Author Archives: weirdestband
We had a feeling that after their last video, the Yo Gabba Gabba-esque “Public Enemy,” Russian rap-ravers Little Big were going to return to the dark side. And boy did they ever. “Dead Unicorn,” their latest, combines child rape, skin suspension, human centipedes and the Saw movies with, well, unicorns. Dead ones. It’s hard to watch and you won’t be able to look away.
Sorry you can’t unsee that.
On the brighter side: Little Big have promised some European tour dates in February and March, culminating in an appearance at the Paaspop Festival in the Netherlands April 3-5. Given the current shitty state of affairs between Russia and the U.S., we’re not holding our breath for any Stateside dates, but maybe—like a magical, non-sewn-together-from-dead-bodies unicorn—they’ll pleasantly surprise us.
Just in time for autumn’s end, lo-fi queen Petunia-Liebling MacPumpkin has released a video for “Autumn Leaves,” the seventh in her series of visual accompaniments to songs from her 2012 album, Fish Drive Edsels. This may be her most visually arresting work yet, thanks to animation and illustrations by British artist Jodie Lowther. It’s a bit like watching a painting come to life. A painting that just took a few hits of acid.
The next track on Fish Drive Edsels likely to get the video treatment is “Bagboy Cowboy,” a song about a trip to the grocery store. To buy fishheads, no doubt.
We’re back! Did you miss us? We promise to resume regularly posting Weird Bands of the Week and occasionally updating our Weird 100 chart, but other site updates will probably be more infrequent because we’ve both got demanding day jobs now. For our ever-popular Weird of the Day picks, follow us on Twitter or Facebook. And now, back to the weirdness…
This week’s “band” is a solo artist from New York named Thomas Truax (pronounced “True-Ax”) who plays guitar and a variety of homemade instruments, mostly of the beat-making variety. He started out as the bassist/vocalist for a ’90s trio called Like Wow that was part of downtown Manhattan’s “antifolk” scene (did anyone actually like the term “antifolk”? didn’t think so), then turned solo around 2000 or so. His signature instrument, seen above, is called the Hornicator. It’s a modified gramophone horn that he can both sing into and use as a twangy percussion instrument by plucking a string wrapped around its neck. It apparently also has a kazoo inside it, because really, any halfway decent homemade instrument may as well include a kazoo.
Musically, Truax tends to play his own spin on mutant, lo-fi blues, evoking shades of everything from Nick Cave to Jon Spencer to another weird artist famous for cleverly constructed analog drum machines, Mr. Quintron. He’s done an entire album of songs from David Lynch films and another of original songs to accompany a production of Henrik Ibsen’s Peer Gynt. More recently, he’s teamed up with ex-Dresden Doll drummer Brian Viglione. But it’s his solo live shows, where he unleashes his Hornicator and a variety of steampunky percussion instruments with evocative names like the Sister Spinster and the Mother Superior, that really showcase Truax’s weirdness.
Truax has also made more than his fair share of memorable music videos over the years. Here’s our favorite, suggested by reader Chas (thanks, Chas!), for a typically offbeat Truax original called “Prove It to My Daughter” that doubles as both a song and a hypnosis session:
Our friend Kai from Toxic Chicken sent us this bonkers track by a Canadian producer working under the name Funturistic, on which very formal, almost Baroque-sounding music is performed entirely using sampled animal sounds. It’s called “Rural Kerfuffle” and it’s a 10-minute epic with movements and everything. It is, admittedly, not far removed from those stupid Christmas novelty records where cats meow “Silent Night” or whatever, but taken to a pretty crazy extreme. Enjoy.
Any kid who’s ever gone to Disneyland has probably been dragged by their parents to the park’s least entertaining attraction, Great Moments With Mr. Lincoln, at which a creepily dead-eyed Abe Lincoln animatronic intones bits and pieces of the celebrated president’s most famous speeches. If you were ever one of those kids, you’ll probably get a kick out of Negativland‘s latest bit of pop-culture appropriation, “Right Might,” which uses chopped-up outtakes from Disney’s Lincoln voice recordings to deliver a goofily incoherent and frequently interrupted imperialist screed.
