myterriblememory

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Heroes and Villains' latest a classic Detroit record 

By Mike Ross

Back in 2006, Heroes & Villains' Themes from the Dark Pink Circus (X!) was a sort of grail to a lot of folks around here. With its mix of haunting psychedelia and pop-perfect songcraft, it was at once instantly listenable while also rewarding repeated spins.

But these guys come from a rich tradition of bands — say, Simply Saucer in the '70s, the Feelies in the '80s — who don't really give a fuck. That is, they care, certainly, about making music, writing really cool songs, and putting them together on awesome albums. But try finding that 2006 gem, for instance — good luck. You pretty much have to corner a band member to get one, and even then there's no guarantee.

On Heroes & Villains II, we have that same attitude, grown now to a mystique. It shows Heroes & Villains making this beautiful, organic music with no regard toward cultivating an audience. (In other words, it's a classic Detroit record.) Folky-guitar ruminations like "Neverending" and "Far Beyond" sit alongside full-speed spaced-out face-melters (see "Spearhead" and "Study of Insects"). And it's all of a piece. There are songs that really can only be described as Heroes & Villains songs (see: "Vanilla Yellow," "Solar System/Hurricane Fighter Plane").

The basic sound features singer/guitarist Ernie Fackler's half-asleep-with-eyes-wide-open vocals and alternately soaring and strangled guitar, nestled into Jeff Fournier's mountain-man-stepping-over-a-canyon bass and drummer Andrew Lakin's artful bashing. This is supreme late night listening, whether spliffed, smashed, or straight.

The record is available digitally on Lo & Behold's Bandcamp, with promises of a physical release coming soon. Oh yeah: it was recorded in 2007. And it's great. And they never put it out. That's how much they don't give a fuck. But you should, if you want to hear a killer record.

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Garage Cultural is expanding consciousness and horizons for kids in Southwest Detroit 

By Mike Ross

  To drive down Livernois Avenue south of Six Mile, past the "Avenue of Fashion," is to realize that Detroit's ongoing revitalization is not a reality for many neighborhoods in the city. Even the ubiquitous liquor stores and car washes — for many stretches, the only establishments still in business — have a post-apocalyptic quality about them, covered in graffiti (not street art) and tangled in litter. But by the time you hit Michigan Avenue, it starts looking a little livelier — occasional gardens and shops are reminders that there are people who live here, people who take pride in their neighborhoods.

At 3439 Livernois, you'll find a tidy entryway of antique wooden doors and bright hand-painted signs proclaiming "music, painting, break dancing," among other things. When you walk inside this old tortilla factory, you're certainly not expecting a beautiful kitchen, grass-hut classrooms, art everywhere, and the sound of music being learned floating over the air.

Sitting at his desk, likely greeting a family and shuffling through paperwork, you'll find Ismael Duran, the seemingly tireless founder and proprietor of Garage Cultural. For three years, he's been running this nonprofit cultural center. A musician, Duran got his start organizing cultural centers in his native Chile. "I could see that I could do a lot of music, performing and traveling all over, but what did you leave? What else do you do? So the idea to do this work, music and art for the community — especially kids — is something that I thought was important to do. A more lasting, direct impact to families, to kids, to the community."

"When I started the cultural centers in Southwest Detroit, it was very exciting. I mean, you see what happens here every day ... especially in a community like ours. These kids don't have other possibilities to do this. They don't have the money to pay other places. And whatever you teach them, whatever you show them, it's new for them, and they really appreciate it." (Full disclosure: I've been teaching art and skateboard-building classes at Garage Cultural for the last two years.)

But let's back up. If you know your Latin American history, you'll remember the 1973 (U.S.-backed) coup d'etat in which Chilean military and police overthrew socialist civilian president Salvador Allende, replacing his administration with a right-wing junta government, which brutally oppressed left-wing political activity.

"I was not political," Duran says. "But I had to get out. Music was not allowed, books were not allowed. If you were a musician, or an artist ... I don't remember how many times I had to go to the cemeteries to visit friends, people in the arts. They'd just eliminate you." And leaving voluntarily was better than exile (or worse).

