Both Phil and Jesse shared a love for vintage analogue synthesizers such as the VCS3, and the music for “W ands” was largely created using this equipment. In the spirit of how it was created, Spybey added improvised passages using his collection of homemade and ethnic instruments and then edited the pieces.
Phil would often talk about being ‘taken away’ by music. Both Jesse and Mark have laboured to do this through their own music too, not as a means of escape but to transcend. This music strives to explore the desire to go beyond the ordinary everyday experience and to reach a place where the egos and the individual contributions of the players are largely inconsequential. A place where time doesn’t really matter.A place of healing and invention.
Seriously, if you’re sensitive to graphic content, as abstract as it may be, I’d suggest skipping this week’s subject and sticking to something more pleasant. There’s got to be some videos out there of unlikely animal friendships, perhaps a three-legged dog making friends with a blind gerbil. Something soothing to the senses and tugging at the pathos. I almost avoided writing about this at all, but if we’re talking about internet oddities it’d be a crime not to mention a certain series that has haunted the web since 2005.
So, friends, let me introduce you to Salad Fingers.
Salad Fingers is a work of flash animation by British animator David Firth. It started on Newgrounds, a website dedicated to animated shorts and games, but as time went on it eventually made its way onto Youtube. As I write this, there are eleven episodes spanning fifteen years, with years between the later episodes. It’s surreal to observe the work as a whole. I grew up watching Salad Fingers, and I know for a fact that I have fragmented sense memories of Firth’s work buried deep in my subconscious. But it had been a while since I really took a deep dive into the series, so with little else to do in quarantine I did what made the most sense to me – …and binged every episode. And boy howdy do I regret it.
But what is Salad Fingers about, you ask? That’s a tricky question. The first episode, a two-minute sort of pilot, introduces us to the titular character. He’s a man with inhumanly long fingers living in an unnamed desolate wasteland, and he likes to use his spidery appendages to touch anything sharp or rusty – especially rusty spoons. That’s as much as we’re given, and the other ten episodes are dedicated to exploring the world around him, but even more so exploring the world inside his head.
Firth has a knack of implementing just enough detail as to create a mood, and he’s chosen to use that skill to create a truly disturbing atmosphere. Even given the limitations of Flash in 2005, when Salad Fingers pierces his finger on an exposed nail, it doesn’t matter that it looks like the drawing of some demented child. I cringed then and I cringe now.
That same episode – Episode 2, called “Friends” – has an ending that has stuck with me for fourteen years. I must’ve been ten at the most when I first saw it, and every so often I’ll suddenly remember that final shot and I’ll feel my stomach drop as if I’m a child again, frightened without being able to explain why. Watching it again over a decade later I found it just as simple and shocking. Because David Firth makes a practice in ending Salad Fingers without an ending. Things just stop without any real thematic closure. We’re given a brief peek into the life of Mr. Fingers, and however long or short it may be, it never ends well.
The most fascinating part of Salad Fingers for me is how it serves as a model for the growth of Firth, both in his storytelling and animation quality. Compare the plot of the first episode to the eleventh. In “Spoons”, the first episode, Salad Fingers looks for a rusty spoon and doesn’t find one. That’s it. Then in the latest episode 11, “Glass Brother”, Salad Fingers covers his finger puppet in flesh to turn him into a “real boy”, and then has to rescue him from the mirror world after he gets taken by his reflection. There’s a definite refinement in plot structure, and with it a huge leap in visual quality. You see it from Episode 8 on, when the flat colors and simple animation suddenly turn much more dynamic, more detailed, with even simple touches like the movement of the pupils adding so much to an already-uneasy mood.
But it’s gross. Salad Fingers is gross and dark, and I’ve definitely let out a mild but sustained scream while watching some of the later episodes, when things turn from short fever dreams to a seemingly endless nightmare. But should you watch it? I wish I could meet myself at age ten and ask that question – should you be watching this?
