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The DIY ‘New Sincerity’ of Uno Lady: Wes Anderson meets Laurie Anderson meets Reggie Watts
09.13.2016
11:08 am

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Music

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Almost a decade ago, Cleveland music audiences began to be charmed and amused by a sprightly new presence known as Uno Lady, a memorable one-lady act with a seemingly preternatural gift for harmonizing, daft wordplay, and knob twiddling. I’ve seen Uno Lady (real name: Christa Ebert) a good half-dozen times by now, and it’s never less than entirely enchanting. No sooner had she begun performing than she won two dstinctions from the local alt-weekly Cleveland Scene: not just “Band to Watch” but “Cleveland’s Best Female Vocalist” as well.

Onstage, Uno Lady stands alone with a self-fashioned device she calls a “DIY lit podium”—the electronic device, actually a repurposed suitcase, blends the capabilities of a loop pedal and a mixer (as well as generates lighting effects) and it allows her to sample snippets of her own voice in order to create a musical bed, over which she adds her voice again, all of which together generate a welter of distinctively spiffy and effervescent harmonies. In an evocative turn of phrase, Uno Lady calls herself a “one-woman ghost choir.”
 

Uno Lady performing at the Cleveland’s Beachland Tavern with her “DIY lit podium” (note the Xmas lights at bottom)
 
Music critics love mashing up well-known artists to define the essentially un-definable traits of what makes an artist unique, and I’m going to engage in a little of that now. Uno Lady is (more or less) one part Reggie Watts (you know, with the genius knob-twiddling), one part Laurie Anderson, and one part, ah, the Swingle Sisters, maybe? But it has to be emphasized that the overall tone isn’t like any of those people, it’s closer to a “New Sincerity” figure such as Wes Anderson (whom she name-checks in one of her song titles).

I asked Ebert recently about Watts, and she told me that she is perfectly aware of him, and insists that he’s “funnier than I am.” (Me, I’m not so certain of this—Uno Lady can be quite adept at the witty audience palaver—but Watts is certainly quite funny.) She also developed her gizmo independent of any Watts-ian influence.
 

 
Ebert, who spends most of her time working for an environmental nonprofit in Northeast Ohio, released her second album, Amateur Hour, in 2014 after receiving a Creative Workforce Fellowship. (Her first album, I Really Like Genetics But I’d Rather Have a Good Time, is available on Bandcamp.)

When she performs in public, Uno Lady is (as mentioned) a one-woman affair, but the album features contributions from a talented duo known as the Cross brothers (Nick and Tony), who are quite well regarded in the region for their work in Coffinberry and Little Bighorn.

When I last saw Uno Lady perform, it was just this past July; she was playing the Rock and Roll Hall of Fame, and a number I liked just happened not to be on Amateur Hour—it’s called “Day Drinking” and it predates the album by several years (it appeared on the Taco Cat 7-inch from 2010). Here, listen for yourself:
 

 
More Uno Lady after the jump…

Posted by Martin Schneider | Leave a comment
Black Metal pioneer Fenriz of Darkthrone was elected to his local town council—against his will
09.12.2016
04:35 pm

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Music
Politics

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Drummer Gylve “Fenriz” Nagell has been with the band Darkthrone for 30 years, surviving not only its transition from its original form as a death metal band with the less-inspired name “Black Death,” but also surviving the extremely bumpy early years of Norwegian black metal, when arson and murder were the order of the day. Since then, the band—a duo of Fenriz and guitarist Ted “Nocturno Culto” Skjellum (both band members share bass and vocal duties—not a problem for gigs since they refuse to perform live anyway) has released 15 albums, and their 16th, Arctic Thunder, is due next month.

