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NPR 4 THE DEAF: We Hear It Even When You Can’t

Wednesday, April 23rd, 2014



Seth Meyers already had his dream job — as the host of Saturday Night Live’s Weekend Update, “I sort of had already accomplished the job I never thought I would accomplish,” he tells Fresh Air’s Terry Gross. He joined the cast in 2001 and was there for 12 years. But in one of the recent rounds of musical chairs/desks in the late night talk show scene, Meyers landed Late Night. Lorne Michaels, executive producer of Saturday Night Live, The Tonight Show and Late Night, encouraged Meyers to host the soon-to-be-vacated 12:30 a.m. spot and make it his own. Meyers took it over when Jimmy Fallon moved to The Tonight Show. “My biggest fear with any job coming after SNL was that the next job would be boring compared to SNL,” Meyers says. “So when this came up I was thrilled at the idea that it would be something that would move as fast as SNL, as well as being in the same building, so I didn’t have to get a new ID photo.” MORE

Then Fred Armisen and The 8G Band launch into the show’s opening nouveau New Wave-esque theme song over a jittery montage of Manhattan twinkling after dark — taxi cabs! neon signs! people on sidewalks! — as the announcer blurts out tonight’s guests in that stereotypical stentorian talk show announcer cadence before introducing the man of the hour, smart aleck-y fallen preppie, looks-like-the-guy-who-took-your-sister-to-the-prom Seth Meyers who makes his entrance to the deafening cheers of APPLAUSE-sign-triggered Midwestern tourist adulation.

The first thing you notice about Seth Meyers —  in person and stripped of SNL’s Weekend Update desk — is that he has wider hips and thicker thighs than you would expect from a man so petite from the waist up. This indisputable anatomical fact is accentuated by a fitted, slim-cut, two-button, two-piece charcoal suit. As per the unshakeable dictates of talk show orthodoxy, he monologues, somewhat mirthlessly it should be noted, on the newsmakers of the nano-moment: Putin, Blackberry, Beyonce. Then he tosses it over to Fred and The 8G Band who launch into one of those strummy, cymbals-sizzling interstitial rave-ups that mark every transition in the stations of the talk show cross as Meyers takes a seat behind the desk.

At this point in the show Seth and Fred do a recurring sketch called Fred Talks, their take on the obligatory talk show host/band leader banter — you know, Johnny to Doc, Dave to Paul, Jimmy to Questlove — which invariably involves an incredulous Seth calling bullshit on some ludicrous claim that he’s allegedly overheard Fred making backstage. Seth informs Fred that he’s done some asking around and some Googling and it turns out the following things that Fred has told him all week during this segment are patently false: Fred did NOT open a theme park in Arizona called Clayland, nor did he invent a ‘hot new dessert’ called Water Indulgence, i.e. a bowl of water, nor did he open a new spa that is basically a miniaturized version of the suburbs of Chicago, which is somehow ‘very calming’ and restorative. Fred just smiles serenely, untroubled by this intrusion of fact-based, objective reality — as if to say he’s used to it, he gets this all the time — because, after all, he is the hard-earned beneficiary of the New Normal in show biz, which is this: When all good 40something indie-rockers die, they go to Late Night Talk Show Band Heaven. DEVELOPING

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Wednesday, April 23rd, 2014


BY JONATHAN VALANIA In advance of her show at the Tower on Friday April, 25th in support of her latest album, Matangi, we got Mathangi “Maya” Arulpragasam (aka M.I.A.) on the horn from her home in London — and given that she undoubtedly is on the NSA’s watch/listen list given her father’s well-publicized Tamil Tiger affiliation combined with the fact that any U.S. citizen who calls a foreigner on the NSA watch list is then also added to The List, well, that’s a pretty high price to pay for plugging a friggin’ rapper/EDM artist’s Tower Theater show. But we’ve never been coy about what side we are on in the Snowden & The Fourth Amendment Of The Constitution Of The United States of America vs The NSA Big Brother Industrial Complex debate. Now we have some skin in the game. DISCUSSED: Edward Snowden, NSA, the illusion of privacy in 21st Century corporate/imperialist/police states, how Philadelphia played a central role in her development as an artist and rise to international celebrity and how it feels to get thrown under the bus in the media by ex-boyfriend/Philly homeboy Diplo. TRIED TO DISCUSS: The jaw-dropping absurdity of the  NFL suing her for $16 million for flipping the bird during Superbowl halftime festivities and somehow damaging the good Christian kid-friendly brand of a ginormous corporation that has made BILLIONs of dollars selling stylized violence — and not simulated cinematic violence, but REAL violence — not to mention the gruesome spectacle of the infliction of traumatic brain injury on live television to the American family every Sunday…but her publicist cut us off and asked that we talk about the tour. “You know what I would have said, Jonathan,” said Maya as we exchanged farewells.

