Monday, December 1, 2008

This Week: Gates of Slumber (Tonight!), Bloodbath & Beyond (Wednesday), Liturgy (Friday), Nachtmystium (Sunday)



Krallice's label-mates Gates of Slumber headline precious metal tonight. Nick, Lev and I will be headed over later in the evening. The perfect ending to the beginning of my week. Details below.

LIT LOUNGE $6, 21+

GATES OF SLUMBER (Profound Lore Recs; classic doom metal)
DEMIRICOUS (Indiana thrash)
BATILLUS (NYC doom)
LA CROSS (New Wave Of New York Heavy Metal)




Wednesday is another installment of my favorite mid-week happening, Bloodbath and Beyond. Brandon will once again be hosting a night of dark recordings, with the always lovely Ms. DJ Shark and special guest, the Lev. I will probably be spending the evening once again huddled next to a speaker with my sketchbook in one hand and a shot of whiskey in the other. Full Details below.


BLOODBATH & BEYOND

wednesday, 12/3
a night of metal w/ DJs Jaclyn "Shark" Sheer & Brandon Stosuy and special guest DJ Lev Weinstein (Krallice, Bloody Panda)

12/3
9:00 PM
Heather's Bar
506 E. 13th St., Near Ave A
http://www.heathersbar.com/
FREE


Finally, don't forget to check out Liturgy on Friday at Death by Audio and Nachtmystium on Sunday at Public Assembly. Liturgy show was posted a few days ago. Nachtmystium info below.

Thursday, November 20, 2008

DJ Grimm Kim at Lit Monday

WOE, MISANTHROPY LEGION, IMMANENT VOICELESS + DJ GrimKim @ Lit
"Black metal mayhem on the Lower East Side..."





Precious Metal & Catharsis PR Present:

WOE (Stronghold Records)
Misanthropy Legion
Immanent Voiceless

$6, 21+

www.myspace.com/preciousmetalnyc
http://www.timeout.com/newyork/events/rock-pop-soul/257350/precious-metal-with-woe-misanthropy-legion

Tuesday, November 18, 2008

Tomorrow, Blood Bath & Beyond at Heather's Bar

Liturgy December 5 at Death By Audio


Hello Scenesters,

My good buddy Hunter will be playing a show with his Black Metal project Liturgy on December 5th at Death By Audio, along with maybe one million other bands, most of which I do not know. Yes, count them, one million. I'd say Clusterfuck was a pretty clever title for this extravaganza.

In other Liturgy news, the band is working on a new album. I was over in Bushwick this afternoon discussing a new logo while he was working on it.

Check out Liturgy's post-nihilistic stylings on Myspace.

Saturday, November 1, 2008

Remember to Vote on Tuesday! Obama 2008!



To my beloved readers,

It has been a spell since I committed myself to placing something here. I am long over due.



Life has been crazy. Last Wednesday I found myself in Heather's at Brandon and Jackelyn's most recent heavy metal dj set, Bloodbath and Beyond. Sitting at the bar opposite Lev, Nick and I was one Sasha Grey. Like I said, crazy. Brandon is hosting another DJ set tomorrow evening at Public Assembly (Show No Mercy, flyer at the top of this post).



Last night I brought in All Hallows Eve at Unsound listening to the awesome reverberations of two Canadian bands, Menace Ruine and Nadja. Brandon turned me on to Menace Ruine a little while ago, around the time he interviewed the couple for Pitchfork. I instantly fell in love with their starless, pummeling aesthetic. I couldn't imagine a better compliment to Nadja.

Krallice is on hiatus while Colin and the rest of Behold...the Arctopus are touring Europe with the three good gentlemen of Genghis Tron. (Tonight they are playing in Oslo, Norway.) However, upon his good return, the blackmetalers from the outer boroughs will be making new appearances, including their first show on the West Coast. And guess who gets to go? Me, yes, that's right. I promise to take pictures of this one. Speaking of Krallice pictures, Brooklyn Vegan has some choice shots posted from the CMJ music festival show the boys played with Vreid. (You can check out Vreid here.) The lovely Beverly Battle also has some pictures of the event on her blog, Reality No-Show.

