Visual Art: James Barsness at Arthur Roger Gallery

Weight Loss Jesus, 2007
acrylic and mixed media on canvas
96.5 x 73 inches

     This post-modern body of work utilizes traditional elements of Christianity, Buddhism and folklore to face contemporary issues of obscenity, feminism, cultural trends and consumerism.  "My art partly has to do with my crackpot ideas about life and living," says Barsness in an interview with Hard Press Editions. "I'm interested in how groups of people interact in a continuous environment like a town. It's primarily about the suppression of our natural interests for the good of the whole. I think it's that moment of suppression that initiates much of our creative energy."  

   The statement certainly rings true for this exhibit.  The imagery and themes are wildly creative, playful, and whimsical.  In his artist statement, Barsness says that his complex compositions are influenced by Breughel, Bosch, R.J. Crumb, Tibetan sacred painting and the artistic traditions of Thailand, India and Ireland.

Runaway Train, 2007
acrylic, ink and mixed media on canvas
51.75 x 69.5 inches

    These eight paintings featured at Arthur Roger Gallery
last month have the similar formal components of highly stylized figure treatment and nature motif. Barsness uses intricate dot patterns and lines to create elaborate geometric forms that are not necessarily visible until the viewer gets close. These patterns and the wide color palette compose grotesque, animalistic figures that explore human behavior and desires in terms of contemporary values of pop culture and consumerism. The strongest part of this exhibit is Barsness’ captivating style; the ornate details absorb and captivate.

-Article by Emily Yonker

-Photos from Arthurrogergallery.com on 6/24/11

[gig review] Beirut @ Republic

Last Friday, June 10, 2011, Beirut graced New Orleans with a smashing performance at Republic. Avid fans packed into every nook and cranny that space within the venue could offer. Waves of excitement rippled throughout the crowd as they waited in anticipation for Beirut to take the stage. The diversity of the crowd alone demonstrated the group's widespread popularity—indeed, the audience consisted of a relatively even balance of young and middle aged individuals, all of whom were equally excited for the show.

Beirut, a world class act, draws a wide range of musical influences into a powerful blend of Balkan and Eastern European folk music with Indie rock. Beirut's front man, Zach Condon, formulated the group's distinct musical style at the age of seventeen. While visiting his cousin in Europe, he began to develop a keen interest in various Balkan musicians such as guitarist and band leader Goran Bregovic and trumpeter Boban Markovic. During Condon's musical exploration at this age, he wrote the song which was later to become Beirut's new single, “East Harlem.” This song is one of many to appear on their new album The Rip Tide, which is to be released on August 30, 2011.

In some respects, the release of “East Harlem” can be viewed as a rejuvenation of Beirut as well as a new stage in Condon's career. The supporting band sports a new line up with Perrin Cloutier on accordion and cello, Nick Petree on drums and percussion, Paul Collins on electric and upright bass, Kelly Pratt on trumpet, french horn, and glockenspiel, and Ben Lanz on trombone and tuba.

The night before the show, Paul Collins gave a DJ set at The Saint. I had the chance to speak with him briefly and he expressed excitement over the next night's show. “It's a really good set—we've been working really hard on it. I hope you'll enjoy it,” he said. His words held true in every respect.

Beirut began their set with the song “The Concubine” from March of the Zapotec/Holland EP sparking an exultant response from the crowd. After the initial excitement the crowd's banter lulled to a hush, allowing the musicians to flood the silence with the rich sound of their instruments. Almost immediately, the music invoked a profound sense of happiness and elation throughout the audience. They followed the opening song with “Elephant Gun,” and the crowd’s initial awe gave way to a contagious urge to dance.

On almost every song, the crowd would begin to clap along with the band until heavy percussion signaled the climax of the song. The energy of the audience fueled the group to play louder and more intensely. During the group's performance of “Nantes,” from their album The Flying Cup Club, parts of the crowd broke out into a mosh pit.