PHAWKER: Back in 2010, your song “The Message” warned about the government’s mass surveillance of our digital communications. Back then you were roundly mocked as being paranoid, but that’s now become a proven fact in the wake of Edward Snowden revelations. What are your thoughts on what Edward Snowden did? Do you think of him, as the media insists on framing it, as a hero or a traitor? Or is that a silly question?

MIA: I think it’s a silly question. I’m not really sure what the solution is, but it’s not Edward Snowden being a traitor or not because it affects everybody everywhere. It’s happening on such a larger scale that involves people from every walk of life. To label people who stand up against — not stand up against, but stand up for the people — to label them as either a traitor or non-traitor, it’s really –

PHAWKER: I’m playing devil’s advocate and maybe that’s getting lost in translation. That’s the dumbed down frame that the American media uses to frame this issue. Let me be clear where I’m really coming from — I think what he did is probably the bravest, most patriotic thing any American has done since Martin Luther King walked the Earth.

MIA: Yes, of course. They’ve made these two distinct categories for the American people –traitor, non-traitor– which is the lowest common denominator of the group, and the most scariest because nobody wants to be a traitor — especially an American against the American government. So, I can see where that’s going to hit hard, but at the same time, it kills the amazing texture and fabric of American identity that’s been built over many, many generations. That includes people that have actually sacrificed their lives to protect freedom of speech, the right to privacy and the right to pursue happiness. That’s what he’s stood up for and for that they are making him out to be an enemy of the state.

PHAWKER: I think it’s safe to assume that you are on a watchlist — because of your father’s association with the Tamil Tigers and your own outspokeness about American imperialism — and that somebody at the NSA is actually listening to your conversations.

MIA: Without a doubt.

So, by calling you, and you living overseas, I would say that there is a fairly high chance that –

MIA: You would also be on there. Yes. This conversation is already being recorded. So, if you need a back up…

TONIGHT: Big Daddy Kane

Wednesday, April 23rd, 2014


One of the most fascinating figures in cinema history, Orson Welles is also one of the strangest. While his career as an auteur has been endlessly studied, the downright weird period of his work as a pitchman, narrator and celebrity-cameo-par-excellence has been sorely neglected. The Late Orson Welles focuses on his career from 1970 until his death in 1985, showcasing the wide range of animation, documentary, experimental and industrial films and videos to which he lent his indomitable, girthy talents. Legendarily accepting virtually any paying role as a means to fund his laundry list of pet projects, Welles landed in some far-out places. Some were high-brow (narrating experi- mental animator Lawrence Jordan’s adaptation of Coleridge’s The Rime of the Ancient Mariner) and some way, way low (teaching viewers how to play table games in Caesars Guide to Gambling). We’ve compiled a program of the best and worst of late-period Welles, from conspiracy theory documentaries, to a failed late night talk show pilot (special guests: Burt Reynolds and The Muppets!), to commercials, magic tricks and much more. So put on your best cape, raise a glass of Paul Masson wine and join us for a toast to the endlessly fascinating, but little examined, late career of Orson Welles. (HS) The Late Orson Welles will feature 16mm and video and was compiled by Herb Shellenberger.

THE LATE ORSON WELLES @ PHILAMOCA Wednesday, April 23, 8:00 PM $10

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CINEMA: It’s Tricky

Wednesday, April 23rd, 2014


TRICK BABY (1972, directed by Larry Yust, 89 minutes, U.S.)

