Sunday, April 24, 2022

Nervous Tick and the Zipper Lips-Something's Gotta Bleed; Kafadan Kontak Records, 2020

 

A totally nice surprise came Disaster Amnesiac's way via Feral Kid Records, who kindly included the Something's Gotta Bleed tape by Nervous Tick and the Zipper Lips with a recent order. As I'd not expected it, and have really enjoyed hearing its sounds, a review felt appropriate! 

Starting off with the short instrumental Tying Up Loose Ends, Nervous Tick introduces his self-penned, self-played, self-produced project as one that seems to pull from the Golden Era of American Punk Rock, let's say 1979-1983. Power chords are allowed to ring out to a full physical effect while underneath it a  steady rhythm section chugs along at a quick pace. Things don't so much thrash as they jump, and the energy compressed within the track's 40 seconds set the stage for the rest of Gotta Bleed

Paranoia abounds on the next track, Haunting and Taunting. High pitched guitar riffs scream underneath the lyrics' frightened visions, shouted out by Nervous Tick in his gruff Punk Rock manner. More of that astute, moving drumming, more 4/4 than 2/4, pushes its energies toward a screaming concluding riff, once more with that scream, and quickly out. 

Fluid Exchange follows, introduced by kool Cold Wave synthesizer sounds, which embellish the tight guitar/bass/drums riffing throughout. The resultant atmosphere takes Disaster Amnesiac's perceptions to dark, Goth places, ones that tinged so much of said Golden Era, particularly in California. As those winds rage, the lyrics would seem to deal with the seamier side of things, but, as they're somewhat buried in the mix, it can be tough to tell. Sounds as if someone is washing away something.....sticky.....there at the end. 

The pace quickens a bit with What a Spooky Evening. Is this a tale of a person stranded at home underneath a clock, or trapped within some space that he doesn't want to be in? No matter which, it would seem that its chorus would make even a political prisoner smile a bit as they tapped their toes (assuming that they hadn't been lobbed off) to very crisp hi-hat tapping at the drums. Cool screams from Tick as well.

Twinned guitar riffing launches Shoot the Moon off into its quickly paced zone; they unite into a huge riff before devolving into skittering noise.  This song has the kind of energetic harmonies which would surely start people 'a pitting, as, indeed, their sounds are exciting without fail. That solidly simple drumming doesn't hurt with this. Like, one minute later, and it's all over, man! 

As Disaster Amnesiac has listened to I Don't Make the Rules (I Just Love 'Em), I can't help but feel that Nervous Tick has written the Official Anthem of Society post 2020. Y'all know why. As Nervous Tick says here, "feels nice and cozy in my little place", yeah, ain't that just about everyone's steze now and (God help us) in the future? Well, at least we get the message wrapped into more of that speeded up physicality that is evinced all over Something's Gotta Bleed. One could presumably take solace in that as they jack into Meta, I guess. 

The tape finishes on a rumbling, tom-tom pounded note with Wake Up Grumbling. It feels as though any person over the age of 40-ish that has taken the inevitable lumps dished out by society will be able to resonate with Nervous Tick's lyrics here. "I know I'm not essential/that comes as no surprise/got nothing important to offer/I know how I look through your eyes". Highly relatable, man. All this pushed by some jangling Street Punk guitar and a cool solo into a fade at the end, nice.

Disaster Amnesiac would love to see Nervous Tick and the Zipper Lips become a full band. There's a dive bar about two miles from my house in north western Tucson where they'd fit in fucking grandly. Hit the road, dudes! 

Saturday, April 23, 2022

Live shot #56!

 

Anthrax, Pima County Fairgrounds, Tucson AZ 4/22/22. Blurry, but I love the surreal energy of this shot more than the full band photos, which seemed tame in comparison. 

"...it's so nice to see your smiling faces......"--Scott Ian from the stage mid-set.

Friday, April 22, 2022

Live shot #55!

 

Tom Djill, Jacob Felix-Heule, Jack Wright. Temescal Arts Center, Oakland 2018. 

First the set up, then The Sound.

Monday, April 18, 2022

Everything Everywhere All at Once-Dir. by Dan Kwan and Daniel Scheinert, 2022

 

These times are begging for deeper truths to be told, colorful yarns to be spun, and heaps more love and understanding to be shared between human beings. Of course, these are tall orders, especially as forces that feed off of the opposite qualities of truth, color, love, and understanding are so broadly spread throughout creation. Despite this, people can still try. People such as directors Dan Kwan and Daniel Scheinert, who have brought the incredible Everything Everywhere All at Once into this world. This film has a fascinating and brilliant and FRESH vision. It blends Surrealistic, psychedelic scenes with incredible performances from Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, James Hong, and Jamie Lee Curtis in a multi-universe saga of the battle between ontological forces that shape beings and elements within their respective realms. Every one of these great actors brings their absolute A Game to this production. They all shine as their characters move into various zones of various "realities", just so  convincing in each and every one.

