A large amount of foot traffic came through the Broadway Commerce Center in downtown Eugene for the second annual Euzine Comics & Zine Fest last Saturday. The event featured independent artists tabling a variety of work, which included everything from handmade comics to short-run booklets of poetry and prose.

The term “zine” — which comes from a shortened form of the word “magazine” — functions as an umbrella term for a wide variety of DIY art booklets. “A zine really is just a way of presenting your work, whatever kind of work that you may make,” said Alida Bevirt, who helped start the festival back in 2016.

Bevirt conceived the idea for Euzine after tabling at a similar festival in Olympia, Washington. “It was my first experience tabling at a zine event, and it was this incredible feeling,” Bevirt said. “People come up and you’re sharing your work with them and they respond to it.”

From there, Bevirt thought about how she could bring that same experience back to Eugene. “The first, biggest part of organizing this was just finding people who believed in this vision we wanted to create,” Bevirt said.

His endeavor was successful: the event on Saturday was filled with people making an effort to share their own artwork and meet other like-minded individuals.

The zines found throughout the festival included how-to guides, photo books and experimental comics. Some zines were absurd or light-hearted, while others were deeply personal. The qualities ranged from simple photocopied paper to complex hand printed designs.

Bevirt says that these zines function as a way to offer up a unique and unaltered voice for many people. “For example, you buy Vogue magazine and there are models, and designers and advertisements,” Bevirt said. “A zine cuts through all of that processing — it cuts right to the artist that makes their work. This is their work and you’re receiving it.”

“Everybody comes in and sets up, and then the community comes in,” said Jamie Walsh, who helped organize the event alongside Bevirt. “It’s so cool to see it happen. Once you set the tables up, it just happens on its own.”

In the future, both Walsh and Bevirt said they would like to see the event grow. “We just found out we got some grant money, which is really rad,” Walsh said. “That gives us definitely [a] possibility for a bigger venue.”

At future events, Bevirt envisions workshops, zine readings and lectures, in addition to tabling artists. “We want to start creating more experiences for the public to engage with zine culture, artistically [and] intellectually,” she said.

“Last year was successful and this year, I feel like we have a lot of momentum, and it’s also a very successful day,” Bevirt said. “We want to continue to show beautiful and engaging and raw art.”

The post Euzine Comics & Zine Fest features a variety of independent artists appeared first on Emerald Media.

Cult singer-songwriter and outsider artist Daniel Johnston is currently finishing a limited string of live performances that have been billed as his “final tour.” On Wednesday, the artist made a stop in Portland at Revolution Hall for an intimate, and heartfelt sold-out show.

The night began in a slightly unorthodox fashion — with a film screening. The 2005 documentary “The Devil and Daniel Johnston” took the place of an opening act, and detailed the artist’s storied past and lifelong struggle with mental illness.

Among other things, the film touched on Johnston’s early life, his rise in the underground Texas music scene and his encounters with other artists — such as Steve Shelley of Sonic Youth, and Jad Fair of Half Japanese — during the late ‘80s and early ‘90s. A movie screening before the concert might have been a little strange, but it made sense — it’s hard to imagine how any act would have been able to open up for such a distinct artist.

A piece of Johnston’s shown at the Whitney Museum Of American Art Biennial in 2006. (Courtesy of Daniel Johnston)

Most of the venue had filled before the movie even started. “The Devil and Daniel Johnston” is now over a decade old, and it’s rare to see it on the big screen with such a large audience. The communal viewing only added to the experience of the film. The crowd reacted well to the film’s often comedic tone, and many laughs were shared throughout an otherwise emotional movie.

Shortly after the film, Johnston walked on stage and was met with a loud applause. The start of his performance was sudden, and he began to sing without introduction before the house music had even faded completely. The set started off with “Walking the Cow,” a favorite off of the 1983 album “Hi, How Are You.” It featured a solo piano accompaniment alongside Johnston’s own vocals.

For this night of the tour, Johnston was backed on stage by the members of Built to Spill; however, the band’s presence was hardly emphasized. In fact, the band was never even introduced. Guitarist Doug Martsch’s typical noisy and complex playing was often simplified to basic chords; however, it perfectly matched Johnston’s raw songwriting. Martsch also sang alongside Johnston during a few songs.

