Afterglow: Margot and the Nuclear So and So's

Well, it turns out that Margot and the Nuclear So and So's still exist. Despite their obnoxious possessive/plural confusion.
I gained news of their renewed livelihood in the unassuming form of a band mate's telling me that our rehearsal was over because the (by now implicitly) previously defunct Margot and the Nuclear So and So's were beginning their set. To me, this offered me little information beyond the fact that it would be possible, within thirty minutes of the aforementioned declaration, to hear some people singing some song about mice in a disjointed, self-consciously artistic fashion. However, after last hearing these heartland neighbors of ours (they're Indianapolisians, precisely) at Pygmalion Music Festival 2007 (after Andrew Bird and Dianogah and before playing hacky-sack with then-Margot trumpeteer Hubert Glover), I was intrigued enough to trade a two precious hours of pre- Wide World of Urbana Community Concert sleep for a chance to listen to a bunch of foreign, mediocre songs from their new album in order to hear "Quiet as a Mouse". However, standing in the Krannert Center lobby amongst a decent throng of flannel-wearing professionals pretending that they had attended the recently-ended U of I production of Benjamin Britten's opera Albert Herring, cliquey café employees intruiged by the all-encompassing freeness of the event, and freshmen pretending that they had been listening to Margot since 2004 even though they had only been listening to Margot since 2008, I realized that I was in fact familiar with a few other tasty Margot favorites, including "Vampires in Blue Dresses" and "Skeleton Key" . After all of this time without really minding the fact that Margot and the Nuclear So and So's may or may not still exist, I can safely say that they do, in fact exist, and that there is a small possibility that their forthcoming album, BUZZARD, may be worth a good solid listen.

An Evening of Theatre Related Entertainment

Last night I spent among the theatre kids at my school though they paid little attention to my presence. The first event I attended was entitled Horror Freaks and B-Movie Geeks and showcased junior and senior musical theatre majors performing songs from horror related musicals. This was widely advertised around campus and I became excited at seeing the likes of Bat Boy, The Toxic Avenger, and The Evil Dead up there, which I had always wanted to see but had never gotten the opportunity to go.



Upon entering the lab theatre a program was thrust at me by the music theatre director who looked at me as if I had no reason to be there. I then proceeded to go into the theater which still had a lot of empty seats. I then realized that 90% of the seats were reserved but a kindly sophomore theatre major waved at me and directed me to a seat beside him that had poor visibility and was off to the side. There were a few other theatre majors beside me who seemed equally pissed about their seating; I wonder why they were not one of the few who did not have a reserved seat. Really though what was the point of advertising this when clearly anyone not in the department had very little chance of getting a seat?

Anyway the show itself was fun but a mixed bag. The show covered several musicals that were quite entertaining. It opened up with “Come Look at the Freaks” from Side Show, which I had never heard of but was a very good way to usher in the evening. The highlights of the evening were when they did three song story arcs from a few musicals. The most popular of these was of course The Rocky Horror Show which featured Season 5 So You Think You Can Dance Contestant Evan Kasprzak wearing some sparkly gold man panties that barely covered anything. My personal favorite cycle was from Evil Dead, the Musical but I’m a huge fan of the movie. They also did a couple from Bat Boy, the Musical. “Hold Me Bat Boy” was a good one but I wish they had actually shown Bat Boy.

However, this was a lot better than the song they did from Toxic Avenger, which had absolutely nothing to do with the titular character. This happened a couple of times where the song chosen really had nothing to do with any sort of context of the musical and could have been from anything; when I’m promised The Toxic Avenger, I want The Toxic Avenger. I realize that they couldn’t do the makeup or anything but that doesn’t matter; I wasn’t expecting fully accomplished mini-productions.

One thing I noticed was the divisions in the sophomore class of theatre majors that were not really there in the other classes. There is the strange, weird group that busts into song at random inappropriate times and tend to wear bizarre, ironic (I hope) outfits. Then there was the other group of trendy, sophisticated theatre majors that are all incredibly attractive but are too cool and vastly superior to myself. At least at this school these are the kind of theatre majors that have always been around; they always look like someone you would want to hang out with but have a huge superiority complex and scoff at non-theatre majors. The other, annoying, group bears more of a resemblance to the theatre geeks you knew in high school. This is of course mean and not necessarily true of the entire school of theatre arts; many have been very nice to me but the only ones that have ever had substantial friendships with me have all been to a degree outcasts within the program.