BY DAN BUSKIRK FILM CRITIC This Thursday at 8:00pm Exhumed Films and the Cinedelphia Film Festival present one of the gems of the 1970s blaxploitation era, Larry Yust’s 1972 film Trick Baby. Shot extensively on the gritty streets of Philadelphia, Trick Baby doesn’t traffic in the exaggerated “super spade” clichés of the genre but instead functions as an exceptionally thoughtful street-level crime film following a pair of con men as their luck runs out. Based on Iceberg Slim’s second book, the follow-up to his black fiction classic “Pimp: The Story of My Life,” Trick Baby is named after one of those con men, a young man whose European looks give no sign of his mixed African American heritage. He’s known by the name “White Folks” and his partner is an older black man named Blue. Together they make a perfect team; no one suspects that the well-heeled “White Folks” could be in cahoots with the streetwise Blue, and they use their victims’ unspoken prejudice against them. Their opening con involving fake jewels seems like a triumph until they find out their mark had connections with the local mob. “White Folks” and Blue scurry to collect on one more score before they escape the mobsters and crooked cops and head out of Philly for safer pastures.

JOURNALISM ≠ CRIME: Free Simon Ostrovsky!

Wednesday, April 23rd, 2014


NPR: Pro-Russian gunmen in eastern Ukraine admitted on Wednesday that they are holding an American journalist who has not been since early Tuesday. Simon Ostrovsky, a journalist for Vice News, has been covering the crisis in Ukraine for weeks and was reporting about groups of masked gunmen seizing government buildings in one eastern Ukrainian city after another. Pro-Russia insurgents who have been occupying police stations and other public buildings in eastern Ukraine for more than a week are defying the accords that Russia and Ukraine signed last week, urging on all parties in Ukraine to lay down the arms and vacate the public offices. Members of the nationalist Right Sector movement have also been occupying two buildings in the capital Kiev for months, but authorities have said the priority is to get the gunmen in eastern Ukraine to vacate the buildings they hold. Stella Khorosheva, a spokeswoman for the pro-Russian insurgents in the eastern city of Slovyansk, confirmed Wednesday that Ostrovsky was being held at the local branch of the Ukrainian security service that they seized more than a week ago. “He’s with us. He’s fine,” Khorosheva told The Associated Press. When asked why Ostrovsky was held captive, Khorosheva said he is “suspected of bad activities” which she refused to explain. She says the insurgents are holding Ostrovsky pending their own investigation. In a statement, Vice News said it “is in contact with the U.S. State Department and other appropriate government authorities to secure the safety and security of our friend and colleague, Simon Ostrovsky.” MORE

BUZZ FEED: The State Department is “aware” of the kidnapping of a Vicereporter in Ukraine and is working to provide consular assistance, a State Department official said on Tuesday. “We are aware of reports that a U.S. citizen is being detained in Ukraine,” the official told BuzzFeed. “The Department of State takes its obligation to assist U.S. citizens abroad seriously and stands ready to provide all appropriate consular assistance. We have no further information at this time.” MORE

REUTERS: In areas under the separatists’ control, there was growing evidence of arbitrary rule by self-appointed local officials, backed up by heavily-armed militias, and of violence being meted out against opponents. Kiev’s decision to resume its security operation in the east was prompted in part by the discovery of two bodies in a river near Slaviansk. One resembled Volodymyr Rybak, a member of the same Batkivshchyna party as Ukraine’s acting president. A video released on a local news site,, purported to show Rybak being confronted by an angry crowd outside the town hall in Horlivka, where he was a councilor. In the footage, Rybak can be seen being manhandled by several men, among them a masked man in camouflage, while other people hurl abuse. Rybak had tried to remove the flag of the separatist Donetsk Republic, the website said. “Over my dead body will you take down that flag,” one man in plain clothes yells at Rybak as the politician tries to gain entry to the town hall. After several minutes, Rybak appears able to walk away. The Interior Ministry said he was seen being bundled into a car by masked men in camouflage later that day. His body, and that of a second man, was found on Saturday in a river near Slaviansk. In Slaviansk itself, the militia is holding three journalists, including one U.S. citizen, Simon Ostrovsky, who works for the online news site Vice News. The separatists say they themselves are victims of violence and persecution by the Ukrainians authorities and illegal armed groups which, they say, support Kiev. MORE

