My interview and feature on Slow Machete for The Vinyl District
Rolling Stone once described Sigur Ros as “the sound of God weeping tears of gold in heaven.” Slow Machete, a musical collaboration of local artist Joe Shaffer and Haitian sound-makers, is no less otherworldly and intensely moving.
The vibe in certain parts is musically reminiscent of the spirituals written by enslaved African peoples in America; this is ethnomusicology at its finest, devoid of arty, slapped-on electronica stylings to make it palatable for Western consumption.
Even though this was recorded during Shaffer’s many volunteer trips to Haiti, this album is not polemical in its message (and refreshingly free of overbearing Bono-esque humanitarian asides). It is an album that is truly a tribute to Haiti’s spirit, raw and uninhibited and unbridledly beautiful. The harmonium [similar to a reed organ]‘s sound is lushly organic and, mixed with the vocal and other samples, creates a sonic tapestry of something akin to peaking behind the curtain of a really cool place. Slow Machete’s Evening Dust Choir officially releases today free on Bandcamp.
Tell me a little bit about how this project came about. What is its significance to you and how does it relate to the work you do in Haiti?
I’d been going to Haiti for a few years with different NGOs and medical teams, assisting clinics, working in an orphanage, clean water initiatives, and so on. Through these networks, I’d begun making some very close friends who are singers or musicians in Haiti. I recorded an album for them, and that sort of began the relationships that I would later record for this project.
I made this album as a soundtrack for experiences. This is a music group or a collective in a way, and I’m tying these sounds together and writing lyrics that sort of just move the plot along without trying to take the spotlight. Haiti is a wonderful place, music everywhere, honesty and directness in people that’s incredibly refreshing. I can’t ignore the difficult situations people are facing like how horrible cholera is right now, but I think my objective is to give an honest representation of how I perceive the culture, and that culture is incredibly beautiful.
The sound of the album is extremely unique in its strong ethnomusical vibe. Could you talk a little about the special instruments and samples you used?
The recordings are split between a few places: DC, a tunnel in Pittsburgh, Costa Rica, Montevideo, and Cap Haitien, Haiti. I’d record hours and hours of everything and anything then spend the evenings trying to piece things together with field samples, movie samples, and drums that are mostly native percussion with pitched down sounds of machetes (hence the band name).
Two sounds that are prevalent throughout the album—an Indian harmonium and “the 913”—I soldered a few bass pickups and alligator clips in a cigar box that I use a lot for drones and bass sounds. I play that with tuning forks most often.
You sampled a machete chopping?
Correct. I have a machete, and I’d record hitting / chopping / swinging that against a variety of things in my apartment in Costa Rica, then pitch those samples down several half steps.
What do you think of the music scene in DC?
I originally came to DC excited about the experimental/noise scene that’s great here. I love what’s going on with house shows and art house venues, anything that makes people connect more intimately with the music.
Could you talk a little about your musical influences?
I love movie soundtracks. The King’s Speech by Alexandre Desplat—I’ve been in love with recently. The Sneakers soundtrack and Jurassic Park soundtrack were my favorites growing up. Some other faves are Juan Luis Guerra , Compay Segundo, and Rage Against the Machine.
How do you want to move this project forward? Do you plan on releasing this album on vinyl?
I hope so—if there is an interest in it. I would like to play shows, and make videos that match the aesthetic.
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Interview With Jesse Miller from Cafe Saint-Ex
My interview with chef Jesse Miller from Cafe Saint-Ex
Like most great chefs, Café Saint-Ex Executive Sous Chef Jesse Miller honed his skills the old-fashioned way, eschewing the chef-in-a-box culinary school route to earn his chops by working in kitchens for years. Originally from Baltimore, Jess studied painting at Towson University. To make money during art school, he worked at The Elkridge Furnace Inn, first as a dishwasher, then moving on to prep cook and sous chef. “You can be good at it [cooking] and hate it or bad at it and love it. It just bit me. I decided to focus on this art.” He spent seven years at the Elkridge Furnace Inn, which he describes as “a great place to learn,” and fortuitously met Saint-Ex’s Executive Chef Billy Klein there as well, who recruited him later to join Café Saint-Ex. Their collaboration continues to bear fruits—“we like pushing each other to get better.”
Café Saint-Ex’s menu is very seasonal and showcases the food of local farms. “We go to meet the farmers and it really makes you care about the food more. When you see how hard they work, it really gets you passionate about representing their food.”
