flashlights. No police being bullies. They kept their presence to a minimum and did their job. Obviously, crowd control for thousands is a different animal than for hundred but clearly the UCSB police overstepped their bounds. Their presence on UCSB didn't make anyone feel safer, they just aggravated a lot of people who otherwise would of enjoyed some killer music and Mac DeMarco's antics.
Synth laden romantic new wave has made a steady comeback ever since John Hughes' Pretty In Pink popularized it in the mid-80's or maybe it never really went away. All I know is that bands like Future Islands or Roses have stoked the synth pop fires as of late (for me anyway).
New York City's Your Underdog has just released "No Swim Zone" which percolates with a Casio soul complete with hand claps and dreamy synth lines that make you remember your first broken heart. The vocal performance reminds me a bit of Thomas Mars of Phoenix. This is my first introduction to Your Underdog and I want to hear more.-
Robb Donker
One of my favorite movies of all time is L.A Confidential. The Curtis Hanson 1997 neo-noir detective film based on James Ellroy's 1990 novel was just downright riveting. In my opinion every frame is pitch perfect as is every performance by an impressive cadre of actors such as Kevin Spacey, Russel Crowe, Guy Pearce, Kim Basinger and Danny Devito. For me it was Pearce and Crowe's slow burning to scorched earth performances that blew me away. I have probably seen this movie 17 times and it still engages me every time. While I had seen Guy Pearce in "The Adventures of Priscilla- Queen of the Desert" years prior it was his stunning performance in L.A. Confidential that permanently etched in my brain. So many memorable performances followed.
Because I am such a big fan of Guy Pearce the actor, it was with some trepidation that I hit play on Guy Pearce the singer / musician. His debut album, Broken Bones, is set to release worldwide in 2015. The singles "Storm" and "Taste" have just dropped along with the official videos for both. "Taste" is a sultry power pop affair with a spartan heavy bass production. Pearce's vocal performance is a cool blend of whispers and husky grittiness. Dynamically rich, when the track builds I thought of Muse or Audioslave although Pearce steers a bit softer. Still his voice is a bit in that Chris Cornell / Matthew Bellamy box. Pearce has pipes, he really does but even more importantly he has a character / quality in his voice that pulls you in. The official "Taste" video is directed by award-winning film maker Mackenzie Sheppard. It feels both spacey and grounded as Pearce often times bracing himself in a slowly spinning compartment while slow motion Hong Kong opulence collide with urban imagery. The video is interesting to be sure but not more so than the song itself which shines more and I guess that is how it should be.
The video for Storm, directed by Melbourne based film maker Michael Shanks is surreal and mostly based in Van Gogh-ish blue. On first listen, I enjoyed the track "Taste" more. "Storm" (while it has it's share of musical flair) is less edgy than "Taste" and as such could of used less production. I would of liked to hear it more rough around the edges, less perfectly wrought. All that perfection to some degree mutes the life and passion out of it.
On both tracks I must say that Guy Pearce's vocals do shine and do make me want to hear more from him. Obviously an accomplished singer I would love to hear him do some tracks that are a bit heavier or lean toward an indie maybe even garage rockish edge. I think he has that kind of voice deep down inside.
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Robb Donker
Intrepid writer Alyssa Holland and friend DAYGLOW w/ HARDWELL: Worlds Largest Paint Party in Atlanta, November 8th, 2014
On Saturday, November 8th I attended
the weirdest event of my life and, believe me, I've seen a lot of weird stuff.
Having just moved to North Georgia from Southern California, I’m really lacking
in the friend department. Luckily I have a ton of cool coworkers and I’ve been
getting to know them over the past few months. My coworker who also happens to
be from Southern California, and Orange county which is even more of a
coincidence, invited me to go to a “paint party” with her. This was the first
Saturday I have had off since Music Midtown, so I jumped at the chance to go to
something that actually sounded quite fun. My friend and I originally bonded
over our love for the British teen drama Skins,
and we’ve set out to base our hangs on what they do in the show, minus all of
the crazy drugs they constantly take. On Skins,
they go to clubs, concerts, camping in the forest, to weddings in the rural
areas surrounding Bristol, go to pool halls and get in fights, and hangout at
hip cafes after school. We like to leave out all the crazy stuff that makes
for good TV, but it’s fun to feel like you’re a cast member of Skins with a friend who shares that
interest. However, at this “paint party,” it felt a bit too much akin to Skins.
