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parodies by nacrowe
join us TODAY at 2PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating NEW WAVE icons THE CARS!
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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cant recall where i first "PIGEONS" and "COMMOTION" by BROOKLYN electronic duo THE HUNDRED IN THE HANDS, although i think it was probably during my time right after grad school in the early 2010s when i was still living in NYC and doing volunteer work around education. to me their sound, and especially their self-titled debut THE HUNDRED IN THE HANDS (WARP, 2010) has both a POST PUNK sophistication and a contagious danceable energy.
to me it still sounds like being in the city where anything can happen. definitely worth checking out. 
photo & text by nacrowe
to me TRANSFORMER (RCA, 1972) is the definitive LOU REED record, if that is even possible given that he was one of the most contrarian and mercurial artist ever, often making radical sonic and artistic departures between records. what TRANSFORMER has is arguably his most consistent set of great songs which includes iconic tracks (and lifelong personal favorites of mine) like "SATELLITE OF LOVE," "PERFECT DAY," "VICIOUS" and (of course) "WALK ON THE WILD SIDE." less revered but no less sensational are songs like "I'M SO FREE," "ANDY'S CHEST" and "MAKE UP."
a common theme throughout his the transmuting nature of art. that MARCEL DUCHAMP-ian concept that we are who we create ourselves to be. in "WALK ON THE WILD SIDE" we are famously introduced to a cast of misfits and superstars associated with ANDY WARHOL's FACTORY scene (of which REED was famously a participant of with THE VELVET UNDERGROUND), all of whom have self-made themselves into their current state to varying effectiveness. in "PERFECT DAY" there is the self-illusion and self-mythologizing that comes with falling in love, where the target of such affection has effectively altered his self-identity with the amazing lines you made me forget myself, i thought i was someone else, someone good. with "MAKE UP" the daily ritual of physically changing your appearance is a forbearer for liberating your soul to outside world. there are literally too many great lines to go over but that is its joy in a sense, much like memorizing the best MEL BROOKS one-liners from SPACEBALLS (MGM, 1987) or BLAZING SADDLES (WARNER BROS, 1974). the whole album is a remarkable and singular artistic achievement, written by a poet with an eye for the hidden and forgotten elements of society. this album, literally evoked with its iconic MICK ROCK (R.I.P.) sleeve portrait, presents a sense of ANDROGYNY that must have been interpreted as entirely transgressive during the period of its release in the early 1970s. i always wonder what the baby boomer generation's true tolerance was for this type of message post- SUMMER OF LOVE. its one thing to question the role of institutions like marriage and courtship rituals and yet another entirely to transcend GENDER itself. as a cultural artifact of its period, a collection of poetry and a ROCK N ROLL record, TRANSFORMER succeeds on all accounts. it is required listening. and i didnt even mention that DAVID BOWIE produced it with assistance from MICK RONSON. doesnt matter, go listen to this record. 
photo & text by nacrowe
recently came across the documentary FOR NO GOOD REASON (SONY PICTURES CLASSICS, 2012) which loosely follows the career of the legendary BRITISH painter/visual artist RALPH STEADMAN through a series of interview with JOHNNY DEPP. with little surprise, much of the oxygen in the room is taken up with talk of his famous collaboration with AMERICAN writer and GONZO journalist HUNTER S. THOMPSON who passed away less than a decade before its filming. but not all of it.
what this film made me appreciate was the full context of STEADMAN's work and how bitingly political much of it was. its as if he took the turbulent, introspective psychological machinations of FRANCIS BACON's work and projected it outward onto a corrupt AMERICAN political apparatus that was not expecting that level vitriol and outright bile. what is also just as interesting is STEADMAN's questioning of the purpose of his work, since these warmongering capitalist structures have perpetuated themselves unabated through a new generation, his efforts to change the world inevitably failing. that lingering question is something that all artists, protestors and community organizers deal with at some point, if not constantly. in the post-TRUMP (or perhaps pre-TRUMP empire) era it is a concern that feels particularly prescient and of-the-moment. what can art do in the face of raw power? his paintings are visceral and unwaveringly detailed to the pain and suffering of the war-torn, malnourished and forgotten victims of war as only someone like GOYA could attest beforehand in centuries past. for what purpose if no one is listening? if no one cares outside of their own self-interest? there must be a good reason to create, provoke and progress. i just dont know it yet. 
