A tribute to your modern world, you’re grand society, where were? An overdose of something or other? Enough, cut it, this was suppose ot be simple, a daily thing, a piece of art, a slice of music, a new album, a links,a Soundcloud, an exhibition preview, a review, just a thing of the day, simple,
Here a musical thing for the day then .
“The Black Lantern are a Long Beach, California musical anomaly. Their debut album We Know The Future is a frenzied mix of rock & roll and modern hardcore that feeds off the energy of punk”, so claims the piece of electronic paper thrust our way. Not far off, they’ve got something slightly left of the norm, feisty band, on your toes and in your face, here, have a listen….
There you go, you have the music, here’s what they have to say for themselves….
About The Black Lantern – Southern California natives Andy Prickett (guitar) and Jesse Nason (drums) had been in similar musical circles for a few years before ultimately joining forces in 2012. With a shared affinity for aggressive melodies, and a strong focus on creative and emotional song writing, the two teamed up and agreed upon one fundamental goal: convince powerhouse vocalist (and Jesse’s better half) Wendy Faraone to join the band. After a quick jam session recording, Andy and Jesse were terrified their choppy demo wouldn’t make it past the impossible to impress Wendy’s high standards. Luckily, to their delight (and utter shock), the first demo of tracks off We Know The Future immediately captured her attention. These formed the blueprints of what was to become L.A.’s one and only post-hardcore-meets-punk-anarchy band The Black Lantern, a fact that easily convinced Russell Crain (bass) to complete the lineup.
The writing and recording process for The Black Lantern is anything but safe and traditional. Rather, the band favors live energy, reckless rehearsals, and a real rebellious attitude. These candid sessions are what this band exists for, turning into transient moments, that are then converted into master files.
This philosophy toward creation pushes out into the artwork and online presence. Their ambition is to keep a tone that is independent of outside control. This way of thinking is the root of The Black Lantern’s raw sound that is unlike anything else in the modern musical marketplace. Their live shows follow in the same vein: each member plays until they have to go to the hospital, there is no small talk, only emotional chaos and keenly timed noise.
In order to maintain their novelty and remain the frontrunners in their highly original musical styling, as a statement The Black Lantern does not have a Facebook profile. This choice further supports that their bare bones, honest approach to creating and performing their art is reflected in everything they do as a band. No frills.
new and refigured work by Simon Lewandowski
Preview Event Friday 13th March 2-15
Exhibition continues March 14th through to April 19th
Simon Lewandowski make useful things that look useless and useless things that look useful: things that move and things that look as if they are moving: things that are there and things that look like they should be somewhere else. In the past he made machines that manifested “artificial stupidity”, a book combining the heuristics of overcoming a creative block with a fictional language of real objects and hypnotized spectators in an empty gallery, publishing the transcripts of what they “saw” .
For Angus-Hughes Gallery he will revisit the familiar – including the repeated, the reversed and the mesmeric – as well testing the going on some new ground.
The Palindrone Dansette is a portable device that plays vinyl records backwards and forwards at haphazard intervals and was originally made as a test rig for The Reversing Machine (an attempt, with Sam Belinfante, to build a functioning time machine).
Another, as-yet-unnamed, piece references a long history of patent devices for mechanising altered states of consciousness – purporting to induce a trance-like state in the complicit user.
Also included is a selection from a body of drawings made under self-hypnosis over the past seven years and shown for the first time; these may reveal something about what is going on in the rest of the work (or just what was going on in the artist’s mind the day they were made).
Finally, new sculptural objects that link form and language in oblique but telling ways. A New Word Order and ShankForce – show another strand of the Lewandowski’s practice in which text becomes a part of objects which remind us of the complications that can arise between what we write, what we mean and what we do.
And for no reason whatsoever…..