The muggy New Orleans summer weather—accompanied in full force with the heat generated by the crowd—drenched the band members in sweat. At one point in the show, Zach Condon commented, “this is definitely the hottest show we've ever played!” Despite the swelter and unbearable crowding, individuals were polite and friendly. We were simply grateful to share the experience with one another.

Beirut ended their set with “Elephant Gun,” placing a particular emphasis on the material in their upcoming album. After finishing the song, they were immediately egged back on stage by the enthusiastic cheers of the crowd. Their encore, however, was not limited to a measly one or two songs. The audience called Beirut back to the stage four times! By the end of the show, the energy of the performers and the crowd had escalated into a mutually ecstatic frenzy.


- Article written by Euan Wallace- All photographs by Joshua Brasted

For more pictures from the show,

check out Joshua's Flickr.

http://www.flickr.com/photos/brasted/

[gig photos] Matt & Kim @ House of Blues NOLA

Wish I could have been there. Here is the evidence it was a blast...









Lots of love,
Aaron

XXX

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For more pictures from the show,

check out Joshua's Flickr.

http://www.flickr.com/photos/brasted/

[show review] Man Man @ One Eyed Jacks

The weirdos and freaks were out in droves on Monday night, which could only mean a lot of things, but this time it meant Man Man was making their triumphant return to the city. Though One Eyed Jack’s seemed a bit empty at first, the floor quickly filled as openers Shilpa Ray and her Happy Hookers took the stage and pounded the crowd with their pump-organ driven, moan-and-scream heavy hard rock. When they finished, the stage was ready to be set for what could I whimsically described as “Pee-Wee’s Playhouse on mushrooms.” The stage itself was decorated with glowing lights, a TV, a starry backdrop, and half of a bicycle, which nobody could figure out why the hell it was there.




With a new record in hand, I wasn’t sure what Man Man were going to bring to the table. The last time I had seen them was at Rothbury in 2009, where they played a pretty even mix of songs from their three records, with the focus being on Rabbit Habits and Six Demon Bag. I knew I was not about to be disappointed when the band took the stage and jumped into the latter’s opener, “Feathers.” The first new track of the night, “Piranhas Club” embodied the band’s more doo-wop sound, and got the crowd moving early. Standard live cuts like “Mr. Jung Stuffed,” “Hurly Burly,” and “Top Drawer” kept the crowd alive between new cuts that, while totally awesome, were sometimes lost on an audience largely hearing them for the first time. For those like myself, who are waiting anxiously for Life Fantastic, the prospect of hearing new tunes was well met, and the band dropped 8 throughout their set.

Where Man Man truly shined, however, was their choice of deeper cuts from their old records. The last time I had seen them, I was blown away when they played songs like “I, Manface” and “Push the Eagle’s Stomach,” but this time they went even further with cuts like “Spider Cider,” “White Rice, Brown Heart,” and the often overlooked gem “Sarsaparilla,” which finally showed us what that fucking bike was for. Not to mention that when they played “Engrish Bwudd,” I’ve never heard so many people scream “get the fuck outta MY house!” so loud in my life. Except for my dad that time I did that one thing.




Needless to say, this show was awesome. Though the heavy focus on new tracks may have rubbed some the wrong way, and some people there were just not down to party (who the fuck tells people to “calm down” at a show? I mean seriously), Man Man gave a hell of a performance. Anybody who didn’t make it missed out on a great concert and should make a point to see this band as soon as possible.

Setlist:
Feathers, Hurly/Burly, Piranhas Club, Mr. Jung Stuffed, Top Drawer, Dark Arts, Haute Tropic, 10 lb. Mustache, Easy Eats of Dr. Galapagos, Doo Right, Bangkok Necktie, Shameless, Sarsaparilla, White Rice Brown Heart. ENCORE: Life Fantastic, Engrish Bwudd, Futurismo (non-album cut?), Spider Cider, Oh La Brea, Van Helsing Boombox





Check out the stream of the entire new album Life Fantastic by clicking here!