Brooklyn doomsters Bloody Panda are playing shows tonight in New Jersey and tomorrow in Massachusetts.

I heard a rumor the other day that there will be Krallice t-shirts available for purchase soon. I also heard a rumor that Colin and Kevin were traveling upstate to jam out some classic fucking shit with Luc Lemay and John Longstreth. Speaking of Longstreth, Origin played a wicked show at Rebel in late September. Boasting an unrelenting lineup (Misery Index, Fuck the Facts and Malignancy), this show was nothing short of full throttle brutality.

Sunday, September 14, 2008

Lightning Bolt, Growing, Krallice, Daily Life`

Todd P's Back to School Party
979 Broadway btwn Myrtle Ave & Ditmars St | Bushwick, Brooklyn


Featuring: Lightning Bolt, Growing, Krallice, Daily Life

---

You should call it the Bushwick Festival. Doors opened early. It was a cloudy afternoon, threatening cloudburst. We stood there, under the junction of J and M, as the once vacant lot on Ditmar and Myrtle became a carnival most extreme. The torrents from the sky held off, while those from the ground broke across our mass. Under the light of the M train, we stare up from our ecstatic sway. The elevated passersby peer out, marveling at our spectacle. The sky descends into darkness. Lightning strikes, finding ground. The darkness pierced by train light.

Monday, August 11, 2008

Ode to the Muse of Polyurethane

So, I recently started a new job as an art fabricator at KB Projects. I did an internship over the summer and they hired me full time, woohoo. I spend most of my day laying fiberglass and carbon fiber into the undersides of amorphis forms. With my face in a respirator and my body in a tyvek suit, I look like a spaceman, or the staypuff marshmellow man. Since its the closest I am going to get to either, I'll take it.

Buckets are a commodity as an art fabricator. A clean bucket is like a gift from god. And when someone steals your bucket, puts pigment or some other unknown viscous material into it, well, it doesn't feel very good. This is an ode to the Muse of Polyurethane. And Silicon. She can come too.



Thursday, August 7, 2008

Gem sweaters

7:23 PM im sorry, for this
http://www.youtube.com/watch?v=uh_81Ywan9Y&feature=user
but you MUST see it
spatrello: haha ok
why does she say "gem sweaters" the same way EVERY time?
7:24 PM me: she kind of raps
uh, here
spatrello: haha
me: http://www.youtube.com/watch?v=ypn436DFTUQ&feature=related
7:25 PM it makes me laugh. stupidly hard
spatrello: oh my god
this is upsetting
oh god i had to turn it off
me: yes, it is
spatrello: thank you for upsetting me
:P
7:26 PM me: look, i said i was sorry before i even gave you the link
spatrello: lol
fair

Tuesday, August 5, 2008

Pushead, Baizley, and a few drinks with Mike




I was recently talking with Mike Sochynsky of Gengis Tron. We to talking about the Krallice logo and then to talking about why I've chosen to make artwork for heavy metal bands rather than, say, make work I thought would be good to sell in galleries. I said I had been kind of inspired by John Baizely of Baroness. I really feel that his work is a breath of fresh air to metal. His work, at its best, is intense, moving and beautiful. Actually, truly beautiful. So much of metal art is terrible. Utterly terrible. I can't say that, however, with out admitting that I have a great affinity for most of it. If I owned a poster for every Cannibal Corpse album cover, I would probably hang them up in my home...ALL of them.

Mike asked me if I had ever heard of Pushead. No. Ignorant me.

Baizley, he says, openly admits to ripping off Pushead. His style, his visual vocabularly all come form this one source.

So, I look up Pushead. I realize a couple of things. (It was a revelation really.)
1. Holy fuck, this dude is amazing.
2. J.B. really did steal this shit! Not just a little bit either. Vocabulary, syntax, style...the whole kit and caboodle. In fact, if you really wanted to be critical, you would realize he doesn't manage to add much to it either. The scope of Pushead's aesthetic is actually much wider, and inventive, mapping itself onto many music sub-genres and sensibilities.
3. Extreme music illustrator specialist. This is who I want to be.
4. I want to remake this dude's sense of beauty, sense of intensity and vitality, but in my own way.