From what she told me, she had an extra
ticket, and it was a paint party with DJ’s and dancing at an 18+ venue in
Atlanta. From my experience, 18+ clubs never get too crazy because it’s a bunch
of young kids who just want to feel cool and they dance, usually drug/alcohol
free. I brought a towel and a change of clothes, and wore something that I
didn’t mind getting paint on. We show up, and there were lines along the entire
building with people dressed like Andrew WK (all white, ready to party). The
venue was called “Wild Bills” and it was in a shopping center. Not what I was
expecting AT ALL. We waited in line for 20 minutes, moved in and it sort of
looked like a trashier version of the El Rey (in Los Angeles); red velvet everywhere, covered in
tarps because of the forthcoming paint, and instead of swanky looking bars,
there were carts selling Gatorade, water, and $1 candy. I immediately thought,
“what the hell am I doing right now? I hope this is actually fun.” People were
selling tempera (water based) paint in green, blue or pink. At first, the only
paint splatter was from people opening their paint bottles and swinging them in
the air. The building was kept cool, so the paint would dry pretty fast. Not
bad. The DJ was okay and people were dancing and having fun. Then they brought
out the paint blasters, a creepy recorded speech spoken through a deep monster
voice about the control of social media, and weird visuals behind the DJ’s. The
paint blaster came on with a power similar to a fire hose, and drenched
everyone in the pit. The paint blasters were being operated by women dressed in
psychedelic body suits and white wigs like something straight out of a Kubrick
film. My friend and her friends wanted to be in the pit, so I stuck around.
Being stuck in a pit body to body with soaking wet paint is disgusting to say
the least. I kept thinking, “I don’t know if someone just threw paint on me or
threw up on me.” This thought remained in my mind for the next two hours as I
grew more and more paranoid at everything going on.
My friend got pulled to the front and
the Andrew WK’s wouldn’t let me through. I also kept thinking about the
supposed Andrew WK controversies floating the internet about how he isn’t an
actual artist, that he’s an actor hired by corporations to promote fun and
partying, and the actor who plays him has been switched halfway into his
career. I thought, “Is Andrew WK behind this?” and “Was that weird social media
speech coming from the same people who invented Andrew WK?” while I tried to
search for my friend. I texted her friend, telling her that I didn’t want to
stay until 4am when this event supposedly ended because I had work the next
morning. I tried to sit and wait for them to see how long I could bear the
paint, the people, the weird DJ’s and the overall weird everything. Is this
what my life has come to? I used to go to shows for free and hangout with my
favorite bands in a cool, somewhat classy setting. Now I’m at a weird gross 18+
paint party at a place called Wild Bills in a shopping center because my friend
had an extra overpriced ticket. I reassured myself that Music Midtown was
amazing, and the next event I go to will be a laid back concert full of 30 year
olds who just want to stand there and hear their favorite songs from their
favorite band from the 90’s. I heard back from my new friends, and they wanted
to stay the entire time. So I left. I could definitely see my experience on an
episode of Skins, where Franky gets
freaked out by a creepy paint party and gets separated from Effy and Mini and
she decides to leave. But in the Skins version,
she’d get attacked by her former lover on the street or something.
On a past blog post about Roses [A three-piece band from Los Angeles made up of Marc Steinberg (Lead Vocals / Keys / Beats), Victor Herrera (Bass), and Abe Vigoda's Juan Velasquez (guitar).] I described their music as a kind of dance rapturous mix of romantic new wave, indie pop and post punk sounds evoking a sense of nostalgia and high school crushes. Check out this awesome video of one of their brand new songs brought to you by Tony and Gabe and then check out our interview with Roses here.
Right after I viewed The Flaming Lips doing their take on the Beatles "A Day In The Life" on Conan along with Miley Cyrus I got into a depressive funk. I have been a Flaming Lips fan over the years and have even found myself defending Cyrus on occasion but the Conan performance felt like a musically sordid affair. What did I just witness? It kind of felt like performance art meets corporate sell out. Or maybe it was Wayne Coyne's mid-life crisis wrapped in foil? Maybe I was being too hard on it. It is just good clean fun after all. One thing is for sure. It felt cheap and easy. Take an iconic piece of music and twist it up. The interpretation, the concept felt like it took 15 minutes to come up with after smoking copious amounts of pop. Nothing against pot mind you. In the end, Wayne and Miley effectively sucked all the somber emotion out of an epic piece of music and replaced it with spectacle and fluff.