- Article written by Jason Kutno- All photographs by Joshua Brasted

For more pictures from the show,

check out Joshua's Flickr.

http://www.flickr.com/photos/brasted/

[review] Crystal Castles @ CAC

If you’re reading this article, or even this blog for that matter, you probably already know most of what there is to know about Crystal Castles. Having said that, I’m going keep this one pretty short and let the pictures do most of the talking. I will, however, sum it up by saying that anything positive you’ve ever heard about a live Crystal Castles show is probably true.




The entire experience is absolutely incredible; from the blinding lights, to the deafening bass, to the chaotic and completely crazy Alice Glass screaming her pretty little lungs out and jumping into the crowd for a quick epileptic seizure.




There’s an obvious reason why this duo has one of the most talked about and sought after live shows in the independent music world. If you have the chance to see one, do yourself a favor, AND DON’T MISS IT.

Postscripts seem to be the trend today, so nice the Cure shirt, Alice.

- Article written and composed by Justen Cheney

- All photos by Joshua Brasted

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For more pictures from the show,

check out Joshua's Flickr.

http://www.flickr.com/photos/brasted/

[review] Sleigh Bells/CSS

The following is yet another installment of insufficient and shoddy journalism fated to suffer at the hands of what seems to be a never-ending semester. Despite an arduous week of final portfolios, papers, and exams, I’ve managed to make it out to several excellent shows once again.
A week ago from today, against the will of my better judgment, I crammed into a compact car with four other students and traveled up to Baton Rouge to catch CSS and Sleigh Bells perform at the Varsity Theatre.
After the stoned and starry eyed opener, whose name I have yet to learn, finished a short set, CSS donned the stage in immaculate numbers. The great and over arching contrast of CSS as an opener for Sleigh Bells is that there really are so many people playing instruments on stage that you can’t even count them (while Sleigh Bells is made up of Derek Miller and Alexis Krauss alone).

Before long, a friend of mine was dancing on a speaker box with CSS front woman LoveFoxxx, and the sold out crowd was bumpin’ and grindin’ in a sparkling bath of glitter. As if the shocking fact that a Sleigh Bells show had sold out in Baton Rouge, Louisiana wasn’t enough to make me believe that Bin Laden is dead (oh, wait) LoveFoxxx’s confession that a crowd of LSU has been the best on their tour thus far is.
Highlights of CSS’s sleazy dance party came (of course) with their provocative ode to Death From Above 1979, “Let’s Make Love and Listen to Death From Above,” and before they could even finish their set, I had never been so glad in my life to completely ignore all of my responsibilities.
Shortly after the clearance of CSS’s monstrosity of a setup from the stage, Sleigh Bells appeared to open with the main theme of “Iron Man,” that was loud enough to blow out some knees.
For those of you out there that have never seen this act live, allow me to share the most valuable lesson I have learned from this show: modern day stadium rock stars truly do exist, and every once in a while a band finds a sound that is actually worth sticking to. This is it if I’ve ever seen it (or heard it) folks – Derek Miller has a wall of 4 Marshall stacks, for Christ’s sake, and that’s one of the coolest things I can personally imagine.

Another excellent aspect of this band is their inability to bore you in between songs. With minimal breaks, Sleigh Bells sends the message loud and clear that they have come to do one thing, and one thing only: to melt your precious face with deafening rock n’ roll music.
Overall, the set was short, concise, and to the point, and while many people allowed this to become the source of their criticisms, I walked away happy, having heard every track I longed for (“Infinity Guitars,” “Run the Heart,” and “Rill Rill”).
The night ended with an almost sexual encounter with LoveFoxxx (flattering nonetheless), broken noses, and whiskey on the Indian mounds at LSU. We even made it back in time for class the next morning.

Post Script: Alexis Krauss is sooooooo hot.