photo & text by nacrowe
THE DIRT (review linked HERE) this is not. in my opinion, that book is the greatest memoir ever conceived. period.
what TOMMYLAND (SIMON & SCHUSTER, 2005) attempts to do is present MOTLEY CRUE drummer TOMMY LEE as he enters his 40s. whereas THE DIRT is all about the many conflicting narratives of MOTLEY CRUE, this memoir deals with what you would expect in a straightforward memoir. that being his childhood, career, marriage, divorce and incarceration. there was nothing particularly revelatory revealed regarding any of those topics. LEE is a supremely gifted and respected drummer that has recorded with everyone from NINE INCH NAILS and ROB ZOMBIE to THE SMASHING PUMPKINS, POST MALONE, JACK'S MANNEQUIN and PERRY FARRELL. he is equally known for his infectious personality and legendary lack of impulse control. it seems that the same focused mentality that garnered him success in his 20s is the same that brought him trouble when dealing with adult issues and situations in his 30s. and to his credit he recognizes this. you really get the feeling that at 40 he is in a good spot where he feels fortunate for being on good terms with his ex-wife and has access to his two sons. its unfortunate that 15 years later after publication that his relationship with both has devolved in the manner that it has publicly, but i wont comment on such beyond that. structurally, i do appreciate that he allows several people to participate in this book, namely his ex-wife PAMELA ANDERSON and his PENIS. yes, his PENIS. there is a whole section on their relationship where there are several interjections between the three of them that on paper is totally ridiculous but seems quintessentially TOMMY LEE. i also appreciated that his cowriter ANTHONY BOZZA provides annotations throughout that provide context and legal qualifications to the more incendiary comments made by LEE. his commentary actually frees up LEE to be honest and uninhibited, no that he needed that extra push. as i said before, i think LEE is a pretty uninhibited dude most of his waking life. regarding his incarceration, he didn't really get too deep into the experience other than what it deprived him of. i think if you want to get a better understanding of that experience than RANDY BLYTHE's DARKEST DAYS memoir (review linked HERE) is probably a better bet. overall this memoir is pretty entertaining. i appreciated how he left a PHARRELL quote in where the famous HIP HOP producer obviously has no clue who he is. the debauchery recorded here was mildly interesting but became pretty boring and vaguely misogynistic after a while. and i think LEE recognized that as i'm almost certain those stories were pulled way back. as a closet MOTLEY CRUE fan, i thought this memoir was a fair effort by LEE. i just wished he'd focus more on the music and his connections to other artists than his personal life. i understand most people are interested in his ex-wife and live vicariously through LEE, but the dude is the second coming of JOHN BONHAM. a little more focus on the 80s METAL scene or his feelings on the 90s ALTERNATIVE ROCK scene would have been more interesting. unlike most of his contemporaries, LEE is still a name that has resonance and has essentially transcended his era. i also wonder what he would write about now more than 15 years later. 
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the MUSIC PRODUCTION career of multi-instrumentalist / composer JON BRION!
​ ​​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
my earliest memories of TEARS FOR FEARS classic SONGS FROM THE BIG CHAIR (PHONOGRAM, 1985) record was during my early elementary school years (early 1990s) tagging along with my mom on the leafy campus at CLAREMONT MCKENNA COLLEGE as she was working on her advanced degree in MATH at the time. hearing the record throughout my adulthood i am just reminded of hanging out with my mom as a young child and reading CALVIN AND HOBBES in the college cafeteria. its a period im very fond of and somehow it all connects.