At Fashion District, Jesse will be serving a King Salmon sashimi, with a Thai chili relish, yuzu vinaigrette and a soy reduction, with claytonia greens. The soy reduction has a deep, almost caramel undertone, resulting from the soy sauce being cooked for a really long time with a tiny bit of brown sugar, getting it to the right level of viscosity, with an almost-burned tinge for that little bit of char flavor. The yuzu vinaigrette is vibrant and really matches the equally springy claytonia [Miner’s lettuce] that is surrounded by the salmon.
Being Flynn Review
Ernest Hemingway once said, “There is nothing to writing. All you do is sit at a typewriter and bleed.” In Being Flynn, Jonathan Flynn says, “Life is gathering material.” There lies the absurdity of prose: it is both prosaic and profound, complex in its very simplicity. Being Flynn is a film about bleeding and writing, stumbling and surviving. Based on author-poet Nick Flynn’s memoir “Another Bullshit Night in Suck City,” it recounts Nick’s (Paul Dano) relationship with his estranged father Jonathan (Robert De Niro).
Nick grows up a latchkey kid, raised by a loving but terribly over-worked mother (Julianne Moore). His only sense of his father comes from the bombastic letters he receives from prison; they are filled with Jonathan’s proclamations that he should have a place in the pantheon of great American writers. While Jonathan manifests as an absence in his son’s life, his non-presence couldn’t be more momentous to Nick, not the least of which because Nick writes just as well. Such is the basic tension of their father-son relationship: he declares “I am *not* like my deadbeat Dad” while wondering “How much like my father am I really?” Jonathan’s absence has built up the mythos of him, yet their approach to writing couldn’t be more different. Jonathan is full of swagger, in contrast to Nick’s meek “I write, but I am not a writer.” And surely enough, it’s through this fraught relationship and struggle that Nick will come into his own.
Being Flynn is also a film about homelessness, literally and metaphorically. Director Paul Weitz uses his lens to show the brutal Bostonian winter landscape with a gut-wrenching intensity and poignancy. Long after Jonathon leaves prison and descends into alcoholism, Nick meets him at a homeless shelter. Snippets of Nick’s writing provide a literary backdrop to the film. His description of his father’s going to sleep on a Metro grate as “an invisible man in an invisible room in an invisible city,” is a trenchant metaphor for the blind eye toward homelessness. The shelter is a microcosm of the struggles of the outside world and a testament to how hard it is to stay changed. The way up is long but the way down quick and always lurking around the corner. When Nick takes on the job in the shelter, maybe subconsciously he’s hoping to see his father. As Nick says, “if both of you are lost, you both end up in the same place, waiting.”
Through their push-and-pull interaction, Nick and his father tumultuously find a way to reach other. Paul Dano plays Nick with a quiet vulnerability and just enough of the inherited-self-nihilism required. DeNiro plays Jonathan with borderline-insane megalomania, a seething intensity, and a tragi-comic flair (he calls his masterpiece The Memoirs of a Moron). He doesn’t want our pity; he insists he is a survivor. And so is Nick, who finds his own voice.
You can’t kill someone with words, Jonathan Flynn says, but it doesn’t mean the words are not heavy as stones.
Rampart Review
My review of Rampart:
In the pantheon of crooked cop movies like Training Day and Bad Lieutenant, Rampart shines as a unique character study, relying more heavily on the psychological element rather than the thrills that are hallmarks of the film noir genre. Woody Harrelson’s Dave Brown is not the typical one-dimensional thug or the sociopathic power-abuser with simple motivations of greed and control. His performance is intense, roiling with an undercurrent of claustrophobia and threat; he’s a man on the brink of a complete unraveling.
Co-written by crime novelist extraordinaire [The Black Dahlia, L.A. Confidential] James Ellroy, Rampart is partly inspired by the real-life story of the scandal that rocked the Rampart District of the LAPD in the 1990s, where nearly 70 of the department’s force were accused of egregious misconduct and, essentially, running a gang of their own.