"Let's Make Love and Listen to Death From Above" by CSS






"Infinity Guitars" by Sleigh Bells






"Rill Rill" by Sleigh Bells

- Article written and composed by Justen Cheney

- All photos by Joshua Brasted except Sleigh Bells playlist photo

- Sleigh Bells playlist photo by Chelsea Norris

For more pictures from the show,

check out Joshua's Flickr.

http://www.flickr.com/photos/brasted/

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[show review] Okkervil River @ One Eyed Jacks

Three or four songs into to Okkervil River’s intimate set at One Eyed Jacks Thursday night, frontman Will Sheff removed his thick-rimmed glasses to reveal a knowing pair of droopy eyes. The lyrics and sensibilities of his staunch brand of hyper literate brood-folk serve as an indicator of what those eyes have seen, and they are deservingly weathered. Lines like “Oh, I'm a weak and lonely sort/Though I'm not sailing just for sport” or “The world is trembling and weeping/And at the point of believing” characterize Okkervil River’s music, but don’t define it as depressing or pessimistic. It's theatrical folk music that teases the listener as to what's going on backstage. If you can at all relate to any of the characters in the songs, they provide warmth, comfort, and an abstract understanding.

In concert, these sentiments are personified by the Austin-natives’ mellow, yet inspired performance. Dressed like an indie rock college professor, Sheff led the band through a set of favorites like “For Real,” “Our Live Is Not A Movie Or Maybe” and “Lost Coastlines,” as well as cuts from their forthcoming new album, I Am Very Far. They are still in the process of working out the new album live, making it an endearing experience for the audience to witness rough-around-the-edges versions of the songs. In so many cases these days, touring bands are such well-oiled machines that what you hear on stage and what you hear on record are exactly the same. Seeing a few botched intros and missed cues just made the show all the better.

Okkervil River’s appearance in New Orleans was announced only a week or two before the show, and it was scantily promoted, so everyone in attendance was a true fan. You would look around the room and see folks quietly singing along every word to every song. When the band came out for their encore, Sheff asked for the lights to be turned down, justifying with “I feel like I’m being interrogated.” The lights dimmed, and the venue transformed into your best friend’s living room — just with Okkervil River in the corner playing their hearts out.

Watch the video for "Wake And Be Fine" from I Am Very Far here:

Review by Connor Crawford

Photos by Nicole Nolan

[review] Cut Copy @ Republic

Love the hand gestures.

This past Saturday our friends at Winter Circle Production along with Republic hosted Cut Copy with Holy Ghost! at Repubic. The city had been waiting for this show for some time, which was made evident before the show even began. I approached the Republic to find a line of people wrapped around the block, waiting to get in. Within ten minutes of being present, the door guy put the “sold out” sign up outside, and a lot of adamant fans seemed very disappointed.

Holy Ghost!

Because of the painfully long line, I walked in about half way through the Holy Ghost! set and immediately began wishing I had gotten there earlier. Holy Ghost! provided a nonstop dance party. Lyrics intermixed with disco-y/electropop beats reminded me a bit of LCD Soundsystem’s (44:33) meets the Disco Biscuits. With just a flare of synth layered over computer noises, the crowd was certainly ready for Cut Copy.

The last time I saw Cut Copy was at Ultra Music Festival two years ago. They played on the “indie stage” alongside MSTRKFT, Crystal Castles, and Deadmau5, but it’s super strange to think of those acts on the small stage today. It certainly didn’t take much time to realize one thing: Cut Copy has gotten really, really popular. As I combed through the crowd to fight for the perfect dance space, front and center, I asked the audience if they had seen Cut Copy before, and while many had not, they were all just as excited as the rest of us.

Lights and music are on my mind...

Cut Copy did NOT disappoint; cheesy 80’s dance pop is so in right now. My spot in the middle quickly became a swimming pool of sweat, as the synthesizers carried the band from track to track. After chanting “Lights and Music” five songs in, it was time to run upstairs. To no surprise, even those who were pushed far away from the railing were still dancing harder than I had seen anyone dancing in a long time. Front man Dan Whitford did a great job of controlling the crowd with his… hands. If Cut Copy ever fails, this man could easily conduct the Los Angeles Philharmonic. The music builds, and his hands are moving up. The music slows, and his hands are moving down – it got comical at times.