I can't give Baizley too hard a wrap. Maybe one would expect me to, belittling him for a lack of creativity. But to be fair, we all steal. I steal. Mostly from Vesalius, but still, just because it's from the sixteenth century and there really was never copyright on any of it, still doesn't mean I didn't steal it. Moreover, I am a scientist. I understand the value of repeating an experiment, just to see if it still works under different circumstances at different times. John, if you ever read this, it still works.

Pushead with his illustrations:

Saturday, August 2, 2008

New Drawings Uploaded

I uploaded some new images of drawings from the last year. I'll keep adding more across the week.

Friday, July 25, 2008

Shows at REMAINS this Friday and Sunday





I think this summed it up pretty well: On the waterfront: Krallice at Remains



On the waterfront: Krallice at Remains

A beautiful waterfront view, free refreshments, twentysomethings milling about on a patio, a cute but unfriendly Beagle, corpse-painted black-metalists, two seemingly fused-together pigs--a mother and its baby, someone said--roasting on a spit. There are probably few locales on earth where such paradoxical sights would be see-able all in one place, but there they were. Having been way behind the curve and not yet having caught Krallice--the new black-metal endeavor featuring Colin Marston of Dysrhythmia and Behold... the Arctopus fame, and Mick Barr of Orthrelm, Octis, Ocrilim, etc.--I headed out to Long Island City with Laal this evening to what I thought was going to be some low-key loft party but was in fact a decently mobbed BBQ/black-metal show at Remains, the gargantuan hangar/workspace of one Matthew Barney.

What to do w/ the high-artification of metal? A quick primer: Barney, one of the most successful avant-garde artists in the world--and auteur of some pretty incredible art flicks, e.g., Cremaster 3--has made no secret of his love for the stuff and featured it in his films in a sort of abstract/conceptual way, presaging the whole Sunn O))) vibe, i.e., the rampant art-gallerization of the metal aesthetic. (Not to mention articles like this.) I'm wary of the whole trend--how could a longtime metal enthusiast not be, at least a little bit?--but what I saw tonight was encouraging: Metal may be going highbrow but it doesn't seem to be alienating the non-beard-scratching set in the process. I saw a merch table from Redrum Records--with all kinds of black, death, thrash, etc., on offer--and plenty of bona fide leather-and-spikes longhairs milling about. I was happy, in other words, to feel quasipreppy and totally out of place.

Krallice--their logo, above, *might* contain their name, but it also might just be really cool to look at--summed up the duality. On one hand, they were totally withering: merciless in that classic black-metal way, where the music seems to approximate horsemen galloping along a frozen plain through howling wind and rain. On the other, though, there were glints of an avant-garde aesthetic: songs that went on long enough to approximate trancey minimalism, plus ultra-alien guitar-chitecture courtesy of Marston and Barr. The music was like a snowballing tank; chugging along, it accrued weight and density and achieved a genuinely epic quality. Barr's vocals were shrieked violently, in a nod to the not-broke-so-no-need-to-fix-it genre convention. There was nothing arty about the presentation whatsoever, just righteous and admirably straightforward rocking and/or blast-beating (drummer Lev Weinstein did an amazing job of keeping a steady, pummeling pulse with just the right amount of embellishment, i.e., very, very little). But knowing Barr's other work, which often touches on a realm that might more accurately be termed modern composition than any sort of metal, let alone rock, it was easy to consider the music outside of its immediate context, i.e., somehow transcendent of its form. When I focused on his trademark filigrees, which really got ample time to breathe, the music took on this dazzling 3-D effect. In other words it was equally appropriate for headbanging and mindwarping.

