That's that!

The Coen Brothers' Masterful Ode to Flatulence

Fart jokes and subtlety are for the most part mutually exclusive entities. Flatulence is that most unholy of bodily functions, unmistakeable in making its presence known. As such, it has been endlessly milked for humor in countless films, be it Harry Dunne's unfortunately timed episode in Mary Swanson's bathroom, or the Klump Family's exploits around the dinner table. Fart jokes will continue to, uh, announce themselves on the big screen, so long as movie goers continue to laugh at them (and we will). But none will ever top the one orchestrated by the Coen Brothers twenty-five years ago.

Before Joel and Ethan Coen established themselves as masters of modern film noir, they dabbled in broad comedy with 1987's Raising Arizona. The story of a young couple desperate for a child of their own but unable to conceive, who resort to kidnapping one of a set of newborn quintuplets, the film is perhaps best known as Nicolas Cage's breakout role. It has also gained status as a comedy cult classic, and features a number of frenetically-paced set pieces punctuated by the elaborately quirky dialogue and imaginative visual style characteristic of the Coen Brothers' films.

Perhaps my favorite scene is the moment where The Lone Biker of the Apocalypse, played by iconic character actor Randall "Tex" Cobb, enters the couple's ransacked mobile home, and spots an item on the floor along the far wall. The punchline in this quick, blink-and-you'll-miss-it moment, is linked to an earlier scene where the child of friends of the couple is scrawling on that wall (see photo above). While bending over to pick up the item he has noticed on the floor, The Biker pauses to note the child's crude graffitti:

  
In that brilliant moment of continuity, the Coen Brothers haul the Fart Joke out of its scatological doldrums, polish it to a sparkling sheen, and rechristen it as a true comedic art form: the Fart Joke without a fart.

Fart jokes will persist in Hollywood comedies. They're more reliable than ancient comic conventions like the awkward pause or the case of mistaken identity. But no fart joke will ever top the deftly executed gag by Joel and Ethan Coen so many years ago. Unless the brothers themselves are once again struck by a similar burst of flatulent inspiration.

Public Enemy - Back In Effect

As an impressionable young white kid in the late eighties/early nineties, I was caught up in the emergence of hip-hop's "golden era", as the genre exploded out of the inner city and permeated the white middle-class suburbs, thanks primarily to exposure on mainstream radio and music video shows like Yo! MTV Raps! (big up to Dr. Dre and Ed Lover). The Beastie Boys and Run DMC were the first acts to "crossover", the trailblazers who opened the ears of white American youth to this new sound and opened their eyes to new ideas of style and attitude.

Public Enemy emerged on the scene soon after. Chuck D, Flavor Flav, and the rest of the crew never seemed particularly concerned with appealing to this new white audience, but their political lyrics, confrontational style, and innovative production techniques (such as the deft use of vintage soul samples) made them one of the most iconic groups in the history of hip-hop. But Public Enemy lost their immediacy and general relevance long ago, as hip-hop and rap music in general became less politically conscious and more concerned with materialistic pursuits (money, women, and the things that money can buy, like women).

Appreciating The Walkmen

It's hard to believe that The Walkmen have been around since the turn of the Millennium. I guess when phrased that way, it sounds a heckuva lot longer than twelve years. But twelve years is still TWELVE YEARS. I can't imagine how difficult it must be for an indie rock band of modest success to stay together that long. Sure, The Walkmen have gained enough widespread acclaim to achieve Lollapalooza status, but this is a band with five members, a number of whom are fathers. Even at this lofty stage in their career, The Walkmen surely cannot be a lucrative means of making a living.

Paired with my astonishment over the band's longevity is an overwhelming feeling of gratitude. For a band to remain together for over a decade, and to steadily continue to record and release a string of reliably accomplished and tuneful albums, well that is something that one should never be so careless as to take for granted. So I celebrate the band with each painstakingly crafted album they deem worthy of sharing with the world. Finally, it appears that The Walkmen are comfortable enough in their own evolution to reflect on their achievements, and to celebrate along with those that appreciate them so much.

