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  • Henry Rollins and Lydia Lunch in the erotic, violent ‘The Right Side of My Brain’ (NSFW)


     
    Richard Kern was a big part of the underground cinema of the East Village in the 1980s. Among other things, he directed videos for Sonic Youth’s “Death Valley ‘69” (which featured Lydia Lunch, of course) and King Missile’s ”Detachable Penis.” Kern was very much a part of the same scene that was more or less defined by Nick Zedd. He made many experimental and sexual movies on Super-8.

    According to Richard Kostelanetz in A Dictionary of the Avant-Gardes,
     

    This fascination with the dark side of looking—with the dynamics and aesthetics of voyeurism—is Richard Kern’s theme and it runs through his films and photography. In many ways, Kern’s work is a culmination of self-referential approaches to depicting the artist’s relationship to his “subject.” And his subject is a kind of seeing. ... In many ways his movies are responses to popular film and commercial culture as a whole.

      
    One of Kern’s early movies was The Right Side of My Brain, a 23-minute black-and-white experimental movie that is unabashedly about sex, violence, and control. This movie is about as NSFW as anything we’ve ever presented on the site.
     

     
    The whole movie is told from the point of view of the character played by Lydia Lunch in a dreamy and sexualized and insular mode that was well-nigh invented by Maya Deren in 1943’s “Meshes of the Afternoon.” Lunch’s character goes through a series of assignations that involve varying degrees of violence. Around the 10th minute an actor credited as Clint Ruin (actually the musician J.G. Thirlwell) shows up and he proceeds to dominate Lunch’s character somewhat, after which she gives him a blow job. Yes, you read that right, most of that highly X-rated act is captured in the movie.

    The bulk of the movie was shot in some claustrophobic NYC tenement, but in the sole outdoor sequence—possibly shot in Central Park?—Henry Rollins appears and follows the Lunch character. They too start making out and then the Rollins character has a kind of tantrum.
     

     
    By the bye, when this was shot Rollins had the “SEARCH AND DESTROY” part of his back tattoo in place but not the rest. At one point Lunch is shown wearing a T-shirt with the Einstürzende Neubauten homunculus on it.

    The images of sexual violence are, of course, disturbing; many ladies in the audience will enjoy the three smoking hot dudes in various states of undress.

    The Right Side of My Brain is available on Blu-Ray in Hardcore Collection: Director’s Cut.
     

     

    Posted by Martin Schneider | Leave a comment
    Gulf War kitsch: Some red-white-and-blue numbnuts reads his ‘Letter to Saddam Hussein,’ 1991


     
    I’ve been waiting for this primo item of Desert Storm-abilia to turn up on YouTube for years, and Lord knows I have waited patiently; for as the Good Book reminds us, “the race is not to the swift” (Ecclesiastes 9:11), and some of these fuckers are anything but swift.

    Back in ‘91, Jerry Martin (a/k/a Jerry Buckner) rode the tide of blood unleashed by the first Gulf War all the way to #71 on Billboard’s country chart. I’m still struggling to understand how this epistolary spoken word release qualified as a country song, but I’m going to bet it had something to do with the kinds of radio stations that played it and the obscure regions of our nation to which their signals penetrated. A cassingle issued in a plain gray sleeve, Martin’s “Letter to Saddam Hussein” had little in common with Jello Biafra’s contemporary Gulf War cassingle, “Die for Oil, Sucker,” which pointed out that we might not be fighting for the noblest of causes.

    Martin left that kind of thinking to eggheads, Poindexters and Philadelphia lawyers. On his cassingle, he allowed as how he didn’t know much of anything, because being so ordinary, regular and real didn’t leave a lot of time for studies. But there was one thing he did know: our pride would be Saddam’s shame.
     

     
    I mentioned that Jerry Martin was the pseudonym of Jerry Buckner. Now, I can’t be sure this is the Jerry Buckner of “Pac Man Fever” fame, but I do wonder how many vocal talents named Jerry Buckner might plausibly reside in the Atlanta area. To whom was Saddam supposed to address his reply? Whatever, I bet the dictator thought twice about showing his face down south after this tape came out. Cut way down on his trips to Georgia.

    Now a quarter-century old—its sleeve no longer the shiny gray I remember from my Sam Goody youth, but the dull gray I see in my Sam Elliott beard—this curiosity fetches outrageous prices on Amazon. I can’t imagine why. I hope it’s because there are a lot of Big Lebowski and Nevermind fans researching the beginnings of American history’s most bogus journey.