After meeting his wife in Paris in 1973, then living in the United States for nearly 10 years, Duran returned to his home country. "In '84, I said I needed to be in Latin America. I said to my wife, 'Let's go to Mexico,' and from there we jumped to Chile. Because I wanted my kids to be fluent in Spanish, and I think it was important for them to not only speak the language, but to know my country, know my family." There Duran aligned with the Solidarity movement, a human rights organization founded by Pope Paul VI to halt ill treatment of Chilean citizens by the government, and got involved with a fledgling cultural center. "That was my first glimpse into how you run a cultural center," he says. "It was very self-sufficient, it was very community-driven. A lot of artists, printers, sculptors — doing work for the people, for the community, for kids, for families."

Duran returned to the United States in the early '90s, drawn to the Hispanic community in Southwest Detroit, and determined to create opportunities for the kids he saw here. He worked with several other cultural centers, but ultimately found them too restricting. His vision was a center where kids could decide on their own what they wanted to learn, with no limitations as to subject matter. In 2012, with the support of Hacienda Mexican Foods owner Lydia Gutierrez — and a little help from his friends — Duran converted the 18,000-square-foot tortilla factory into the bustling hub of arts and learning that it is today.

Duran does receive some grant money for Garage Cultural, but he feels the system is skewed:

"They just give us the crumbs," he says. "An organization in a poor neighborhood like this, they give us a little money, and the big money to big universities, museums. If we feed the local organizations, then the kids will know about the museums. If you don't teach kids and families about the DIA, the African American Museum, the Center for Creative Studies ... we have all those institutions here, but how are they gonna know? How will these kids know they can get involved in the arts? Nobody's asking for $200,000 for a big executive director's salary. Just the money to start, to buy more instruments, some paint or materials, and to pay our instructors."

Much of the support comes from Gutierrez, who allows Duran to use the building free of charge. The remainder comes from the small sum he charges families for their kids to come and learn at the center. Forty dollars per family for a 10-week program, no matter how many kids they've got. And each kid can take up to three classes. But in Southwest Detroit, sometimes families can't even afford that. Duran often gets paid in trays of enchiladas or a helping hand around the building. But it's worth it. With 15 arts programs and 120 kids, Duran feels that Garage Cultural is picking up where, due to constant budget cuts, the Detroit Public Schools dropped off long ago.

"The school system doesn't have any of these things," he says. "My work is to get more kids involved in the arts. I feel that we have a gift — musicians, painters — and I feel that we should share that with people.

"In my interviews with the families, mostly I talk to the kids. The parents want the kids to do one thing, but I want to know what the kid wants to do. The key thing is to find what their interest is. You find out what they really like, and they will be committed, they will be focused. You not only teach them and train them, but you have to expose them. They're learning something — and they feel good about it — so they will continue."

Part of that includes taking the kids on field trips. The DIA, the Henry Ford Museum, and an annual camping trip are all part of the program. "A lot of these kids have never seen any of this. A lot of their parents don't have a driver's license, or they don't feel comfortable [leaving Southwest Detroit]. And that's sad because they're missing so many things."

Besides adding to the existing variety of programs offered, such as a mechanic shop and a dance studio, Duran's plans for the future of the Garage are as ambitious as they are varied — including a retail shop for kids to rent or purchase musical instruments at prices they can afford, and purchasing a bus for mobile art and music projects. Duran and Gutierrez have also sponsored several murals around the city, including the iconic Hijo del Maiz (Man of Corn) by artist Dasic Fernandez.

"If you want to do something," Duran says, "you find a way to do it. Especially if you have the support of a family, a community.

"I feel very proud about it. And very humble. Because we've done it because we love our community, we love what we do. I'm not depressed that we don't have a $100,000 budget. We work with what we have, and it's fine. And I think it's because I come from a country where we did miracles with no money, under pressure, risking your life. Risking your life. Here, it's a piece of cake, man!"

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Caveman Woodman & Bam Bam Moss is another solid addition to the Bellyache roster 

By Michael Ross

  Many folks know Frank Woodman as the foremost gregarious showman of Detroit rock ’n’ roll. Still more know Brandon Moss as the seemingly eight-armed skinsman of luminous mainstays Wildcatting, Bars of Gold and (legendary, albeit defunct) Bear vs. Shark. As Caveman Woodman, Frank is regularly seen and heard at events around town — setting up on the sidewalk, in the corner, on the balcony, and in the bathroom. Of late (and on this platter) he’s joined by Bam Bam Moss, and together they deliver something like the Kingsmen meet the Bay City Rollers; that is, primal faux-fur beats and bashings dressed up in the sparkly boots of glam hooks and singalong harmonies.