Cut Copy’s music is immensely popular at this point. To describe the sound would be a waste of time, as everyone should know what they sound like. Live, they sound even better. One thing that can be said about Republic is that they have a truly amazing sound system. Throbbing bass and synth left this reviewer deaf, smelly, and physically exhausted.





- Article written and composed by Aaron Saltzman- All photographs by Joshua Brasted

For more pictures from the show,

check out Joshua's Flickr.

http://www.flickr.com/photos/brasted/

[review] the raveonettes

The Republic was thick with sound from wall to wall last week. The Raveonettes, the Danish duo that burst onto the music scene in 2003 with their first album Chain Gang of Love, returned to rock New Orleans hard and roll it home.

I stepped outside before the show to have a smoke and kill some time. As I stood on the sidewalk, a taxi pulled up to the corner—an event to which, naturally, I paid little attention. I nearly dropped my cigarette when I saw Sharin Foo (bass, guitar, vocals) exit the cab and strut past the bouncer into the venue.

Just in time for sound check. These guys are pure fucking rock and roll.

Their distinct sound consists of a mixture of 50’s and 60’s rock and diverse instrumentation, as well as vocal harmonies that range from melancholy to ominous. The group finds its influences in groups such as the Velvet Underground and Jesus and the Mary Chain, and have in turn influenced acts such as Best Coast, Vivian Girls, and Dum Dum Girls.

In short, their style is something like a surf-rock noir genre—if I may take the liberty to coin such a phrase. Rest assured, these Danes really get you dancing.

Having accumulated nothing short of a cult following throughout the span of their career, it should go without saying that the energy in the crowd was phenomenal. They kicked off their set with “Recharge and Revolt,” the title track from their new album.

They made a point to play their earlier material as well as a polite nod to those in the crowd that have waited years to see them. I was especially excited when they played “Love In a Trashcan,” an aggressive track rife with sexual innuendo. If you listen hard enough, you can hear Martin Rev (of the 70’s electro-punk duo, Suicide) hypnotically hammering away on an old drum machine.

The duo switched back and forth between the guitar and bass, while two drummers added rhythm with electric kits. Every now and then they would hand over their instruments for one of the drummers to take over, freeing up their hands to add a little dramatic emphasis to their vocal performance. A system of thin, sleek lights flooded the stage and draped silhouettes over their instruments.

At the end of their show, the crowd goaded them back on stage for an encore performance. They left us dazzled with the song “Lust” from their 2007 album. Wistfully singing “I fell out of heaven, to be with you in hell,” they drew their set to a close.

- Article by Euan Patrick Wallace- Photographs by Joshua Brasted


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[show review & interview] Animal Collective/Sun Araw in Redway, CA

The drive through the Redwood Mountains is pretty spectacular. The air is so clean and the breezes never seem to end. After traveling 3 hours north of San Francisco on Hwy 101, you arrive in Redway. Driving through the forest is unreal, seeing local homes hanging off the sides of hills and at the mouths of valleys. The mountain ranges are gorgeous, just the kind of place I could see Animal Collective and Sun Araw performing. The venue was an auditorium in the Mateel Community Center. Definitely small and suiting for a personnel performance.

Sun Araw

Smoked-up jams and electronic grooviness are key when Cameron Stallones aka Sun Araw sits down to write tracks. Stallones, originally from Austin, but now calls California his home, favors guitar riffs and back noises that build on drone and blurriness. Lo-fi aspects give it the tranced out effect of tribal music. Last years On Patrol is a psych journey through what feels like space and time, slowed down. Vocals, when present, are mangled and usually serve as another layer of the sound. A good bit of his material is released in LP's and cassettes through Not Not Fun(Pocahaunted, Psychic Reality), and various other small labels. Stallones tunes transfer over great live, with a full(3 pc.) band killing it with intros/outros that seam together quite nicely. I heard recognizable tracks from On Patrol, as well as new material. There was a lot of improv and vibing. They played for a solid hour which felt like much longer. The lights gave that psychedelic visions feel with a glowing projector to boot.

