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bethoumyvision123 · 3 years

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Lancaster The Prison Itself is the Crime Album Review

This album I stumbled across while running into an extremely well spoken pink haired fellow at a show recently. Emily Clement and Amanda Fama at bobby’s idle hour tavern. Here is a review of his psych-folk album:

Would You Call a Dog a Prisoner?

The opening track captures the country-folk and world influences that characterize the album. It talks about the unjust nature of death-row. The harmonies are heavenly, and we hear weird alien electronics sparkled over parts. This is a cool garageband trick I think. The whole album was supposedly recorded with a Toys R US mic, so it is very lo-fi, yet most of the instruments used are extremely high quality.

Everyone is Younger Once

This begins and is fluttered with chants that I want to understand what they say. The country folk voice turns to straight amish. The song talks about there being hope despite naysayers. This song sounds straight out of Harry Smith’s Folk Anthology. As is many of the tracks on this album.

The Earth Rang Like a bell for a Million Years

This has a Doc Watson Wayfaring Stranger vibe. Sings about Appalachians, dinosaur extinctions, and my personal favorite/creepiest line, seeing his twins that are grateful for him in the apocalypse. Some of the lines in this track are a little too much TbH... like the earth being sexually molested was not a line I liked.

Do What you need to do babe

This sounds straight off bringing It All back Home, except with a deeper country voice. More Cowbell!!! Kinda droney but cool.

Within the Well of the World

The voice is perfect here. So country with visceral Americana lyrics. Then in a surreal fashion, he talks about the unjust nature of how armies treat children in third world countries. It has jewish symbolism about something I never heard of called a Leviathan. I believe he is talking about the unjust nature of Israel and Palestine.

I’m Not Crazy, but Maybe I Am

Talks about crackheads, baby mama’s, and uncle sam needing to admit their flaws. The electronics come back with a wailing harmonica line reminicent of Obviously Five believers, Charlie Parker style.

I Am a Lone Rider

This is partially to the tune of With God on our Side, which I am sure goes back even farther than that. It’s another sorrowful ballad of separation. You begin to hear the the obviously profound influence that Leonard Cohen has on him here, vocally.

At the Ashram

The first of many left turns on this album. Singing about smoking pot and learning Hinduism. Of course there’s a sitar. The world rhythm from the first track returns here. I am not sure if this is a nice comparison, but I think at this point that Lancaster was influenced by brian Jonestown Massacre

The Prison itself Is The Crime

This recalls the 20s and 30s folk recordings with a clawhammer sounding picking pattern. It is a very childlike melody, with interesting sounds of percussion such as what I think is a wrench clanking. It likens a prison to a tough love. Really tight chorus of voices here. Sings about pitchforks and torches too.

I Am Free from the Chain Gang Now

Cant have a folk mega-album without a yodeling track. Lancaster is no one trick pony. He knows he has a malleable voice that can do a lot of different folk stylings.

Judgement Day

A perfect midpoint of the album. Personal fav track on the album, a very unexpected synth-pop track that shakes the bone. The shift from baritone choruses and tenor verses showcases the characters that this fellow seems to be tortured with. Makes for genius music with a perfect balance of control in chaos. An extremely lo-fi guitar and 808 drum morph this track. There’s even some funny falsetto voices to top off the vocal range in the verses. Sonic touches of alien electronics are cool. A bluesy vocalling come’s in at the end singing about “gray matter.”

Way Over in the Promise Land

This traditional song is a needed reorientation into reality. With Carter Family strums, the amish style vocalizing returns.

Leaf-blower blower blues (whatever Polly Wants She Gets)

This returns to the early folk clawhammer stylings. I am starting to miss the strange-ness that we experienced two times on the album, though the quality voice is perfect for country blues.

The Old Revolution

This Leonard Cohen cover is not a rip off. He uses his natural voice for it, and it sparkles with harmonies and chimes. It has what sounds like either a harpsichord or a plucking of piano strings on it, and they make it sound huge. Thematically, this is is a self proclaimed protest album, and this adds to it. He talks about everyone betraying the revolution in such a nonchalant manner.

Who built This House on Top of me?

A softer tune. A much needed metaphorical ballad that helps with the lows on the album.

I’ve Got A Thousand bucks in Vinyl Ill Never Use

Another fast paced country-blues number that would probably make money busking in the Gulch if that was allowed. Cool phonetic vocal rolls litter the track babababurn.

Life On Parole

No vocal masking here. It sounds like his normal talking voice. It’s a ballad that lyrically resets the album’s themes in the context that more people probably relate to, or know someone that does. Nice falsettos fluttering the track. His harmonizing is really always on point despite often being inconsistently littered around the tracks, and the phrasing is often unmatching, it still adds charm, especially because the pitch is on point.

This Is How the blues Got To Mexico

The voice is partially amish, and partially country-folk here, but the instrumental that would be a beautiful performance at the local Plaza Mariachi. The electric trumpets are kind of a joke, but it adds to the accurate vibe. The song is not a joke. It’s a serious critique of the Mexican government. With a cool spanish lyric that bookends the choruses. Obviously there’s a lot of love for hispanic culture here, which I should have anticipated knowing that this guy went to Lipscomb (they have a lot of missions trips there).

Iron Lady

This kind of has a hint of Irish sound and intensity to it. A visceral picture of someone on death-row and how twisted it is, and the twisted sympathy involved. “A rich man never died upon the chair.” Strangely, it’s a woman doing the killing here? Maybe I heard wrong. A very intense song indeed.

