Back in my post about Emerald City Comic Con, I highlighted Rexa a monster pornography art book by Jason “JFish” Fischer, and hoped I’d be able to preview some pages from his upcoming work. Well, Fischer was kind enough to send me a couple pages from a book he’s debuting at the Stumptown Comics Festival in Portland this weekend called Junqueland written by Robin Bogert. He says the story is about “a couple of monsters having tasty fun in a bakery.”
So . . . yeah. Check it out. Shit’s crazy, and as far as I can tell, about some dinosaurs fucking, but it’s probably much deeper than that. Or not. Whatever. Who cares, it’s rad.
“There’s no King of Pop, like Michael Jackson, in the punk world.”
– Julien Temple
What would early punk be without its incestuous bickering? It was the initial refusal of Joe Strummer to allow a young Julien Temple into his inner circle in the mid-70s that first pushed the budding filmmaker towards the other great punk originators of the day, The Sex Pistols. That led to the creation of Temple’s two seminal Pistols documentaries, The Great Rock and Roll Swindle (which John Lydon loudly denounced for getting everything wrong) and The Filth and the Fury (made with his involvement and blessing).
When a movie was to be made in the mid-80s about the doomed affair of Sid and Nancy, director Alex Cox chose Strummer to write the film’s theme, much to the shock and chagrin of Lydon. Temple would then go on to record a commentary track for that film, in which he points out everything Cox gets wrong about the Pistols.
Imani Coppola is less concerned with writing a hit single and more concerned with, as she puts it, creating music that feels like having a line of coke blown up your ass. This ballsy, Brooklyn-based beauty coolly disregards designer-imposter pop stars who claim to push boundaries, when in truth, the only boundary they’re testing is our ability to stomach any more empty calorie pop songs.
However, Coppola is no stranger to the major label machine. The 29-year-old singer and multi-instrumentalist signed with Columbia Records during her freshman year in college, churned out a hit MTV single “Legend of a Cowgirl” off her 1997 album Chupacabra, and was then dropped – sadly, an all too familiar story for new talent these days. But that was then, and this is now.
This Sunday (April 10th) our very special in-studio guests will be Dublin rock band Lluther, who are currently on tour in the US, and SoCal punk rock hip-hoppers the Kottonmouth Kings, who are preparing to release their “Legalize It” EP to coincide with the annual 4/20 holiday.
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This week I’m featuring artistic shit out of Portland, Oregon – the best city in America, but don’t fucking move here because it rains for eight goddamn months out of the year. Oh, and by the way, I hope you have a master’s degree and several thousands of dollars in savings, because the only thing a bachelor’s will get you in this town is a part-time job in a coffee shop as a barista-back to a thirty-three year old with a villain mustache straight out of a silent film, who has, apparently, been studying the art of java and thrift-store shopping since he was sixteen.
“All this meaningless, worthless input beamed into kids brains. Where is…”
– Todd Rutherford
Gram Rabbit is not your average band. They’re not writing the kind of boring, junk pop standards that you hear on the radio or see performed on the ubiquitous “Late Night” shows. Instead, the Joshua Tree-based band is constantly striving to push the boundaries of rock, pop, and electronic music.
Their first two albums, Music to Start a Cult to and Cultivation, were lyrically inspired and musically complex. Their third album, Radio Angel and the Robot Beat, plays like the soundtrack to a darkly-edged dance party, and offers the same adventurous variety of styles and sounds.
You can listen to some of the tracks on their website, then pick it up on CDBaby and throw your own “naked dance party.”