With 30 years and over a dozen albums to his name, it’s difficult to argue that Fenriz isn’t a pillar of his community—an exceedingly weird community, but hey, takes all kinds. But recently and quite hilariously, he’s become a pillar of a much more straight-laced community, by finding himself elected—quite against his will—to the town council of Kolbotn, Oslo, Norway, which is Darkthrone’s home base. According to Fact Mag:

“They called and asked if I wanted to be on the list [of backup representatives],” he explained. “I said yeah, thinking I would be like 18th on the list and I wouldn’t really have to do anything. They just need a list to be able to … well, it’s hard to talk local politics in another language.”

Never underestimate the power of a cute cat, though. Fenriz jokingly shared a photo of himself holding his cat (whose name roughly translates to Peanut Butter) specifically asking people to not vote for him. Now he will be required to serve as Councilman Gylve Fenris Nagell for four years before stepping down is an option.

 

This shit WORKS! Clearly there needed to be more cat pics of Bernie Sanders.

It’s easy to crack jokes about the seeming incongruity of a black metal O.G. serving as a straight politician, but as musicians in public service go, I’ll take Transilvanian Hunger over literally anything by Midnight Oil all goddamn day long. And Fenriz is no slouch in other regards—he could serve exceedingly well as a chronicler of heavy metal history. He’s curated the illuminating primer compilation The Best of Old-School Black Metal and maintained a band-of-the-week blog, and honestly, I really wish he’d just write a book already. He’s even done a video lecture on the history and influences of black metal, complete with chalkboard diagrams! It’s one of my favorite things.

Check it out, after the jump…

Posted by Ron Kretsch | Leave a comment
John Coltrane, Sun Ra, and many more on this stunning 12-hour mix of spiritual jazz
09.12.2016
04:24 pm

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Belief
Music

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After several decades of jazz music mainly serving as something to dance to—as Wikipedia drily notes, “the association of jazz with sex is early and extensive”—by the time the 1950s rolled around it was time to get a little more serious. Spiritual jazz is product of the late 1950s and after; it is most commonly associated with John Coltrane, whose 1965 album A Love Supreme eventually became an essential part of the record collections of impressionable college students everywhere. The trend of long-playing albums made it possible for experimental works to explore a single theme for 20 or more minutes at a time, which also lent itself to more serious explorations of divinity.

Last week the London online radio station NTS dropped a colossal, nay transcendent 4-part “history of spiritual jazz” lasting more than 12 hours in all. It starts with Fred Stone’s “Theme from Lawrence of Arabia” (originally composed by Maurice Jarre, this rendition happened in 1972) and ends with an ambitious composition by the Art Ensemble of Chicago called “Certain Blacks ‘Do What They Wanna.’” In between you’ll find remarkable music by Stanley Crouch, Elvin Jones, Sun Ra, David S. Ware, Herbie Hancock, Don Cherry, Amiri Baraka, Pharoah Sanders, Ornette Coleman, Albert Ayler, Last Poets, Gil Scott-Heron, Roland Kirk, Earth Wind and Fire, Art Blakey—and that’s leaving out another several dozen musicians whose names are not as familiar. (Interestingly, Charles Mingus is not represented.)

So put this on and let spiritual jazz define your week.
 
Check out all four mixes of spiritual jazz after the jump…....

Posted by Martin Schneider | Leave a comment
This is it—the single greatest STUPID Joy Division mashup ever: ‘Ian Curtis Rides a Roller Coaster’
09.12.2016
12:43 pm

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Amusing
Music

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Poking fun of Joy Division is like making someone giggle at a wake—it just shouldn’t be as easy as it is. But the combination of the band’s funereal sounds, the death-cult that followed the suicide of their lead singer Ian Curtis, and the incredible earnestness of its ever-growing fandom makes deflating them a fish-in-a-barrel matter. The iconic cover art for their debut LP Unknown Pleasures has been parodied on so many t-shrt designs that this very blog called for a moratorium, and their best-known songs have featured in too many sound and video mashups to list here. Our ongoing favorites have been “Love Will Freak Us,” Dsico’s band vs band mashup of their signature song “Love Will Tear Us Apart” with Missy Elliot’s “Get Ur Freak On,” and the wonderfully spooky, and strangely elegiac combination of their 1980 single “Atmosphere” with desaturated footage from Teletubbies.

