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parodies by nacrowe
join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating the lyrically provocative and thoughtful music of rapper CHILDISH GAMBINO!
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already, make sure and download the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
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photo & text by nacrowe
i remember being back in NEW JERSEY for winter break after my first semester in boarding school up in WESTERN MASSACHUSETTS and first hearing the propulsive and infectious "NEW SKIN" single off of INCUBUS' wildly inventive S.C.I.E.N.C.E. (EPIC, 1997) album on the local NYC ALTERNATIVE ROCK station 92.3FM KROCK. being in boarding school was kind of like being on a religious retreat, i was intently focused on my studies and pretty much unaware of anything outside the confines of the campus. it was an intense period.
INCUBUS was signed to the IMMORTAL imprint at EPIC RECORDS that seemingly specialized in the burgeoning ALTERNATIVE ROCK / NU-METAL scene of the period. other signees included KORN, SNOT, THE URGE and later THIRTY SECONDS TO MARS. its funny now to think that such a multi-faceted group as INCUBUS was lumped together with label-mates KORN, but back in the late 1990s such was the case. to my ears INCUBUS was sonically adventurous from the get-go. guitarist MIKE EINZIGER seemingly never met a PHASER or PITCH-SHIFTING pedal that he never liked as the band seemed to revel in conked-out interstellar soundscapes and bouncing, melodic textures, which coupled with the FUNK METAL of the incredibly tight rhythm section of ALEX KATUNICH and JOSE PASILLAS made for quite the formidable sonic experience. and then there is BRANDON BOYD, the lead singer. lyrically and conceptually the dude was obsessed with everything from BUDDHISM and EASTERN PHILOSOPHY to SCIENCE FICTION and the philosophical ramifications of living in an infinite universe with a finite set of sensory tools to facilitate any meaning from them. in a sense, id argue that BOYD's outer-body lyricism and potent stage presence actually grounded the band. more so on S.C.I.E.N.C.E. then all later releases, this album found the band coming to terms with their own intense musical and interpersonal connection as a unit and found them really pushing their boundaries, especially on tracks such as "A CERTAIN SHADE OF GREEN," "VITAMIN," "CALGONE," "REDEFINE" and especially "SUMMER ROMANCE (ANTI-GRAVITY LOVE SONG)." later on their focus was much more attuned to song-craft and cohesive structures that more effectively support a central concept, both sonically and lyrically. but on this record its all out there which is why it is one of my favorite records from this period, right up there with DEFTONES' WHITE PONY (MAVERICK, 2000) and MR. BUNGLE's CALIFORNIA (WARNER BROS, 1999). S.C.I.E.N.C.E. is a great starting point for anyone interested in investigating the more adventurist and idiosyncratic of 1990s ALTERNATIVE ROCK. 
photo manipulation & text by nacrowe
first off, the ENGLISH INDIE ROCK band WET LEG is one of the best band names ever. right there with CAPTAIN BEEFHEART, PIG DESTROYER, THE THE and PORNO FOR PYROS.
that out of the way, the band's debut that came out this spring is one of the most enjoyable INDIE ROCK records i have heard in quite some time. reminiscent of the best moments of everyone from INDIE ROCK forbearers like THE BREEDERS and SONIC YOUTH to SHOEGAZE pioneers like SLOWDIVE and MY BLOODY VALENTINE. angular quirky songs with sardonic and intelligent lyrics make WET LEG a band i am looking forward to following for years to come. they are definitely worth checking out. 
parodies by nacrowe
so i was talking with my father the other night about this recent UNREQUITED INFATUATIONS (HACHETTE, 2021) memoir by STEVE VAN ZANDT (of BRUCE SPRINGSTEEN's E-STREET BAND fame) that he is currently finishing up. in it VAN ZANDT at some point talks about the fact that DOO WOP is one of the LEAST CELEBRATED AMERICAN musical forms in modern culture. in fact, the only places ive come across it specifically being played on terrestrial radio are retro-themed AM stations that seek to provide a stale facsimile of a "wholesome" 1950s AMERICANA experience. in essence the art form of DOO WOP and ACAPELLA VOCAL GROUPS in general are effectively DEAD.