Remembering The Juice Weasel

So I recently worked on a project in my "day job" that required some research on Juicing and its various subcultures (Extreme Juicing, Erotic Juicing, Juiceless Juicing, Juicing for Jesus, to name a few). My immersion into the seedy underbelly of Juicing culture prompted a fond bit of nostalgia from my childhood, The Juice Weasel. Before Jim Carrey became a Hollywood megastar, he was that goofy, scene-stealing white guy on In Living Color. One of his most hilarious sketches was a send-up of "Juiceman" Jay Kordich, the caterpillar eyebrowed (Great Grand) Father of Juicing. I had assumed the Juiceman had finally been jammed into the feed chute of God's own Omega 1000 (i.e. dead), but a quick Google search indicates that Jay is still tirelessly preaching the Juicing gospel at the "ripe" old age of 148. I think I just confused him with Jack LaLanne (definitely dead).

Anyway, after I found that fantastic GIF file up there, I knew a Juice Weasel post was unavoidable.

JUICE! JUICE! JUICE! JUICE!

He Ain't Dead...

He's a Walker!

PS I Love You - Death Dreams

PS I Love You is a raucous indie two-piece hailing from the smallish city of Kingston, Ontario. Despite having a moniker that sounds like an emo/mall punk band circa 2003, the band has released a stellar rock record with its second full-length, Death Dreams.

Vocalist/guitarist Paul Saulnier (Paul Saulnier I Love You?) formed the band in 2006 while still in college, initially as a vehicle for his home recordings, composed mainly on guitar and his trusty Casio keyboard. Saulnier developed a loyal local following, and came to the inevitable realization that a dude tinkling away on a Casio keyboard is exactly no one's idea of a rockin' live show. He wisely enlisted the drumming talents of school mate Benjamin Nelson, and the duo recorded a series of singles and EPs, before releasing their first full-length, Meet Me At Muster Station, in 2010. The album garnered some favorable reviews from indie music sites, but the band failed to make much of an impact in the US. 

With Death Dreams, the band has expanded its sound, and likely, its fanbase. Rather than just crank his amp up to eleven (which it sounds as though he has), Saulnier has also deftly employed a variety of production techniques (multitracks and a legion of effects pedals, among others) to give his accomplished guitar skills some added heft. His intricate fretwork is showcased on "Don't Go", an atmospheric anthem that features a screeching high register eruption midway through, and a soulful, gospel-tinged female backing vocal on the chorus. The following track, "Don't Go", ups the sonic stakes to a level of artful noise that Kevin Shields wouldn't necessarily scoff at (a compliment, to be clear).

Sleep - An Exercise in Artistic Vision (and a Tribute to Gettin' Baked)

Editor’s Note - Dopesmoker is an album by the stoner metal band Sleep, consisting of one hour-long song. I decided that the best way to write about it would be to press Play, and write continually until the song is over. Giddy-up! 

I’ve been meaning to write about the musical phenomenon that is Dopesmoker since it’s reissue early last month, but one can’t just download a one song, hour-long album, press play on iTunes, and start clacking away at the keyboard. No, that is not the proper, respectful way to attack such a historic rock epic. And no, that is not a misprint in the first sentence: one song, one hour long. One hour, three minutes, and thirty-six seconds, to be precise. 

A bit of backstory before I continue. Dopesmoker  was originally recorded in the mid-nineties by legendary doom metal band Sleep, comprised of three stoner dudes from San Jose. It was to be the band’s first album for a major label, London Records, who signed the band with the intent of making them more “mainstream”. But Sleep were not interested in being the Gen X version of Black Sabbath. The band was hellbent on following their own artistic vision (how refreshing!), and after much time spent laboring in the studio, the band emerged, amidst a thick cloud of weed smoke, with their painstakingly created, hour long magnum opus. “We shall call it, ‘Dopesmoker’,” they proclaimed. Their label execs, as you might imagine, were less than enthused. 