So I guess the lesson is that there's not much point in being possessive about metal's place in the culture, whether you want to view it as a raw form of folk expression or as some sort of heavily symbolist high-art milieu. The premier bands in the field, like Krallice, hold up just fine under either gaze. (Hear for yourself on their s/t debut CD on Profound Lore; buy here. It's a stunningly atmospheric piece of work; Marston has described his Warr guitar--used in Arctopus--as a hell-harp but his and Barr's work here seems like a far better fit for that tag.)

posted by Stay at 11:33 PM



Live footage of Copremesis' set on Friday: http://www.youtube.com/killerteeth

Jae Saam Trio's Photostream on Flikr

Finally, here is a link to a message board with pictures of the event. I have to warn you...I mean I REALLY have to warn you. This is NOT safe for work. If it was, I would have reposted them myself: http://www.smnnews.com/board/showthread.php?p=2868601

Sunday, July 13, 2008

Krallice Album Available for Purchase

Krallice debut self-title is now available for purchase at Profound Lore Records. Copies of the album will also be sold at upcoming live shows.

Krallice Review in Decibel Magazine



This month's Decibel Magazine features the first major review of Krallice's self titled debut album. With a rating of 9 out of 10, the boys from the outer burroughs have nothing to be ashamed of! And finally, the cult of Mick Barr has something just the tiniest bit more fashionable to gush about. Although this girl is a huge fan of Barr's previous work in his many O bands (Ocrilim, Orthrelm), the Krallice album does have a strangely accessible feel that is earning the band well deserved praise, not to mention packed New York shows. If you missed the Death By Audio show last night, be sure to check them out at Union Pool on the 23rd. In the meantime, pick up a copy of the review and treat yourself to a few moments of black metal rapture.

Tombs, Bloody Panda, Wetnurse, Krallice @ Death by Audio

Tombs, Bloody Panda, Wetnurse, Krallice @
Saturday July 12, 2008http://www.blogger.com/img/gl.link.gif

Monday, May 19, 2008

Malignancy, Defeated Sanity, Mucopus, Sexcrement, and Compremesis @ Rehab


---
Malignancy, Defeated Sanity, Mucopus, Sexcrement, and Compremesis @ Rehab
Wednesday, May 21, 2008
---

This show was great. Perfect, really. I arrived during Sexcrement's sound check. People were milling around outside and at the merch. table, flipping through cds, drinking liquids of varying amber colors. I went downstairs, grabbed a Bass from the tap, a stool by the bar and waited for the show to start.

Sexcrement's set was lively. A boy with long, blond curly hair and a German accent asked who they were. I wrote it on a flyer for Phobia.

Outside, I smoked a cigarrette, wondering if Max would show up. He told me about the show a week or so before. I got a call from Nick. I picked it up. "You at the show?" This is a weird question, as I knew he was in Chicago recording with Sallah. "Uh, yeah, actually. Why? Are you?" "No, but Max is. He just sent me a text." "Oh, cool! I'll go find him." I walk in, and there, wearing a Megadeth shirt, drinking a Bass from the tap is Max.

Mucopus starts warming up and we head downstairs. The punishingly hard and unconfortable vibrations begin again. The lead singer is careening about the audience, pushing it back towards the bar, spilling drinks as he teaters to and fro. Further and further until he spills MY drink all over MY jacket, my shirt, my pants, my bag...I promptly grab him by the scruff of his shirt and push him back out into the crowd, what's left of my beer flying everywhere, all over me, Max's shirt, my hair, the singer's face, eyes burning blind in the blue neon basement darkness.

Outside, we smoke more cigarrettes, talk of drinking many more beers.

Defeated Sanity starts warming up. Down, down, down we go again. To the front this time! Buying merch. after the show, the singer tells me it was their first time in the U.S. I give him a high five. I ask him how he liked it. "Not enough moving." he says.

Next was Malignancy. To tell the truth, I was pretty drunk by this point. Max and I had been killing beers at every set and at some point I decided to treat myself to a shot of Maker's Mark. I went back outside with Max to smoke another cigarrette after a couple songs. At some point in the night I met Makoto of Pyrexia/Hate Eternal. There was an after party at some lower side joint that had a decent soundtrack working in the background. We flood the bar. It's packed not, barely room to move. Makoto and I drink gin and tonics. Our group gets pushed out after last call, watches the sun come up at some pizza joint in the lower numbered streets.