and that got me thinking. why is that? my guess is that recording technology has advanced and the taste and culture has moved along with it. DOO WOP to me represents a group creative effort in which the accompanying music is made up of vocal harmonies with MINIMAL, if none altogether, actual instrumentation. it was an art form that one could perform on a street corner, no stage needed. that is the roots of the genre in my estimation and in some sense modern HIP HOP has taken over in that EGALITARIAN regard. theoretically one can rap anywhere without an accompanying beat and provide a VIRTUOSIC experience, or they can have a friend accompany them by beatboxing with them. seems very similar in that street-level, back-to-basics ETHIC with the roots of DOO WOP. that interplay is also similarly intimately nuanced with much active listening involved. i also think that in some sense DOO WOP does still exist, it just morphed into modern R&B with its integrated BLUES, GOSPEL and ROCK N ROLL elements as well as production techniques. aesthetically, groups like BONE THUGS-N-HARMONY, BOYZ II MEN, NEW EDITION, TLC or any of the myriad of so-called "BOY BANDS" of the late 90s/00s are not as unadorned and minimal as their DOO WOP forbearers, but the DNA is undeniably still there. just like RAGTIME was outmoded by JAZZ and 80s HAIR METAL was supplanted wholesale by 90s ALTERNATIVE ROCK, cultural progression will always be a fluid phenomena. to expect a genre to come back or be appreciated on its own terms by a newer generation with no emotional connection to it is a bit NAIVE, PATRONIZING and more than a little UNREALISTIC. i believe the best shot at relevance is to connect it to something happening right now. contextualize those harmonizing techniques in music production techniques still in use to this day. that strategy would provide incentive for further deep dives and investigations into old sounds that may sound fresh in today's cultural context. just a thought. embedded below is the DEER GOD RADIO episode #110 from late 2020 which focuses on DOO WOP and vocal groups form the 1950s and 1960s. enjoy! 
photo & text by nacrowe
there is this seemingly effortless fluid LYRICISM to JOHN COLTRANE's sound up until he shot into space in the late 1960s and explored the outer reaches of his saxophone. i am well aware that his dynamic playing style was a testament to his preternatural abilities of IMPROVISATION, COLLABORATION and ACTIVE LISTENING. to merely state that he was a genius is to cut such efforts short, as was the case with the beat writers, who when confronted with BEBOP hailed such gifted musicians as COLTRANE, DIZZY GILLESPIE and CHARLIE PARKER with praise of being physically gifted which in itself was a tad bit racist. it denied them their own agency in the process.
regardless, COLTRANE's take on popular standards on MY FAVORITE THINGS (ATLANTIC, 1961) such as "SUMMERTIME," "EVERY TIME WE SAY GOODBYE" and the title track do have an a lilting and lifting feeling within the listener. his playing is highly lyrical as if his saxophone is intimately singing to you in hushed somber tones from across the room. its RELAXING and an absolutely INTOXICATING experience. i believe that it is this LULLING effect which allows him to glide through such complicated arpeggiated measures with little aplomb, slight diversions on a smooth journey through our inner consciousness. i personally enjoy it when i hear a musician make artistically merited yet highly technical musical decisions without such getting any special fanfare in terms of the composition. these are not guitar solos that are setup to be admired and obsessed over, COLTRANE's saxophone runs are more part of an overall experience or aesthetic that just washes over and subsumes you. once you notice something its on to the next thing. like a lot of people, i thoroughly enjoy this period of COLTRANE's discography and highly recommend investigating not only MY FAVORITE THINGS, but also GIANT STEPS (ATLANTIC, 1960) and of course BLUE TRAIN (BLUE NOTE, 1958). not to mention his other collaborations with the likes of MILES DAVIS and MILT JACKSON during this period. you will not regret it. 
photo manipulation & text by nacrowe
i was pretty frustrated watching the documentary THE DAMNED: DON'T YOU WISH THAT WE WERE DEAD (THREE COUNT FILMS, 2015) about the legendary first-wave BRITISH PUNK ROCK band. i've never been much of a fan of THE CLASH so in my eyes the two seminal groups of that movement in ENGLAND were always THE SEX PISTOLS and THE DAMNED. whereas THE SEX PISTOLS were all about NIHILISM, SELF-DESTRUCTION and the piss and vinegar embodiment of a seething underemployed and underrepresented underclass of BRITISH youth in a time of economic and social upheaval, THE DAMNED were the ARTIER, IDIOSYNCRATIC cousins who were better musicians and songwriters, and more than a little bit more interesting. that's just my opinion obviously.
