Archive for the ‘Jessica Hopper’ Category

Noiseweek: Black Sabbath, Jessica Hopper, The Warriors, Caspian, METZ & Windhand

Sunday, September 13th, 2015

The sights, sounds and words of the week in noise.


Guitar hero Tony Iommi — Why Black Sabbath tour will have to be our last | Birmingham Mail

““We’ve been doing this for getting on for 50 years now,” says the guitarist whose innovative technique has influenced countless others. “It’s about time we draw the line, don’t you think? It’s been great but it’s time to stop now. Don’t get me wrong, I still love gigging. It’s all the travelling and the exhaustion that goes with it that’s the problem. That side of things has a big impact on me. Yes, we may fly in luxury, stay in the very best hotels, ride in the most comfortable limos but there’s still a physical cost to touring. Even when we build in rest breaks – I have to have blood tests every six weeks – I find it tough going. You take a long haul flight, arrive somewhere at five in the morning and book into a hotel. There’s the soundcheck, the promotional work, the gig itself, then you’re back at the hotel to collapse into bed. Then next day you get to do it all over again. I love being up there onstage, playing with Sabbath. What I don’t love is all the other stuff necessary to enable that to happen. None of us are getting any younger, you know.””

Meet the Man Behind the Distinctive Soundtrack of The Warriors | The Village Voice

“Barry De Vorzon has always enjoyed creating music; he certainly never expected to be revered for it. It was quite the shock, then, when the musician, composer, and songwriter found himself being fawned over like some kind of rock god at the music conferences he’s attended for the past three decades. “My gosh, I was treated like a hero!” De Vorzon, 81, recalls of his fellow musicians’ praise for his soundtrack work on the gritty 1979 film The Warriors. Adding to his surprise was the fact that the film was in many ways a critical and commercial flop upon its release. “I said, ‘Wow! How did that happen?’ ” De Vorzon recalls with a chuckle. “But it did! The film just became this cult classic.””

How Japan’s New Nightclub Laws Threaten to Decimate Their Club Culture | Pitchfork

“Japan’s fueih? (or “entertainment business control law”) code governs everything from dancing, to drinking, to sex work, to nightclubs. Since its inception in 1948, the set of laws has technically forbade the existence of nightclubs under 66 square meters in size to allow dancing or for any sized club to allow dancing after midnight or 1 a.m. (depending on the area). For decades, officials turned a blind eye to the code, but in the last five years, police began enforcing the laws, leading to the closure of many dance halls and clubs. That, coupled with factors like the aging of Japan, threatened to decimate the country’s clubbing culture. Fearing extinction, several promoters and club owners in the scene organized—through a coalition called Let’s Dance—to use the 2020 Olympics as leverage and put political pressure on the government to update the laws. After several failed attempts, they finally forced the government to rewrite some of the code earlier this summer. This revision loosened some of the dancing restrictions and now allows for certain clubs to be open past midnight or 1 a.m. (provided certain stipulations, like having the requisite amount of light in the venue, are met).”


Caspian — Arcs of Command

Caspian are never going to be one of those bands to break the post-rock mould, and that’s perfectly fine: they don’t really need to when they’ve developed a knack for wielding its tropes in the best possible way. Arcs of Command from the forthcoming Dust & Disquiet doesn’t get going until about halfway into its 8-minute runtime, but that build-up fields necessary as waves upon waves of riffs alternate between crushing and uplifting. At the end, the noise gives way to that crushing crescendo that Caspian do better than just about anyone else. Dust & Disquiet is out in Australia through Hobbledehoy Records on September 25.

Windhand — Grief’s Internal Flower

Windhand give a masterclass in rhythm on their third record. Grief’s Internal Flower isn’t your typical doom record — for one, it boasts Dorthia Cottrell ethereal vocals, offering a ghostly presence amongst the plodding riffs that drive songs like Hyperion and Two Urns. But there are fascinating interludes folk interludes here that recall Mark Lanegan’s post-Screaming Trees reinvention. Doom metal’s a genre prone to homogeny, but Windhand prove there’s still plenty more aesthetic territory to mine with gloomy and gargantuan instrumentation. Grief’s Internal Flower is out September 18 through Relapse.


METZ — Live on KEXP

No other organisation has crammed as many amazing, loud and vital bands into a tiny space as Seattle radio station KEXP. A Place to Bury Strangers, Built to Spill, Swervedriver, Nothing and Speedy Ortiz just scratch the surface of the station’s long list of alumnae. Here, Canadian noisefuckers treat listeners to a four-song set featuring Wait in Line, The Swimmer, Spit You Out and Acetate. How did a group of nice Canadian boys come to sound so mean?

Jessica Hopper’s Keynote at BIGSOUND

Don’t let the hour-long length discourage you; Jessica Hopper’s keynote this past weekend in Brisbane for BIGSOUND is vital viewing for everyone involved in music. Whether you’re working in the industry, playing in a band or going to shows, you need to watch this. Hopper — who’s been working in music for almost two decades, is currently a Senior Editor at Pitchfork and recently published The First Collection of Criticism by a Living Female Rock Critic — addresses the systemic misogyny she and countless other women encountered in her 20 years in music. She details her conversations on Twitter — which she projects behind her during her speech — with women around the world who’ve shared the same experiences — sound guys fucking with female musician’s sound because of rejected sexual advances, women having their interest or involvement in music constantly called into question by men, as well as countless instances of death threats, condescension and sexual harassment. Hopper’s message clear: these issues are not isolated to one sector of the industry or one country: they run deep in every aspect of the music business, and that it’s on men in music to address them. That means listening to women’s experiences of misogyny rather than doubting them them or justify the abhorrent behaviour of perpetrators, calling other man out on their bullshit, and understand your role to make sure you’re not a part of the problem. I can’t emphasize enough: this is required viewing.