there is a definite playful wistfulness that permeates tracks like "EVERYBODY WANTS TO RULE THE WORLD" and "HEAD OVER HEALS," which in my opinion are two of the greatest pop singles produced by any group ever. ENGLISH songwriters ROLAND ORZABAL and CURT SMITH, like lots of musicians in the early 1980s, were experimenting with synthesizers as a means of expanding their sonic palette and what comes across in SONGS FROM THE BIG CHAIR is a sense of restraint and taste. by all means this is a definitive SYNTH POP record, but it still sounds effectively modern in its production, which utilized LINN DRUMS and an OBERHEIM DMX, as well as a FAIRLIGHT for its rhythm tracks. when DEER GOD had a functioning studio, we had access to a vintage PROPHET V analog synthesizer, which i was particularly psyched on given the model's association with DEVO, FUNKADELIC and of course, TEARS FOR FEARS. but production and technology aside, what stands out is the quality of the songwriting. these songs evoke a unique blend of unadulterated joy with nostalgic melancholy, like a faded picture of good times long since passed. its bittersweet nature only makes repeat listens that much more seductive and enticing. when i listen to SONGS FROM THE BIG CHAIR im not thinking about other NEW WAVE or SYNTH POP groups from the era, im just thinking about how anyone came up such special catchy songs that still latch on to your emotions decades after their release. its a powerful record that transcends lyrical content, innovative production techniques or cultural associations. it is just a timeless record that should be heard by everyone. cant recommend it any more vocally. definitely required listening. 
photo & text by nacrowe
we seem to be in the midst of a golden age of ridiculous GERMAN METALCORE bands. first i discovered CASTROP-RAUXEL's ESKIMO CALLBOY and now the even more ludicrous WE BUTTER THE BREAD WITH BUTTER of BERLIN.
i love the almost DADAIST levels of ABSURDITY in the visuals juxtaposed with the absolute BRUTALITY of the music itself, complete with death growls, gutturals and impossibly down-tuned guitars. it is a complete experience and one where i am completely baffled on whether to laugh or head nod. if anything it is well worth checking out. 
parodies by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the music of early ROCK N ROLL pioneer BUDDY HOLLY!
​ ​​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
in career full of pioneering avant-garde soundscapes, MEDULLA (ELEKTRA, 2004) is arguably the most experimental BJÖRK album. it relies on the sonic possibilities of mostly one instrument: the human voice. almost everything presented is a edited, skewed, pitched, layered or others manipulated from BJÖRK herself or one of her numerous collaborators in RAHZEL (beatboxing), MIKE PATTON (MR. BUNGLE/FAITH NO MORE), SHLOMO (beatboxing), TAGAQ (INDUIT throat singer), ROBERT WYATT (SOFT MACHINE), DOKAKA (beatboxing), GREGORY PURNHAGEN (human trombone) and both the LONDON and ICELANDIC CHOIRS respectively. just as key are the programming efforts by the likes of MATMOS, MARK BELL, VALGIER SIGURDSSON, OLIVIER ALARY and LITTLE MISS SPECTRA.
intuitively when you imagine a record orchestrated and performed exclusively with vocals the first thing that comes to mind (at least for me) was the act singing. while there is plenty of singing, both as a solo and ensemble instrument, what makes this record instrument is how it explores all the other non-traditional (at least in a WESTERN context) manipulations of the mouth, palette and throat. there is a little whizzing, clicking, shrieking, bass dropping, whispering, laughing and not holding going on. and the effort is almost as much about the production as it is about the origins of the sounds themselves. when this came out if felt hyper-modern in its ability to layer multiple organic reverberations into percussive, driving and at times hypnotizing repeated mantras of sound to the point that you were caught in the moment. on songs like "WHERE IS THE LINE WITH YOU," "OCEANIA" and "TRIUMPH OF A HEART" i am quickly less interested in the novelty of its construction and captivated by the quality of the melody and song itself. its quite the achievement. less organic but hauntingly beautiful is the track "DESIRED CONSTELLATION" in its minimal electronic sound-bed that puts on display BJÖRK's voice raw and bare. it very captures an artist performing at the peak of her emotive powers and i find the song deeply affecting still to this day. as with all entries in her catalogue, BJÖRK's MEDULLA is well worth seeking out and revisiting. it may not be the most easily consumable at first listen but it pays dividends for a listener active in their appreciation for a songs construction and performance. in that sense this record is a singular achievement in its artistry and ever more evidence of the genius and vital creative work gifted to the world by BJÖRK. 
photo & text by nacrowe
its interesting, the life narrative of legendary COMIC BOOK artist JACK KIRBY is not all that dissimilar from early BLUES and ROCK N ROLL musicians: that being the story of EXPLOITATION. in KIRBY you have an artists who basically created the vocabulary of modern COMICS and was shafted every step of the way by those (i.e. DC and especially MARVEL) who profited mightily from his talent and labor. it is almost tragic in a sense that he wasn't worthy of respect by his employers, before you stop to consider that he is probably the most beloved figure in the history of COMICS. more so than even his former collaborator STAN LEE.