In general though, while I still go to a lot of theatre stuff, I want to be fucking cultured don’t I?, I went to a ton of shows even Phoenix shows attended by twenty people that required my waiting outside in the cold for hours. When I go to house shows around town eventually by seeing the same people over and over again they start talking to you. This is not the case with members of the school of theatre arts. Even if someone does acknowledge me there seems to be no recollection of the dozens of times we have stood in line together, instead there is just a puzzled look expressing who the hell is this person and how did they find out about our exclusive performances. Anyway onto JM7, the improv group on campus.

I first went to JM7, my freshman year and went often. It was consistently great and funny. A few really good members graduated and they recruited some more for my sophomore years, such is how the world works. Of the new recruits they were mostly finding their way but you could tell they had potential if they worked together long enough. The main problem was that they recruited two people who were just fucking awful. Of course part of it was theatre politics; one of my aforementioned friends that had auditioned didn’t make it due to some guy not liking him, at least that’s how it appeared to me, but hey if you want to sabotage your group over stupid shit that’s your business. I became really disenchanted with it and this was the first time I had gone this year. I was pleasantly surprised though how well it went over. It started off a little shaky but soon proved to be a really enjoyable evening.

The best was a skit where one of the members had to go into another room where the audience then gave some suggestions. The girl then came in and had to guess why she was late to work and where she worked at with an angry boss guy yelling at her and two of the employees trying to help her guess. The next thing they did was a confessional which thankfully had Ryan Simpson playing the priest. I should explain that the confessional is a long form game that starts off in a confessional where a man confesses to something that the audience suggests, last night his sin was laughing at Jesus, from then a new scene forms enacting out the moment of his sin and then subsequent scenes form from a certain aspect of each scene. A little hit or miss but the group worked together well except for the one bad member that still remained in the group, the other one got kicked out or left or something. The evening ended with the seniors performing another game based off the song “Da Doo Ron Ron”. I had only come to pay my respects to Ryan Simpson, the most talented of the bunch, but was pleasantly surprised by how good the show was, I wish I had gone to more of them this year. Six out of the eight members were graduating leaving the bad member and another guy that is generally quite good.

I saved this part for the end for reasons that will become obvious. When I was in line, which by the way I only had to wait for fifteen minutes before they let me (good stuff), some theatre major kept asking literally every theatre kid if they were going to S & G, standing for those two famed cities of biblical lore, which is the annual ultra-exclusive theatre orgy party. This party is supposed to be so exclusive that no non-majors are supposed to know except everyone knows, which I have never been sure if they know this yet. Did this girl thing I was so naïve that I did not know what she was talking about? Anyway last year the word finally got around to the higher ups in the administration, don’t know how it took so long based on how much they talk about this party in front of people, but the party got canceled. From what I’ve heard the party isn’t actually scandalous at all but I choose to ignore this and stick to the fantasy of them actually having large scale orgies. I’m sure there still is some level of debauchery going on but from what I’ve heard it also serves as the time when theatre traditions, known as wills, are passed down. These can be something important or just some act of hazing that the underclassmen are required to perform. Even if it is just a lame ceremony, the exclusiveness and the threat of an orgy are so worth falling for that I will join in the envy of the non-theatres that can only wish that they could engage in contact with attractive women that otherwise would not pay them any attention whatsoever.

Zola Jesus-Stridulum EP

Zola Jesus started to gain quite a bit of buzz during the latter half of 2009 with her debut album “The Spoils” as well as a few EPs. She was talked about quite frequently on blogs and internet music sites but was not too widely heard. There’s good reason for this too. Zola Jesus is the primarily solo project of Nika Roza Danilova who is an undergraduate at the University of Wisconsin Madison. “The Spoils” was recorded in her apartment using very lo-fi, think lots of noisy tape hiss, production methods. While lo-fi production is not a bad quality, think Guided by Voices, Zola Jesus was meant for a much bigger and fuller sound a sound that has been achieved on their latest release Stridulum.

The album opens with “Night”. Numerous voices whisper over a droning synth note but then that voice appears. Despite being such a tiny woman, Danilova’s voice is massive and operatic emerging from ten years studying opera. On her last album her voice was largely disguised by noisy fuzz but here it is the drawing factor. She is backed on the tracks by dark, haunting keyboard waves and an always pounding drum machine. Surprising though is how huge the drum machine sounds. The drums throughout the album are akin to soldiers marching to war, encompassing and always pushing forward.