    Without spoiling the dramatic ending of “Letter to Saddam Hussein,” I can tell you that we kept its promise. Our boys showed Saddam who was boss, thereby transforming the entire Fertile Crescent into a fiery whirlwind of widows’ blood and children’s limbs. Now our boys will be there showing Saddam who’s boss forever!

    Mission accomplished, numbnuts!
     

    Posted by Oliver Hall | Leave a comment
    Awesome collectible action figure of Alfred Hitchcock
    05.26.2016
    12:04 pm

    Topics:
    Movies

    Tags:
    Alfred Hitchcock


     
    Mondo collaborated with artists Trevor Grove and Michael Norman to create this 1/6 scale collectible figure of filmmaker Alfred Hitchcock. The action figure includes:

    Director’s Chair
    2 Cigars (1 lit & 1 unlit)
    Raven
    Clapboard
    Butcher Knife
    4 Interchangeable Hands

    In addition to the regular version, we’ll have a website exclusive version which includes a Seagull accessory ($190). The exclusive will be available for 48 hours from Thursday (5/26) at 12PM CST through Saturday (5/28) at 12PM CST.

    The figure will be available to purchase today (May 26, 2016), starting at 1 PM EST. It’s selling for $185.00.
     

     

     

     
    via Laughing Squid

    Posted by Tara McGinley | Leave a comment
    Someone put eyeglasses on a museum floor, people thought it was art
    05.26.2016
    11:52 am

    Topics:
    Amusing
    Art

    Tags:
    minimalism
    eyeglasses


     
    It seems like something out of a movie. In fact, if there isn’t a scene in some Mr. Bean joint in which people mistake something for art, I’ll eat my hat.

    A couple of teenagers at San Francisco’s Museum of Modern Art decided to place a pair of eyeglasses on the floor in one of the rooms just to see what would happen. Tentative visitors quickly treated the unassuming, er, spectacle, with the requisite respect owed to any duly accredited piece of conceptual or minimalist art.
     

     
    On Twitter, the pranksters go by @TJCruda and @k_vinnn. After just a few minutes, a crowd of onlookers had gathered to investigate the unlabeled “artwork.” Seventeen-year-old T.J. Khayatan (@TJCruda) documented the public’s response on Twitter.

    Conceptual art and minimalism are prone to this sort of thing. In 2001, a Damien Hirst installation consisting of a collection of beer bottles, coffee cups, and overflowing ashtrays was mistakenly tossed in the garbage by a janitor. Three years later at the Tate Britain, a Gustav Metzger artwork consisting of a bag of paper and cardboard was similarly thrown out, and in southern Italy in 2014, parts of a piece by Sala Murat were mistakenly discarded.
     

     
    Just a few months ago, last autumn, an unruly installation by Sara Goldschmied and Eleonora Chiari at the Museion Bozen-Bolzano in Italy so resembled the aftermath of a riotous party—it consisted mainly of cigarette butts, empty bottles of champagne, and party streamers—that a cleaner put quite a bit of labor into tidying it up, prompting a memorable screed in the Spectator (U.K.) blog with the title “Hurrah for the cleaner who accidentally threw away a modern art exhibit.”

    Before he started the band Pavement, Stephen Malkmus worked at the Whitney Museum in New York City as a guard—while he was there the museum displayed a work by the minimalist artist Richard Tuttle called “Ten Kinds of Memory and Memory Itself” that consisted of a few pieces of string placed on the floor. Malkmus has credited the piece as a contributing factor in deciding to start Pavement.
     

     

     
    More after the jump…

    Posted by Martin Schneider | Leave a comment
    ‘Blade Runner’ and ‘A Scanner Darkly’ reconstructed with an autoencoder

    0_00_01scanblade123.jpg
     
    “I’ve seen things you people wouldn’t believe,” said the Nexus-6 replicant Roy Batty at the end of the film Blade Runner.

    Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears ... in ... rain.

    It’s a great speech—one written by Rutger Hauer—which suggests this bad boy android or replicant has experienced a state of consciousness beyond its intended programming.

    While we can imagine what Batty’s memories look like, we can never see or experience them as the replicant or android saw them. Which is kinda damned obvious—but raises a fascinating question: Would an android, a robot, a machine see things as we see them?

