SUUNS, Eaters, John Congolton and the Nighty Nite Thursday April 28, 7 pm at the Marlin Room at Webster Hall: $15
The Marlin Room inspires a sense of foreboding in me: visions of an antechamber filled with clamoring sea beasts who’d like nothing more than to pierce my and your flesh with their Samurai snouts, then placidly inspect our writhing, tortured remains with their lifeless, black membranes-for-eyes. But I’m sure that people have made it in and out of shows at this Marlin Room before. Right? Could be a trap, or it could be worth it. If you can get past all this, then by all means go see Suuns and friends.
Arto Lindsay Noise Quartet, Celestial Shore, Zula Tuesday February 16, 8 pm at Trans-Pecos: $10
Arto Lindsay, the tireless no-wave guitar legend who’s been called “the perfect New Yorker” (by the New Yorker, no less), is well on his way into his 60s. And it’s true that DNA spent only a brief time on this earth, shredding weirdness at Max’s Kansas City and closing out the B side of Brian Eno’s nothing less than perfect glimpse of that particular scene, No New York (1978). But the dude is still doing all sorts of wonderful and new things in the New York music scene that keep him relevant and has been, pretty much without stopping, since the ’70s. Last fall, Lindsay showed the kids what was up when he played with seminal Brooklyn weirdos PC Worship, and in 2014 he dropped a compilation spanning his career (Encyclopedia of Arto) which, by many accounts, was all too modest and left us drooling for more.
The New York City Ballet drew a decidedly downtown crowd to Thursday’s performance of The Most Incredible Thing, an adaptation of the Hans Christian Andersen story featuring a score by Bryce Dessner (guitarist for The National) and costumes and sets by cult artist Marcel Dzama. And boy did the NYCB do everything it could to extend a valentine to that crowd: before the latest installment in its Art Series, it was announced that there’d be a surprise after-party with an unlimited flow of free beer and a DJ set by Nancy Whang of LCD Soundsystem and The Juan Maclean.
Last night, the legendary Mudd Club made a slight return, as Steve Mass, the owner of the ’70s and ’80s hotspot, hosted a rummage sale to benefit the Bowery Mission. Items included a beehive wig belonging to Kate Pierson of the B-52s, who performed “Roam”; a cheetah-print jumpsuit donated by Deborah Harry, who was also floating around (it was scooped up by a Jersey City vintage shop); photos by Godlis and William Coupon, also in attendance; and this piece by Kim Gordon, going for $10,000.
This week, cash in your change jar because you’re gonna need it for the screening of this lost Riot Grrrl film starring Kathleen Hanna. Also, pick from a bazillion or so documentaries this year at Doc NYC 2015, and more. Read on, friends.
Pretty much from the first word, Carrie Brownstein’s new memoir, Hunger Makes Me a Modern Girl, debunks the idea of a rock musician’s wild life on the road. The book, out this week, starts with her coming down with shingles at one Sleater-Kinney’s final shows. (“Hives,” she writes, “doesn’t really have the same ring to it as, say, ‘heroin.'”) Admittedly, this isn’t the stuff of Motley Crue’s memoir, with its infamous story about Ozzy Osbourne snorting a line of ants. “I’ve never snorted ants,” Brownstein told actress Gaby Hoffmann during their talk at B&N Union Square last night. “I just was like, I shouldn’t read that book because it has nothing to tell me.”
Hot on the heels of Kim Gordon’s Girl in a Band, Thurston Moore has released a book of his own, and he’ll be at Rough Trade in Williamsburg tonight to talk about it. Stereo Sanctity isn’t a memoir, but it’s a personal publication nonetheless, gathering the Sonic Youth frontman’s lyrics and poems from 1981 to present. His own Ecstastic Peace Library has released the 303-page, handbound tome in a limited edition of 700.
If you were among the few who saw Thurston Moore interview Anne Waldman last year, you heard him admire the “incredible rock ‘n’ roll energy” of William S. Burroughs. It’s clear Thurston, a onetime fixture at The Poetry Project at St. Mark’s Church who has published Waldman and others of that scene in his own Ecstatic Peace Poetry Journal, believes there’s a crossover between lyrics and literature. As he puts it in the intro to Stereo Sanctity, rock ‘n’ roll is “poetry on fire.” More →
Today Bikini Kill released a track from the forthcoming reissue of its demo album Revolution Girl Style Now. “Playground,” one of three songs left off the original demo, was recorded in early 1991 at the ABC House in Olympia, Washington, a day after one of the band’s first shows. The reissue, out Sept. 22, was mixed by Guy Picciotto of Fugazi. No, the band won’t be touring behind it (Bikini Kill broke up in 1997 and Kathleen Hanna went on to form Le Tigre and then The Julie Ruin) but plenty of other female-driven ’90s bands are back on the scene.
Shortly before Sonic Youth’s Dirty was released 23 years ago this week, their record label printed up T-shirts declaring it the “Sonic Summer” of 1992. That’s how confident Geffen was that the so-called “godfathers of grunge” were about to follow in the footsteps of Nirvana’s game-changing Nevermind. After all, Nirvana had just opened for Sonic Youth, as seen in Dave Markey’s awesome tour documentary 1991: The Year Punk Broke. And Sonic Youth was overdue for a breakthrough, having cemented their indie-darling status with masterpieces like Daydream Nation and blipped on the pop-cultural radar with “Kool Thing.” After a solid decade of reinventing rock with ethereal, eccentrically tuned guitars and howling drumstick-on-strings mayhem, who deserved it more: Stone Temple Pilots?
It’s July 21, 2015: do you know where the members of Sonic Youth are? Alas, there’s still no sign of a “fare thee well” show with a giant SY blimp and fireworks (paging Peter Shapiro), but here’s the next best thing: Thurston, Kim, and Lee have a bunch of local shows coming up, some of them freeeee.