But last week, a brilliant bastard on the internet won for all time. Now, this has been around for a minute, but to my surprise, I found that a ton of rock snob-types who should have known about it didn’t, so we’re sharing it here in case you missed it, too. It’s combines the Unknown Pleasures album closer “I Remember Nothing” with 15 seconds of head-cam footage from a roller coaster ride. If you know the song, you can probably already see the punchline coming, but it doesn’t matter. I’ve watched this dozens of times and it keeps making me laugh.

I swear to god, I’m not usually so easily amused.
 

Posted by Ron Kretsch | Leave a comment
‘Murdered Out’: New single from Sonic Youth’s Kim Gordon
09.12.2016
10:34 am

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A girl's best friend is her guitar
Music

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Kim Gordon’s having a busy year. In March she released a noisy but atmospheric album called Glitterbust by a band of the same name consisting of herself and pro surfer Alex Knost. This morning, she’s released a solo single called “Murdered Out.” The song is a paean to stealth cars that have been completely blackened with matte black paint, as Gordon explained in a news release:

When I moved back to LA I noticed more and more cars painted with black matte spray, tinted windows, blackened logos, and black wheels. This was something I had occasionally seen in the past, part of low-rider car culture. A reclaiming of a corporate symbol of American success, The Car, from an outsider’s point of view. A statement-making rejection of the shiny brand new look, the idea of a new start, the promise of power, and the freedom on the open road. Like an option on a voting ballot, “none of the above.”

“Murdered Out,” as a look, is now creeping into mainstream culture as a design trend. A coffee brand. A clothing line. A nail polish color.

Black-on-black matte is the ultimate expression in digging out, getting rid of, purging the soul. Like a black hole, the supreme inward look, a culture collapsing in on itself, the outsider as an unwilling participant as the “It” look.

 

 
The song kicks pretty high ass—in the few years since Sonic Youth’s collapse, Gordon’s been doing the avant-garde thing pretty full-bore, not just with Glitterbust, but with Body/Head, a duo featuring guitar improviser Bill Nace, who released a self-titled LP in 2013. But this single features big riffs and deep-pocket grooves (drums on this were hammered by Stella Mozgawa of Warpaint), and Gordon’s distinctive cooing/warbling/moaning vocals are given equal priority to anxiously shrill guitar noise.
 

Posted by Ron Kretsch | Leave a comment
Sniffin’ Glue: The definitive first wave U.K. punk zine
09.12.2016
10:27 am

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Media
Music
Punk

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In July 1976 Mark Perry saw the Ramones open for the Flamin’ Groovies at the Roundhouse and Dingwalls. A few days later he was looking for some magazines about his new passion of punk music and was annoyed to see that there wasn’t much in that line available. So he started a zine celebrating punk music and chose as its name Sniffin’ Glue, a nod to the Ramones’ “Now I Wanna Sniff Some Glue.”

The full name of the zine was Sniffin’ Glue & Other Rock & Roll Habits. Created with a children’s typewriter and felt markers, it wore its amateur/fan status on its sleeve. Perry was working as a bank clerk but quit his job to start the zine. It is routinely mentioned as one of the most important and influential zines in a scene that quickly generated many of them. Sniffin’ Glue provided the first venue for the writing of Danny Baker, who later moved to London Weekend Television, where he documented the new wave of British heavy metal as well as acts like Depeche Mode. Perry’s lively volume Sniffin’ Glue and Other Rock’n'roll Habits: The Essential Punk Accessory, published in 2009, is very much worth a look.
 