Yesterday I finally got to hear Rivergazer's debut LP "Random Nostalgia" and now I feel much better. I love to hear music cold and this was the case with Rivergazer. Part way through I reveled in how they kind of sounded like Porches not even realizing that this wonderful outfit started as Porches guitarist Kevin Farrant's recording project. The songs are are so well crafted. From the first track Lonely to the last Savannah, Farrant stirs in a lot of thoroughly engaging stuff in the mix. Some of the songs are hinged on thick acoustic guitar often time played with chunky strums and some muted palmed accents. Others on somber acoustic piano like Plastic T-Shirt. Whatever the vehicle used to carry the the message, it is the melodies both vocally and musically that grab you by the shirt collar and pull you in for the musical embrace. The lush dream theater quality of Under My Skin entices as much for the notes that hang in the air as the lilting poise of the chord progressions. Elegantly rendered, beautifully seductive and a little bit Beatle-esque. Listen to Pour Me 5 times in a row and you will discover new lovely touches each and every time. This track reminded me the most of Farrant's connection to Porches. Oh Well feels dour and cinematic in scope and begs to be in a David Fincher movie. Whimper feels playful with a sardonic bite. The title track Random Nostalgia might be the heart of the album. It feels like an askew blend of all the musical tones of the other tracks. It is cool and collected alt folk, hooky and wonderfully weird too.
Random Nostalgia is a treasure trove of songs. In a strange way they feel small but big at the same time. The songs are so fucking brilliant in their earnest intimacy. In the style there is so much substance. As I listened there were flourishes of sound that made me flash on artists like Elliot Smith, Father John Misty, Bowie, Radiohead, Kurt Vile and Porches. As a debut album (as any album) Random Nostalgia is a stunner and the perfect remedy for Wayne Coyne's mid-life crisis.
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Robb Donker
Jared Scharff has been fueling his creative dreams since he was a pre-teen. During his first year in high school he knew deep down inside that music would be his calling. All this desire and hard work has turned into solid accomplishments. He is a sought after studio musician, has produced major label artists and played alongside A-List performers including Bruce Springsteen, Sting, Elton John, Lady GaGa and more. Over the last seven years he has been the guitarist in the Saturday Night Live house band. All this and one endeavor has remained elusive. Since he was a child he has dreamed of making his very own instrumental album. Over the last two years he has been making his vision a reality.
Under the moniker, Pearl Lion, "On My Way Home" is the first glimpse of an upcoming set of EP's entitled "Light" and "Dark". Piercing guitar lines hover around an organic sounding kick drum and percussive snap. The emotional tug feels somber. The melodies evoke longing, The imagery- a city at night. If this track is any indication of what is to come, "Light" and "Dark" (due to drop in 2015) will be a soundtrack that will be worth experiencing.
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Robb Donker
"Not Here" - the third full length album by Tired Tape Machine aka Petter Lindhagen is a creative study in contrasts. The acoustic passages in the songs feel intimate and down to earth while some of the progression can go askew feeling rather unearthly. In songs like Your Ghost the feel is almost mid century chamber music with what sounds like a sad Church choir but as the song progresses and the edgy drum beat shuffles throughout (amidst what sounds like radio waves chirping and spewing static) it turns into something more avant garde. Those same industrial electronic sounds filter in other songs like Sisyphus with great effect. The track Hidden feels very much like a whimsical fairy but the music has a dark under belly with what sounds like a tearful violin that eventually gives way to a post rock guitar. The song possesses a dramatic push and pull.
Stella's Other Waltz and the accompanying Stella's Waltz with it's bells and haunting acoustic piano feels like it pulls you into a past life. Both orchestral pieces are instrumental and can induce real chills. It is part natural beauty and part spectral like a ghostly apparition. Gone (a short interlude) almost feels like a wedding dance of a song but then edges into such a solemn place. Bury builds on subtle vocal harmonies. It is a wonderful slow burn of a song that feels like a slow motion walk after an ordeal of some sort. It feels like an ode to survival and is as much a spiritual embrace as it is a spaghetti western.