On this six-song EP, you get four songs proper and a bonus "improv" on each side. All the songs clock in around two minutes, with just one breaking the three-minute mark. It's all the punk-glam-primal-fuzz you can handle. Opener "What Would Caveman Do" sounds like a lost Damned track, all speed and shouty choruses. "Starting a Dance Craze," the "long" song, leaves a bit of room for both instruments to stretch out between verses. "Gimme Some More" and "Letting You Down" both showcase Woodman's way with a hook and a melody — the guy's been writing songs for a while now, and he's got some good tricks up his tattered leopard-skin sleeve.

As Caveman, his songs never take themselves too seriously, and the result gives the record a refreshingly offhand and effortless feel all the way through. Moss' drums are the cherry on top — these may be the grunts of Early Man, but Bam Bam spits the beats out like machine-gun shells. Another solid addition to the always-impressive Bellyache roster. 

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The Loveseats offer up free self-titled EP 

By Michael Ross

Detroit trio The Loveseats recorded this EP themselves, and it sounds like it — in the best way possible. For one, they sound like they're having way too much fun to get outside forces involved. But more than that, it sounds good — or, it sounds exactly as it should. Make no mistake: This is garage rock, or garage punk; the guitars are crunchy, the drums are of the falling-down-a-hill variety, and the vocals are ragged. Perfect.

Opener "Either Way" states that "My problem is that I don't have a problem," and that sets the overlying tone for the EP. (Must be nice.)

"Shadows" starts quiet, with loud hollered choruses and one abbreviated Jane's Addiction-style epic guitar solo. Third track "Clean" ("I'll be wearing my clean clothes tonight and you don't give a shit!") could benefit from a remix — the group-shout vocals are buried behind the throbbing rhythm track, and you wanna lean in to decipher the mumbles. But as the 5-minute sinister Mudhoney-esque growling guitar vamp builds to a delirious wailing death-squall, that becomes a small quibble.

"Taste" continues in the guitar-punk vein; again the vocals are tough to figure, but otherwise a great burst of brash rock 'n' roll.

So: jean-jacket tight arrangements, solid rolling bass and drums, killer guitar. Minor mixing problems on the vocals (perhaps there's one for our protagonist in "Either Way" to consider). Great rushing platter of trashed basement punk. You can go and download this EP for free on their Bandcamp, so by all means do. Then let's wait for the (hopefully forthcoming?) LP.

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The Blueflowers get darker on 'At the Edge of Disaster' 

By Michael Ross

The first time we saw the Blueflowers live a few years ago, our impression was that — while having no doubts concerning the quality of musicianship and songwriting — they were a touch (pardon the impending series of obvious references here) flowery for our taste. But with age, those flowers have hardened into something a little drier, a little darker (ahem, bluer), and this new darkness fits the country-noir atmosphere of At the Edge of Disaster like a glove.

On songs like "Grey Matter," lead singer Kate Hinote's vocals ring out with a clarity devoid of optimism — and that's a good thing. You might imagine this song playing as you walk into some bordertown bar deep in the Texas desert, a few sad souls with even sadder backstories nursing their sweating beers.

"A Little Is Too Much" is another open-plains weeper; this is country music far from the polish of Nashville, with the emphasis on the "Western" segment of the phrase. That said, ultimately this is a Detroit record, fitting in perfectly with our town's rich history of putting its own stamp on country music, from the York Brothers and Jack Scott to Goober and the Peas (of which member Dave Feeny contributes pedal steel guitar to devastating effect here).

We could go on with the superlatives, mentioning the Phil Spector-ish teen-symphony heartbreak pop of "Everywhere," or the dreamy narcotic ballad "In the Way," and the mastery of feel and tone of everyone in the band — but really we suggest you find out for yourself, because this is a great record. The Blueflowers claim that they're aiming for the heart — "not to warm it, but to break it." They hit the mark with this release. The inclusion of Patsy Cline's "Strange" is a fitting endcap to this set of songs, most of which are its equal. The tribute serves to draw a direct line from this record to that great, tragic singer — forever beautiful, forever heartbroken. 

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Neil Young & Crazy Horse - Rust Never Sleeps

Pretty awesome.  1978.  Acoustic, the Horse, giant things and Jawas.