Sniffin’ Glue founder Mark Perry
 
After a year or so of publication, Sniffin’ Glue’s circulation had swelled from double digits to a whopping 10,000—the project had gotten so big that Perry stopped the magazine after roughly 15 issues so that he could concentrate on his band Alternative TV, which made its debut at London’s Rat Club on September 14, 1977. Early rehearsals took place at Throbbing Gristle‘s Industrial Records studio with Genesis P-Orridge on drums; you can hear those recordings on the Industrial Sessions 1977 release. ATV broke up in the spring of 1979. Perry later started a band called Good Missionaries and ATV’s guitarist, Alex Ferguson, would join Genesis and Peter Christopherson in the original incarnation of Psychic TV in 1981.

Perry’s first mention of the Sex Pistols was a negative review but he soon came around. As he wrote, “The Pistols reflect life as it is in the council flats, not some fantasy world that most rock artists create. Yes, they will destroy, but it won’t be mindless destruction. The likes of Led Zeppelin, Queen and Pink Floyd, need to be checked in the ‘classical’ music section. They’ve got to make way for the real people and the Sex Pistols are the first of them.”

As Tony Fletcher put it,
 

Within the space of three issues, Mark had connected the dots from the Ramones to the Flamin Groovies, through Eddie And The Hot Rods and the Damned, and onto the Clash and the Sex Pistols - and Sniffin’ Glue had become the mouthpiece for the British punk underground in the process. Punk germinated underground just long enough for Sniffin’ Glue to become indispensable within the scene - it had already put out five issues by the time the Pistols swore at Bill Grundy on live television and punk exploded as a media concern. As Perry and Baker note of contemporary so-called subcultures, even that short a period of gestation won’t happen again: “everything is now exposed to the masses instantly.”

 
What follows is most (not all) of the covers of Sniffin’ Glue from its short but influential run.
 

 

 
After the jump, more covers from Sniffin’ Glue…......

Posted by Martin Schneider | Leave a comment
Over four hours of incredible Van Halen demos—get them while you can
09.12.2016
09:44 am

Topics:
Music

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Get on this before the suits have it taken down.

Some Internet saint has done us all the favor of uploading four hours and ten minutes worth of Van Halen demos. This is seriously a treasure trove for any fan of David Lee Roth-era Van Halen. The demos range from 1974 to 1984, though some unconfirmed sources say the “Glitter” demo on here may actually be as early as 1973.

Prior to this, I had only ever heard the (fantastic) Gene Simmons-produced Zero demo and the 1977 Warner Brothers demo. This upload has all that and SO MUCH MORE.

What’s remarkable about these demos is the fact that Van Halen mined these early songs for all six of their albums with David Lee Roth. Whereas most bands will blow their wad on their first record, Van Halen seemed to be intentionally SAVING good songs for use on future albums.

Much, much more Van Halen, after the jump…

Posted by Christopher Bickel | Leave a comment
Stunning images & footage of Queen’s first visit to Japan in 1975 & their triumphant return in 1976
09.09.2016
10:28 am

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Heroes
Music

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In the spring of 1975 Queen set foot as a band for the first time in Japan much to the delight of their legions of fans there. The band played their first of many gigs at Budokan after the release of 1974’s Sheer Heart Attack and the footage from the show is truly something to behold as are the images of the then 29-year-old Mercury sitting along with his bandmates and a few lovely geishas at a formal ceremony on the grass in front of the Tokyo Tower.

Queen would return the very next year to Tokyo in support of their 1976 album A Day at the Races and were photographed hanging out with Sumo wrestlers, drinking sake and greeting a group of fascinated Japanese children who likely had no idea what to make of Freddie Mercury dressed in a multi-colored knit coat sporting long hair and dark sunglasses. The photos are as charming as they are gorgeous to look at. I’ve also included fantastic footage from Queen’s very first press conference in Tokyo (that includes lots of other footage such as their arrival at the airport and the ceremony in front of the Tokyo Tower) as well as a stellar performance of the single from Sheer Heart Attack “Now I’m Here” from the band’s debut show at Budokan that is going to blow your socks off.