The answer, at least I’d like to think so, is yes. As terrified as Salad Fingers made me, it presented a sort of imagination that to this day is incomparable to anything I’ve seen. And something shocking strengthens your creative immune system in a way. Without Firth’s work I’m not saying that I’d be completely bereft of artistic merit, but he definitely gave me a few tricks up my sleeve for my own practice. Not to mention, the classic reactions of the friends that I’ve made watch his stuff.
If you’re looking to be amazed by raw talent, real music, and lots of witty banter, be sure not to miss the musical duo of EVAN + ZANE! featuring Evan Rachel Wood, actress in the HBO series Westworld and movie musical Across the Universe, and Zane Carney, guitarist for John Mayer, U2, Spider-Man on Broadway, and more.
On Monday (October 29, 2018), EVAN + ZANE came through my city of San Francisco and performed at the Great American Music Hall. I will say I was a bit tired and worn down from a tough workday. Fortunately, this show turned my whole mood around.
It was my first time at the venue, which has such a unique and intimate charm as a music venue. Evan + Zane simply walked onstage: no introduction or opening acts. As they welcomed the crowd, they jumped right into the music immediately afterward. Their set was Halloween themed and they covered lots of spooky Halloween favorites.
One of my favorite aspects about their set was that the first half was heavy on long guitar interludes. Zane is absolutely incredible! I wasn’t as familiar with him before the show and I was astounded on how fast his fingers move. He is brilliant and was nice enough to give us a mini music theory lesson on parallel minor chords. You could tell how passionate and knowledgeable he was about his craft.
Evan was equally amazing. She sounded like a 1920’s jazz club singer mixed with Gwen Stefani. I knew of her as an actress on Westworld and quickly realized she is just as good of a singer as she is an actress! Truly a double-threat. What I enjoyed most about Evan’s performance is that she took on the persona of the singer of each song they covered. While she kept her own personal flair, she really sounded like Dolores O’Riordan from the Cranberries when they covered “Zombie.”
My favorite aspect about this whole event is that Evan + Zane were so real and down to earth. They decided to throw in a last-minute song after the first half just for fun, and they still sounded amazing! The audience cheered for an encore and they told us that they played all of the songs they knew already. We got to hear them sight-read “Creep” by Radiohead, which again was still incredible. Oftentimes, I feel that concerts these days can be so artificial and focus more on the show than the music. This concert definitely was not that.
Overall it was a fantastic show. I hope they come back to San Francisco soon. Make sure you are able to check them out next time they come to your city!
Every year, beginning in the month of August, Nashville’s very own independent radio station, Lightning 100 (100.1 FM), pulls together local vendors and musical acts of all sorts to put on one of the best shows you can experience in the area for free. The festival is called, Live On The Green (LOTG) rightfully named, as it’s held on the Public Square Park lawn that sits right in front of the Davidson County Courthouse. You can expect to see an average of four bands, every Thursday evening, leading up to the headlining acts that play during the Thursday, Friday, and Saturday of Labor Day Weekend. 2018 was the ten-year anniversary of this local festival and it showed all the signs of continuing to prosper.
With an average weekly attendance ranging from 16,000 to 20,000, it is truly an amazing representation of the community coming together to enjoy everything this free event has to offer. Attendees are able to come and go as they please, find a space on the grass to enjoy the music, or walk around and taste the awesome food being offered. The food trucks that lineup around the venue are also all local favorites, who are eager and excited for the newcomers to try their great tasting creations. You can find anything from hotdogs, to main entrees, to the most delicious desserts.
One of my most pleased facts with the festival is how Lightning 100 does such a great job at keeping a vast majority of the lineup open to those who are local acts, or live in the Nashville area. Personal favorites of mine who have all shared the stage consist of bands such as Bully, The Wild Feathers, and Republican Hair to name a few! Even if you are not familiar with the names on the bill for that evening, I can promise you will leave a fan. If you are already a huge fan of the lineup, the festival does offer VIP tickets reasonably priced for those who want to get the full experience. I have done this in the past and I can attest it is worth it!