Zola Jesus’s music has a lot in common with industrial and neo-folk plus there’s a very gothic atmosphere in her vocals and throughout the music. From this meager description and reading about her music elsewhere online this probably will turn anyone interested in her music. What needs to be made clear is just how catchy her music is. It’s haunting and beautiful sure but what stands out after even just one listen is to how big her hooks are. On “I Can’t Stand”, one of the best songs on the EP, I couldn’t help but get sucked into the chorus. Her lyrics may be simple, the repeated claim in the chorus “that it’s going to be alright” but this grounds the music in accessibility rather than gothic melodramatic topics like vampires. Most of the songs seem to be about love and by keeping the lyrics simple anyone can identify with these songs.

Granted that there is a very present gothic feel to Zola Jesus, Danilova is a diva but not in the vein of Miley Cyrus, there really is something for everyone on Stridulum. For instance, on “Manifest Destiny” when the synths and drums build and she belts out the chorus all apprehensions about “gothic industrial” music are out the window.
4.5/5

Tokyo Gore Police

>With the release of 2008’s The Machine Girl, the United States became acquainted with the special effects gore work of Yoshihiro Nishimura. After that he was given the chance to go out on his own with Tokyo Gore Police, an equally bizarre and ridiculous film.

Tokyo Gore Police takes place in the future where a privatized police system is left to run rampant though there target is mostly engineers, a group of serial killers that can regenerate lost limbs with weapons. These range the gamut from a chainsaw to a massive penis gun and a girl that gets an alligator mouth for legs. Similar to The Machine Girl, the gore effects here are pretty terrific and often hilarious. Though there are some pretty weird moments that might make you uncomfortable, all the gore is meant to look really cheesy similar to Dead Alive. I really appreciate how the film keeps throwing out new weird kills like a man’s face getting gutted by a wine bottle and then the woman blowing into the bottle causing part of the guy’s face to fall out of the bottom.

What struck me especially the second time around is how complex the story was and besides that the rather odd juxtaposition of serious and comedic elements. This might be more commonplace in Japanese film but for an American it’s rather hard to process. For instance, when the bartender’s limbs are tied to the car it’s played almost entirely straight and is only seen as a horrific, brutal act. At another part we have the bad guy explaining his motives which are based on tragic circumstances but then get some pretty hilarious flashback footage. This might seem to be problematic, that the film does not know what to be however with this type of movie I thought it just made it more absurd and entertaining.

However, one thing that is problematic is the radical shift in film that gets used. The movie starts with some really awful digital video scenes, or what I thought was DV, where there is a fight on the roof top and it looks awful. The rest of its better, switching to a cheap film that gives the movie a visual style similar to the Power Rangers, which helped with the goofy feel of the movie but then there would sometimes be these yellow/green tinted really hi-def scenes that looked amazing that made you really want more of those. I don’t know why this was maybe they tried filming it one way first but my guess is budgetary issues.

Many will be interested in seeing this for the lead Eihi Shiina who also played the lead girl in Audition. Her character kicks ass and all but there’s zero emotion or characterization and in a movie that actually tries to have a plot amongst all the gore craziness this was a problem. Fortunately, everyone else in this movie are playing total weirdoes so it all gets balanced out. Also the running time is close to two hours, which is a bit much. While I appreciate that Nishimura was trying to do a lot more by creating a “sophisticated” splatter comedy, two hours of this stuff is too much. If trimmed down to ninety minutes this would be as good as The Machine Girl. I’m glad that Nishimura is trying to go out on his own but it might be better if he has Noboru Iguchi with him or someone else to help edit.

8/10

New Day Here New Music to Here

In the past few years, Bloomington-Normal has had a thriving music scene. While this may not have been apparent to the average Illinois Wesleyan student for those looking for off campus musical entertainment, a well connected DIY house show scene existed. Houses like Simple Days, The Kitchen, and Das Fun Haus put on shows nearly every weekend during the school year. Shows were actually in houses; the Kitchen gets its name because bands literally perform in the kitchen of the house. Each house had a specialty as well. Das Fun Haus would mainly have hardcore punk shows, Simple Days would host post-rock and post-hardcore groups, and The Kitchen would occasionally put together a hip hop show together.