the documentary JACK KIRBY: STORY TELLER (SPARKHILL, 2007) really gets at the man behind the pencil, as lovingly recounted by his family, assistants, close friends and admirers. what emerges is a touching portrait of a scrappy son of ORTHODOX JEWISH immigrants from AUSTRIA who used his untrained talent to claw himself out of both the GREAT DEPRESSION and a life barely above subsistence in LOWER EAST SIDE tenement housing that he was hellishly raised in. the man had drive and a work ethic bar none. during his peak in the 1960s he would often work 14 hours a day. every day. weekends. holidays. the man did not quit and was determined not to have his growing family have to suffer the difficulties he did in his youth. it was also the ethic that made him susceptible to taking on bad contracts and being paid below his worth. and just so we are clear, his worth was immeasurable not only to MARVEL but to COMICS as an industry. its not a happy story outside of the fact that he was able to meek out a living and had a close, loving family. and the respect of not only writer and artists who came after him, but interestingly as the film points out, those also who came before. the film recounts how he was generous to a fault, giving away quick drawings to fans and admirers alike. MARVEL was not the same way. KIRBY worked until his passing in 1994 and was never allowed access to his original drawings from MARVEL, who have gone on to franchise his creations into movies as well as license such in countless merchandising efforts. but that is CAPITALISM i suppose. all's fair in LOVE, WAR and COMICS. the dude deserved better and at least there is some hope in the fact that in the 1990s through IMAGE COMICS the industry was permanently shifted. much like those players that played before collective bargaining was established in BASEBALL, KIRBY was not able to benefit from such progress, but at least he lived to witness such change. 
photo & text by nacrowe
growing up through the mid-90s in SOUTHERN CALIFORNIA, specifically the then-conservative enclave of ORANGE COUNTY, i was made more than well-aware of BRAND-conscious peers that went past brands like NIKE and sported surf and skate related labels like BILLABONG, O'NEILL, VANS, QUICKSILVER, RUSTY and OCEAN PACIFIC as well as other lifestyle firms like STUSSY, MOSSIMO, CROSS COLOURS, NO FEAR among countless others.
it is one of those interesting things about my upbringing that my family left SOUTHERN CALIFORNIA for NIGERIA in 1996, right when clothes was becoming a thing. a demarcator of identity. living in AFRICA killed that instinct (outside of basketball shoes!) where you were witness to those who had very little. it made this all feel very... small and insignificant. in reading THIS IS NOT A T-SHIRT: A BRAND, A CULTURE, A COMMUNITY - A LIFE IN STREETWEAR (MCD, 2019) by BOBBY KIM, a.k.a. BOBBY HUNDREDS, of THE HUNDREDS fame, it became apparent that streetwear and fashion for him as a creator was less about exclusivity and more about expression. i didn't realize it beforehand, but all those labels i grew up on were run and started almost exclusively by white men. streetwear from THE HUNDREDS and its competitors was very much about penetrating the fashion and garment industry and gaining marketshare for a more diverse and inclusive set of designers. KIM is a lifelong CALIFORNIAN, HARDCORE PUNK kid, former LAW student and the son of KOREAN immigrants, which makes the rise of the label he co-created that much more interesting as it exemplifies a progression of AMERICAN culture writ large. the segment THE HUNDREDS brand satiates is as diverse as KIM himself. which is kinda the point. the label in many ways is an outgrowth of his personality and more specifically his blog. THE HUNDREDS was early to blogging and utilized such to contextualize their collections and transform the product being marketed as a psychic extension of their obsessions, hobbies and COMMUNITY. the blog essentially founded a community and it is that relationship with this COMMUNITY which is at the heart of this memoir. what is KIM's relationship to his audience? what does he own them? does he allow them, or the idea of them, to lead his decision-making on future collections? or is his task to lead them deeper down an explored and deeply-shared sense of COMMUNITY based on similar obsessions, perspectives and viewpoints. its an interesting dynamic that ive become interested in since starting my MBA recently, that of how one runs a business while leading an authentic existence. not exploiting either labor or your customers when all incentive and reward structures suggest otherwise. what ive taken from KIM's example is keeping ownership and financial control close and being realistic about potential risks and opportunities and how those will affect the standing of your brand. it may be that KIM has a unique perspective given his label's longstanding brand equity based on the transparency and interplay of his blog and social media with his COMMUNITY. as long as that relationship is intact and relevant to his consumers, it would seem the brand has a shot at continued viability. but in the end it is not about a t-shirt, a brand or even KIM himself, it is about the COMMUNITY being fostered. and that is pretty cool. i never felt that from wearing a BILLABONG shirt back as a 12 year old. if anything SKATE and SURF culture came of as exclusive rather than inclusive. very interesting BUSINESS memoir i'll be thinking of for quite some time. well worth checking out. 