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GET THE LED OUT: Zep Unveil ’69 Paris Concert Recordings As Part Of Forthcoming ‘Deluxe’ Editions

Wednesday, April 23rd, 2014

Two years after Jimmy Page teased Led Zeppelin fans with promises of bonus material on the forthcoming deluxe editions of the band’s catalog, the band has just shared a first glimpse of what it has in store. A one-minute video includes snippets of “Good Times Bad Times” and “Communication Breakdown,” recorded at the Paris venue L’Olympia in October 1969, which will appear on the June 3rd reissue of Led Zeppelin. MORE

Legendary rock group Led Zeppelin have unveiled two previously unheard recordings ahead of the reissue of the band’s first three albums in June.The two tracks – blues classic Keys to the Highway, recorded in 1970, and an early version of the famous song Whole Lotta Love – are among dozens of tracks which the band will officially release alongside the reissues. MORE

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NOW PLAYING: The Great New Old 97s Album

Tuesday, April 22nd, 2014

Early praise for ‘Most Messed Up’:
“Airtight songs celebrating life-as-sublime-train-wreck” - Rolling Stone

“Blistered, blasted, and brilliant” - New Yorker

“Instant classic…. a killing machine from start to finish” – Salon

“Awww, f*ck yeah!” - PHAWKER.COM

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Main Line Schocked To Learn School Kids Buy Marijuana; In Colorado Marijuana Buys Schools

Tuesday, April 22nd, 2014


INQUIRER: Scott, 25, of Haverford, and Brooks, 18, of Villanova, were accused Monday of being the leaders of a drug trafficking ring that sought to corner the trade across some of the western suburbs’ most prominent public schools. Brooks even branded the effort, allegedly describing it as “the main line take over project.” Authorities said the pair enlisted student dealers and customers at their alma mater, the Haverford School, and at Lower Merion, Harriton, Conestoga, and Radnor High Schools – all considered among the state’s elite. The network also allegedly sold drugs at a few colleges. Six other men and one woman were charged in the ring, as well as two juveniles – 17-year-olds from Radnor and Lower Merion High Schools. The charges – including conspiracy, drug distribution and sales – could land them in prison for years. Also charged in the case, authorities said, were Daniel R. McGrath, 18, of Glenolden, a current student at the Haverford School; John C. Rosemann, 20, of Connecticut, who was at Lafayette College; Christian S. Euler, 23, of Villanova, a student at Lafayette; Garrett M. Johnson, 18, a Haverford College student from New York; Reid Cohen, an 18-year-old Haverford College student from Englewood Cliffs, N.J.; and Willow L. Orr, 22, and Domenic V. Curcio, 29, both of Philadelphia. District Judge Kathleen Valentine set their preliminary hearings for May 6. One of the defendants gulped and looked as though he were trying to choke back tears as Valentine spoke. MORE

RELATED: Montco DA holds big headline-grabbing drug war sideshow press conference to trumpet the seizure of half pound of weed, 2 grams of coke, $1K in cash, 1 mobile phone, 1/4 of a gun, 1/4 of a car per suspect. MORE

RELATED: $40 million: The amount of marijuana tax revenue Colorado is devoting to public school construction. [SOURCE: Huffington Post]

RELATED: 7,500-10,000: The estimated number of marijuana industry jobs that currently exist in Colorado, according to Michael Elliott, the Executive Director of the Marijuana Industry Group, a trade association that advocates for responsible marijuana regulation. [SOURCE: Huffington Post]

RELATED: $190 million: The amount in taxes and fees legal marijuana is projected to raise for the state of Washington over four years starting in mid-2015, according to the Economic and Revenue Forecast Council, an independent agency that advises the state government on the budget and tax revenue. [SOURCE: Huffington Post]

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THIS JUST IN: Bryan Ferry @ The Tower 10/4

Monday, April 21st, 2014

Illustration by BOWIEMANIAC

Tickets go on sale HERE Friday, April 2th at 10 AM.