Cameron Stallones

Sun Araw

This was my 3rd time seeing Animal Collective. The collaboration of these artists together is just really great to see. I never know what to expect, what the setlist might be like, or what they are wanting you to hear on that particular date. As a group of artists, they have always gradually matured in sound. From humble beginnings in Baltimore and NYC, shortened lineups, and a nice catalog of music, they are still playing exactly what they want.

Animal Collective

With the recent release of a cassette tape that contains one original track by each member of the band, a new full length is just around the corner. They started out playing an opener with samples and the usual drone and rolled into 8 brand new songs and remixed/revamped versions of Did You See the Words, Brothersport, Summertime Clothes, and We Tigers. Each succeeding one another back to back with very little pausing or words and more instrument tuning and tweaking. Noah was on full drums and various percussion the entire time, the screen behind him flickering with colors and flashing lights. The mannerisms portrayed by the members reveal strong musical bonds and the way they feed off each other with cues makes you wonder how much they actually improvise on their material.

Avey Tare

More than a few of the new songs are catchy, and almost cheerful, sometimes sounding like a practice session where they are just brainstorming as they perform. The set lasted well over and hour, with the encore, of course, being two additional brand new songs. I talked to Lennox and Deakin for a bit before the show about life and the music they create.

a/o: Hey, i'm looking forward to the show a good deal.

Lennox: Thank you so much, that's good to hear, thanks for coming out, I hope it will be worth the ride.

a/o: No problem, so what have you guys been up to? And what can I expect from you tonight?

Lennox: We've been working hard writing and making new material. You're going to hear a lot of that tonight.

a/o: That's great, what is your favorite venue, personally or as a band?

Lennox: I'd have to say the Bowery Ballroom in New York City.

a/o: What's after this small California tour and Coachella?

Lennox: After this, we're heading to Minehead for our curation of the ATP festival and then a European tour, followed by more US dates.

a/o: I'm really enjoying the Tomboy LP, how many 7" singles were released for that?

Lennox: I believe there were four released.

a/o: Awesome, what are your thoughts on the recent cassette tape release included with your shoes?

Lennox: I really enjoyed working on that, it was for a great cause and they came out good. I felt like it was the first time we released music where each band member had their own singular vision. And I like deakin's shoe design the best. i'll be wearing those the most (chuckles).

a/o: That's really interesting, you have several kids right?

Lennox: Yes, correct, I have two.

a/o: Is there anything in particular you can share that you've been listening to in the past months?

Deakin: To tell you the truth, not really. We have just been practicing all of our material and perfecting it. We haven't really been listening to anything.

a/o: Well thank you for chatting with me.

Lennox: No problem, thanks so much for coming out.

Noah Lennox and Deakin

Composed by: Justin Braud

Photos by: Justin Braud
Interview by: Justin Braud

[show review] - band of horses

Every once in a while an indie band is lucky enough to accomplish something that outweighs the more moderate buzz-band bliss achieved by “successful” indie acts. Granted, it’s easy for us youngins to idolize musicians like Julian Lynch and Nathan Williams, who have enjoyed some degree of international acclaim, but what is their success really when compared to the modern status quo? The sad truth is that it probably isn’t what all of us liberal arts majors in universities across the world crack it up to be. The same cannot be said for South Carolina natives, Band of Horses however; the things accomplished by Bridwell and company in the last seven short years is nothing less than astounding in the realm of independent music.

Don’t get too carried away, though, because every up has its down, and unparalleled success can be a breeding ground for skepticism, especially when pretentious hipsters get involved. But before you get your American Apparel panties in a wad, let me say that it’s impossible for me to make such a statement without also slighting myself a bit. It’s true – when the Horses latest Grammy nominated album, Infinite Arms, came out last summer, I mounted my high horse and continually consoled myself with the thought that nothing would ever top their sophomore release, Cease to Begin. Last night I shamefully dismounted that horse.