ii thought this film was a missed opportunity. the majority of this documentary gets into the minutiae of THE DAMNED's career and the ensuing lineup changes over the years, which truthfully was not that compelling and felt like one bitter ROCK N ROLL cliche after another. none more dull that the selfish allure of money. there was also this undertone of self-pity due to their career being less profitable than that of their peers. i understand how such is interesting for them, but as a viewer that is not really my concern. we all know THE OFFSPRING, GREEN DAY and BLINK-182 made more than the bands they copied (cough, cough, THE DAMNED, THE BUZZCOCKS and DESCENDENTS). nothing new about that story. the film only really got into their legacy in the last 10 minutes of the film, specifically their influence on the LOS ANGELES PUNK ROCK scene of the late 1970s and into the 80s HARDCORE scene thereafter. THE DAMNED famously played in LOS ANGELES at THE STARWOOD in 1977 that got the ball rolling for influential bands like THE GERMS, THE WEIRDOS, X, THE SCREAMERS, THE GUN CLUB and THE BAGS who in turn paved the way for second-wave HARDCORE bands like BLACK FLAG, DEAD KENNEDYS, ADOLESCENTS, T.S.O.L., SOCIAL DISTORTION, FEAR, DESCENDENTS and BAD RELIGION among countless others. remember, THE SEX PISTOLS final gig was in SAN FRANCISCO in 1978 and they never made it to LOS ANGELES. THE DAMNED was the de facto PUNK ROCK entry point for musicians during that period in CALIFORNIA and thus the scene is undoubtedly a major part of their legacy. the underutilized interview participants alone showcases a murderer's row of major players in the history and evolution of PUNK ROCK including the likes of CHRISSIE HYNDE (THE PRETENDERS), MICK JONES (THE CLASH), LEMMY KILMISTER (MOTORHEAD), CHRIS STEIN (BLONDIE), GLEN MATLOCK (SEX PISTOLS), NICK MASON (PINK FLOYD), JELLO BIAFRA (DEAD KENNEDYS), IAN MACKAYE (MINOR THREAT / FUGAZI), DAVID GAHAN (DEPECHE MODE), JACK GRISHAM (T.S.O.L.), KEITH MORRIS (BLACK FLAG / CIRCLE JERKS), BILLY IDOL (GENERATION X), GAY ADVERT (THE ADVERTS) and DEXTER HOLLAND (THE OFFSPRING) among others. for more information on the topic definitely check out the following books: JOHN DOE's UNDER THE BIG BLACK SUN: A PERSONAL HISTORY OF L.A. PUNK (reviewed HERE), ALICE BAG's VIOLENCE GIRL: A CHICANA PUNK STORY (reviewed HERE), HENRY ROLLINS' GET IN THE VAN: ON THE ROAD WITH BLACK FLAG, (reviewed HERE), KIDS OF THE BLACK HOLE (reviewed HERE), and KEITH MORRIS' MY DAMAGE: A PUNK ROCK SURVIVOR (reviewed HERE), so yeah, i thought they should have leaned into what made them unique amongst their peers and what managed to translate into the next generation of bands. it is that LINEAGE that i find more interesting than petty squabbles over songwriting credits and royalty payments. its too bad the director didnt lean harder into such as that topic was by far and a way the most interesting at the closing at the documentary. BOOK REVIEW | "BRUNELLESCHI'S DOME: HOW A RENAISSANCE GENIUS REINVENTED ARCHITECTURE" BY ROSS KING5/16/2022 
photo & text by nacrowe
in the modern age we are spoiled with examples of both awe-inspiring, mind-bending and deeply challenging ARCHITECTURE. the rate of INNOVATION with regards to techniques and materials is something we take for granted, much like the parallel track that we see with computing technology. unlike digital technology, prominent architecture is not an ephemeral entity, instead it is a tangible representation of our current culture for future generations to appreciate, inhabit and incorporate into their owned lived experience.