ALL MUSIC GUIDE: While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group’s final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music. Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group’s arty glam rock, These Foolish Things established the path that all of Ferry’s solo work — as well as the final Roxy Music records — would take, focusing on elegant synth pop rendered in the singer’s distinct, coolly dramatic manner. [...] n 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style. MORE



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BEING THERE: Mac DeMarco @ Underground Arts

Monday, April 21st, 2014


The unfinished basement of a venue that is Underground Arts is the perfect venue to see psych-pop prankster Mac DeMarco, an unfinished basement of a man. Friday night, I found myself packed into a sold-out UA crowd of towering 6ft.-something fan boys and drunken kissy-faced couples. Both seem to be his core demographic. Not that I was really surprised given that DeMarco’s songs are almost entirely about life as a grizzly dude, or about loving his sweetie. Sometimes they are about both at the same time. Looking unkempt as ever with a mane of scraggly, greasy hair and a week’s worth of facial hair, DeMarco was well-received upon entering. He played a fourteen-song set that primarily featured his new album Salad Days, as well as past releases 2 and Rock and Roll Night Club. The music was mind-blowingly beautiful and DeMarco’s voice was on-point, despite his rep as a chain-smoker of Viceroy Cigarettes ™. But the music was only half of the fun. There was also a lot of slapstick, some of it was even intentional.

Kindly telling the security guards to fuck off, DeMarco parted the crowd room for stage divers. Several concertgoers made it onto the stage during “Ode to Viceroy,” handing DeMarco cigarettes and lighting up themselves. When a bra was flung onto his head, DeMarco shouted out “Oopsie Daisy!” and without missing a beat proceeded to sing “Chamber of Reflection” as if it had been a planned costume change. Now, that’s showmanship, people. He closed the show with a drawn-out, heartfelt performance of “Still Together,” which, if you squint your ears sounds sorta like an emphysemic Roy Orbison singing “The Lion Sleeps Tonight.” With the help of the audience members that he crowd-surfed over, DeMarco hoisted himself onto a low-hanging pipe on venue’s ceiling, and then, with more gymnastic aplomb than you would expect from a guy who looks like he lives underwater, proceeded to dangle upside down from said low-hanging pipe, much to the crowd’s delight. DeMarco encored with Neil Young’s “Unknown Legend” complete with Viceroy hanging out of his mouth. Before he started he demanded that all 700 or so in attendance kneel down, because, dig this dude, kneel sounds just like Neil. I’m not even kidding. And Neil we did. The three party poopers who refused were pelted with beer cans by the other 697. It was like they were getting stoned, which, when you stop to think about it, sounds just like getting stoned. Coincidence? – MARY LYNN DOMINGUEZ

CINEMA: Sexy Beast

Friday, April 18th, 2014


UNDER THE SKIN (2013, directed by Jonathan Glazer, 108 minutes, U.K.)

There’s a moment early on in Jonathan Glazer’s hallucinatory new film Under the Skin where Scarlett Johansson’s unnamed character plucks an ant from a lifeless body and inspects it indifferently. The fleeting scene sets the tone for this grimly hypnotizing little mood piece, as it invites us to study the young woman as she moves through her surreal rituals like a bug collecting its prey. Long on process and short on explanation, Under the Skin pulls us into its spell by eschewing formula and refusing to wrap up its mysteries in a tidy package.

Director Jonathan Glazer has shown wonderful visual acuity in the pair of features proceeding this, 2000′s gangster study Sexy Beast and 2004′s reincarnation mystery Birth, but neither of them prepared us for the abstract style he has summoned for his latest film. Much of the action is shown in long takes from a medium distance that refuse to underline details of narrative or metaphoric importance. In the overly-literal style that dominates the film world of sci-fi (just one of the genres with which Under the Skin flirts) the film’s story stands resistant to any definitive meaning. It delivers its images from a detached perspective that gives it a similar jolt to classic Russian cinema. The film demands you lean forward and study each scene for detail and in general, art that requests more out of its viewer tends to reward much more deeply as well.