Queen’s inaugural performance at Budokan was of course bootlegged and can be tracked down on various Internet sites but as a huge fan I remain hopeful that the performance will get a proper official release as did Queen’s legendary show at the Odeon in London on Christmas Eve in 1975 Queen- A Night At the Odeon (which just so happens to include a bit of footage from Queen’s Budokan gig—three songs specifically “Now I’m Here,” “Killer Queen,” and “In The Lap Of The Gods… Revisited”). On September 5th—or what would have been Freddie’s 70th birthday this past Monday—guitarist and astrophysicist Brian May announced that an asteroid formerly known as “Asteroid 17473” had been re-named “Freddiemercury” in Mercury’s honor. May had his own asteroid named after him, “Brianmay” (formerly “Asteroid 52665”) back in 2008. Awww.
 

Queen hanging out on the grass in front of the Tokyo Tower during their first visit to Japan in 1975.
 

1975.
 

Mercury greeting a group of Japanese children in 1976.
 
More Queen in Japan after the jump…

Posted by Cherrybomb | Leave a comment
The Dangerous Minds interview with Little Annie (Annie Anxiety Bandez)
09.09.2016
09:14 am

Topics:
Art
Heroes
Literature
Music
Punk
Reggae

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Photo by Clinton Querci
 
The strange and fabulous career of Little Annie, also known as Annie Anxiety and Annie Anxiety Bandez, is like an index of Dangerous Minds’ musical obsessions. We wriggle in the web she weaves. Some connections are personal: DM’s own Howie Pyro was the bassist in her first band, Annie Anxiety and the Asexuals—Annie says below, “Howie is the reason I ended up on stage”—and DM chief Richard Metzger has mentioned his friend’s encounter with Annie at an Islington anarcho-punk festival in 1984. But then, consider that she’s worked with Crass, Coil, Marc Almond, Current 93, Nurse With Wound, Adrian Sherwood and the On-U Sound crew, Youth, Kid Congo Powers, ANOHNI (formerly Antony Hegarty), Keith Levene, Swans, et al.—and then, consider what a shame it is that every article about Little Annie has to mention all these associations in its opening paragraphs, when her own performances, her own powers, are so extraordinary. That’s why all those people wanted to work with her in the first place.

On Little Annie’s latest album, Trace, she is both the torch singer she claims to be and the streetwise narrator of “Bitching Song,” who patiently explains why, no matter your profession, location, or standing in this world, you’re just another bitch. Her wonderful memoir, You Can’t Sing The Blues While Drinking Milk, published in 2013, is scarce in hardcover (this looks like your best bet), but the Kindle version is a steal at $4.99.

When I called Annie last week, my first question was about Hermine, the hurricane then approaching her current base of operations, Miami. Thanks to Julian Schoen and On-U Sound for putting me in touch with this great artist.
 

Trace (2016)
 
Annie: I haven’t seen the news all day. I was out shooting. It’s like the rest of the planet; it’s getting gentrified, Miami, so I was out shooting some of these Darth Vader buildings that are going up about ten miles up the road.

Dangerous Minds: So you’re taking pictures, you’re documenting the gentrification of Miami?

Well, you know what it is, a friend of mine, she said—because I love buildings—she goes, “These are really ugly, you’ve got to shoot them” [laughing], you know? And they really are, they’re really sinister-looking skyscrapers. I love skyscrapers, but we’re below sea level here as it is, and they’re really like… gunmetal gray. Like, everything you wouldn’t do in this kind of light, just really ugly. Almost so that they’re beautiful. They’re so sinister, they almost have a kind of eerie beauty to them. I just got a high-definition camera finally so I could shoot and print for online stuff, and I thought, “Oh, that’s a good place to start. Let me get my chops going on some ugly.”

Man, it did not disappoint. They’re using all these gunmetal grays; it looks like either it’s the Church of Scientology or Masons, there’s something really… like prisons for the very rich, you know? Really grim.