what makes ROSS KING's book BRUNELLESCHI'S DOME: HOW A RENAISSANCE GENIUS REINVENTED ARCHITECTURE (BLOOMSBURY, 2013) so compelling is that it relates how the first modern skyscraper, the dome of the CATTEDRALE DI SANTA MARIA DEL FIORE (i.e. the FLORENCE CATHEDRAL), was built effectively for the first time since antiquity during the middle ages. in the 15th century when the dome was built over an 18-year span, FILIPPO BRUNELLESCHI had to bitterly compete against successful rivals (notably LORENZO GHIBERTI) and repeatedly convince the powerful wool guild (who were funding the operation) of unproven techniques such as a 360-degree oxen-driven pulley system, cross-fitted herringbone patterns of bricks with embedded (and hidden) iron rings and a dual layer dome with lighter materials used the further up it went. according to KING, the success of the raising of the dome of SANTA MARIA DEL FIORE sparked an era of innovation that caught the imagination of later artists, sculptors, architects and technical-minded local standouts like MICHELANGELO, DONATELLO and LEONARDO. for me the most interesting aspect of this book is how BRUNELLESCHI was alone among his peers in taking the time to study the works of antiquity, especially the ruins of ROMA, for REFERENCE and INSPIRATION. during this period the common view was that their was nothing to be gained INTELLECTUALLY, TECHNICALLY or ARTISTICALLY from their PAGAN antecedents, as the regional powers of what later became ITALY were superior in their CHRISTIAN worldview. in fact, marble from old buildings was often repurposed into churches and headstones among other trivial entities. it is hard to believe that BRUNELLESCHI was alone in his efforts to unlock the secrets of creating not only a dome, but one with a hexagonal pattern. he found such an analogue in spa from one of NERO's palaces, and spent years devising a plan to make such work on a larger scale. it would seem that convincing a massive paying entity to entrust that you're unproven techniques will be successful decades down the line in the most public of forums is quite the achievement. feels like the modern-day analogue to the lunar landing or the construction of the PANAMA CANAL. i couldnt help when reading about BRUNELLESCHI's curt, caustic temperament and sense of innate superiority the contemporary WILLY WONKA / TONY STARK figure of ELON MUSK. makes you wonder how he will be remembered generations down the line. 
parody by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the legendary production work of the notoriously perfectionist BRITISH record producer GIL NORTON!
​ ​​past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
being introduced to BROOKLYN INDIE ROCK group ACID DAD was one the great pleasures of filming at MARKET HOTEL a few years back. i remember being immediately hooked on their melodically sophisticated psychedelic sound. i sought out their self-titled debut ACID DAD (GREENWAY, 2018) record not long after and was relieved to discover that such matched the power and intensity of the live performance we had just filmed and recorded.
they have a sound that is at once clean and precise yet lush and distinctly PSYCHEDELIC with a healthy dose of reverb on the guitars and vocals. its a very unique sound that is very much about the layered guitar and vocal interplay between co-frontmen VAUGHN HUNT and SEAN FAHEY. standout tracks include "MR. MAJOR," "2Ci," "DIE HARD," "COME OUTSIDE" and "MARINE," but my personal favorite has long been the PRODDING and BROODING "CHILD," which sounds like it belongs in a modern western. sonically it is quite an understated yet impactful achievement and was an intense EMOTIONAL and PSYCHIC experience the first time i heard it. almost has a "BEETLEBUM"-esque (the epic BLUR track) quality to it in that regard. if you are into thoughtfully constructed INDIE ROCK with a distinct flair for expansive psychedelia (think THE STROKES meets UNKNOWN MORTAL ORCHESTRA), then definitely check out ACID DAD's debut. most definitely worth the effort. 
photo manipulation & text by nacrowe
been recently listening heavily to the EXPERIMENTAL soundscapes of FOREST SWORDS, a.k.a. BRITISH producer MATHEW BARNES. to my ears his deeply AFFECTING work sounds reminiscent of early APHEX TWIN, MASSIVE ATTACK, DAN THE AUTOMATOR and even DJ SHADOW. real LUSH and MOODY yet WARPED and PSYCHEDELIC enough to keep your attention.