Much of the film is spent following The Woman as she wanders around the Scottish countryside looking for men to seduce. Johansson doesn’t look like a movie starlet in these scenes, she is instead dressed in some slightly ratty working class party clothes and her hair is dyed dark. One-by-one, she picks up hitchhikers in her van until she finds one that will follow her somewhere private. Once she and these poor horny bastards arrive to that darkened place the bottom drops out and they are trapped like a disbelieving fly in a web. Johansson is sometimes criticized for being unemotive but her restraint is useful in this role, where she often acts in scenes with non-actors who bring a discomforting intimacy to their ultimate demise. Glazer gives these scenes a wildly abstract design, at times collapsing into a vividly blurry light show that has drawn comparisons to the otherworldly ending of Kubrick’s 2001: A Space Odyssey. It goes from this surreal pageantry back to the much more earthly spectacle of Scarlett Johansson traversing across the screen naked. It is enough to give admirers in the audience troubling sensation that they may be the next one to get caught in her web.

And onward it goes, much like a nature documentary as we learn about the habits of the insect-like creature. The details are so spare I’d hate to give away any more of the film’s secrets. In fact here is a film poorly-serviced by the nature of modern film criticism, it is easy to divulge too much about the film’s action and tip the hand on what little narrative the film holds. I will say the slow development of emotions in The Woman tilts towards mawkishness just a hair too much, like a spider wiping a tear over a fly’s pleas for mercy. Johansson is as enthralling as a force of nature here and one thing nature is not is sentimental. That’s no reason not to run to your theater (a far superior choice than your “On-Demand” button for a visual tour de force like this) because Under the Skin shows us an eerie look at nature unlike anything we’ve ever seen before.

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UPCOMING: Record Store Day, Shop ‘Til You Drop

Friday, April 18th, 2014


Record Story Day is Saturday. We urge you to support the dead-enders the defenders of the brick-and-mortar-mom-and-pop-cool-indie-record-store-with-the-smug-hipster-clerks faith. Might we suggest you pick up the Flaming Lips’ Seven Skies H3 [PICTURED, ABOVE], a handsome vinyl LP of containing the highlights of their infamous 24-hour song. With liner notes (SEE BELOW) by yours truly:

Thus sprach John F. Kennedy, “We do these things not because they are easy, but because they are hard.” He was talking about the race to land a man on the moon but he may well have been talking the race to write and record the longest song known to man. Also known as The Race To Colonize The Outer Limits Of Human Patience. You may laugh, but this is serious business. Men have died. (Not necessarily making long-ass songs, per se, but men have died nonetheless).

The first artist to break the sound barrier of the three minute pop radio single, and in the process trigger the starter pistol on The Length/Longness Race, was Bob Dylan with “Like A Rolling Stone,” which clocks in at an eternal six minutes and 58 consciousness-expanding seconds. Soon everyone was violating The Three Minute Rule. The next big leap forward in the race to prove that quantity is quality was Iron Butterfly’s “In A Gadda Davida” which clocked in at a mammoth 17 minutes and — for good measure — one second.

Pink Floyd would take it to the next level with “Echoes,” which clocked in at a brain-frying 23 minutes. After that there was no putting the longness genie back in the bottle. For the remainder of the ‘60s and most of the ‘70s, size mattered. Length conferred gravitas onto a song, it transformed a mere deep-cut album track into A Major Statement, and thereafter just about every album worth cleaning your weed on had at least one song that hovered around the 10-minute mark (think Lynyrd Skynyrd’s “Free Bird” or Led Zeppelin’s “Achilles’ Last Stand”), with some venturing into heretofore uncharted territory of the 20 minute-plus song (such as the elephantine title track to Rush’s 2112 or Genesis’ “Supper’s Ready”). Some never came back, never to be heard from again — which wasn’t necessarily an altogether bad thing.

And that was just within the confines of the studio. In concert, all bets were off. The Allman Brothers Brothers “Mountain Jam” could run anywhere from 22 minutes to 45 minutes depending on whether or not the cocaine gods smiled upon them that night. Can’s “Yoo Doo Right” was only 20 minutes long on record, live it was six hours long.

SWANS: Oxygen (To Be Kind)

Friday, April 18th, 2014

Eye-opening teaser track — sounds like John Coltrane in a canoe during a typhoon with a saxophone for a paddle — from the new album, To Be Kind, out May 13th via Young God Records/Mute. They play Union Transfer Thursday May 15th.

PREVIOUSLY: Swans”No Words No Thoughts”

PREVIOUSLY: Concert Review: Swans @ Union Transfer 10/13/12

PREVIOUSLY: This Awful Bliss

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Cost of the War in Iraq
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