Whether you are a middle-aged mother, looking to spend some time with your daughter for the evening, or on a road trip with some of your college roommates, this is an event for everyone! It is truly an event that gives back to those who want to enjoy live music and the talent Nashville has to offer.
Counting Words hosted its first official open mic night event for spoken word on the 13 September at Black Sheep Coffee, a small chain coffee shop in Euston, London.
The crisp summer evening was perfect for this spoken word night. I found it hard to find at first as the coffee shop was hidden between the large skyscrapers. But was eager to get there as it was something new for me.
The event’s host, Jessica Cooke invited creative writers and speakers to engage in a celebration of writing.
Counting Words shared the venue with another party who were louder but the performers who read their works were louder in their performances – although the microphone had to be adjusted to avoid some feedback, they made it work.
The dimly lit coffee house had a stage set up in the corner for the performers, many talented speakers didn’t just read off their phone screens, their words were alive in the air.
Jessica Cooke started the event off with a light-hearted poem about toast and how you could count on toast to be there for you, her performance eased the atmosphere and set a peaceful ambiance that would follow throughout the night.
Asim Rizki performed a wonderfully detailed extract from his short story ‘The Rider Song’, influenced by Ernest Hemingway and Katherine Mansfield, his story is about the lives of many characters during a different time period, his short story can be found on Amazon.com.
SM Jenkins, a lively and wonderfully charismatic woman who supported all the performers, read a set of her own poems which amazed the crowd.
Her first poem was influenced by her struggles with depression. Society sees a different perspective in the social media presence, people who post online, create this amazing life that leads others to think that they’re lacking in their own lives. It puts them down unintentionally. SM Jenkins portrayed her feelings remarkably adding a comical yet meaningful message that she would do something for herself and not look at the posts online. The littlest things she does would be her amazing life.
Her poem had a truthful message that affects today’s generation who are very focused on social media.
I could feel what each emotion poured into every word when one performer spoke about his battle with mental health. Just a simple act of getting out of bed was a struggle for him, not because of tiredness or wanting to sleep more. But it was because his mind, the voice that spoke to him about his self-worth and slowly convincing him that his days would have no meaning to him.
His inner voice fighting him into a pit of darkness that would put him down. He compared his day to others, seeing others get out of bed, they have their lives sorted. But do we really know the truth in what they are facing? He continued to pour his feelings and promised to stop comparing his day to others and vowed to make small steps, ones that would not scare him but would give him a sense of accomplishment that would get him out of bed and to help overcome his battles.
With every written work performed, the crowd were open minded and supportive. Each performer spoke about something personal or an inspiration. This motivated me to be spontaneous and perform a poem I had written about my battle with cancer. Performing in front of a large crowd is not a strong point for me but this small and cheerful crowd accepted me with open arms.
The first poem was interrupted as the scariest thing happened, my phone had died in the middle of my performance – a performer’s worst nightmare. This was the icing on the cake to add to my nerves. But the crowd clapped and clicked their fingers in support and patience. I finished my second poem about my battle and ended the night with a smile on my face.
Counting Words is the perfect place to meet like-minded and talented individuals. Go for a reading or a performance, you won’t be disappointed.
“The face of a South Florida sun slowly creeps into sight, waking the lower half of the Sunshine State. It’s a typical August Sunday for most. Some are scurrying out to church. Others packing up beach chairs and a cooler. However, ten miles from the Atlantic beach shore, there’s a convoy of tour busses parked outside of Coral Sky Amphitheater. The venue is hosting the last Vans Warped Tour concert. Ever. For the band, Mayday Parade, this day is one that comes with weighted thoughts. Although recently inking a deal with Rise Records, (Sevendust, Of Mice & Men, The Devil Wears Prada,) and releasing their eighth studio album, the band has been part of this tour since forming in 2005. Thousands of eager fans begin making their way into the 20,000 seat amphitheatre. You can feel the unspoken sense of what’s to come after today. Especially for Mayday Parade.” – Jordan Miller, freelance photo-journalist and singer-songwriter based in Nashville, TN
(pre-amble to upcoming interview with Derek Sanders of Mayday Parade)
The photo of the band in their van with the mountains in the distance says it all.