So how did you wind up in Miami, Annie?

That’s a good question. You know, it was a place I had no interest in whatsoever. I’d been down here with some friends of mine whose father used to live down here; I came down in ’93, you know, and really it was only a place I ever went to go somewhere else.

New York, I had to move, and all of a sudden I realized, even if it was possible to live anywhere, I realized I wasn’t interested in any of it. So I don’t drive—I’m a confirmed non-driver—and I couldn’t think of where I could live on the East Coast that was near an airport for work, or where I could get away without a car. Miami, it’s difficult, but you can be a non-driver down here. And then, I kind of fell in love with it… one morning I woke up and said “Miami.” I was thinking about that today, I was trying to figure out how that happened.

’Cause I could picture you in Cuba somehow.

In my neighborhood? You could be anywhere in Central America or South America. I would say it’s around 90 percent Spanish-speaking, and there’s French. You hardly ever hear English in my neighborhood. You could walk down one street and it looks like Rio, and another street will look like the West Indies. It’s all new for me.

I guess I was starting to dislike myself. I was starting to become one of those perpetually angry [New Yorkers], “This is gone, and this isn’t like this anymore,” so I wanted somewhere where I didn’t know what it was like, so I have nothing to compare it to. I can’t get nostalgic over it because I don’t know what it was.

Sure, I can imagine. I’m from Los Angeles, and that’s changed so much over the last 20 or 30 years. And New York was so fabulous at one point.

Some of it here feels like New York in the ‘80s. Not always in a good way, too. What I do love about it is what I hate about it. It’s very corrupt. You know, like, I love this: their idea of gentrifying one area was to put a strip joint in it. [laughs] And that’s what I love about it. Literally, like New York used to be, like you could walk a few blocks and you were in a different world? Miami still has that flavor. Not so much the beach, but the inland. My neighborhood’s the last old neighborhood which hasn’t been fucked with yet. They want to, but you’ve got a mixture of, like, millionaires living next to Section 8. It’s really like an eclectic, wonderful little neighborhood two blocks from the beach. But because it hasn’t been gentrified, people don’t want to move here, which is why I wanted to move here. I really do love this area.

But L.A., I’ve got a little crush on Los Angeles from the last time I went there. I was with Baby Dee and we played downtown L.A. and it’s so beautiful, the light! The way the light hits things and the buildings.

There’s something special about the light here, for sure.

It was just gorgeous. We played in a place where Charlie Chaplin had a fistfight with Buster Keaton or something, and the upstairs place, it was some kind of—not three-quarter housing, but some kind of housing association… 

But then you go out, by the same token, I would be there all day, and like, thinking like I’m walking through Calcutta to get home, because I’ve never seen homelessness and pain like that! You’ve got these beautiful buildings, and then the homeless thing in downtown L.A., I just felt so bad for people.

Oh, it’s disgraceful. It’s kind of like what I imagine happened in New York under Giuliani. As the city becomes gentrified, they’re just shoving homeless people into different quarters of town where they’re getting more and more pressed together. There are blocks that are just covered with tents.

Yeah! That’s what I’m—I couldn’t believe it. I was outside having a cigarette. I must have had—in less than 20 minutes, ten people came up and asked me for money, you know? Which I would have gladly given. If I knew I was going into that, I would have gone in with food or something.

Miami is terrible. There’s no safety net for people. There’s no social services as such. They blame the homeless—‘cause we are fighting, they want to gentrify this area—and people will say things like, “If we let the developers in, then it will solve the homeless problem, and the rapes will go down.” And I go, “Wait: unload that sentence. You just called homeless people rapists.”

There’s this way that they deal with the homeless, is to criminalize them. New York is terrible, but Miami… and L.A., I love it and hate it.
 

State of Grace (with Baby Dee, 2013)
 
You’re singing my song, Annie. You know Howie Pyro writes for Dangerous Minds?