After a solo performance by Tyler Ramsey, who is also the Horses lead guitarist, Band of Horses appeared on the legendary Tipitina’s stage to play a lengthy (but seemingly short) set for a sold out crowd. Before opening with a stunning electric rendition of the simple acoustic track “For Annabelle,” Bridwell shared with the crowd his bands intentions to “come out slow, and work [themselves] into a groove.” That’s precisely what they did, and that groove didn’t stop for close to two whole hours.


While a projection screen flashed scenes of southern nature onto the wall behind the stage, the band meandered through their entire musical catalog, playing a balanced number of songs from all three of their albums. This is where I get on my soapbox to preach the importance of seeing this band if you have ever loved any of their music at any point in their career. As previously mentioned, I wasn’t overly impressed with Infinite Arms, but that didn’t stop ‘em from playing all my old favorites like “Marry Song,” “No One’s Gonna Love You,” and “The General Specific.”

After closing with what is apparently their “favorite closing song,” “Is There a Ghost,” the band returned on stage for a three song encore. The first piece was a little acoustic number shared by Ramsey and Bridwell alone, followed by “Cigarettes, Wedding Bands,” and finally what may be everyone’s favorite Band of Horses track, “Funeral.”

Let it be known that these southern boys know exactly what they’re doing – especially their sound guy. Bridwell’s loud, clear, and powerful vocals soar, and it’s obvious that he has a voice that is mature well beyond his years. In the end, the moral of this story is that you shouldn’t question whether it’s a good idea to go see this band if you’ve ever loved them like I do. And for heaven’s sake, if your bigotry allowed you feel the way that I did about Infinite Arms, give it a second chance. I know I will.



Laredo

No One's Gonna Love You

- Article written and composed by Justen Cheney

- All photos by Joshua Brasted

MEN - show review

Le Tigre side project MEN entertained an interesting but gracious and lively crowd at the Republic last night while James Murphy and LCD Soundsystem were busy ending their careers together in NYC at Madison Square Garden.

When gender accusations become a responsibility in honest journalism, things always get a little weird; being politically incorrect is more horrifying and embarrassing than waking up in a grocery store naked these days, but I’ll try my best to stumble through this one.

Aaron said it best in his Big Freedia post a week or two ago when he made the claim that bounce music “is New Orleans.” Big Freedia, accompanied by Rusty Lazer and two very ambitious young women shaking every inch of what their mommas gave them, opened for MEN and the message was the same as usual: “hands on the floor, / ass everywhere.”

Men donned the stage wearing awkward pink helmets all connected to one another, forming a triangle with their heads at each angle. The group lived up to the dancy standards that they hold themselves to when performing live and the set was energetic throughout. It showed in the crowd and a friendly little mosh pit even formed at several high points during the show.

Some of these high points include several well-known tracks from this year’s release, Talk About Body, like “Credit Card Babie$” and “Who am I to Feel so Free?” For the encore, the group shared their own version of a Bikini Kill song, and that was definitely a treat.

Overall, the music side of things was pretty good. Maybe I was just tired from a long day at the New Orleans zoo but it did seem a bit generic at times. Don’t let that turn you off though, because one should never underestimate just how entertaining and goofy JD Samson is running around on stage dishing out sweet high kicks in a onesy with that cute little mustache.

The Republic really has a really impressive line up this spring for those of you that haven’t already taken notice. Warpaint, the Raveonettes, Cut Copy, and Beirut are a just a few big names that I’m excited to see in the next couple of months. For a complete live calendar and tickets visit their site.

MEN- Credit Card Babie$

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Tulane Girls Sadden Fans!

Snoop kills it...

This past Tuesday, Snoop Doggy Dogg graced Tulane with his presence in McAlister Auditorium. I'd seen Snoop once before, and while I usually try to avoid concerts of stars as large as Snoop, his show was worth making an exception for. The man knows how to entertain. He’s done music, TV, movies, commercials, and even a “Girls Gone Wild” DVD (which he signed my copy of!). Years of experience in the entertainment business have clearly paid off, as he was able to keep the crowd energy at a ten all night.