The bands that performed were a combination of local groups along with bands from around the Midwest that toured around playing similar DIY venues. To an extent Bloomington-Normal had become part of a large Midwestern underground DIY subculture. By the end of Spring Semester 2009 many things changed: the operators of Das Fun Haus graduated from Illinois State, the guys at Simple Days moved to Chicago, and The Kitchen had already become mostly defunct after IWU student Jason Prechtel graduated early in winter 2008.

In order to regain this community spirit, local musician Teaadora Nikolova has been putting on a series of monthly concerts called New Month Here New Music to Hear. The first took place in January at Maison Fausse where eight acts performed. Many of these same artists also performed again at the second installment which took place February 1st. This show was a little different taking place during Big Jim’s Jams, a radio show on WESN 88.1 FM, regular ten to midnight show.

The newest of these concerts took place last Friday at The Kitchen, which still puts on shows to a limited degree. In order to exhibit as many local talents as possible each performer is limited to only one or two songs. Teaadora tried to change up the format for this latest show, “Unlike the last Blo-No community event, we are asking everyone to play new songs, on top of this we are attempting to bring in as many new faces as possible to play, this time things really will be new,” she said.

Teaadora Nikolova performing at The Kitchen

With the recent breakup of local indie folk act Ohtis, Teaadora Nikolova seems to be the new defacto leader of the Bloomington-Normal music scene. As she has for the last two events, Teaadora began the show playing two new songs by herself on electric guitar. Teaador’s music is of the psychedelic folk variety combining beautifully direct melodies with very droning ambient music. Though with some exceptions, acoustic folk punk duo The Night Brigade, most of the evening’s bands consisted of more noisy, ambient acts compared to the singer-songwriters of the two previous shows.

From the more ambient side was Kyle Brewer performing under the name Tents. With his guitar and an array of effects pedals, Brewer densely layered his guitar and voice to create ambient pop songs. Later Brewer, collaborated with Kyle Riley under the names Hastas and created more loop based music though incorporating some samples a la Canadian post-rock band Godspeed You! Black emperor. Illinois State sophomore Kyle Riley has played at the last two events, using similar instrumentation as the other Kyle though his more direct, emotive melodies are helping him to become a rising figure in the local music scene.

Kyle Riley playing in Hastas

The more noisy spectrum was fully realized by Chicago based The Kremlin. The group features members of Pommel, Death Factory, and William Sides Atari Party. The trio created terrifying noise soundscapes using a wide variety of equipment. Playing around the living room table the group employed the use of keyboards, numerous effects pedals and turned mysterious knobs on even more mysterious metal boxes. The most interesting box they used was an Altoids tin with two knobs.

Michael Krause of The Kremlin

As evidenced by the large turnout at last Friday’s event the biggest issue now facing the music series is the lack of a proper venue. The Kitchen is very small and difficult to fit many people in its performing space. Teaadora tried to rectify this by setting up bands in the living room and in a bedroom. For the next event, to be held sometime in March, Teaadora will need to find a venue that will help to maintain the DIY spirit while allowing a growing number to enjoy the sounds of Bloomington-Normal

We're all just having a good time

In the Mood for Love (2000)

Wong Kar-wai is a director that I have wanted to get into for quite some time. He’s frequently name dropped and as a fan of Asian cinema, it seemed strange that I had not yet come across any of his films. The other day at the college library, which owns a fair amount of Criterions, I came across “In the Mood for Love” a film that I had heard much about but new very little of.

In features I’ve read of Wong Kar-wai his unique style especially the way his colors are so vibrant is always remarked upon. Visually, the film is gorgeous. Kar-wai makes colors so vibrant in a way that recalls Technicolor but clearly realistic. Colors pop out but it’s nothing like “Hero” or any of those other wuxias that are powerful now. The colors are realistic but heightened in a way that makes other films look drab.

The film’s narrative follows a man and woman who both move into separate apartments on the same day. Both of their spouses are often away on business trips and the two soon realize their spouses are having an affair together. The two strike up a friendship, imagining and rehearsing how their spouses first got together, how they interact. They begin to fall for each other but the pressures of Chinese society and their desire to not be just like their spouses leave their love unrequited.