I love Howie! You know that I’ve known Howie since I was sixteen years old.

He was in the Asexuals, right?

Yeah. Howie is the reason I ended up on stage. Because we were hanging out, we really were like punk kids in the sense of like punk, juvenile delinquent, like little silly kids—we used to put “KICK ME” signs on people’s backs. We were totally juvenile. They asked me to support them, the Blessed, and I’m like, “Yeah!” And I didn’t know what “support” meant. So I had to throw a band together or something. Howie and them really kind of were the ones who—I was writing poetry and doing little bits of I don’t know what, but I didn’t have any direction, I was just being a kid, you know? And it was really because of the Blessed that I ended up in show business. I love Howie; I love those guys so much.

When did you have a sense that you had this voice? I know you didn’t set out to be a performer, and they encouraged you to go on stage. But when did you realize that you had this talent? I just read your memoir, so all this stuff is fresh in my head, you singing at the park in the a cappella group as a teenager…

You know what? It was funny, because I really didn’t realize I had a voice until… actually, very recently. Like, I knew I had a very good sense of… I’m very percussive, so I’ve always had like a sense of cadence. I mean, I was told not to be in the choir, because I was basically a contralto when I was a child. I had this voice—I was a belter, and I could belt like an old gospel singer when I was a little kid, you know? I could belt out old blues songs, and I sounded like I’d been drinking whiskey at age seven, you know what I mean? I had that kind of voice.

It’s only in the last couple of years where I’ve realized the ability I have, you know, like the physicality of singing? I realize that it’s not something that everybody has. ‘Cause I didn’t know what I was doing, I would luck into things, but I never knew how I got there, from point A to B. I just did it because it had to be done. I think it was on the Swans tour: I go, “Wow, now I’m understanding what people say, singing from the diaphragm, and the rest.” I actually didn’t realize what I was born with, you know? I’m shaped like a singer. Some of it actually happens from singing, you get a wider ribcage just from singing. But it was only really recently, I go “Wait, I could do that!” Or that I actually trusted my abilities. I always kinda knew my abilities as a writer, and to keep time: I write like a drummer or a conga player. But it was only really recently that I knew I had something.

It sounds crazy, doesn’t it? Make it all the way through a career [laughs] before you start realizing. Because I’ve never had a pretty voice. I can do that, but if it was pretty, it was by accident. So now I go, “Oh wait, when I do this, this happens. Oh wait, I can get from this octave to another octave.” I’m only just starting to grasp what I’ve been blessed with. Yeah, so, just recent! [laughing] Last few months.

Well, you had an instinctive sense probably of how to work an audience, right?

That, yes. Live, I’m able to… hear people. Even if it’s silent, there’s something I hear from them, a dialogue that I’ve always kind of tapped into. And I don’t know why…

That’s why acting was so hard for me. Acting, I’m starting to learn, you’ve got to access a different part of you. But where there was something on stage, maybe it was what people get from gospel or something—I go into the zone, and when I’m in the zone, I’m able to supersede any ideas of myself, or anything. It’s probably the only time in my life I’m not in my head. I’m totally not in my head. I’m totally not conscious. It’s the safest place in the world, the stage, and it’s because it’s a dialogue, and I don’t know what it is but that’s something I’ve always had, which is why the stage felt so good. You know, to look straight in people’s eyes on stage. 

I mean, recording, I spent my On-U Sound years really getting into the technical side of, not the machinery, but of sound and of craft and the music part. But that other part, that was something that was always there. And it was a problem acting, because I’m so much myself on the stage, and when you go onstage and act, it’s not about being yourself. I mean, I’ve lost parts because I go in and I start rewriting the script in my head. And they want an audition, and you go in, you start going, “That doesn’t feel honest,” and acting isn’t honest. It’s about being believable.