    It is now believed that humans use up to 50% of their brain to process vision—which gives you an idea the sheer complexity involved in even attempting to create some machine that could successfully read or visualize its environment. Do machines see? What do they see? How can they construct images from the input they receive?

    The human eye can recognize handwritten numbers or words without difficulty. We process information unconsciously. We are damned clever. Our brain is a mega-supercomputer—one that scientists still do not fully understand.

    Now imagine trying to create a machine that can do what the human brain does in literally the blink of an eye. Our sight can read emotion. It can intuit meaning. It can scan and understand and know whether something it inputs is dangerous or funny. We can look at a cartoon and know it is funny. Machines can’t do that. Yet.

    A neural network is a computer system modeled on the human brain and nervous system. One type of neural network is an autoencoder.

    Autoencoders are “simple learning circuits which aim to transform inputs into outputs with the least possible amount of distortion.”

    Here’s a robotic arm using deep spatial encoders to “visualize” a simple function.
     

     
    Terence Broad is an artist and research student at Computing Department at Goldsmiths University in London. Over the past year, Broad has been working on a project reconstructing films with artificial neural networks. Broad has been

    training them to reconstruct individual frames from films, and then getting them to reconstruct every frame in a given film and resequencing it.

    The type of neural network used is an autoencoder. An autoencoder is a type of neural net with a very small bottleneck, it encodes a data sample into a much smaller representation (in this case a 200 digit number), then reconstructs the data sample to the best of its ability. The reconstructions are in no way perfect, but the project was more of a creative exploration of both the capacity and limitations of this approach.

    The resultant frames are strange watercolor-like images that are identifiable especially when placed side-by-side with the original source material. That they can reproduce such fast flickering information at all is, well, damned impressive.

    Among the films Broad has used are two Philip K. Dick adaptations Blade Runner and A Scanner Darkly, which is apt considering Dick’s interest in androids and asking the question “What is reality?”
     
    Much more after the jump…....
     

    Posted by Paul Gallagher | Leave a comment
    ‘Technology/Transformation’: Funky ‘Wonder Woman’ mashup from 1978
    05.26.2016
    10:28 am

    Topics:
    Art
    Feminism
    Pop Culture

    Tags:
    Wonder Woman
    Dana Birnbaum


     
    I was recently on vacation in Vancouver, BC and was lucky enough to take in a massive pop culture retrospective called “MashUp: The Birth of Modern Culture” at the gorgeous Vancouver Art Gallery. The show, which took approximately four years to curate, featured a huge array of works from pop culture heroes like filmmaker Jean-Luc Godard, Jean-Michel Basquiat, Keith Haring, and many, many others.

    One of the many delights the show had to offer fans of pop culture was an almost six-minute video by American video and installation artist Dara Birnbaum, a woman at the forefront of the feminist art movement in the mid-1970s. The video, “Technology/Transformation: Wonder Woman,” was made in 1978 and 1979 and features Lynda Carter as her television super-hero alter ego Wonder Woman; explosions, imagery, and audio tracks taken from from her show, which ran from 1975 to 1979; and Carter’s trademark “Wonder Woman” spin—all scored to the show’s own cheese-tastic soundtrack as well as a few added disco fillips. According to Birnbaum, her use of repetition in the video is meant to expose the illusion of “fixed female identities in media” and attempts to show the emergence of a “new woman” through use of technology.

    Since I first saw Birnbaum’s Wonder Woman video, I have not be able to get it out of my mind—it’s a strangely compelling and hypnotic piece of work. The video wraps up with an on-screen transcription of The Wonderland Disco Band’s homage to Wonder Woman, “Wonder Woman Disco” which is nearly as fantastic as the video itself. If you’re planning on visiting Vancouver, BC, I highly recommend that you check out “MashUp,” which runs through June 12.
     
    “Technology/Transformation: Wonder Woman” by Dara Birnbaum:

     
    More after the jump…

    Posted by Cherrybomb | Leave a comment
    Ralf Hütter reviews Kraftwerk’s albums, 2009
    05.26.2016
    10:20 am

    Topics:
    Music

    Tags:
    Kraftwerk
    Ralf Hütter


     
    In 2009 Uncut magazine managed to get Ralf Hütter of Kraftwerk to go through the entire Kraftwerk discography and comment on the albums one by one. Because of his role in creating these albums it’s a bit silly to call his comments “reviews” but you know, it’s close enough.