The ensuing battle between the band and the label resulted in the recording being chopped up into six separate “tracks” and retitled Jerusalem, which still failed to please London execs. The noble members of Sleep refused any additional concessions, and ultimately broke up rather than see their masterpiece further compromised. Jerusalem was eventually released in 1999 on indie label Music Cartel. The band finally found vindication four years later, when the original hour-long track was released as Dopesmoker on Tee Pee Records in 2003. 

Fast forward nine years to 2011, when another indie label, Southern Lord, was contacted by bassist/vocalist Al Cisneros about a deluxe reissue of the recording. The label jumped at the opportunity, and on May 8, 2012, a remastered version of Dopesmoker, featuring new artwork and a bonus live track was released, delighting old-school stoner metal bros and introducing the band to a new generation of shaggy-haired headbangers.

Heavy Blanket - J Mascis is Back in the Face-Melting Business

Diehard J Mascis fans possess two crucial characteristics, a penchant for yelling “Lou Barlow Sucks!” at Dinosaur Jr. shows, and an inherently masochistic delight in having their faces melted. J will forever be known as the frontman and Axe-Shredder-in-Chief of Dinosaur Jr. But over the years, the schlubby Buddha of indie rock has displayed a restless creative spirit, which has manifested itself not only in his post-Dino band The Fog but in various one-off projects like Witch and Sweet Apple.

Last year, Mascis followed his wandering muse and released Several Shades of Why, an acoustic folk album that, while an accomplished effort that reaffirmed his talents as a singer/songwriter, no doubt disappointed his loyal followers. As if heeding their desperate pleas to plug in to an amp once again, Mascis ditched the acoustic strumming and mumbly vocals to focus on his bread and butter talent, the virtuosic guitar solo. The vehicle for this latest musical incarnation is Heavy Blanket.

Little is known about Heavy Blanket, other than that it is an instrumental trio fronted by Mascis. A press release made the media rounds a couple of months ago announcing the project, and featured a humorous account of the band’s back story involving teenage boredom, the Clap, Japanese hard psych, and smoking weed out of a tuba. The dubious nature of Heavy Blanket’s origins aside, what is indisputable is that the latest showcase for J.‘s guitar heroics is indeed heavy.

Why You Should Watch Castle

I don't have cable. Rather, I have rabbit ears (pause for laughter), which feebly jut out from the mantle in my living room and hover over me while I watch TV. In my ongoing efforts to improve the reception on the three channels (yes, 3) that are clear enough to watch (and that feature programming even remotely worth watching), the antennae often end up at eye level. On more than one occasion, I have very nearly poked my own eye out as I walked past them.

The three aforementioned channels are ABC, CBS, and the LivWell network. The only programs worth watching on LivWell are Motion and Mexico One Plate At A Time (featuring local celebrity chef Rick Bayless, who warrants a blog post all his own). So basically, it's ABC or CBS when I sit down to watch TV at night.

As you can imagine, having essentially two channels to choose from significantly limits one's viewing options. Fortunately, I am the type of person who doesn't like having to make choices, so works out OK. An added benefit is that with so few viewing options, I'm less inclined to watch a lot of TV, and more inclined to get up off the couch and actually do something productive, like read a book or sit out on the porch and stare down passing pedestrians.

But when I do watch TV, there is really only one show that I consider to be "can't missable". That show is Castle.

Disappears at WBEZ - 4/12/12

Disappears in mid-throwdown; apologies for the poor quality of the photo.

We introduced our "Coolest of the Cool" series last week (check it out here), in which we pay tribute to artists that transcend the commonly held perceptions of what qualifies as "cool." The definition of "cool" is obviously very subjective in nature, so on this blog we're only concerned with our own idea of "cool." I will refrain from attempting to define this standard, other than to say that we know it when we see it (or hear it, as the case may be).

The more we listen to the music of Chicago rockers Disappears, the more we realize that they are some of the coolest motherf***ers in existence at present. Aside from having one of the simplest but most evocative and mysterious monikers in all of indie rock, the band features frontman Brian Case, a veteran of the local indie scene who previously played in acclaimed bands 90 Day Men and The Ponies. Plus, he used to work behind the counter at Reckless Records, so his cred is well established.