Snoop played a great mix of his tracks, both new and old. It’s amazing how many Snoop songs I know without realizing it. He's been around for so long and produced so many great tracks that his music has wormed its way into our collective unconsciousness. I found myself singing along to almost every track without even thinking about it, and so did most of the crowd. Mystikal made a surprise guest appearance and performed a couple of ditties including “Shake Ya Ass” with Snoop. Ace! I could go on forever about how great the show was, but that's not the point of this article. Something happened at the show that put a massive damper on my evening. I can’t stop thinking about it and I have to get it out somehow.

After an incredible display of booty shaking by one lucky fan, Snoop began playing “Sensual Seduction” and a pack of about thirty Tulane girls joined him onstage. They lined up towards the back, in front of the band, and began to… move their knees. What in the world?!!?!?!?!?

Call me crazy, but if you are invited on stage with Snoop Dogg, DANCE!!! I’m talking drop it like it’s hot. Hotter than hot. Hands on the ground, butts in the air. Hump the floor. Whatever, just do SOMETHING rather than act like it’s a Tuesday night at the dumb Boot. Some girls didn’t even move at all until one of Snoop’s boys told them to dance. I could not believe my eyes. It was so pathetic.

I want to extend my apologies to all Tulane girls. I have been a semi-fan of you all for years now, but after last night, I am saddened. All your reputations were tarnished Tuesday evening whether you could help it or not. This is a day that will live in infamy.

I leave you all with one piece of advice. College is about loving oneself and being comfortable to really show the world who you are. Grab life by the balls. If you are given an opportunity like dancing for Snoop, embrace it to the fullest. Drop the insecurities. No one cares, and no wants to be a part of them. Confidence in everything you do will get you ahead in life. Until next time…. SnnnnOooooOOOOOOooOOoOooPPP!!.

*Note: This article was also published in the Tulane Hullabaloo. Check it out here!

Snoop Dogg's 11th (!) studio album Doggumentary will be released on March 29. Check out one of the tracks from the awesomely-titled LP below:

Always dancing,

Aaron

XXX

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surfer blood [live]

The Parish has done an excellent job recently of really helping me get into an appropriate summer mood (as if the weather wasn't enough). The small upstairs concert hall at the House of Blues has been host to many impressive acts like Tennis, Holiday Shores, and Surfer Blood in the past two weeks alone.

Last Wednesday a surprising crowd came out to see Florida beach indie-rockers Holiday Shores and Surfer Blood do what they do best. As a huge fan of Holiday Shores' debut record, Columbus'd the Whim, it was much to my chagrin to hear only two songs from the 2009 gem. But even in the shadow disappointment, I was thoroughly impressed with the bands overall delivery. Many of the Shores tracks, performed live, are given liberties by the band to develop and evolve, allowing them to become entities of their own and go places that may not be experienced otherwise. Though this tended to account for a playlist composed of many longer pieces, an atmosphere of depth and timelessness, reminiscent of the Doors, was achieved.

The energetic and talented musicians that make up Surfer Blood were nothing short of extraordinary. When a band drenches their music in as much reverb as these guys do, it's always hard to know what you should expect live. But rest assured hipsters, my skepticism has been put to bed and I'm a believer; the delivery of their music live, along with their onstage antics, is impeccable. The setlist, as expected, was made up predominantly of hit tracks from their acclaimed 2010 debut release, Astro Coast. However, the set was also littered with several new tracks that makes giddy as a little girl to get my hands on their forthcoming EP, I'm Not Ready. The future is bright for these young men; put on your sunglasses.

*Disclaimer: I couldn't help but throw in this sweet picture of me getting down onstage with Surfer Blood. Thanks for the photo, Josh.

- Article written and composed by J. Cheney- All photographs by Joshua Brasted

For more pictures from the show,

check out Joshua's Flickr.

http://www.flickr.com/photos/brasted/