FOREST SWORDS is definitely worth checking out. 
parody by nacrowe
​check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the LOS ANGELES-based LATIN MUSIC RECORD LABEL NACIONAL RECORDS!
​ ​​past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
from my perspective, when considering the transformative HIP HOP albums from a lyrical and production standpoint, the ones that tend to immediately come to mind include:
1) PUBLIC ENEMY's FEAR OF A BLACK PLANET (DEF JAM, 1990) with its strident political firepower matched by THE BOMB SQUAD's unapologetic bombastic production. 2) BEASTIE BOYS' PAUL's BOUTIQUE (CAPITOL, 1989) and it's postmodern pastiche of film soundtracks, found sound and esoteric 70s vinyl courtesy of the DUST BROTHERS that matched the carefree, idiosyncratic, stream-of-consciousness lyrical content of the group. 3) DE LA SOUL's 3 FEET HIGH AND RISING (TOMMY BOY, 1989) and PRINCE PAUL's kinetic, playful bouncy production likewise constructed utilizing countless samples that synchronized perfectly with the group's intellectually curious, almost SURREALIST mindset. in my opinion 3 FEET HIGH AND RISING is the last of a breed records that came out around that time, not only from PUBLIC ENEMY and the BEASTIE BOYS, but like-minded groups like A TRIBE CALLED QUEST, WU-TANG CLAN and MOBB DEEP. there is a sense with these artists that samples utilized are an extension of a perspective shared by the group itself. it is like an extension almost of their collective ego. these artists also had identifiable producers/production teams that tailored their sonic identity, whether such be J DILLA, THE BOMB SQUAD, THE DUST BROTHERS, RICK RUBIN, MARIO CALDATO JR, Q-TIP, THE RZA or HAVOC. i dont believe that is the case anymore with modern producers instead marketing their signatures sonic compositions for in-house stables of artists or at a premium for outside artists, think TIMBALAND or PHARRELL WILLIAMS. shit evolves. that is now the model more or less. in PRINCE PAUL compositions off 3 FEET HIGH AND RISING like the iconic "ME MYSELF AND I," "POTHOLES IN MY LAWN," "EYE KNOW," "BUDDY" and "SAY NO GO" there is a kaleidoscopic, playful blending of JAZZ with 1970s R&B/FUNK/CLASSIC ROCK samples that serves as a perfect sound-bed for a group equally concerned with SOCIAL JUSTICE, POST-COLONIAL BLACK IDENTITY and SATURDAY MORNING CARTOONS. what i love about this era in HIP HOP and this specific record in particular is how the interplay between the sample and the MC and how they transform and contextualize one another. it is an absolute palimpsest of complex meaning that is only deepened over time. it is a special alchemy that i go back and enjoy all the time. but it probably wont happen again. due to copyright laws and usage rights, a record like 3 FEET HIGH AND RISING is not evil possible without a mammoth budget due to permissions needed and copyright holders paid. the nearest thing to this record to come out in recent memory was DANGER MOUSE's notorious yet savant level JAY-Z/BEATLES mashup THE GREY ALBUM (SELF-RELEASED, 2004) which likewise entirely skirted copyright regulations. its unfortunate because these artists and producers transformed said content. and it is that contextualization, that transformation, that ALCHEMY which is the basic active ingredient in the magic of HIP HOP. thats my opinion at least. 
photo manipulation & text by nacrowe
i recently watched the AHMIR "QUESTLOVE" THOMPSON-directed SUMMER OF SOUL (...OR WHEN THE REVOLUTION COULD NOT BE TELEVISED (SEARCHLIGHT, 2021) documentary about the long forgotten HARLEM CULTURAL FESTIVAL of 1969. and just to cut to the chase, it is an incredible film. THOMPSON, with a deft sense of economy (in his debut project nonetheless), weaves together a running thread of concurrent narratives of everything from COLONIALISM, PAN-AFRICANISM, APARTHEID, THE CIVIL RIGHTS MOVEMENT, BLACK POWER to even the LUNAR LANDING in order to shed context on the meaningfulness of this massive community event in HARLEM. luminaries from the likes of STEVIE WONDER, B.B. KING, NINA SIMONE, DAVID RUFFIN (of THE TEMPTATIONS), MAHALIA JACKSON, MAVIS STAPLES, GLADYS KNIGHT & THE PIPS and SLY STONE among many others participated in this incredible event. someone had the foresight of recording and filming these highly energetic and affecting performances for posterity.