The band recently released their third full-length, Pre-Language (which we praised here), and it features the debut of a new drummer, no less than Sonic Youth's Steve Shelley.

So we were thrilled at the opportunity to see the band perform last Thursday in the intimate confines of WBEZ's studios on Navy Pier. After draining a few 312 ales in rapid succession out on a balcony overlooking Lake Michigan (compliments of Goose Island), we made our way into the studio. There were maybe 60-70 peeps in attendance, including a few out-of-place old folks sitting in chairs along the back wall. We stood near them at the back, but had a clear view of the band as they worked through a number of songs from Pre-Language, as well as our favorite Disappears tune, "Magics", off their first abum, Lux. While we would have loved to hear them play more tracks off that album (as well as last year's Guider), the band mad a helluva lot of noise, thanks mainly to Shelley's frenetic but flawless drumming, and lead guitarist Jonathan van Herik's expertly crafted walls of sonic fury (which caused my brother to actually plug his ears on a couple of occasions; for shame!).

Disappears kicked off a tour of the East Coast this past weekend, so catch 'em if they roll into your neck of the woods.

The Beat Will Never Stop

Not so long as Dave Wakeling is around. The long-time front man of the venerable British retro ska/soul band The English Beat (or just "The Beat" as they're known in the UK) has been tirelessly touring with a revolving group of backing musicians for the past fifteen years, playing the band's classic hits like "Mirror in the Bathroom" and "Save it for Later." I've seen them thrice (yes, thrice) in that time, and each show is a rollicking blast of joy, nostalgia, and of course, dancing.

Dave and his mates are back in town this weekend with two shows at SPACE in Evanston, tonight and tomorrow night. Tickets are a bit pricey ($38-$68), but Dave never fails to put on a great show.

Now, we must skank!

Growin' 'Shrooms

Since I first started working at the organic produce delivery service that was kind enough to employ me, I’ve had the opportunity to try a variety of locally-grown organic produce, free range, chemical-free chicken and eggs, and a number of delicious prepared foods (my favorite being Aronia Berry Hot Pepper Preserves). 

I have also had the opportunity to grow my own food from the comfort of home. No, I do not live on a local farm or raise chickens in my backyard, but a couple weeks ago I took home a Ready-To-Grow Fresh Mushroom Kit from River Valley Ranch in Burlington, Wisconsin.

New Soundgarden Song - Live to Rise

Cheesiest photo possible: Check!

Yes, we're crappin' ya negative. Chris Cornell and The Grungees have recorded "Live to Rise", the band's first new music in fifteen years, for the soundtrack to the film adaptation of The Avengers comic book series (in theatres May 1).

You'll notice that we have refrained from using exclamation points anywhere in this post, which means that we have listened to the song, and while it's respectable, it's no "Black Rain". We'll withhold final judgement for now, as perhaps it'll be a grower. Listen to the new track here.

Speaking of "Black Rain", check out this badass video for the song, directed by Brendon Small, the man who brought us Metalocalypse.

The Coolest of the Cool - Ride's Tribute to Withnail & I

Being a shameless junkie of pop culture, I tend to especially geek out whenever I learn that an artist (be it a musician, band, writer, actor, director, etc.) shares the same tastes as I do. Not only does it reenforce my personal convictions regarding what makes "good art", it also strengthens my appreciation of that artist's work.  Additionally, it reserves that artist a place in the highest, most exclusive echelon of what I deem to be "cool."

A perfect example of just such an artist is the Oxford, England band Ride. Ride was one of the most prominent members of the British "Shoegaze" scene of the early nineties. Along with My Bloody Valentine and fellow Oxfordians(?) Swervedriver, the band played loud, moody Britpop, heavy on reverb, distortion, and feedback created through the use of guitar effects pedals, among other studio techniques.