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 BRITISH singer-songwriter PJ HARVEY!
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 10PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating the singular career of controversial rapper/producer KANYE WEST!
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
senior year of high school for me was pretty tumultuous.
9/11 happened at the beginning of the year and i was swiftly moved from being with my parents in the MIDDLE EAST to a relative in SACRAMENTO. it was complete change of scenery and to some extent a time i was just trying to get through as quickly as possible. during that time i became interested in the ART NOVEAU scene of VIENNA around the turn of the 20th century known as the VIENNA SECESSION which included painters like GUSTAV KLIMT and to a lesser extent EGON SCHIELE and OSKAR KOKOSCHKA. i also began reading work by contemporaries of the period like SIGMUND FREUD and listening to composer GUSTAV MAHLER. im mentioning all this as a prelude as to why i visited my father in VIENNA during spring break of my senior year. it was a very cool trip since for whatever reason i was captivated at the time by the history of the place. we even went on a tour of post-WORLD WAR II locations used in the epic ORSON WELLES vehicle THE THIRD MAN (LONDON FILMS, 1949). but the two highlights of that trip were related to WOLFGANG AMADEUS MOZART. they consisted of getting to witness 1) THE MAGIC FLUTE being performed at the VIENNA STATE OPERA as well as 2) hearing REQIUEM at ST. CHARLES CHURCH. i'll save the former for another entry. ST. CHARLES CHURCH is an early 18th century BAROQUE catholic church that is located a short distant from where MOZART died in 1791. there is an intimate weekly performance of his haunting unfinished composition REQIUEM in this most ambient and fitting of venues. i always appreciated the composition because of its intense pathos which singularly conjures up the eruptive and deep suffering that come with the grieving process. the theater of such a composition in such a venue only amplified that sense of foreboding and was a singularly powerful experience, even for a slightly jaded teenager. needless to say, if you ever find yourself in VIENNA for an extended period post-pandemic, it is worth your time to seek out this performance. even if you are not knowledgeably or even a fan of CLASSICAL MUSIC. its an experience that transcends genre and gives you a sense of the city and its history. thinking of it all now still gives me goosebumps. 
photo manipulation by nacrowe
LOW HUM is the INDIE POP outlet of LOS ANGELES-by-way-of-HAWAII songwriter COLLIN DESHA. what i love about his sound are the relaxed, rolling waves of overlapping grooves that lull you into visions of sunsets and the beauty of nature. you get the sense that these songs would work particularly well while becoming lost on an extended road trip or in your imagination.
the evocative music of LOW HUM is most definitely worth checking out. 
photo manipulation by nacrowe
for any musician new gear is always fun to learn about. even an utter novice such as myself.
the naggin question is always what does something sound like in context. in middle school i remember sounding great in my bedroom with a practice amp but effectively lifeless when mic'd through the gym PA system. at the time we were only playing METALLICA covers of "FOR WHOM THE BELL TOLLS" and "HARVESTER OF SORROW" in preparation for a talent show, but that disconnect is something i was aware of when i started going to shows a few years later. what the EMGtv series excels at is showcasing their pickups in context with a prominent sponsored musician (usually of the PROGRESSIVE METAL or THRASH METAL variety) playing to a backing track that allows you to get a sense of how the pickups come off in a live mix. the results are pretty stunning and the performances by DEVINN TOWNSEND and INTRONAUT are particularly spectacular. its also interesting that some of these artists (TOWNSEND and TOSIN ABASI) have switched to the FISHMAN FLUENCE series of pickups in recent years with its multiple voicings, while others are very much EMG lifers (ZAKK WYLDE and ALEX LAIHO - R.I.P). just goes to show the nature of constant innovation in the guitar space in the past decade. interesting to see what new products are being dreamed up right now by EMG and their celebrated active pickups (especially their 81/85 set) that are utilized by everyone from SLIPKNOT, IN FLAMES, DILLINGER ESCAPE PLAN, PIG DESTROYER, CRADLE OF FILTH and DEFTONES to SLAYER and METALLICA. cant wait. 