and then just like that the footage sat in a vault for fifty years. and for me that is the painful admission of this film. the sheer utter expendable nature of the BLACK EXPERIENCE in AMERICA. as glorious as the music is (and it is glorious) and the witnessed psychic connection between audience and artist (especially in regards to the SLY STONE, NINA SIMONE and STEVIE WONDER performances), it is impossible to watch this and not feel a pit in your stomach at how performances this rich and culturally significant was deemed disposable by generations of presumably WHITE gatekeepers in the media. it feels CRIMINAL. its effectively cultural arson. if not for this film, the 1969 HARLEM CULTURAL FESTIVAL would have remained unknown. forget culture for a second, just in terms of history this event would have been significant as it was an attempt to provide energy, optimism and cohesion to an embattled BLACK COMMUNITY in transition from an especially turbulent decade that saw the untimely deaths of numerous leaders and allies as a result of the political progress gained from the CIVIL RIGHTS MOVEMENT. i just felt angry watching this film. how did this happen? sadly the same tides of inhumanity and prejudice that crashed down on AMERICAN society back in the 1960s seem to be ebbing and flowing back with greater force in recent years. its unfortunate that most can understand exactly why an event of such artistry and potency could be effectively deleted from our collective memory. WHITE AMERICA still needs to come to terms with its checkered history. its inability to view their fellow countrymen as equal humans. nearly 250 years into this experiment and we are still stumbling out of the starting gate. SUMMER OF SOUL is a deeply affecting film that should be watched by all and studied and celebrated for generations to come. cant recommend it anymore emphatically. 
photo & text by nacrowe
BILL BUFORD's seminal examination of FOOTBALL HOOLIGANISM in AMONG THE THUGS (SECKER & WARBURG, 1990) is interestingly less about sport and more about the GROUP PSYCHOLOGY of CROWDS and how one's personal sense of IDENTITY becomes transformed and reorientated immediately within a new emerging collective construct. BUFORD goes to great detail about the EMOTIONAL, PHYSICAL and PSYCHIC ramifications of such a transformation, embedding himself with everyone from psychotically impassioned MANCHESTER UNITED fanatics to xenophobic NATIONAL FRONT meetings. what comes across is that there is a real sense of intense satisfaction and joy in losing yourself in a CROWD, especially a violent one. for me it was very difficult to read about these accounts (from violent sackings by hooligans in ITALY, GERMANY and ENGLAND) and not think of the JANUARY 6TH INSURRECTION and the seeming misguided nationalistic fervor and over-exhilarated testosterone levels that senselessly fueled it. that same jingoistic SMALL DICK ENERGY seems to carry both through to their destructive ends.