The movie, set in 1999, riffs on the tensions that the Rodney King case stirred up. The action unfolds with Dave getting caught on video beating a suspect. The film has some vaguely X-Files-ish overtones: there is the ear-whispering Smoking Man played by a reptilian Ned Beatty. Dave Brown seems to have no problem digging his own grave, but there is no shortage of people handing him shovels either. When he is wryly advised that he “could just stop beating people up,” Dave acerbically retorts, “I don’t stop to see if there’s a camera in my way when I do the people’s dirty work.” No doubt he can’t really be “framed” for something he did anyway, but there is also the sense that Dave will be the poster child for the department’s crackdown on malfeasance. The shifting tide seems destined to sweep Dave with it and his refusal to change (or maybe inability) now has deleterious consequences.
This is some of what makes his character so interesting and different from the macho caricatures of Training Day and Bad Lieutenant. After 24 years on the force, he is equal parts placated by rationalizations yet crippled with guilt. He is not so far gone beyond the moral boundaries to be unaware of them and his coping mechanisms seem to be a result of his view of the world as an antagonistic place, not too different from a jungle. When he tells a wide-eyed rookie, “Everything you learned at the Academy is bullshit. This is a military occupation,” we see that he probably believes that, or at least that this is a suitable enough cover that lets him sleep at night.
Director Oren Moverman‘s cinematography is perfect for setting the tense atmosphere of the film. Extremely close shots convey the feeling of claustrophobia and paranoia. No one is what they seem to be and answers are hard to come by. Brown is a complex and conflicting study of a man—he may act like a thug, but he is extremely eloquent and clearly very smart. He is not the compulsive womanizer of the cop movie past; if anything, he tries to be a good father and a husband (of sorts) to his two ex-wives. He is not nihilistic or self-destructive for the mere sake of it. At his core, Brown is characterized by cynicism and misanthropy: “I am not a racist. I hate all people.” Ultimately, he wants to fix the mess he is in, yet his incorrigibility plunges him into quicksand.
Rampart is a taut and mesmerizing portrait of a man “falling down.” It steers clear of reductionist explanations and breathes a new life into tired genre.
Interview With The Prince Of Petworth
My Interview with the Humblingly Awesome Prince Of Petworth
Dan Silverman, The Prince Of Petworth blogger, is refreshingly old school in his sensibilities—mainly because he really is doing this for the community. His dedication literally emanates from him and his genuine love and appreciation for this city is clearly the only impetus he has. Utterly un-prince-like, Dan is charmingly humble and impressively curious and his knowledge of the city is what draws readers in. He goes out every day not in search of trendy happenings to report on, but for things that move people. His droll and thoroughly infectious enthusiasm for it is palpable—and gutsy—I mean only Prince Of Petworth can get away with posting pictures of doors because they are beautiful.
Like some modern day Lewis and Clark, he eschews the trappings of “cool.” You won’t find him to be a member of the hipsterhood, opting to instead literally tread this city on foot in search of beautiful things. Oh, and he definitely has a European definition of walkability—think 15-18 miles! With his trustee pocket notepad and a camera, The Prince goes in giant loops throughout the city, either following up on specific leads or just exploring. “My blogging day is very varied—I try to mix it up with a variety of things, not just keep it retail-focused. I try to find something that would be beautiful to share. When I discover something new, it’s the best feeling.”
“When I started the blog in 2006, I wanted to show was happening in Petworth, not in the whole city. When I moved to Petworth in 2003, my initial response was ‘I don’t see anything happening’ so I set out to write about things in my neighborhood. Things have definitely changed since then with tips coming in from people with the preface of, ‘I know it’s not in Petworth, but you might find this interesting.’”
5 Places I Love in DC:
1. Malcolm X/Meridian Hill Park. I can’t think of a more beautiful place year around. The fountains in the summer, the vegetation in the spring, even in the winter when the leaves fall off the trees… It also has some of the most beautiful sculptures around—Dante, Joan Of Arc.
2. The waterfront areas of the city. It used to be that there was just the Georgetown one. Now there is Yards Park, Rock Creek Park, and so much more—I love water.
3. The neighborhoods themselves. There is something unique about every neighborhood and it is so nice to see the contrast in the architecture, the variety of it all…
4. The Aquatic Garden and the Arboretum. They are harder to get to without a car, but they are so huge and gorgeous and changing with the seasons.
5. Embassies. The embassies have such interesting architecture and I love stumbling upon a new one. Not too long ago, I was in Van Ness and I saw some embassies that I have not seen before—Pakistan, Egypt…what jaw-dropping architecture.