In March 1992, Ride released their second album, Going Blank Again, an album of noisy, jangly guitar pop. The seventh song on the album was titled "Cool Your Boots" and led off with a cryptic quote, spoken in a man's hushed voice: "Even a stopped clock gives the right time twice a day." The quote (as well as the song's title) is taken from the 1987 film Withnail & I, a British film that chronicles the aimless lives of two debauched, out of work actors in 1960's London.

Hitchcock's Rear Window in Timelapse

We just came across this cool timelapse video for Alfred Hitchcock's classic 1954 thriller, Rear Window. Jeff Desom pieced together various shots from the film's massive set (a courtyard from a typical New York City block) using editing software to create a coherent timelapse of the film's events, as witnessed by its protagonist, L.B. Jeffries (Jimmy Stewart).

If you're as big a fan of Hitchcock as we are, you'll definitely appreciate this.

Grizzly Attacks in Yellowstone

Photo by James Yule

Late last summer, my fiancee and I spent a week camping and hiking through the backcountry of Yellowstone National Park. The night before we hiked in, we stayed at the Old Faithful Lodge. As we were checking out the next morning, I exchanged the standard pleasantries with the elderly gentlemen behind the front desk. He gave me a receipt and asked what our plans were for the day. When I informed him that we'd be spending the next four days and four nights in the backcountry, he replied matter-of-factly, "Y'know a hiker was attacked and killed by a grizzly yesterday, right?" I said "Uhh, no." To which the man replied, "Yeah, he was half-eaten." 

I shared the news with my fiancee, and we both shrugged and exchanged "there's no turning back now" looks. We applied some SPF, hoisted our packs, and set off into the wilderness, my bear spray canister dangling from the hip belt of my pack. I prayed I would not need to unholster it.  

We did not see any bears on our trip, only a faintly discernible paw print and a pile of "scat" (bear poop). I lied wide awake each night in our tent, listening alertly for even the faintest sound out there in the deep, dark woods. When we returned to the lodge four days later, dirty and exhausted, we were relieved but also disappointed. 

Jessica Grose at Slate.com has published a detailed account of the Grizzly attacks that occured at Yellowstone last summer. The report focuses on the National Park Service's method of investigating Grizzly attacks and the debate over whether the bears involved should be euthanized. Read it here. 

The Walkmen Perform Title Track Off New Album

We're back with yet another update on the new album from the finest dressed band in all of indie rock, The Walkmen. After last week's announcement that the album is titled Heaven, the band has teamed up with Pitchfork.tv's "+1" series for an interview and a live performance of the title track. After one listen, we're hooked on Heaven (we'll refrain from any obvious puns), which drops June 5. Check it below.

Song of the Week - Glimmer by Pelican

How 'bout a some maximum riffage to kick off the week? This week's SOTW is courtesy of beloved Chicago metal band, Pelican. I use the term "metal" loosely, as Pelican has developed a strongly melodic and experimental sound, creating dramatic mini-epics that are full of shifting sonic textures and moods. The four-piece instrumental band has been cranking out this particular brand of earth-rumbling, sludge-churning, cranium-pounding music since 2003.

"Glimmer" is the lead track off 2009's What We All Come to Need, the band's most recent album. It is a prime example of the band's talent for pushing the metal genre far outside it's typical head-banging bounds. Air-tight drumming and simple, lilting bass lines provide a sturdy foundation for the band's duel lead guitars to create a alternately triumphant and ponderous riffs. This is thinking-man's metal.

The choice of Pelican for this week's SOTW is particularly serendipitous, as I have just learned that the band will be dropping a brand new four-song EP next week! Not sure how I overlooked this, but new Pelican bangers after a three year hiatus is the best news we could possibly hope to receive on a Monday. Now if you'll excuse me, I have to go dust off my air guitar...

Words to live by...

Did you know that Illinois men have among the nation's highest rates of colorectal cancer?

If you find yourself driving westbound on the Eisenhower Expressway here in Chicago, you'll see this gentle reminder of that fact between the Kostner and Cicero Avenue exits.

Now this is something we here at RAJ can really "get behind." Take heed, wiener-loving gentlemen!