A performance of “Love Wheel,” which comes from Johnston’s 1994 major label release “Fun,” created one of the liveliest moments of the night. Martsch’s guitar amp was turned up, and Johnston gave a vigorous vocal performance that matched the song’s energetic rock ‘n roll vibe.

Another highlight of the set was the sentimental “Life in Vain.” Johnston’s lyrics — “flip on your TV, and try to make sense out of that” — displayed a lasting relevancy that garnered cheers from the audience.

Johnston is now 56 and continues to deal with mental health issues such as manic depression. Performing was clearly a struggle. Johnston remained seated for the entirety of the set, and he refrained from talking too much. His hands would shake violently as he sang, and his voice was often strained or offkey. But none of this took away from Johnston’s beautiful and emotional performance, which finds a strength in vulnerability.

Everything came together perfectly on “Speeding Motorcycle,” the penultimate song of the set. Johnston sang passionately, and the band members gradually built the song into a loud and discordant finale that kept all of the optimism of the song’s lyrics: “Cause we don’t need reason and we don’t need logic / We’ve got feeling and we’re dang proud of it.” Coming from Johnston, this felt sincere, inspiring, and even magical.

It might have been a little early for this, but Johnston finished off his set with what he called a Christmas wish: the emotional “True Love Will Find You In The End.” At the song’s end, he gave a simple thank you and walked off the stage as the crowd erupted into a standing ovation. Over the years, Daniel Johnston has touched many people with his music, and this show made it easy to see why.

The post Review: Daniel Johnston gives an emotional performance in Portland during final tour appeared first on Emerald Media.

Emerald writers love a deep dive. In the Discography Dive series, Emerald A&C staffers write in-depth about their favorite groups. This week, music writer Nic Castillon looks into the British band Blur’s lengthy history.

“Leisure” (1991) and “Modern Life is Rubbish” (1993)

Blur signed to Food Records in 1990 and released its debut album “Leisure” in 1991. Unfortunately, the record feels like an uninspired derivative of previous British acts such as The Stone Roses and Happy Mondays. It would take a few years for Blur to fully develop its sound. “Leisure” is a debut record that fails to capture the band’s full potential — similar to Radiohead’s “Pablo Honey.”

“Modern Life is Rubbish” was a step in the right direction. The album would later be considered the first release in the band’s “Life” trilogy, alongside “Parklife” and “The Great Escape.” With this record, Blur began to explore a richer studio sound that later manifests itself in the offbeat production of the band’s subsequent albums.

“Parklife” (1994)

In 1994, Blur reached a high point both critically and commercially with “Parklife.” This pushed the band to the forefront of the emerging Britpop genre. On this record, Blur found a distinct musical voice, in addition to a successful hit: the dance-driven single “Girls & Boys.” On the satirical “Parklife” and the ridiculous album closer “Lot 105,” Blur refuses to take itself too seriously. Tracks like “End of A Century” and “To The End” add a melancholic feel to the album. This record creates a distinctly British sound and remains one of the most enjoyable listens in the band’s discography. Not only is “Parklife” a defining album of the Britpop era, it is one of the best albums to come out of its decade. 

“The Great Escape” (1995)

In 1995, Blur quickly followed up the success of “Parklife” with “The Great Escape,” an album that frontman Damon Albarn would later criticize as “messy.” Despite Albarn’s comments, “The Great Escape” remains a solid entry in the Blur discography. Touching on many similar themes, “The Great Escape” functions well as a companion to “Parklife,” and the lively “Charmless Man” remains one of the band’s best singles. 

Blur comprises Damon Albarn (keyboard), Alex James (bass), Graham Coxon (guitar) and Dave Rowntree (drums). (Courtesy of Warner Music Group)

“Blur” (1997)

Blur’s choice to make its fifth album self-titled could be seen as a conscious rebirth. During the late ‘90s, Britpop was declining and Blur was seeking to distance itself from the sound of its past records. On this album, the band takes influence from American indie-rock acts such as Pavement, and it presents a relaxed, lo-fi sound that contrasts the polished pop music of “Parklife” and “The Great Escape.” Tracks like “You’re So Great” and “I’m Just A Killer For Your Love” showcase the band in its rawest form. The stripped-down and straight forward “Song 2” also ended up charting at number 6 on the U.S. alternative rock charts, which brought more attention to Blur among American audiences.