7 Things Essential To Me
1. A camera. More specifically, a Canon G11. That and the Flickr Pool.
2. Community. I do this for the community and the community is such an amazing thing to behold. People taking photos, people giving tips to me and to each other, the Flickr Pool—all this is what makes this site unique.
3. Music. I work by myself all day long and having music to listen to is essential to me. I listen to a wide mix of things – Beastie Boys, Pearl Jam, Drive By Truckers. I usually walk something like 15 to 18 miles a day—this is how walkable this city is. When I first moved to Petworth, I felt isolated, like I had to drive everywhere, but I quickly learned I could walk. This is how you see all the beautiful things and have a chance to really see stuff you had no idea was there.
4. Comfortable shoes—for all that walking.
5. The Old School Notepad. My wife makes fun of me for it, saying that it makes me look like a geek. Yet, I can’t do without it. This is where I jot down a note when I see a “coming soon” sign. Or stuff like “Remember to come back to XYZ.”
6. Coffee. I started out very pedestrian in my tastes and over time, my appreciation has really grown. If I want something fast and quick, Dunkin’ Donuts is best for taste and speed. The structure of the cup is just perfect for mobility and walking around all day. I find that I need coffee way more than food too—I could go all day on three cups of coffee.
7. My forgetfulness. Being forgetful is a great trait to have in such a finite geographic area. It’s a beautiful quirk that allows me to stumble upon things and rediscover them.
As If I Am Not There Review–A Film On The Balkan War
My review of the movie, based on the *phenomenal* book S. :
Based on the 1999 novel S. by Croatian journalist Slavenka Drakulic, As If I Am Not There, is a film about the mass rapes and violence against Bosnian women during the Balkan Wars of 1992-1995 [by some estimates, as many as 60,000 women were raped as part of a campaign of genocide and ethnic cleansing]. It is also Ireland’s entry to the 2012 Oscars’ Foreign Language Film category.
The history of the war reads like a scene from hell, the unfathomable brutality made all the more grotesque by the fact that it happened in Europe, in modern times, and literally in front of the eyes of the international community. The systematic rape of women was so heinous that for the first time in international court history, the coordinated use of rape as a weapon of war was declared a crime against humanity, second only to genocide.
As If I Am Not There, however, is not a documentary: it is a work of fiction that is based on the accounts of the victims. Thus, it is not meant to be a compendium of atrocities or a chronology of events. Yet considering how well-documented by journalists the entire war was, one would expect that history somehow inform the film, the gravitas of what happened, and the real stories of the women should underpin the movie.
Director Juanita Wilson’s film is haunting, atmospheric, and moving. It is not easy viewing. Wilson makes the emotional narrative the crux of the film, forgoing dialogue and instead letting the actors’ muteness speak the loudest. “I wanted to focus on the emotions—for example, how Samira would feel when the soldier walked into the room.” Newcomer Natasha Petrovic turns in a stunning performance almost entirely reliant on body language. Wilson’s characters never cry—she explains that “fear induces numbness and paralysis…almost a disbelief that this is happening.” The women, locked in an abandoned hangar in the middle of nowhere, seem to have no natural solidarity amongst them, almost stupefied by the horrors they are forced to endure daily. That aspect of the film is jarring and not necessarily believable; in the scene where all the men are executed and the women marched onto buses to the camp, we see none of them say a word to each other or express emotion.
One unsettling aspect of the movie was that some of the artistic choices, while certainly giving the viewer a reprieve from the relentless, gut-wrenching brutality, seemed to somehow seek to lessen the harshness. Even the “as if I am not there” title seems to suggest the possibility of escapism as a coping mechanism—when Samira is gang raped, we see her looking at herself from outside her body. Her “relationship” with the Captain also seemed to have an implied “taking control” aspect to it, as though she was using it to save herself [not to mention that as a plot device, it was a singular event not particularly representative of most of the women’s experience]. To suggest that there was any place for woman-man dynamic as opposed to soldier-prisoner is questionable. When the other women tell her that she has “sold herself for too little,” are we to believe she had any kind of choice? What compromise has she made that involved any kind of free will on her part? This grasping for positivity or a reprieve where there is none was uncomfortable. For example, at the end of the movie, Samira decides to nurse the baby that is the product of her being raped repeatedly for months and epitomizes her utter dehumanization; it feels as though the film is grasping at some straws of redemption for the mere sake of it. In reality, the most horrible aspect of the war was how endemic and mundane evil is: the rape-centers the women were locked in were often in schools, gyms, etc. As If I Am Not There is unflinching in its portrayal of those who suffer the worst casualties of war—the civilians, but it is also the story of US. It does manage to steer clear from a voyeuristic fixation on the violence, instead focusing on the human in the midst of dehumanizing circumstances.