Tired Tape Machine's "Not Here" is an album that needs to be heard from start to finish. It is an experience to revel in. It is a head rush of ambient, post folk acoustic guitar and piano, orchestral with touches of post rock. It is mostly instrumental and even the songs with vocals use them in more of an aural than lyrical way. The tone and feel brought to mind a mix of artists like Mogwai, Soley, Nino Rota, Radiohead all crushed through a Pink Floyd-ian filter.
"Not Here" is set to release November 19th through the Feeder label.
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Robb Donker
The latest single from John Moose who have their roots in the woods of Varmland, Sweeden is entitled "Flower" and it percolates with a gentle yet formidable cadence that (for me) brings up imagery of fog banks and majestic waves at Big Sur. For you it will obviously be something entirely different. That is the magic of music and especially the magic of this song. It starts off sadly beautiful but as the acoustic guitar and vocals are overtaken by an ever building wall of sounds there is an emotional tug of war that is as tumultuous as nature itself.
"Flower" is written, recorded and produced by John Moose and the video is made in cooperation with Roya Sarvestani and Peter Olofsson. I look forward to their upcoming album. You can check out the official video below and drop yourself in it's imagery or close your eyes and revel in your own.
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Robb Donker
I love watching Prince perform so when his SNL performance started and he was playing the keyboard my heart sank a bit. For a fleeting moment I thought he might stay on the keys and not grace us all with his prowess as the guitar god he is. Thankfully my fear was unwarranted. Sporting an afro and 3rd eyed hippie shades he was backed by 3rdeyegirl (the all female trio consisting of the Canadian guitar player Donna
Grantis, American drummer Hannah Ford and Danish bassist Ida Nielsen) and assorted musicians. They performed a medley of "Clouds"- Prince's duet with La Havas from Art Official Age and Marz and Anotherlove from Plectrumelectrum.
Prince absolutely killed it. My favorite song in the medley was Anotherlove with (for me) harkins back to the Purple Rain period. I am also amazed how damn good Prince looks. He has obviously found the fountain of youth and still flashes a 19 year old smile. Check it out below.
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Robb Donker
As I watched Chris Rock's monologue on SNL I did laugh in between picking my jaw off the ground. Once again Chris Rock has proven he has the biggest balls in comedy by touching on some sensitive subjects such as terrorism, the "eventual" commercialization of 911 and those gun nuts out their who personally threatened him. One can argue that his comments may of been insensitive but one thing that is being said but should not be is that he was making fun of 911, making fun of the tragedy of the Boston Marathon bombing. He was clearly not. What his comments did do was to walk that fine tightrope between comedy and social / political commentary and while it might of made us feel uneasy at times, this kind of discourse in the comedy realm is needed. It was what George Carlin did so very well.
Was Rock's monologue offensive? That answer, of course, is a subjective one but (to me) no more so than the countless number of TV shows that have used terrorism as a backdrop for their dramatic content. Obviously, events in the world are going to shape TV and what TV writers write about but all too often the events of 911 and terrorism have been injected in shows like 24, Rescue Me, Sleeper Cell and more as an easy emotional cue or dramatic punchline. In this respect, terrorism and 911 was "commercialized" a long time ago as tragic events and the dramatization of those events get ratings and ratings sell soap.
There are not a a lot of high profile comedians today who make you laugh and think about the world at large or the human condition. The two that immediately come to mind are Louie CK and Chris Rock. When watching a comic I would much rather chuckle and think than laugh till I cry.
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Robb Donker
Corners' new video for "The Spaceship" plays like a pulpy passion play. Directed with an insane amount of detached flair by David Gantz and Theo Cohn it feels like a campy combination of Wes Anderson, Jean Pierre Jeunet and John Waters. Perfectly cast actors Samson Kohanski and Austin Carr vie for the affection of the comely Giselle Gilbert with deadly consequences. The tone of this mini movie captures the pulse of the post punk song which charges forth in it's over modulated glory amidst a thumping bass line, drums and edgy surf guitar. I love everything about this perfect meld of sound and imagery and if Gantz and Cohn decide to direct a full length movie I will be in line to see it.
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Robb Donker