The backstory of “Right Might” is maybe even more entertaining than the track itself (which you can stream below). A few years ago, a Disney insider offered to send Negativland a bootleg copy of the Disney audio archives, which included outtakes from most of Disneyland and Disney World’s various theme park ride soundtracks. The corporate prankster eventually sent the Negativland guys nearly 100 CD-R’s filled with sound effects and voiceovers from decommissioned Disney rides, as well as various outtakes, bloopers and alternate takes from rides still in use. Among the treasures never before heard outside the Mouse House: hours of raw, unedited studio recordings of actor Royal Dano declaiming what would become the speeches for Great Moments With Mr. Lincoln.
“Right Might” will appear on Negativland’s first album in six years, It’s All in Your Head, out Oct. 28th on the band’s own Seeland Records.
MC Frontalot‘s new album Question Bedtime mostly features fairy tales unfamiliar to us folks raised on Mother Goose and the Brothers Grimm. On those few occasions when the good MC does take on a more well-worn story, he always flips the script on it. Case in point: “Gold Locks,” which imagines what the story of Goldilocks and the Three Bears would sound like as a bedtime story told to young bears. Needless to say, from the bears’ perspective, Goldilocks (played by rapper Jean Grae) is a horrible monster who, if you’re not good, will sneak into your house and eat all your food. And you, if you’re not careful.
For now, the video is an Entertainment Weekly exclusive, so you’ll have to cruise over to EW.com to watch it there. It’s OK, boo, you’re allowed to see other websites.
In other Frontalot news: Having just conquered America, he’s off to Europe next. Here are those dates:
9/24 in Southampton, EN @ Talking Heads
9/25 in Newton Abbot, EN @ The Jolly Farmer
9/26 in Perranporth, EN @ Watering Hole
9/28 in Bristol, EN @ Thekla
9/29 in Swansea, Wales @ Sin City
9/30 in Stourbridge, EN @ The River Rooms
10/1 in St. Albans, EN @ The Horn
10/2 in High Wycombe, Buckinghamshire @ Bucks Student Union
10/3 in Bedford, EN @ Esquires Beford
10/4 in Hatfield, EN @ Forum Hertfordshire
10/8 in Cork, IR @ Cyprus Avenue
10/9 in Dublin, IR @ Café En Sein
10/10 in Newry, UK @ Magnet Young Adult Center
10/11 in Sligo, IR @ 5th on Teeling
10/13 in Holyhead, EN @ Canolfan Ucheldre Centre
10/14 in Liverpool, EN @ East Village Arts Club
10/15 in Manchester, EN @ Manchester Academy
10/16 in Wakefield, EN @ Warehouse 23
10/17 in Cleethorpes, EN @ The Beachcomber
10/18 in Newcastle upon Tyne @ Think Tank in Riverside
10/19 in Glasgow, Scotland @ O2 ABC 2
10/20 in Blackburn, Lancashire @ King Georges Hall
10/21 in Stoke on Trent @ The Sugarmill
10/22 in Guilford, EN @ Boileroom
10/23 in Southend On Sea, EN @ Chinnery’s
10/24 in London, EN @ The Garage
10/25 in Milton Keynes @ The Craufurd Arms
I’ve just started reading Rip It Up and Start Again: Postpunk 1978-1984, author Simon Reynolds’ very convincing argument for considering the six years following the breakup of The Sex Pistols to be among the most wildly creative in pop music history. I’m only a few chapters in, but already it’s reacquainted me with, or introduced me to, a slew of fantastic music from that era that doesn’t get the recognition it deserves.
I’d put The Normal in that overlooked category. Although it’s certainly a project familiar to anyone who grew up in the U.K. in those years, or went to industrial and EBM clubs in the ’80s, most younger fans have probably never heard of Daniel Miller’s post-Kraftwerk experiment in clinically stark electronic music—in part, because Miller only put out two songs as The Normal, before he got more interested in releasing other artists through his label, the influential (and still going strong) Mute Records.
Both of The Normal’s two songs are pretty weird. “T.V.O.D.” is all about sticking TV antennas into your veins, but “Warm Leatherette,” inspired by the J.G. Ballard novel Crash, is about fucking someone who’s just been in a car crash right before they die. So just in terms of creep factor, “Warm Leatherette” wins. There’s also something about its electro-shock synths that still sounds futuristic, even after four decades (it was released in 1978).