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Tim Buckley - Dolphins

live on the Old Grey Whistle Test, 1974.

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The Old Grey Whistle Test Volume 2

Honestly, this is one of those unfortunate cases where it's obvious why these performances weren't selected for Volume 1.  Second-tier performers and second-tier performances from first-tier acts.  That said, there's still some great stuff here.  Roxy Music, a great solo performance of Disney Girls by Bruce Johnston, The Pogues ... and the piece de resistance, Tim Buckley and his band doing Dolphins in 1974.  It's good - it's just not as marvelously consistent as Volume 1.  And man, the Meatloaf segment is really hard to watch.

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Man Bites Dog, 1992, directed by Remy Belvaux, Andre Bonzel, Benoit Poelvoorde

This film made me feel incredibly filthy.  After watching I felt I needed two showers, and to scrub everything else unfortunate to be in the living room. 

Of course, I watched it last night around 2am deep in a fever between bouts of hurling, so an already striking film was that much amplified.  But the central points are still true: Benoit is a despicable human being.  And the complicit filmmakers are just as bad.

I'm getting ahead of myself, though.  This French black & white faux-documentary about a gregarious, intelligent man beloved by his friends, a patron of the arts, a sensitive musician who, above all else, happens to be a ruthless and shameless serial killer is really difficult to watch, and then it ends and you've gone ahead and watched the damn thing and are wondering why.  The shaky documentary style makes the violence ultra-realistic, all the worse for Benoit's nonchalance and lack of any regard as he talks over the day's killings (most of which occurred in broad daylight) loudly and drunkenly to his "friends" (whom, it seems by the end, remain friends with him only out of fear of being taken out themselves).  Children, the elderly, postmen - doesn't matter.  The only second thoughts come when trying to decide how to dispose of the bodies.

Anyway, it certainly didn't help my fever, and now it's making me feel icky all over again.

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Make Way for Tomorrow, 1937, directed by Leo McCarey

When Peter Bogdanovich asked Orson Welles if he'd ever seen this movie, Orson's response was something along the lines of "OH MY GOD!! THAT IS THE SADDEST MOVIE EVER MADE!!!"  

I'm not really gonna disagree.

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My Dinner With Andre, 1981, directed by Louis Malle

A pretty great movie; who'd have thunk two people eating dinner could be revelatory?  Also, Princess Bride casting director Jane Jenkins insisted on putting Wallace Shawn into that flick based almost solely on his pronunciation of the word "inconceivable" in this one.

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I Drink Your Blood, 1970, directed by David Durston

Hippies are turning into zombies as the 60s become the 70s!  Decent people, run for your lives!

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Captain Ron, 1992, directed by Thom Eberhardt

Okay, now I know why everybody loves Kurt Russell?  This is sort of like King Ralph, but on a lower tier.

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Henry Fool, 1998, directed by Hal Hartley

Kinda turns from one movie into another!  But they're both good!  I couldn't think of where I'd seen James Urbaniak before until he said something in this weird snide tone ... and then I remembered he played Bob Crumb in American Splendor - marvelously!

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Graceland, by Chris Abani (2004 Picador)

This novel presents a life fraught with tribulation for a teenager living in Nigeria in the late '70s - early '80s.  The tales of political corruption on every level, crushing poverty and rampant depravity are eye-opening for sure, but the story seems to sort of periodically lose itself.  Conversations are often trite and unrealistic, and protagonist Elvis seems really detached from everything happening to himself and the people around him - which maybe serves to illustrate the ubiquity of violence in the Nigerian ghetto, but it undercuts the story by making it hard to care for the character specifically even while being disgusted at the state of affairs generally.

Still, I'm glad I read it, and I'd read another of Abani's books - I think he's a dynamic writer who'll get better with each pass.

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Inland Empire, 2006, directed by David Lynch

"A woman in trouble" indeed.  "Brutal fucking murder!" ... maybe?  Please explain the slutty chicks and the rabbits.  Actually, don't explain.  That's one of the fun things about David Lynch flicks: the not knowing.

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F for Fake, 1972, directed by Orson Welles (2005 Criterion Collection)

Maybe it's because I was too sleepy to be watching movies... but this seemed a little scattershot, a little unfocused.  Repeated information.  Intriguing, though!  2 and a half stars.  Hell, I think I'm gonna do away with the short-lived star system here.