    When this piece was executed, the split between Hütter and Florian Schneider was quite fresh—Florian had played his last gig with Kraftwerk three years earlier, on November 11, 2006, at Feria de Muestras in Zaragoza, Spain, and the news of Florian’s exit from the band was only a few months old. Uncut addressed the situation in the introduction:
     

    The acrimonious departure last year of Hütter’s fellow Kraftwerk founder, Florian Schneider, is still a sensitive subject. “We haven’t seen him for a long time,” Hütter shrugs. “I cannot speak for my former partner, friend and co-composer, but he always hated touring and concerts.”

     
    Perhaps it was to assuage any doubts people might have about a touring four-piece Kraftwerk with just one member from the classic 1970s/‘80s lineup in it that Hütter chose to discourse so expansively on the legendary band’s illustrious catalog. Uncut skipped a couple of releases, notably Kraftwerk 2, Electric Café, and The Mix, but covered covered the entirety of what they surely saw as the meat of Kraftwerk’s golden period in the late 1970s.

    For every album, ranging from 1970’s debut Kraftwerk up to 2003’s Tour De France Soundtracks, I’ve excerpted a paragraph or so from Hütter’s full comments. For the full scoop, by all means check out Uncut’s page or the large-format images of the pages we’ve provided below.
     

    KRAFTWERK, 1970
    We were finding Kraftwerk, setting up the Kling Klang studio, finding musicians to work with, discovering composition, discovering the German language, human voice, synthetic voice. Me and Florian had our Kling Klang studio since 1970, and before that we had a free-form music group. We used to play at universities or parties or art galleries. And one day we said: OK, there must be a mothership, a laboratory, a studio HQ where we put things together.

    RALF & FLORIAN, 1973
    We listened to quite a lot of electronic stuff at that time. On the art scene, and on the radio. We were brought up within the kind of classical Beethoven school of music, but we were aware there was a contemporary music scene, and of course a pop and rock scene. But where was our music? Finding our voice, I think that was the use of the tape recorder. So that’s what happened, we tried to forget all the things we knew before. I think our contact to the tape recorder made us use synthetic voices, artificial personalities, all those robotic ideas.

    AUTOBAHN, 1974
    It’s not about cars, it’s about the Autobahn. People forget that. It’s a road where we were travelling all the time: hundreds of thousands of kilometres from university to art galleries, from club to home. We didn’t even have money to stay in hotels so at night we’d be travelling home after playing somewhere. That’s very important, it’s not about cars, it’s about the Autobahn. It’s also a road movie, with a humorous twist.

    RADIO-ACTIVITY, 1975
    It’s a science fiction kind of album. Horror and beauty. The concept was infiltration by radio station – which is maybe more dangerous than radioactivity. We worked with tapes, editing pieces, glue. All electronics. And more singing and speaking, like speech symphonies.

    It was written in two languages, English and German. Autobahn was just one. It was not a statement, just these lyrics came to our mind—“Radioactivity, is in the air for you and me…” Just ideas coming together, and then anticipating the next album, which was all in two languages, like in films. There were always talks about Kraftwerk working with films, but they didn’t happen – apart from [German director Rainer Werner] Fassbinder, but he used finished pieces of our music in different interpretations in his films. Radio-Activity was a favourite of Fassbinder, he used it in Russian Roulette and in Berlin Alexanderplatz.

     
    Much, much more after the jump….....
     

    Posted by Martin Schneider | Leave a comment
    Please Respect Our Decadence: The arch minimalism of Algebra Suicide
    05.26.2016
    10:13 am

    Topics:
    Music

    Tags:
    Algebra Suicide


     
    In turn-of-the’80s Chicago, Trouble Boys guitarist Don Hedeker and the accomplished poet Lydia Tomkiw forged a romantic and creative partnership when they married and formed the band Algebra Suicide. They announced their existence to the world in 1982 with the 4-song 7” E.P. True Romance at the World’s Fair, and the title song earned the honor of inclusion on Trouser Press’ Best of the American Underground compilation the following year. The E.P. set the formula for the band’s entire 12-year career: Hedeker would play dreamy, unchanging guitar lines (I wonder if Lungfish were fans) over a simple drum machine pattern while the admirably advanced wordsmith Tomkiw cooly and astutely riffed on romance, culture, alienation, and death, delivering her recitations in tones that could have approached the snideness of the Waitresses’ Patty Donahue were Tomkiw’s delivery not so immaculately dry.
     