Band of Lovers’ newest album speaks to the folk heroes of the sixties. Youth and vigor, loss and longing, adventure – these are all themes explored in this courageous album.
The beautiful vintage album art by Jason Gardinier, is a perfect illustration of the roads these artists travel and sing about; seeking freedom, independence, forging a new path in the world, and eventually coming home.
Back to Colorado is the song that sticks in my head the most. There are unexpected twists in the melody that continue to bounce around in my mind. Throughout the album, the two female voices (Sabina Beachdell and Liliana Urbain) are angelic; so different yet complimentary. While they are sweet and soothing, I feel that Dave Strumfeld’s unique vocal talents and emotions seem to leave a more lasting imprint.
Band of Lovers American Tour Album Cover
The album performs as a single entity (as an album should); each song blending seamlessly into the next. If you want to sit back, relax and enjoy the heartfelt song craftsmanship of a truly enjoyable acoustic/indie pop/folk band that plays tribute to all the folk bands that have come before, prepare to let yourself drift down a stretch of open highway cutting through the heart of America and feel all the feelings these songs have to offer.
Remember the scene in Star Trek when the bad guys dropped the insect into the guy’s ear and it did something to his brain? Well, this CD is the musical equivalent to that. Once you hear this music, you may never forget.
Let’s say you discover this CD the same day you hear another huge pop artist’s album. Let’s say that other pop artist is Tom Petty & The Heartbreakers and their new album, Hypnotic Eye. Chances are you’ll stick with The 1975 when it’s time to turn up the music.
The 1975 have been making music for more than 10 years, and until recently could barely sell out a show at a bar back home in England. Two years later, they’re touring all of the music festivals and playing big venues like Royal Albert Hall in London where some of the greatest musicians have performed for thousands of fans.
The new wave, progressive rock sound these four guys deliver certainly has the ability to move you. Mathew Healy’s voice is reminiscent of Patrick Stump from Fallout Boy and Stephan Jenkins from Third Eye Blind. Some of the music is a catchy blend of rock and power pop, with some etheric electronic elements for richness.
The 39 track deluxe edition includes the material from their previous EP’s, and was released by iTunes in April. The deluxe edition includes a few Garage remixes that fail to offer the same quality as the band produces on their own. Big singles are “Chocolate,” “Robbers,” and “Girls.” “Haunt” on the deluxe edition and “Menswear,” might have you comparing The 1975 to U2 or the Junior Boys. The only question is, when will the next album come out?
[Originally published in the May 4, 2011; the Arts Noticed Magazine, Edition 1]
Re/Interview and Photographs by Scott Cronan forthe Arts Noticed 2011-03-01 / 2010-09-13
Rarely does a band come around that truly incites the people’s passion for music. Most bands nowadays are just ironic remakes of one another or fained attempts at some sort of emotional expunging. Whatever happened to bands like Violent Femmes, Sex Pistols or The Mars Volta? Well, actually, Omar Rodriguez Lopez, the guitarist from The Mars Volta, has a solo project called Omar Rodriguez Lopez Group (El Grupo Nuevo de Omar Rodriguez Lopez) as well as producing the debut album of the Mexican garage tapatio punk band, Le Butcherettes. They are a band that takes raw emotion, talent, fear, and desire smashing it all together raging it back out in the form of leader, Teri Gender Bender’s haunting and mesmerizing irreverent stage performance.
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