part of what i appreciated about this book is its GONZO-like lack of objectivity as BUFORD is, as the title attests, in amongst the thugs. he doesnt participate in the violence, but is embedded during senseless violent uprisings abroad and attempts to gain an appreciation for why these skirmishes happen from an insider's perspective. is the phenomena of FOOTBALL HOOLIGANISM an expression of a repressed and effectively impotent middle class seeking a vehicle for self-determination? is it a nationalist expression of a post-war subset of the BRITISH population that wishes to express its dominance in a post-colonial context? is it an expression of deep DISSATISFACTION with a changing cultural and economic landscape that leads to an ALIENATION that can only be reconstituted through group affiliation? what is on full display, and BUFORD attests to his own experience of such, is the thrill of watching a crowd arise from nowhere and transition into a violent entity where all sense of INDIVIDUAL RESPONSIBILITY and PERSONAL ACCOUNTABILITY are subsumed into this GROUP ETHIC and IDENTITY. chaos and lawlessness doesnt happen all at once, it is pushed along by small transgressions that reestablish the MORAL PARAMETERS of a group. one person takes a step into the street which leads others to do so, thus blocking traffic. one person anonymously breaks a car window, thus making such ACCEPTABLE BEHAVIOR to the entire organism. its a destructive downward spiral initiated by many MINOR TRANSGRESSIONS that leads to absolute CHAOS. the process is improvised yet curiously with regards to HOOLIGANS is in some regard well-organized. there are multiple leaders that emerge once the process is underway who effectively direct traffic and initiate battles with like-minded and similarly constructed rival factions from other football teams. there is even an UNSPOKEN CODE OF CONDUCT in which the object of violence is to be directed at other rival factions and not the police. there is oddly a sense of RESPECT for the police. the squads are attempting to evade such and conduct their TOXIC DISPLAY OF MASCULINITY outside the auspices of the law, which means away from the physical presence of the police. that is unless, such takes place overseas. in that case the dehumanized concept of the "other" is attached to all foreigners. their life and property is completely disregarded, in fact, their "otherness" is seen to be the root cause. it is never the HOOLIGANS fault that they were collectively "set off," they were merely defending the honor of their country. again, this is very much in sync with the warped mindset of modern insurrectionists on JANUARY 6TH and the REPUBLICAN media echo-chamber the promotes and profits from its proliferation. again, AMONG THE THUGS is easily one of the most affecting sociological examinations i have come across and its examination of the GROUP PSYCHOLOGY surrounding VIOLENT MOBS is more relevant now then ever before. sadly. id consider this book required reading for anyone interested in the concept of CROWD BEHAVIOR and what happens when your sense of individual accountability gets folded into a COLLECTIVE IDENTITY. 
parodies by nacrowe
join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating INDIE ROCK icons R.E.M.!
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already, make sure and download the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
parodies by nacrowe
join us TONIGHT at 6PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating SLUDGE METAL icons MELVINS!
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already, make sure and download the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
much like their contemporaries DINOSAUR JR, PIXIES, THE REPLACEMENTS, R.E.M. and THE SMITHS in the 1980s INDIE ROCK scene, SONIC YOUTH is a seminal band whose expansive sound essentially exploded the sonic palette and listener expectations of what was acceptable and possible within a band context. arguably DAYDREAM NATION (ENIGMA, 1988) is their finest achievement and a proof of concept for their tunefully crafted WHITE NOISE.
to understand their musical point of view, you have to look back at the NO WAVE scene that happened just after the peak of the downtown NYC PUNK ROCK scene that birthed the likes of THE RAMONES, PATTI SMITH, TELEVISION, BLONDIE, DEAD BOYS and TALKING HEADS among many others. the NO WAVE consisted of experimental musicians who took the cue from the PUNK scene and took the sonic avant-garde tendencies much much further (incorporated EXTREME DISSONANCE and angular, jagged sonic JUXTAPOSITIONS with nontraditional song structures) and in many ways pointed the way towards modern-day EXPERIMENTAL music (POST ROCK, AMBIENT, etc). bands from the brief NO WAVE scene include the likes of SUICIDE, TEENAGE JESUS & THE JERKS, DNA, SWANS, THEORETICAL GIRLS, DINOSAUR L and MARS among others. essentially SONIC YOUTH took that sonic EXPERIMENTALISM and love of unyielding DISSONANT TEXTURES and placed them almost oxymoronically within a traditional pop context with recognizable song structures. it is a formula that initiates the listener into accepting a new SONIC VOCABULARY while contextualizing such within a framework they can recognize. arguably the best examples of such on DAYDREAM NATION include the two singles "TEENAGE RIOT" and "SILVER ROCKET," both displaying a hazy, YOUTHFUL ENERGY amidst a fog of dueling distorted guitars courtesy of THURSTON MOORE and LEE RANALDO. vocally bassist KIM GORDON and MOORE present an odd coupling, but it absolutely works. MOORE has a juvenile delivery that sounds both NAIVE and forward-looking as he bellows over an uneasy bed of undulating and interweaving guitar textures whereas GORDON comes off as the epitome of COOL DISAFFECTION. she never sounds as if she is anything but in total control. its an interesting role reversal of cultural constructed NORMATIVE VALUES associated with gender, especially within a rock setting. i am convinced that GORDON is the reason SONIC YOUTH became so influential, because as off-the-rails the sonic experimentation got (especially on earlier records), her voice and AUTHORITATIVE PRESENCE grounded the experience. its a real statement when you consider the blatant CHAUVINISM of the cultural scene during this period (including INDIE ROCK) and it makes it all the more crushing that MOORE outed himself years later as just another selfish creep. DAYDREAM NATION is required listening. definitely worth checking out especially if you have any interest in INDIE ROCK and ALTERNATIVE ROCK or the preceding PUNK ROCK, POST PUNK and NO WAVE scenes that helped spawn it. 