“In the Mood for Love” is one of the most honest romance films I’ve ever seen and a lot of its success comes from the filming and the editing. Many of the shots begin focused on an object and slowly pan or tilt to their destination, the camera lingers but always very abruptly with a very fast fade out and then jumping to the next scene. The camera often follows characters from behind gates of windows, panning over walls that block our view of the characters. Interestingly, the spouses if seen on camera are always seen from the back and typically through glass or a mirror. The camera is a voyeur, peering into forbidden love. Wong Kar-wai has said he sees a lot of “Vertigo” in this film and certainly the Hitchcock influences are there. The way cigarettes smoke lingers in the air recalls film noir, the beauty of shadows and light. The scene where Tony Leung and Maggie Cheung pass each other on the stairs is perhaps the most sensuous scene ever filmed and they are only walking on some stairs. Maggie Cheung is absolutely gorgeous in the film; the costume design, my god those dresses, and her hair are both pristine.

Some, even I initially, may not like the direction that the film goes but it seems to be a necessity. The discussions between the two of them over power relationships, the nature of their spouses’ affair, their context in Chinese culture prevents them from being together. The film explores the nature of Chinese society and this undercurrent of their romance. By the end, where Leung is at the Buddhist temple ruins whispering into the crack in the wall and the camera moves freely throughout the film achieves perfection.

10/10

Die Antwoord-$O$

Mini bio of the group with a little bit of Beat Boy


Before February 2, few in the United States had much knowledge of South African music, much less South African hip hop. But on that date boingboing.net and dlisted.com posted two videos from Cape Town based rap crew Die Antwoord. Millions visited Die Antwoord’s website causing it to crash in a few days though it quickly surfaced with much more bandwidth. In the last couple weeks Die Antwoord have become one of the biggest music acts on the internet thanks to videos for “Enter the Ninja” and “Zef Side” as well as hosting their debut album $O$ on their website.

The biggest attraction to them is their bizarre look and unique take on hip hop. Die Antwoord (Afrikaans for the answer) called themselves Zef rap. Zef roughly translates as common but should be thought of as the South African equivalent of the redneck. The group’s visual appearance echoes this; they seem to be something straight out of Harmony Korinne’s film Gummo.

The legitimacy of Die Antwoord’s Zef style seems pretty suspect. In the video for “Zef Side” the camera zooms in on frontman Ninja, wearing only some bling and a pair of Dark Side of the Moon boxers, and follows the rhythmic gyrations of his crotch in a way that can only be a joke. In real life, MC’s Ninja and Yo-Landi Vi$$ser are married with a daughter and the biggest tell is that the two along with third member DJ Hi-Tek were once members of MaxNormal.TV. Ninja was formerly Max Normal, real name Watkin Tudor Jones, who led a rap crew who performed in three piece suits. While the group may look like just a gimmick, the trio’s music is legitimately fantastic.


Enter the fucking Ninja

Debut album $O$ take hyper charged rave music and combines it with fast paced hip-hop. “Enter the Ninja,” one of the songs that helped Die Antwoord gain popularity, is typical of the group’s sound. Yo-Landi begins the song pleading “Be my samurai” then Ninja enters the song busting out slick rhymes faster than most rappers. The group’s lyrics switch between English and Afrikaans, sometimes in the same song, and when understood are witty and very profane. The song is like many hip-hop songs existing mostly to glorify the rapper’s exploits. Ninja’s lyrics are rather sarcastic mocking hip-hop conventions; during a spoken word section he exclaims “This is the coolest song I’ve ever heard in my whole life”. Die Antwoord are aware of hip-hop stereotypes and exploit them for their audience’s enjoyment.

Yo-Landi Vi$$er gets plenty of time on mic either keeping up with Ninja’s fast paced flow on the amped up “Wat Kyk Jy” or on solo track “Rich Bitch”. The pinnacle of the album is eight minute long “Beat Boy” which begins with Ninja commanding DJ Hi-Tek to “turn up that next level $hit”. The beat begins to build propelled by Ninja’s spitfire vocals and a sweetly smooth chorus courtesy of Yo-Landi. “Beat Boy” represents everything great about the album and Die Antwoord.

However, like most hip-hop albums, $O$ suffers from being overly long. For some reason hip-hop artists feel the need to fill out CDs to near capacity and at an hour long $O$ is just too much. With sixteen songs there’s a lot of filler and mediocrity, “Wie Maak die Jol Vol”, that threaten the success of the album. Fortunately, when Die Antwoord are at the top of their game it more than makes ups for the weaker songs and helps to keep the listening experience fun.

Though in need of an editor, Die Antwoord more than live up to the internet hype. This is one case where the internet has helped the world discover a hip-hop genius in Ninja who might have lingered in obscurity.

4/5


Just found this. My life is so much better.