Into The Abyss Film Review
German documentary film-maker Werner Herzog [Grizzly Man and his most recent documentary on cave art in France, The Cave Of Forgotten Dreams] takes on a macabre American Gothic-esque tale of death and life. It is equal parts Capote’s In Cold Blood and an expose on the no-less-grisly underside of capital punishment. A particularly timely movie in light of the recent Troy Davis execution in Georgia, Into The Abyss turns the lens on a triple homicide case in Conroe, Texas. Teenagers at the time of the crime, the movie centers on Michael Perry and Jason Burkett ten years later—Burkett is sentenced to life in prison and Michael Perry is facing execution.
While documentaries are inherently “biased” in that they present a position, Herzog’s approach is fresh and interesting. The focus is not on the issue of guilt or innocence—as such, it is not a who-done-it crime procedural. There is no confusion on Herzog’s personal opposition to the death penalty, but as an interviewer, he has an uncanny way of educing visceral, evocative, and unexpectedly eloquent responses from his subjects. For example, when he asks how “something feels,” rather than drawing bafflement, he elicits trenchant answers such as when he asks Jason Burkett’s wife to describe what his hand feels like over hers or how it felt for Jason’s father to be chained next to his son or when he asks the prison chaplain to “please describe an encounter with a squirrel.” His interviewing style, at worst is a bit unsettling, but for the most part, is surprisingly disarming. Into The Abyss makes copious use of police video of the crime scene, as well as footage of what the execution room looks like, grimly named “The Death House.” The interviews with the surrounding characters are what really offer some truly unique perspectives and pack an emotional punch. The segment with Jason Burkett’s father, who himself is serving a prison sentence, is especially poignant. His plea to the court at the sentencing to “please do not kill my son” is a stark and haiku-like encapsulation of just what capital punishment means at its most uncomplicated—taking away a human life.The segment with Fred Allen, a captain in the Death House unit, who after unstrapping his 125th prisoner from the gurney could not bring himself to do it one more time is especially powerful in its insider perspective on the “process.” His conviction that “no one has a right to take a human life,” is cogent in the context of seeing the damage his work did to him and his transformation from a man simply committed to “carrying out the law in a professional manner” to one who could not physically or emotionally continue to do it.
Into The Abyss also does an excellent job of portraying the milieu of violence that haunts the small Texas town, appropriately entitled the “dark side of Conroe.” As such, it also reminds the audience that capital punishment is meted out to people of different backgrounds. It’s a bleak reality—generations of families in prison, rampant violence, struggling working class, gated communities…Jason Burkett’s father, serving a sentence himself, blames himself, explaining how his son never had a chance. When he describes the moment when they were handcuffed together in the same prison bus, he heartbreakingly narrates that he felt like a “total failure as a father, being there with my baby son. Doesn’t get any lower than that.”
The film’s pacing seems reflective of the complexity of the thorny issue of crime and punishment, yet steers clear of dogmatic asides, opting to simply present things as they are. The daughter of the one of the victims describes that she was shocked to see that Michael Perry was “just a boy” and not the monster she had imagined him to be, yet she feels like a weight is lifted off her shoulders when he is executed—her words are a small example of just how slippery the idea of retribution and, even more so, justice is.
Into The Abyss does a tremendous job of humanizing such a broad, firebrand issue as the death penalty. It manages to steer clear of normative polemics or moralizing, instead opting for a subtle view into what it actually feels to take away a life.
Margin Call Review
My movie review of Margin Call for Brightest Young Things.
Margin Call is essentially the fiction counterpart to the scathing documentary condemnation of Wall Street hubris, Inside Job. Err, except that it is actually based on all too chillingly real story—48 hours in the life of a investment firm during the 2008 meltdown. In that sense, the tension is psychological but no less thrilling, and unlike Wall Street and Boiler Room, it does away with the aggrandization of the macho-centric “old boy network” and slicked-back-hair-swagger of the financial world. J.C. Chandor’s debut, featuring a star cast including Kevin Spacey, Stanley Tucci, Demi Moore, and Jeremy Irons, attempts to humanize what are essentially two-dimensional caricatures in the public consciousness—the Wall Street “fat cats” and their trader underling whiz kids. It’s a film that raises more questions than it answers, as it should be—it’s a trenchant commentary on the nebulousness of the word accountability and morality or right or wrong in the paper world of money–literally.