When you’re singing with an audience, it’s absolutely about trusting that they can be themselves and you can be yourselves, because you have a moment of—fuck, it sounds really pretentious, but it’s almost like Zen—you’re so in the moment. Your mind can’t wander; if it does, you’re not in it. You don’t give a fuck what anybody thinks. You know when it’s right. It doesn’t happen all the time, of course, but fortunately, most of the time, where you’re absolutely in this kind of weird communion with other people. It’s such a gift to be able to go there.
 

Songs from the Coal Mine Canary (2006)
 
You’re an ordained minister now, Annie?

Yeah. I became ordained basically because I did needle exchange for a while. My main function was, I was outreach, so I’d be on the stroll with sex workers at night, like if they need condoms or syringes or something. But it almost became your beat, where anything that happened within a certain mile radius, I felt like, I gotta deal with—you know, you get a drunk that would fall down, break their arm.

What happened was, I had to call 911. I got the ambulance, and I asked where they’re taking the guy, ‘cause a lot of time with drunks, they would drop them off around the corner, and I wanted to make sure. And they go, “Why, who are you?” And I was standing in front of a church, so it just came out of my mouth, I go, “I’m his minister.” And they go, “Is that your church?” And it was St. Mark’s Church, which is huge, and I go, “Yeah, that’s my church.” And their tone totally changed. It was like, “You don’t understand, we get so burnt out, we pick up the same people day after day, and then they’re right back in the street again,” and all of a sudden they wanted to confess. So I go, “Wow, this could work, you know? Maybe this minister thing isn’t a bad idea.”

Much more after the jump…

Posted by Oliver Hall | Leave a comment
Entire print run of crucial post-industrial/apocalyptic folk magazine ‘The Fifth Path’ is now online
09.09.2016
09:13 am

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The Fifth Path was a short-lived fanzine, produced sporadically between 1991 and 1994, that covered the post-industrial scene as well as the genre that later came to be known as “neofolk,” which was commonly referred to at the time as “apocalyptic folk” or “World Serpent” (after World Serpent Distribution who distributed most of the bands associated with this genre).

The magazine covered England’s Hidden Reverse type artists such as Death In June, Sol Invictus, Current 93, and Coil, as well as iconoclasts such as Boyd Rice, Feral House‘s Adam Parfrey, and former Church of Satan high-priestess, Zeena LaVey.
 

 
Lords of Chaos author, Michael Moynihan was a contributing writer to issue three and was an associate editor on issues four and five. The magazine’s founder and editor-in-chief, Robert Ward, died in 2004.

Web developer and collector Kenn Wilson has graciously uploaded all five issues of The Fifth Path to his personal website. Fred Berger, founder and editor of Propaganda Magazine, apparently donated the issues from his personal collection. Some of them are marked with his personal notes.

If you are a fan of this era and genre, these five issues are crucial reading.

You can download all five issues from Wilson’s website or follow these direct links here:

The Fifth Path: Issue One
Foetus Inc, Death in June, Robert Anton Wilson, Zeena LaVey, Jack Chick, Throbbing Gristle bootleg reviews, An Introduction to Urban and Wilderness Survival

The Fifth Path: Issue Two
Rozz Williams, Kodo, Skinheads in East Germany, live show reviews of Death in June, Current 93, Sol Invictus, Survival: Shelters and Tools

The Fifth Path: Issue Three
Boyd Rice, Sol Invictus, Freya Aswynn, Blood Axis, Yukio Mishima, Carl Orff, Skinheads in East Germany part II, Survival: Fire Starting Tools

The Fifth Path: Issue Four
Swans, Sol Invictus part II, Adam Parfrey, Crash Worship, The Electric Hellfire Club, Thomas Lyttle, Odinism in Heavy Metal

The Fifth Path: Issue Five
Fire + Ice, In the Nursery, Ordo Equitum Solis, Somewhere in Europe, David E. Williams, Will, Bathory, Odinism in Heavy Metal part II, Third World Black Magic Dictators

Via: Kenn Wilson

Posted by Christopher Bickel | Leave a comment
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