photo manipulation & text by nacrowe
KENTUCKY's KNOCKED LOOSE is just an unrelentingly AGGRESSIVE and downright BRTUAL HARDCORE PUNK band. they deliver on straight down-the-middle, full-throated, spit-in-your-eye vocal ANTAGONISM to the point that you can hear vocalist BRYAN GARRIS' voice begin to shred. how can you not love that!? reminds me of the first time i heard PIG DESTROYER. and the breakdowns, come on!
KNOCKED LOOSE is an amazing band well worth checking out. 
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the INDIE ROCK duo BEST COAST!
​ ​​past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives. and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience! 
photo & text by nacrowe
sorry to say, i got into DEPECHE MODE late. like the end of my 20s late. and i dont know why that is.
i really never had anything against SYNTH POP or ELECTRONIC MUSIC per se. in fact, i was a fan since childhood of peer groups like NEW ORDER, PET SHOP BOYS, TEARS FOR FEARS and ELECTRONIC as well as later related experimental acolyte groups such as LADYTRON, ROYKSOPP, DAFT PUNK, HOT CHIP, LCD SOUNDSYSTEM, MASSIVE ATTACK, HOLY GHOST! and NEON INDIAN. and that is not even counting the likes of longtime obsessions like DEVO and KRAFTWERK. but nevertheless DEPECHE MODE escaped me. i got into them during my brief time in KUKES, when i was working as a PEACE CORPS volunteer in ALBANIA. i remember meeting with RADIO KUKESI, which was the publicly operated station that had a SOCIALIST-REALIST decorated exterior from the 1960s. when my fellow volunteers and i had initiatives within the city, our contacts at this station would publicize such. but in many ways the vibe of that isolated northern ALBANIA town near the foothills of the ALBANIAN ALPS still seemed as CONSTRICTED and OSSIFIED as that of its recent COMMUNIST past a little over a generation before. wealth creation through CAPITALISM was slow going and once proud merchants and farmers had to deal with the relative DISAPPOINTMENT of being small fish in an over-saturated, hyper-competitive marketplace with the likes of ITALY, GREECE and states that emerged from the former YUGOSLAVIA. it was within this context that i discovered DEPECHE MODE and, like most people, that included their seminal VIOLATOR (MUTE, 1990) release. to my ears their mechanical yet emotionally nuanced sound really fit the CLAUSTROPHOBIC atmosphere of a living within a post-COMMMUNIST EASTERN BLOC state perfectly. there is a palpable sense on tracks like "WORLD IN MY EYES," "CLEAN," "POLICY OF TRUTH" and "HALO" of being in a prolonged UNEASY state of general PARANOIA. with the exception of MYANMAR, living in rural northern ALBANIA is unlike other situations ive lived within in that there is a profound sense of cultural and historical distance, as if the country is beyond such CONSTRAINTS. its not even like living in a TIME WARP, KUKES was like living in a situation that was beyond history, such was the impact of their prolonged ISOLATION under a militant COMMUNIST DICTATORSHIP. being in that situation in a sense felt like my own sense of IDENTITY was discarded in favor of this POST-CULTURAL and POST-HISTORICAL context. how do you talk about events for which most people have no reference point. it was a bizarre but thrilling situation. and tracks like "SWEETEST PERFECTION," "PERSONAL JESUS" and especially "ENJOY THE SILENCE" was the soundtrack to sense of having your IDENTITY wiped clean. so oddly when i hear DEPECHE MODE, any era, it basically takes me back to living and working in KUKES. the land that time forgot. 
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May 2022
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