By 6 am, I was leaving the 6 station at 96th street and walking West. I crossed the park with joggers and early commuters. My face glistened with the beading moisture of dew, sweat, Bass and gin. It sparkled against the saffire sky of the warming dawn. I fell in to my bed, fell asleep with my shoes, my saturated clothes still on and did not remove them until 2 that afternoon.

Tuesday, May 13, 2008

Krallice Album Artwork Preview



Listen to Wretched Wisdom on Profound Lore Records HERE.

Full length album due out late July.

Monday, May 12, 2008

Bach's Coffee Cantata @ The University of Chicago

Coffee Cantata by The University of Chicago Cantata Collegium
Directed by Stephen Raskauskas
The University of Chicago
May 10, 2008

---

This past weekend I traveled back to the University of Chicago to see the final performance of Bach's Coffee Cantata, directed by my good friend Stephen Raskauskas.

Stephen and I were sitting in the lobby of the Smart Museum of Art about a year and half ago drinking heavily caffeinated espresso drinks before our shifts. I had recently graduated from the University of Chicago and was working the summer before moving to New York City. It was to be the day the Coffee Cantata found its wings.

Stephen told me he was horribly, unconsolably depressed. I asked him, why? What could prompt such utter lowliness of spirit in someone I knew to be both imaginative and hard working? Well, he told me, he had this wonderful, passionate idea for his B.A. project. He wanted to make an opera. He had all the pieces. He knew singers who had already voiced their interest to be a part of a production. He knew musicians talented enough to perform the piece. He knew set designers and costumer makers. He even worked at the Lyric Opera in Chicago where he could research the period of the piece and ask for suggestions and guidance on how to put the production together. So, again, I asked him what was getting him down. Afterall, it seemed that he should be very happy, very motivated to make this production happen since he everything he needed. Not everything, he said. I don't have the money. Well, I said, how much do you need?

I had served on the Student Fine Arts Fund my senior year. The Student Fine Arts Fund gave away $1,500 every quarter to student art projects. Stephen could easily have won the Student Fine Arts Fund grant money, but it wasn't enough. He needed at least $5,000 to make the production acceptable to his standards. The Student Fine Arts Fund was the daughter grant for the UChicago Arts Grant, which gave away in upwards of $10,000 each year to student art projects, particularly those that incorporate the talents of many people and show a strong sense of research, craft and collaboration. Stephen's opera was a perfect match, which I promptly informed him of.

I gave Stephen the web address for the grant information and application. I gave him the name of several administrators in the University that I knew to be affiliated with the grant committee. I gave him a list of tasks he would need to do at least half of if he wanted to have a real chance at getting this money, such as getting people to officially sign onto the project, making detailed and itemized budgets for each and every aspect of the production, and finding a faculty member (preferably from the music department) to act as the production's faculty advisor.

Knowing Stephen to be an ambitious and hardworking person, I reasoned these tasks would be completed by the end of summer, allowing several weeks at the beginning of the quarter to write and submit the grant application. When Stephen called me a little over a week later and told me that not only had he done everything I recommended, but that he also had second appointments and official planning meetings with some of the highest members of the school's administration, I knew then how awesome the production would be.

And awesome it was indeed! Congratulations were handed out. Hugs and blessings of every kind erupted at the end of the performances. Humble, as always, Stephen's only words about the production were: I just wanted people to laugh, Karlynn. I wanted them to smile, and be happy.

:)

---

You can read more about the Cantata Collegium and it's production of the Coffee Cantata on the web: Cantata Collegium presents The Coffee Cantata (Blog)

Sunday, May 11, 2008

La Jetee



The inspiration for Terry Gilliam's 12 Monkeys, this is a very early, very excellent sci-fi film made entirely from still photographs and voice over narration.