“13” (1999)

With “13,” Blur began to push its music in an art rock direction. This album continues with the same experimentation from the band’s self-titled release. On tracks such as “Battle” and “Bugman,” Blur melds feedback and noise with traditional pop elements. The single “Coffee & TV” showcases some of guitarist Graham Coxon’s mature songwriting. “13” also features some of the longest tracks Blur has ever written. The soulful album opener “Tender” pushes at eight minutes long. In retrospect, “13” is one of Blur’s greatest albums. Those turned off by the band’s earlier Britpop sound can find an engaging listen with this release.

“Think Tank” (2003)

In the early 2000s, guitarist Coxon made the decision to leave Blur. The band would go on to write and record its seventh album, “Think Tank,” as a three piece. With Coxon’s departure, Blur experimented with a more electronic sound, which polarized some fans. Despite this musical shift, “Think Tank” offers a refreshing take on Blur’s established sound and further explores the band’s proclivity for studio experimentation. Much of “Think Tank” would also foreshadow Albarn’s work on the landmark Gorillaz album “Demon Days.”

“The Magic Whip” (2015)

Over a decade passed between “Think Tank” and “The Magic Whip.” On this album, Coxon rejoined the band, and Blur returned to a more guitar-oriented sound. “The Magic Whip” proved that Blur still had the potential for well-crafted albums over 20 years later.

Check out Blur’s “Coffee and TV” below:

An earlier version of this post attributed “Coffee and TV’s” songwriting to Damon Albarn. Graham Coxon wrote the song. The post has been updated to reflect the correct information.

The post Discography Dive: British band Blur perfects the pop album appeared first on Emerald Media.

Emerald writers love a deep dive. In the Discography Dive series, Emerald A&C staffers write in-depth about their favorite groups. This week, music writer Nic Castillon looks into the British band Blur’s lengthy history.

“Leisure” (1991) and “Modern Life is Rubbish” (1993)

Blur signed to Food Records in 1990 and released its debut album “Leisure” in 1991. Unfortunately, the record feels like an uninspired derivative of previous British acts such as The Stone Roses and Happy Mondays. It would take a few years for Blur to fully develop its sound. “Leisure” is a debut record that fails to capture the band’s full potential — similar to Radiohead’s “Pablo Honey.”

“Modern Life is Rubbish” was a step in the right direction. The album would later be considered the first release in the band’s “Life” trilogy, alongside “Parklife” and “The Great Escape.” With this record, Blur began to explore a richer studio sound that later manifests itself in the offbeat production of the band’s subsequent albums.

“Parklife” (1994)

In 1994, Blur reached a high point both critically and commercially with “Parklife.” This pushed the band to the forefront of the emerging Britpop genre. On this record, Blur found a distinct musical voice, in addition to a successful hit: the dance-driven single “Girls & Boys.” On the satirical “Parklife” and the ridiculous album closer “Lot 105,” Blur refuses to take itself too seriously. Tracks like “End of A Century” and “To The End” add a melancholic feel to the album. This record creates a distinctly British sound and remains one of the most enjoyable listens in the band’s discography. Not only is “Parklife” a defining album of the Britpop era, it is one of the best albums to come out of its decade. 

“The Great Escape” (1995)

In 1995, Blur quickly followed up the success of “Parklife” with “The Great Escape,” an album that frontman Damon Albarn would later criticize as “messy.” Despite Albarn’s comments, “The Great Escape” remains a solid entry in the Blur discography. Touching on many similar themes, “The Great Escape” functions well as a companion to “Parklife,” and the lively “Charmless Man” remains one of the band’s best singles. 