Simple, yet very well done sets are utilized incredibly well, as are extras within the cast. The soundtrack absolutely kicks ass. Every damn piece of Everything is just fit perfectly, and Disaster Amnesiac is pleased as punch to have had it be the first movie that I've seen in a theater for over two goddamn years! Seriouly, if you like martial arts movies, or Surrealism, or good storytelling, or multiple-time stream theories, or Sci-Fi, you're going to want to run out and see this one on the big screen! 

No shit, go and see it!

Saturday, April 16, 2022

Live pic #54!

 

Fairfax, CA, 2/14/2016, at an organic tea shop. I don't recall the names of these two musicians, but do recall that the one playing the sarod has deep roots in in SF Bay Area Jazz and Improvised Music scenes.

Sunday, April 3, 2022

Live Pic #53!

 

Birds and Arrows, Tucson Folk Festival, 4/2/2022. 

Great songs and a drummer that plays with much musicality. Tucson-based, Richmond VA bred. Relatable.

Wednesday, March 30, 2022

Poly Styrene: I Am a Cliche; Dir. by Celeste Bell and Paul Sng, 2021

 

The thing about Punk Rock is that the hot take is imperative. Disaster Amnesiac mentions this, because as I sit here pondering my viewing experience of Poly Styrene: I Am a Cliche from last night, the thoughts are weighted down by my having neglected to go and post straight away, as opposed to waiting some several hours. A potential hot take on my part is blunted by even that short duration. 

It seems to as though the hot take weighed down upon Marion Elliott-Said, aka Poly Styrene, as well. 

As the history of Punk has shown, and as the film I Am a Cliche reiterates, Marion was swept up into the initial cultural explosion of Britain's 1976 youth movement, and quickly found a somewhat exalted place within it. As Poly Styrene, she used her extensive creative vision in order to put X-Ray Spex together, assemble the band's graphics and image, find decent management, and have the entire package rolling towards music industry success very quickly. 

Marion was clearly gifted with what appeared to this viewer to be innate skills with graphic design, fashion assembly, and musical talent. Scene by scene within the film, Disaster Amnesiac marveled at just how cool her designs were: clean and legible, yet bursting with flair. Ditto that for her outfits, which were adventurous yet not sloppy. One scene shows her at a piano, and I can't help but wonder if she wrote the lion's share of the music for Spex. 

All of this creativity was put forth within the societal hot take of Punk, 1976, and this seems to be when the weight of it encroached upon the consciousness of Marion Elliott-Said in ways that would have lasting, and, in many ways, negative effects upon her. Director Celeste Bell, in a parallel narrative stream to that of the excitement of showbiz Poly Styrene's path, presents the harrowing, heartbreaking events of her mother Marion's real world journey. This aspect of the story presents a woman weighted down by expectations societal, familial, and personal. Disaster Amnesiac got the sense that Elliot-Said was a person who desired much more of an introspectively lived life, a person that truly needed quiet and reflection, yet who, because of the persona that she'd invented, and the need for hot takes on and from it in all realms (can you imagine Kathleen Hanna NOT kicking guys who bum rushed her at CBGB's in the nyuts?), got her perceptions crushed by impossible expectations. The fire of the hot take singed the sensitivities of Marion Elliott-Said in ways that I suspect Bell only hints at in I Am a Cliche. And this was heartbreaking to see and feel as Disaster Amnesiac watched it. Shots of Celeste's face as she strolls the Hastings pier and disperses Marion's ashes into a river in India show the residual pain (and perhaps more complicated emotions, surely) that she dealt with in making the film. Not easy to watch, nor was it to hear her recounting of Marion's post-Punk Rock years as she attempted to find the solace she needed within a world "gone Punk". I wonder what her years spent in a krsna ashram were like on a day-to-day basis, you know? Clips of her singing and spinning around therein made me at times uncomfortable, for I couldn't help but wonder if anything rather less enlightened was brewing behind and around them. Similar musing apply for Disaster Amnesiac to the comeback music. Was Marion in thrall to hot take dream that Poly Styrene so easily navigated again? Some of the photos from that time seem to show someone struggling, at least they do for me. Elliot-Said was aware of her cancer diagnosis at that time, so obviously she was dealing with a lot. Still, the question arose in my mind. Hopefully she got the time to reflect that she needed, before her passing at age 53. 

Poly Styrene: I Am a Cliche goes way beyond the hot take. In so many ways, Marion Elliot-Said did as well. The film is a fine exposition of complex, complicated artist and the profound human being that she so clearly was. Rock on Poly Styrene, and Godspeed, Marion.