La Jetee on Wikipedia

Tuesday, May 6, 2008

Behold...the Arctopus, Krallice, Dead Child, Animal, Maw @ The Silent Barn

Behold...the Arctopus, Krallice, Dead Child, Animal, Maw
The Silent Barn
Ridgewood, Brooklyn, New York
April 21, 2008

Apparently, Matthew Barney was at this show. I'm told he was wearing a Hate Eternal shirt. Cremaster 2 was brutal. Can Dave Lombardo be at the next show? Now, that would be something.

Thursday, April 24, 2008

Friday, April 18, 2008

Sunday, April 13, 2008

Saturday, April 5, 2008

Takashi Morikami @ The Brooklyn Museum of Art


Takashi Murakami/Kaikai Kiki Comapany
“Tan Tan Bo Puking” (2002)

---

Takashi Murakami
The Brooklyn Museum of Art

There were a lot of little people populating the Takashi Murakami retrospective that Saturday afternoon. While I sat with my back against a wall watching the adventures of Kaikai and Kiki, a charming little guy no older than three crawled away from his really, quite calm and patient mother and sat right in front of me just in time for watermelons to come bursting from the head of their very alive, rather whale-like space vessel. "Funny?!" he remarks to the bemused woman sitting next to me. "Yes, funny." She replies. Mom keeps an attentive eye out from across the silver screen.

And it is funny. The watermelons, that is. For what are the three things that are needed to grow watermelons? Seeds, water and manure. So, when our two little adventurers get their very own bag of watermelon seed and their vessel makes a patch of dirt on its head, all Kaikai and Kiki need is one last ingredient. An ingredient that Kiki decides to provide...him...her...itself.



New York Times Slideshow

Sunday, March 16, 2008

Solecism Logo



Logo for progressive death metal band, Solecism. Their first album, "Dawn," is due out spring 2008.



Astomatous Logo



Logo for technical death metal band, Astomatous. First album, "The Beauty of Reason," due out spring 2008.







Friday, March 14, 2008

Krallice Logo



New work for black metal band, Krallice, the latest side project of Mick Barr (Orthrelm) and Colin Martson (Dysrhythmia, Behold...The Arctopus). Their first album is coming out late summer.

Krallice on Profound Lore Records
Krallice on Myspace




Monday, March 10, 2008

Cai Guo-Qiang: I Want to Believe


Fetus Movement II: Project for Extraterrestrials No.9
Tokyo, Japan
1991

Cai Guo-Qiang
I Want to Believe
Guggenheim, NY
February 22 - May 28, 2008

---

When I try to imagine what a retrospective is meant to look and feel like, I will now, forever, see this show play behind my eyes. This is one of the best retrospectives I've ever seen and is certainly the best show I have seen thus far this year. I imagine it will be a difficult one to beat. Cai Guo-Qiang's multimedia explosion of sound, light, sculpture and drawing takes me back about five years to the showing of Matthew Barney's Cremaster Cycle. This exhibition is what a retrospective should be.

The first Chinese artist to be given a solo show at the Guggenheim New York, Cai Guo-Qiang is a leader among the emerging Chinese artists, as well as an outsider. He left China for Japan, and then later New York, while artistic production was still highly regulated and mostly stifled in China. Having left for Japan, Cai was able to make and display work that would most likely not have been allowed in China. However, he missed the early movements of China's avant-garde that paved the way for today's influential Chinese contemporary art movement. Despite or perhaps because of that, he is one of the most highly regarded Chinese artists of today.

Cai's work is a defining announcement of postmodern artistic expression. A delicate and violent balance between performance, installation, and traditional sensability, Cai's work explores his Chinese heritage through materials that have historically defined China. Gunpowder and fireworks, both Chinese inventions, are two of the favorite media used by this artist. Yet, lifesize human figures made from clay, recalling the tomb of Qin Shi Huangdi, and paper screens are also a part of Cai's vocabulary. From the materials that have laid the very foundation of tradition in Chinese artistic practice to performances that are decidedly spectacular and transient, Cai's work is a melding of history and innovation, of traditional and contemporary expression.