Blur comprises Damon Albarn (keyboard), Alex James (bass), Graham Coxon (guitar) and Dave Rowntree (drums). (Courtesy of Warner Music Group)

“Blur” (1997)

Blur’s choice to make its fifth album self-titled could be seen as a conscious rebirth. During the late ‘90s, Britpop was declining and Blur was seeking to distance itself from the sound of its past records. On this album, the band takes influence from American indie-rock acts such as Pavement, and it presents a relaxed, lo-fi sound that contrasts the polished pop music of “Parklife” and “The Great Escape.” Tracks like “You’re So Great” and “I’m Just A Killer For Your Love” showcase the band in its rawest form. The stripped-down and straight forward “Song 2” also ended up charting at number 6 on the U.S. alternative rock charts, which brought more attention to Blur among American audiences.

“13” (1999)

With “13,” Blur began to push its music in an art rock direction. This album continues with the same experimentation from the band’s self-titled release. On tracks such as “Battle” and “Bugman,” Blur melds feedback and noise with traditional pop elements. The single “Coffee & TV” showcases some of guitarist Graham Coxon’s mature songwriting. “13” also features some of the longest tracks Blur has ever written. The soulful album opener “Tender” pushes at eight minutes long. In retrospect, “13” is one of Blur’s greatest albums. Those turned off by the band’s earlier Britpop sound can find an engaging listen with this release.

“Think Tank” (2003)

In the early 2000s, guitarist Coxon made the decision to leave Blur. The band would go on to write and record its seventh album, “Think Tank,” as a three piece. With Coxon’s departure, Blur experimented with a more electronic sound, which polarized some fans. Despite this musical shift, “Think Tank” offers a refreshing take on Blur’s established sound and further explores the band’s proclivity for studio experimentation. Much of “Think Tank” would also foreshadow Albarn’s work on the landmark Gorillaz album “Demon Days.”

“The Magic Whip” (2015)

Over a decade passed between “Think Tank” and “The Magic Whip.” On this album, Coxon rejoined the band, and Blur returned to a more guitar-oriented sound. “The Magic Whip” proved that Blur still had the potential for well-crafted albums over 20 years later.

Check out Blur’s “Coffee and TV” below:

An earlier version of this post attributed “Coffee and TV’s” songwriting to Damon Albarn. Graham Coxon wrote the song. The post has been updated to reflect the correct information.

The post Discography Dive: British band Blur perfects the pop album appeared first on Emerald Media.

Before Eugene’s Slade Nevin began his own record label, “Captain Crook” was just the name of his disabled cat.

“Its neck was broken to the left, its tail was broken to the right, so it walked sideways,” Nevin said.

Crook passed away but lives on: his name is memorialized through Nevin’s record label, founded in 2008. “It was a made-up label at first,” Nevin said. “I put [Captain Crook] on my own demo CDs and people asked me who it was.”

Nearly a decade later, Captain Crook Records has over 100 releases in its back catalog and remains one of Eugene’s most unique homegrown record labels.

Nevin runs the label alongside his partner Whitney Allen, who started helping out around 2014. Around that time, the label began to release music on a more consistent, month-by-month basis.

Most of Captain Crook’s releases fall into the bedroom pop or lo-fi categories, but the music is very eclectic. Since Captain Crook is entirely independent, the label works with a diverse group of artists. “We listen to a lot of stuff,” Allen said. “It’s very rare that we don’t think something will mesh with us.” Past releases have ranged from earnest songwriting to experimental noise projects.

Nevin’s original intent may have been to release local music, but that focus soon shifted. “We don’t really do Eugene artists,” he said. “I tried when we started but nobody really wanted to at that time.” The label features some artists based in Oregon, but many of Captain Crook’s releases come from artists based in other parts of the country, such as the Midwest or the East Coast.

Most of this happened through word of mouth. Some way or another, an artist looking to release their music will happen upon the label. “It’s always someone knows someone,” Nevin said. “We don’t really go scout people because it’s too much work.”

Captain Crook also places a large emphasis on physical media. In addition to digital albums on the website Bandcamp, the label releases music on CD, cassette and even floppy disc formats. But Nevin will tell you physical media is dead. “It’s just a novelty almost at this point,” he said. “But I like physical media and I buy physical media, so that’s why I keep doing it.”