     
    The band’s live performances were minimal but memorable. Taking a cue from the Exploding Plastic Inevitable, they dressed all in white and played side-by-side in front of a screen, immersed in projected art. The time I saw them, Hedeker was even playing a clear lucite guitar, allowing just that much more of the projected material to engulf him. Frustratingly, I’m unable to locate any motion footage of the band performing in that manner. Can you just trust me that it was freakin’ cool?
     

     

     
    The band released several EPs and cassettes between 1982 and 1987, when RRR Records released the LP/CD The Secret Like Crazy. It was a best-of, but new fans could be forgiven for thinking it was their debut album, and it serves as a singular and definitive statement of the band’s most vital period. But though it’s essential, it’s out of print. Fortunately, Dark Entries came to the rescue of the fans and the curious in 2013 by releasing Feminine Squared, a compilation whose content overlaps Secret’s by enough to forego the crate-dig, and it’s bundled with a live DVD of excellent quality.

    A 1992 European tour for the album Swoon produced tensions that ended Tomkiw and Hedeker’s marriage, but the band continued until the 1994 release of Tongue Wrestling. Tomkiw released a solo album, Incorporated in 1995, enlisting musical assists from smartass Midwestern art punks Sosumi, Pigface’s Martin Bowes, and Legendary Pink Dot Edward Ka-Spell, but that was her last musical release. She continued to publish poetry until her death in 2007.
     

     

     

     

     

     

    Posted by Ron Kretsch | Leave a comment
    Waxwork Records, the leader in beautifully packaged soundtracks on vinyl (plus a DM premiere)
    05.25.2016
    01:40 pm

    Topics:
    Music

    Tags:
    soundtracks
    Waxwork Records

    Waxwork Records
     
    I love movie soundtracks. The best films usually have awesome scores (which is part of what makes them extraordinary), so whenever I really dig a particular flick I almost always NEED the soundtrack. I used to scour the used LP bins, searching for soundtracks that I wasn’t even sure existed—keep in mind this was pre-web, before you could easily look up such information. I’m not a “vinyl only” guy, but the size of LP packaging (especially if it’s a gatefold sleeve) seems to go hand in hand with the larger-than-life images projected on a movie screen. I’m especially drawn to horror scores from the ‘70s and ‘80s, when greats like John Carpenter and Goblin were creating amazingly frightening works that stand on their own as incredible pieces of music.

    These days, there are a number of independent record labels that specialize in putting out vintage soundtracks on vinyl, but one label clearly stands out from the pack, and that is Waxwork Records. The label issues stellar, creative packages, complete with new liner notes, high-quality jackets, and thick pressings on colored vinyl that often reference the movie itself. New album artwork is also commissioned for every release, with Dave Rapoza of Marvel Comics creating the images for Waxwork’s latest: an expanded edition of the soundtrack for the cult classic The Warriors (1979). Barry De Vorzon’s spooky, pulsating synth rock score—complete and on vinyl for the first time—sounds fantastic. Like many Waxwork releases, it’s going fast, with the colored vinyl editions, including a deluxe package, already out of print.
     
    The Warriors
    The Warriors

    In just a few short years, Waxwork has put together an impressive discography of 21 titles, many of which surely required a ton of legwork to secure the rights for. Perhaps their biggest coup was landing the original soundtrack and the complete score for the monumental Taxi Driver (1976). Penned by the legendary Bernard Herrmann—arguably the greatest film composer ever—the dreamy jazz pieces by now are synonymous with the film. As Martin Scorsese writes in his liner notes: “You can’t pull the images and the music apart. There’s no point in trying.”
     
    Taxi Driver
    Taxi Driver

    Earlier this year, Dangerous Minds told you about Lalo Schifrin’s unnerving, rejected score for The Exorcist—and guess what? Waxwork is readying that one for release as well. They’ve also got a 2016 subscription service, in which subscribers are the first to get their hands on five different titles—plus loads of other of goodies—including the previously unavailable soundtrack for the ‘80s slasher, My Bloody Valentine.
     
    My Bloody Valentine
     
    My Bloody Valentine package
    First looks at Waxwork’s ‘My Bloody Valentine’ package

    More on the MBV release in a bit. First, I had a bunch of questions for the co-founder and CEO of the label, Kevin Bergeron, which were asked via email.