Zachary Quinto plays a young risk management wonk, with a Ph.D. in rocket science no less, who, after some late-night number crunching, “discovers” that the firm is leveraged beyond historical limits and that at current market volatility levels, it is looking to incur losses greater than its value. The big guns are called in, including the CEO [played with appropriate Euro-trash bluster by Jeremy Irons] who literally helicopters in to weigh in with the decision on how to offload the toxic assets pronto. Kevin Spacey turns in a spectacular performance as a world-weary trading floor boss on who falls the burden of doing the dirty job of selling worthless instruments. His character in particular is extremely interesting and nuanced—he resists management’s “sell something worth nothing” plan not from a moral high ground but from the perspective of a veteran salesman—“We are not in the business of selling. We are in the business of buying and selling. And we only sell stuff that we know people will come back for. No one will trust us again.” In his amoral, strange, yet stoically samurai-esque way, he has loyalty to the firm—not its CEOs and not the market. He is also not oblivious to the cut-throat nature of their business—after a particularly brutal lay-off of 80% of his traders, he advises the ones left behind that their co-workers are “not to be thought of again.” His exchange with Quinto’s character on whether selling the assets is “the right thing to do” really encapsulates the message of the whole film–“For whom?” “I am not sure.” “Neither am I.”
Margin Call deserves credit for shining a light on a really broad scope of the Wall Street milieu. For example, the firing of Sarah Robertson, Demi Moore’s risk management character, while her male counterpart stayed on hinted at the chauvinistic nature of the business. The dialogue between the junior staff about their being glorified computer junkies and about this being a game of “one guy wins, one guy loses,” as well as the “f*** normal people” nihilistic ethos of the business was nicely and subtly portrayed. The CEO’s assertion that it “wasn’t brains that got [him] here” were a cheeky comment on the current discourse on the Wall Street fat cats. The hookers-and-blow excess also added a realistic touch to the picture.
Considering that we are still in the midst of the economic quagmire that Margin Call alludes to, the film nicely manages to avoid running into the “too soon” category. No Ph.D. in Economics required, it aptly presents the situation for what it is—with no easy answers, while steering clear of the blatant and vapid money-worship of older financial thrillers like Wall Street. The characters are fallible and complex—some are American Psycho’s Patrick Bateman-esque, some, like Kevin Spacey’s character, are downright likable. In other words, it takes the fairly dehumanized version of the investment banker bad guy and at least attempts to explore him, even though humanization, redemption, or understanding is not exactly easy to come by either.
Asian Female Emcees Amaze At UHall
Sulu DC’s Saturday showcase Miss Fortune: Spotlight on AAPI Women in Hip-Hop was a vibrant celebration of the true ethos of hip hop: community.
Funded in part by the DC Commission on the Arts & Humanities and presented in conjunction with a number of community partners including Kollaboration DC, it was a tightly-run, eclectic showcase of talent that shattered stereotypes and expectations. If the only Asian MC you can name is Jin, you should have been at this show because while the artists were, yes, female, and yes, Asian-American, their viewpoints and styles were illustrative of the fact that these reductionistic labels are not keys to the grand creative milieu.
As spoken word artist and the show’s MC, Kelly Tsai put it, being a feminist and listening to most hip-hop often requires “selective listening” skills. As good fortune would have it, all you needed at this show was an open mind and open ears. The show was about girl power without being about girl power [the commercial version].
Sulu DC’s event was subversive by its very nature—where else can you go nowadays to hear Queen Latifah and Monie Love played [as spun by Sulu resident DJ The Pinstriped Rebel]!? The female artists took “Asian-American” and “female” from disenfranchised to identity-affirming, and all with a positive, uplifting stroke of the pen. It was definitely a “U.N.I.T.Y.” moment if there ever was one.
Spoken-word artist Kelly Tsai opened the show with her powerful piece “Real Women I Know” and kept the festivities moving with flair and comedic panache.
Kickrocks Crew, a local dance troupe, performed a hip-hop dance medley and got the crowd amped.
