From October 18 – 22, New York City’s finest venues, nightclubs, and theaters will be taken over by musicians, music-industry professionals, college-radio nerds, filmmakers, and critics. Yes, it’s back: the CMJ Music Marathon and Film Festival.
Notable bands scheduled to perform include: Trash Talk, Parts & Labor, Davila 666, A Place to Bury Strangers, the Doomtree crew, Talkdemonic, Mexicans with Guns, and Kylesa. Seeing so many concerts, screenings, and panels normally comes at a pretty steep price, but we’ve teamed up with CMJ to give away two five-day passes. Total retail value of one pass alone is $495 and will give its bearer access to any event, provided that it’s not sold out or at capacity.
To enter to win, fill out the form below by the end of Thursday, October 13. By entering your information, you’ll also be signed up to receive ALARM’s weekly E-mail newsletter, The ALARMIST.
Descending once again upon the Windy City,Battlesbrought its three live members — drummer John Stanier, multi-instrumentalist Ian Williams, guitarist/bassist Dave Konopka — and a couple of digital friends. The trio was flanked by two tall projection screens, which allowed them to jam alongside video recordings of Gloss Drop guest vocalists Gary Numan, Kazu Makino, and Yamantaka Eye. As usual, the stage floor was packed with pedals, controllers, laptops, synths, and all other manner of loop-friendly gadgetry. Photographer Wallo Villacorta captured these images of the explosive performance at The Vic.
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Chris Connelly, formerly a member of industrial bands Ministry and Revolting Cocks, is set to release his 15th solo album in November. Entitled Artificial Madness, the record is guitar-driven rock that wears its contrasting pop and post-punk influences proudly. A month before its scheduled release, Connelly took some time to run through each song, explaining lyrical content and narrative themes.
Track-by-Track Breakdown of Artificial Madness by Chris Connelly
Here is a breakdown to the lyrics on Artificial Madness. I’ve never really done this before. It’s always been my intention to leave a lot of things ambivalent, giving the listener a few red herrings here and there. Perhaps I’ll leave some stuff buried in there…
1. “Artificial Madness” The protagonist is not really a person — more of a collective consciousness built from panic and paranoia. The city and landscape are fabricated, and all the aggressors or distractions are metaphors. Here we have the crux of the album: the “artificial madness” brought on by the deity that is technology. It can be used to enslave parts of our minds, conscious or subconscious, and it can also serve as a control tactic and a mind-numbing drug. Why do we feel the need to talk and keep in touch with each other so much? Because we are panicking and fearing some sort of apocalypse? I recently read that the Taliban turned off all cell-phone communication at 8 PM in an urban area that they had control over. Control and fascism — always at work.
2. “Wait for Amateur” The emperor’s new clothes. A satirical song about modern pop culture using modern theater (namely Samuel Beckett’s Waiting for Godot). Can you tell if the play is being superbly or horribly acted? Are the actors playing us? Taking us for a ride? Is the director making fools of the actors? (Make a mark in the ground with a primitive tool.)
3. “Classically Wounded” A high-speed chase on a wet night, and a violinist is ultimately impaled on his/her own violin bow. A cautionary tale.
4. “Cold Blood in Present Company” War being waged via technology, misinformation, independent contractors (mercenaries), and the torture of innocents to glean information that will result in the deaths of thousands. Like I said earlier, fascism is very good at adapting to the times.