    When did you start Waxwork Records? What was the impetus?

    Kevin Bergeron: Waxwork Records launched in January 2013. The label was started out of necessity, really. I had played and toured in punk bands for many years, and I truly enjoy being in a recording studio and then pressing vinyl. Playing in punk bands for years is good conditioning for running your own business. You learn a lot on your own. There’s lots of discovery and character building skills you acquire that you just can’t learn anywhere else. I live in New Orleans, and it’s a very poor city where not very many people are motivated to do much of anything. I knew that when my last band split I wanted to continue working, putting out music. I was seriously broke, but I really went for it and started Waxwork with a lot of intensity and attitude. I knew that I didn’t have a lot to fall back on. Before Waxwork, I was a cremator at a mausoleum and after that a student majoring in biology. Just depressing stuff. I needed to make music in some form and put it out. I walked away from everything else, and started Waxwork with my partner, Suzy Soto. We pushed very hard, and still do now, over three years later.
     
    Rosemary's Baby
    Rosemary’s Baby

    How do you think that Waxwork stands out from the pack of other labels that specialize in vinyl-only pressings of vintage movie soundtracks? And why exclusively vinyl?

    Kevin Bergeron: Waxwork’s releases are the most deluxe, definitive, and true to the way the audio was originally intended to be heard. We seek out the original master tapes. We work from those tapes because they’re the very first recorded source of the soundtracks that we release. Like, those tapes were in the studio with the performers, recording everything in real time.

    I use this example often, but it’s very true: If you hold up a Waxwork release in one hand and a record from a different label in another hand, you’re going to realize quickly that a Waxwork release is of better quality. That a lot of thought, time, effort, and man hours went into creating it. That it’s worth your time. Worth owning. That’s how we stand out, at least, amongst the other record labels specializing in soundtracks. Waxwork isn’t a hobby for us, or something that we divide up our time with something else. We exclusively run Waxwork. So, we put a lot of effort into everything.

    Why vinyl? Because it’s the sexiest way to listen to music. With a decent stereo set up, it sounds the best to me. It’s a really fun, interactive way to experience recorded music, as well.
     
    C.H.U.D.
    C.H.U.D.: “Toxic Waste Puddle” vinyl

    Much more after the jump, including an exclusive listen to two side-long tracks from the My Bloody Valentine set…..

    Posted by Bart Bealmear | Leave a comment
    Admit it, you want to hear what stoner metal masters Fu Manchu did with DEVO’s ‘Freedom of Choice’
    05.25.2016
    01:30 pm

    Topics:
    Music

    Tags:
    DEVO
    Fu Manchu


     
    Orange County isn’t known for exporting cultural phenomena that DM readers love—or should love—but damned if stoner rock band Fu Manchu doesn’t belong on at the top of that short list.

    Fu Manchu has been plugging away since the early 1990s, having churned out 11 memorable albums from 1994 onward. Their best album is probably 1997’s The Action Is Go—it clocked in at #26 on Metal Storm’s list of the “Top 100 Stoner Metal Albums”—but it’s the band’s 2000 release King of the Road that catches our interest today.
     

     
    As Ned Raggett pointed out in his complimentary Allmusic review of the album, King of the Road may have seemed like just another stoner rock effort, but the album does cohere as an homage to van culture and the devil-may-care freedoms that are (by this time) practically synonymous with the advent of the automobile:
     

    In as much as there’s a theme to King of the Road beyond the basics of driving, drugs, and that demon rock & roll, it’s driving—there’s a reason why the cover and internal art features a slew of great ‘70s-era photos from a massive van rally. The one shot of the fully leather-covered interior of one mobile love nest, complete with black curtains, about says it all. Then there’s the megachugging title track (“King of the road says you move too slow!”), “Hell on Wheels,” “Boogie Van,” and so forth—call it a concept album that doesn’t waste time with elves and yogis.

     
    As the capper to the album, Fu Manchu reached back two decades for a particularly infectious anthem celebrating—if indeed it does—liberty American-style, to wit DEVO’s hit “Freedom of Choice,” which came off the Akron band’s terrific 1980 album of the same name.

    The selection is all the more fitting when you realize that DEVO’s video for that song was every bit as much a tribute to skateboard culture as the cover of Fu Manchu’s The Action Is Go......
     

     

    Posted by Martin Schneider | Leave a comment
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