photo & text by nacrowe
my family left IRELAND three generations ago in the early part of the 20th century, relocating to NEW YORK CITY. i carry an IRISH surname that traces its roots back to the small village of CAPPAWHITE just outside of LIMERICK in COUNTY TIPPERARY. in my teens i was lucky enough to get the opportunity to visit IRELAND with my family and witness a part of my heritage that really i only primarily knew through music.
specifically that of THE POGUES and U2. whereas THE POGUES in my mind represent the complex mindset and identity of the IRISH DIASPORA, U2 seems (especially during their early career) to be a stridently modern IRISH band. influenced by the sonic experimentalism and lyrical insularity of POST PUNK, their early output seems militantly focused on presenting a vision of an IRELAND that is full of dignity and passion, as well as vulnerability. WAR (ISLAND, 1983) in particular to me is the soundtrack and aural memory of the interpersonal brutality and cultural devastation that was THE TROUBLES. standout tacks such as "SUNDAY BLOODY SUNDAY" and "NEW YEARS DAY" showcase the personal toll of growing up when such unceasing and indiscriminate violence was occurring with little end in sight. those songs may be located in a specific geography and time related to IRISH HISTORY, but for me growing up it was a touchstone when traveling and encountering sites of human cruelty, tragedy, despair and mass casualties in other locations in KOSOVO, CAMBODIA, BOSNIA and GHANA (CAPE COAST CASTLE). that is not to say that these songs are sullen or depressing, in fact its the opposite. they are anthems to the human spirit of persevering and carrying on despite every evidence to the contrary that all is lost and humanity is depraved. BONO is often mocked (sometimes rightfully so) for his often quixotic megalomania with regard to global initiatives. but i see that sort of inner fire, that very IRISH sense of empathy percolating first through these early songs in which he put his passion and sense of moral righteousness in his music. these songs touched me as a child and informed me of what it meant to be IRISH, that of being lost and itinerant yet never losing a sense of self or empathy for the other; essentially being at home in the world and finding commonality with all, including your enemies. maybe the dude was secretly BUDDHIST. regardless, i consider this album a deeply IRISH album that i return to from time to time when thinking about my ancestors and starting anew in a new country. something i have done several times on several continents. 
photo & text by nacrowe
one of the most affecting documentaries i have experienced in recent years, ALL I CAN SAY (OSCILLOSCOPE LABORATORIES, 2019) was directed and edited by DANNY CLINCH, TARYN GOULD and COLLEEN HENNESSY and is essentially a film edited from the personal archive of camcorder video footage BLIND MELON frontman SHANNON HOON shot in the final 5 years of his life. this period included his time pre-fame in INDIANA, before he moved to LOS ANGELES and eventually formed the beloved ALTERNATIVE ROCK band. the film is effectively shot and narrated by HOON which provides a singular experience.
and what makes this film so impactful specifically is its INTIMACY. quite definitively you are witnessing HOON's point-of-view in real-time. it is a uniquely voyeuristic situation that he devised as a means of documenting his own experiences for later PERSONAL CONSUMPTION. what you are witnessing is essentially HOON's VIDEO DIARY. its an entirely singular experience gifted to us by a major recording artist. what comes across is his deep affection for his parents, his girlfriend, his young daughter, his band and his fans. not surprisingly he was a charismatic person and a talented songwriter, which only compounds the tragedy of his passing. you also get a firsthand look at fame and how it inevitably affects ones sense of self-perception. the video which garnered him specifically so much fame and respect, "NO RAIN" off of BLIND MELON (CAPITOL, 1992), also effectively limited his public persona. for a talent who was such a free-spirit, this felt trying as many of the interview footage attests. its a similar trajectory to that of NIRVANA and "SMELLS LIKE TEEN SPIRIT." in the film HOON makes known how much KURT COBAIN's death impacted him, even making its way into lyrics for the title song "SOUP" off of their second record SOUP (CAPITOL, 1995). the fact that his passing similarly left the world another baby girl derived of a father just makes his death seemingly unbearable. and preventable. this is an incredible film that only further enhances the legacy of HOON. if anything this film is very much a masterstroke in editing. one that i will definitely revisit in the future. 
