Sick of playing the same old Konami games at Barcade? Till March 3, East Williamsburg venue Elsewhere is hosting an arcade of indie games created by local developers. So go on, stop pumping quarters into the Contra machine and try out some Witchball.
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A Place to Bury Strangers may have lost its home base when Death By Audio closed in 2014, but it hasn’t lost its mojo, as evidenced by its new single, “Never Coming Back.” The title is somewhat ironic, since the band announced today that it will be coming back with a new album, Pinned, on April 13.
Eames Armstrong, The New York Review of Cocksucking, Scant, Brandon Lopez, Lacanthrope, Sapphogeist
Monday March 6, 8 pm at Alphaville: $10
Is life even real anymore? Well, considering that we, fine people of this once and forever great city, now have a band named The New York Review of Cocksucking to call our very own, it’s hard to believe that reality right now is indeed real. How could it be? Especially when the official soundtrack to our lives, at least for a moment– jazzily improvised by none other than the duo Michael Foster and Richard Kamerman (who have done the right thing in choosing a moniker that sounds like a James Franco-produced lit mag)– is a truly alien form of avant-garde freakwave. Lend your ears to their looping tape noise (disintegration incarnate) and saxophone sounds easily mistook for the pleasure wales of fornicating dolphins, and discover that the finite world is overrated.
Laetitia Tamko, the “one-woman empire” that is musical act Vagabon, prefers being on tour to practicing in her Bushwick studio. For her, the road feels more like home. The 24-year-old fresh face began recording and producing music as Vagabon in 2014 while studying engineering at CUNY, spending most weekend nights working late at the library. At least that’s what she told her parents, while sneaking off to play gigs throughout the city. Tamko didn’t want a “real job,” despite her parents’ failed attempts to push her into a career in engineering. Brooklyn’s underground music scene had pulled her in. “It can be hard, but it’s also all I see myself doing,” she says.
Shortly after the jarring election of Donald J. Trump, you might’ve seen a hilarious sketch from Saturday Night Live called The Bubble where “it’s like the election never happened.” The Bubble is a magical, if not eerily insulated, “place where the unthinkable didn’t happen and life could continue for progressive Americans just as before” because it’s “a planned community of like-minded free thinkers – and no one else.” The punchline is genius: “The Bubble: It’s Brooklyn with a bubble on it.” It’s funny because it’s true – or maybe not.
To celebrate the arrival of Ebru Yildiz’s new book, a hefty collection of black-and-white photos from the final 70 or so days of Death By Audio, the photographer and nearly everyone from the bygone Williamsburg DIY venue’s inner circle descended on Rough Trade on Thursday night for a panel discussion. But really, it was more like a bunch of friends telling great stories from the venue that reigned for seven years, and was known for its wide array of amazing shows with lineups that weren’t so much about making money (uh, tickets were around $7 and a friend who played there several times told me that DBA was known for taking care of its touring bands).
The Rooftop Screening of Goodnight Brooklyn Was a Death By Audio Reunion, With Choice Words for Vice
It’s kind of fitting that a torrential downpour occurred with just 15 minutes left in Saturday’s Rooftop Films screening of Goodnight Brooklyn, the documentary about Death by Audio. You’ll recall that just days before its final show in 2014, the Williamsburg DIY venue was flooded during the construction of Vice’s new offices. If the beloved showspace could soldier on (albeit briefly) after that deluge, then the crowd at the Old American Can Factory in Gowanus could damn well wait for well over an hour to finish the documentary. Especially since it was going to be followed by a set from a superband consisting of members of A Place to Bury Strangers and Grooms, two of the many indie acts that considered DBA a home away from home (or in their cases, an actual home) during the scrappy venue’s seven-year run.
Less than a month after Goodnight Brooklyn: the Story of Death by Audio premiered at SXSW, there’s news of a forthcoming photo book documenting the life and slimes of the beloved Williamsburg DIY venue. Ebru Yildiz, a photographer for Bedford + Bowery’s The Regulars (also being turned into a book!) tells us her debut publication, We’ve Come So Far: The Last Days of Death By Audio comes out in August, and you can preorder it now.
Greenpoint’s Morgan Fine Arts Building will, for the thirteenth year, open its doors so you can explore five floors of art studios. This year’s featured artist is Jack Early, who comprised half of the provocative ’80s art duo Pruitt-Early. His partner Rob Pruitt famously went on to lay down a “cocaine buffet” on the floor of an art gallery. So, what’s Early been up to? Find out by viewing “Jack Early’s Life Story in Just Under 20 Minutes,” on display Sunday from 2 p.m. to 10 p.m. If you’re shy about butting into other people’s work, an open wine and beer bar will nudge you right into the 20 studios on view. Keep an eye out for the work of Ebru Yildiz, whose photographs you’ve seen right here on Bedford + Bowery, via The Regulars.
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While you wait a year for the next Bushwick Open Studios, here’s something to tide you over. On August 22, Greenpoint’s Morgan Fine Arts Building will, for the thirteenth year, open its doors so you can explore five floors of art studios. This year’s featured artist is Jack Early, who comprised half of the provocative ’80s art duo Pruitt-Early. His partner Rob Pruitt famously went on to lay down a “cocaine buffet” on the floor of an art gallery. So, what’s Early been up to? Find out by viewing “Jack Early’s Life Story in Just Under 20 Minutes,” on display Sunday from 2 p.m. to 10 p.m.
Can a metalhead also be a nerd? It’s an eternal question that 30-year-old Paul Martino destroys smartly. “I’m a huge nerd,” the friendly, long-haired metal fan declares from a booth in a dark corner of Greenpoint’s St. Vitus. “Whether it’s math, heavy metal music, video games, beer, professional wrestling, sports, everything I’m into, I go in full force. I really geek out on the things I love.”
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Coffee shops are very important to Chérmelle Edwards. As a freelance writer and “coffeetographer” (a coffee photographer), the passionate and too-pleasant-for-someone-so-caffeinated thirtysomething has made coffee her life. Her website, smdlr.com (an acronym for small, medium, and large), is a “cultural ode to coffee culture,” she says. The site is meant to be a “communal space for cultural revolution,” which sounds crazy ambitious. But Chérmelle truly believes in the power of coffee culture: “It’s about showing people that everything we love as a society: music, art, film, style, connection, community, all exists in the coffee shop.”
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