The true scene stealers of the show were a violin-and-MC sister duo from Brooklyn, Misnomer(S). Their powerhouse, raucous performance turned the oh-so-familiar cultural cliché of the violin-playing Asian kid on its head and then some. Knewdles and SOS’ natural synergy was palpable and single-handedly nudged the strings-and-hip hop paradigm out of its slumber [especially if P. Diddy’s cheesetastic tunes are what you are thinking of right now].
Knewdles described the theme of Misnomer(S)’ music as “identity”—the duo opened with the thought-provoking “For What It’s Worth,” which Knewdles explained was originally a piece that won her second-place in a slam poetry contest and first got her interested in MCing. “I was a poet before I was an emcee and I studied poetry in college.” She cites fellow Brooklynite Biggie as one of her major influences. “For What It’s Worth” could well be the anthem of the dual-identity generation—as an immigrant myself, Knewdles’ frustration with constantly being asked “no, where are you *really* from” and other equally inane off-shoots as “go back to your own country” [which, in her case, is America-doh!] rings especially true. Misnomer(S)’ music is refreshingly devoid of braggadocio and focused on relatable themes: living and working. In fact, their song “Worker Bee,” is one of the cleverest takes I have heard on the drone aspect of working to live and living to work, complete with smart references to Asian exploitation and the Chinese building railroads.
Knewdles’ passionate delivery, clearly well-honed from her stint in the slam circuit, inflects their music with a creative, indelibly feminine cadence and makes the duo really stand out in the indie hip hop circuit, along with fellow New Yorkers like Cool Calm Pete. If anything, it showcases that being confrontational and in-your-face is not requisite for delivering a social message or having something of value to say.
The show closed out with headliner Rocky Rivera, a seasoned MC from the Bay Area, who rapped like she had been at this for eons—with a professional, precise delivery that most male MCs would have been envious of, especially when one considers how hard it is to sound live like one sounds on record [have you ever been to a Wu Tang concert? Yeah, about that…]. With tons of swagger and style, Rocky evoked the golden days of Lil’ Kim. Her performance of “La Madrina” and “Married To The Hustle” got the crowd properly hyped.
SuluDC have artist showcases every month—definitely support their upcoming events!
CREEP-None More Noir
My feature on CREEP at The Vinyl District Blog
Brooklyn production duo CREEP sound like the lovechild of She Wants Revenge and Poe, with some of The xx and Garbage thrown in for good measure. You can finally feel good about breaking out the dark eyeliner and gothing out without having to reassure yourself and others that you are being meta, tongue-in-cheek, or subversive about it, and you are not really a [closet] Goth. [Is there such a thing as a non-closet Goth, btw?] Well, raise the black flag, my friends, and trash that VNV Nation record because CREEP are here to meet all of your needs.
CREEP are producers/DJs Lauren Flax and Lauren Dillard. Flax is an internationally-renowned house DJ and producer—one of her bigger recent hits was “You’ve Changed” with Sia on vocals. Her experience as Fischerspooner’s tour DJ clearly lends itself well to CREEP’s creepy synth-driven sensibilities, but the group’s sound is indelibly ethereally beautiful even through the cold mechanics of a foundation.
CREEP’s spectral debut single “Days” featuring The xx’s Romy Madley-Croft came out earlier this year. The refrain of “Are you thinking the same things I do?/ I been thinking about me and you/ My nights are turning into days/ But I don’t know since everything changed” is really descriptive of the ethos of CREEP’s music. Nights turn into days, dreamscapes unfold, miasmas shimmer in and out, lost souls find and lose each other, love and loss are different sides of the same coin. There is lots of smoke and mirrors, and reality is too tenuous to look for.
The follow-up “You” is a stunning showcase of R&B superstar twins Nina Sky’s interweaving vocals. The video, under the genius direction of Thalia Mavros, could not be a more apt visual piece for the song. If there ever was a video that lives and breathes chiaroscuro, this is it. Shadows fall away and take over—what is black or white, is there even an answer… Faces fade in and out. You will probably notice some very Shining-esque shots and maybe even an homage to Asian horror. Either way—it’s hypnotic, sinister, and terribly engrossing.
DFA’s Planningtorock recently released the remix of “You.” Check it out and get the MP3 where it premiered on RCRD LBL .
Don’t let the upcoming full-length release creep up on you—the record will grab you with a vengeance.