The Great Danville Elevator

This is a topical song that sings about the land in an amish fashion. With percussive bird sounds that depict a bright and sunshiny day. Cant have a folk album that doesn’t sing about transporting stuff by train. It has a lot of cool topical imagery, but I dont really know what the song is about. More animals flutter throughout the track.

I Need A break From Going Nowhere

This is an anthem that has yelling and general loudness. The refrain is a nice crescendo.

Sitatapatra Prayer

This tops off the eclectic nature of the album by what I believe is more Hindu stylings, except it’s all in Hindu. The second a-cappella track, which makes me with the first one had more voices like this one. Very rhythmic and almost throat singing.

To be an Accomplice You Must be a Juror

Finially some reverb on the vocals that take us out in a live venue setting. Gladly the weird electronics return with that garageband 808 if I am correct. A nice combo of his tenor and falsetto vocals. It sings about impending fears. A beautiful freak-folk album complete.

https://ommanipadmehung.bandcamp.com/album/the-prison-itself-is-the-crime-2

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creepykingdom · 5 years

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THE MUSIC BOX OF HORRORS 2019 Brings Special Guests, Rare Prints for 24 Hours of Movie Madness on October 19

The Music Box Of Horrors returns to the Music Box Theatre with 24 Hours of complete Movie Madness from Noon, Saturday, October 19 through Noon, Sunday, October 20. Special guests include writer/director Neil Marshall, presenting his groundbreaking, werewolf-swarming debut feature DOG SOLDIERS; and filmmaker John Hancock, with his psychological horror masterpiece LET’S SCARE JESSICA TO DEATH. With mild-melting visuals and high body counts, this year’s films span the globe and more than 80 years of cinema history—1928 to 2012—with the most terrifying, pulse-pounding movies you’ll ever see, as well as special guests, a live musical score, and excellent Vendors & Food Trucks. For tickets and further information, please click here: https://musicboxtheatre.com/events/music-box-of-horrors-2019. This year’s event is sponsored by Creepy Co., who will also be producing and supplying all Music Box of Horrors merchandise. Exclusive craft beer supplied by Half Acre Beer Co.

The 2019 Horror marathon celebrates the exceptional careers of both Rutger Hauer and Luke Perry with a screening of BUFFY THE VAMPIRE SLAYER to close out the 24 hours. To kick off the event, we’ll feature a 35mm print of the notorious silent film THE MAN WHO LAUGHS, featuring a live score by Maxx McGathey. The Music Box of Horrors is known for discoveries and rediscoveries of under-appreciated films—many of which rarely or never played on the big screen. This year, attendees can look forward to BLOODY MUSCLE BODY BUILDER IN HELL from director Shinichi Fukazawa (dubbed by some as the Japanese EVIL DEAD), as well as director Guy Magar’s personal 35mm print of his 1987 horror-mystery RETRIBUTION.

TITLES & SHOWTIMES for the Music Box of Horrors 2019: 12:00pm - THE MAN WHO LAUGHS — 1928, 110 min., Dir. Paul Leni, 35mm - Featuring a live musical score by Maxx McGathey 2:00pm - OFFICE KILLER — 1997, 82 min., Dir. Cindy Sherman, 35mm Print Courtesy of UCLA Film & Television Archive 3:45pm - LET'S SCARE JESSICA TO DEATH — 1971, 89 min., Dir. John Hancock, 16mm - Dir. John Hancock in Attendance for a Post-Film Q&A 5:45pm - A TRIBUTE TO LARRY COHEN 6:00pm - DEMONS 2 — 1986, 88 min., Dir. Lamberto Bava, 35mm 7:55pm - BLOODY MUSCLE BODY BUILDER IN HELL — 1995/2012, 62 min., Dir. Shinichi Fukazawa, Blu-Ray 9:15pm - DOG SOLDIERS - 2002, 105 min., Dir. Neil Marshall, 35mm — Dir. Neil Marshall in Attendance for a Post-Film Q&A 11:45pm - EVENT HORIZON - 1997, 96 min., Dir. Paul W.S. Anderson, 35mm 1:30am - RETRIBUTION - 1987, 107 min., Dir. Guy Magar, UCLA 35mm, Director's Personal Print! 3:30am - ALLIGATOR - 1980, 91 min., Dir. Lewis Teague, 35mm 5:15am - TETSUO: THE IRON MAN - 1989, 67 min., Dir. Shiny Tsukamoto, DCP 6:45am - HALLOWEEN II - 1981, 92 min., Dir. Rick Rosenthal, 35mm 8:30am - THE FLY II - 1989, 105 min., Dir. Chris Walas, 35mm 10:30am - BUFFY THE VAMPIRE SLAYER - 1992, 86 min., Dir. Fran Rubel Kuzui, DCP Between films, check out the Vendors & Guests in the Music Box Lounge, including: VENDORS: Creepy Co. Bric-A-Brac Records Pretty Spooky Handmade House of Movie Monsters Graveface Records and Curiosities Tattoos by Chloe Pinnock Leaf Blower Massacre Artist Chris Kuchta Deadly Prey Gallery FOOD TRUCKS: Empanada Bike Taco in a Bag Cheesie’s Food Truck Pricing: General Admission - $30/$25 (Music Box Members) Day of Show - $35/$30 (Music Box Members) Become a member: https://www.musicboxtheatre.com/membership/become-a-member

Follow the Music Box Theatre on Facebook, Twitter (@musicboxtheatre), and Instagram (@musicboxchicago)

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