photo & text by nacrowe
i should start by stating that BIRTH SCHOOL METALLICA DEATH (DA CAPO, 2014) by PAUL BRANNIGAN and IAN WINWOOD is far from a perfect book. its BRITISH authors have an unfortunate GEOGRAPHIC BIAS towards the supposed importance of their native island in the role of METALLICA's career trajectory and an even more misplaced PROXIMITY BIAS to the role of KERRANG! magazine, of which the both have written for in the past. the authors also tend to be a bit verbose to the point of obfuscation, almost as if this book was written with a word limit in mind. there are also numerous grammatical mistakes (which is hard for me, a former ENGLISH teacher, to forgive).
all that being said, BIRTH SCHOOL METALLICA DEATH does an alright job of relating the narrative of METALLICA and their massive cultural impact on the world of METAL and beyond. being familiar with their many documentaries (CLIFF 'EM ALL, A YEAR AND A HALF IN THE LIFE OF METALLICA I and II, SOME KIND OF MONSTER, etc.), most of this information i was already familiar with. i assume that fans much more... well, fanatic, than me would probably concede that much of this book is rather basic boilerplate knowledge of the band. i think where this book succeeds is in how the authors reveal the interpersonal relationships between band members and those close to the bands orbit including family, managers and, of course, fans. JAMES HETFIELD and KIRK HAMMETT in particular grew up in broken households where music was a respite from conflict and the unfair and undue hardship of being a child dealing with adult problems. in LARS ULRICH you have an only son with a unique upbringing in that he was raised in a progressive, loving family with a wealthy, sophisticated father figure whose profession as a DANISH tennis pro allowed his son access to world travel and an education in the arts that was second to none. original bassist CLIFF BURTON likewise came from a loving family, albeit one that was working-class with no inclination for musicianship. this triumvirate (of HETFIELD, ULRICH and BURTON) after the ouster of original lead guitarist DAVE MUSTAINE, was fairly stable and artistically cohesive. its only after BURTON's untimely passing while on tour in EUROPE that these the new power struggle between HETFIELD and ULRICH is on full display and the victim of such is JASON NEWSTED. its very interesting that the book makes clear that despite lyrics dealing with rebellion and standing up to the man, that when confronted with issues surrounding any semblance of EMPATHY, COMPASSION and basic DECENCY the leadership of the band failed miserably. HETFIELD, ULRICH and HAMMETT come across as victims of a deep trauma that is sublimated onto NEWSTED. they come off very much like small men indeed. and for all the flowery, sentimentalization carried throughout BIRTH SCHOOL METALLICA DEATH, i thought such was quite a statement of fact. no doubt in the wake of his eventual departure in the early 2000s, which is beyond the scope of this book (which ends after their fifth album at the beginning of the 1990s), there very much is an emotional awakening that traces its painful roots back to the chronology of events examined in this book. the book also makes clear that the band in all its lineup variations was in control of its destiny for better or worse. this goes with major decisions regarding personnel, management, booking agents, record labels, touring packages and so on. the notion that somehow the band was pushed to work with BOB ROCK and construct a more streamlined commercial record at the dawn of the 1990s is absolute garbage. the band (and by that i mean HETFIELD and ULRICH) were already there. despite their internal frailties and inherent weakness in acknowledging their own pain to each other in the face of a major trauma, in terms of creative decision-making, METALLICA was their own general. no doubt the METALLICA of today is a very different animal than this period. and kudos to them for having the courage to progress as humans by admitting and vulnerability, and doing so very publicly. its the less celebrated late-career METALLICA that i feel are truly COURAGEOUS and undeniably AUTHENTIC in a genre filled to the brim with pretenders and charlatans. this book only makes that trajectory come into sharp focus and for that i appreciate it despite its many flaws. 
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January 2022
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