And clearly others share that same sentiment; almost every CD or cassette release sells out online. “I think we got on that trendy form of media,” Allen said. “People just like that they can go pick up a cassette. They probably won’t listen to it, but it will sit on the shelf somewhere and look rad.”

Nevin and Allen assemble each physical release at home, so it helps that the cassettes are much easier to make than CDs. “You can just flip on the dubber and watch ‘Dragon Ball Z’ instead of sitting at a computer doing it,” Nevin said. This approach sets Captain Crook apart, as very few labels do all of the work entirely in house. In Allen’s words: “It is still truly the heart of DIY.”

Profit is not much of a priority either. With most releases, Captain Crook just intends to break even. “Every release is a gamble,” Nevin says. “I’ve learned over the years how to make it a little bit cheaper so we can keep our prices cheaper.”

The two owners both have their own day jobs, and in a way, the label is just a hobby. “It’s just a way for us to help people get their music out there,” Allen said. “And we enjoy doing it.”

Next year marks the label’s 10-year anniversary, and the couple has a number of things planned for the celebration. Special Captain Crook coffee cups, stickers and basketball hoops are in the works, in addition to a four-hour outtakes compilation. “It’s gonna be all throwaway music,” Nevin said. “So I want to call it ‘Four Hours of Throwaway Music From a Throwaway Label.’”

As far as future goals go, Nevin and Allen would love to see a Captain Crook storefront, or even a music venue. “A lot of parents have problems sending their kids to a house for a house show,” Allen said. “If we did do a space, it would definitely be all ages. I want to see more community involvement.”

But for now, Captain Crook’s owners just want to continue helping people get their music out there. “We just like that people are making things,” said Allen. “We send [the bands] their tapes and they are always stoked.” For Nevin and Allen, being a part of that process is what makes running Captain Crook worthwhile.

The post Eugene’s Captain Crook Records remains at the “heart of DIY” music appeared first on Emerald Media.

Bully’s latest LP, “Losing,” is out on Sub Pop Records, which feels fitting. The Nashville band’s grunge-influenced sound is reminiscent of many artists the label helped popularize during the late ‘80s and ‘90s. Unfortunately, the strong energy Bully brings on this sophomore album does little to make up for its forgettable nature.

On “Losing,” frontwoman Alicia Bognanno establishes her honest and angsty songwriting during the opening track “Feel the Same.” In fewer than two minutes, the song finds an aggressive punk feel with loud, overdriven guitars. Bognanno’s lyrics — “Cut my hair / I feel the same / Masturbate / I feel the same” — communicate her frustrating monotony that explodes into a noisy chorus near the track’s end.

A similar frustrated attitude is found on the track “Kills to be Resistant,” which was released as a single prior to the album’s release. The song’s lyrics focus on the draining aspects of a complicated relationship: “When I’m alone, I stare at your picture / When I’m around you, I try to keep my distance.”

On other songs, like “Spiral,” Bognanno offers up sharp observations. “It just takes one disagreement for you to remember the one time I fucked up,” she sings.

These lyrics seem to be the focus on “Losing,” and they are both vulnerable and self-reflective. On many songs, Bognanno lists a number of her own shortcomings, but at no point does it come off as powerless. Bognanno’s blaring vocals continually give a sense of strength and control.

Musically, Bully finds a good balance between pop and grunge influences. This can be attributed to the band’s attention to dynamics, in addition to the record’s cohesive production.

Bognanno, who interned at Steve Albini’s well-known Electrical Audio studio in Chicago, recorded and mixed the album herself — and her production talents show. There is a noticeable step up in production on this album from the band’s 2015 debut “Feels Like.” On “Losing,” each instrument and vocal track is made clear and distinct without hurting the band’s gritty, fuzz-filled sound.

This only strengthens Bully’s solid rhythm section. Drummer Stewart Copeland — not to be confused with the Police drummer — shines on tracks like “Focused,” offering a solid backbone to Bognanno’s songwriting, alongside bassist Reece Lazarus’ stable playing.

But on a complete listen, a handful of the album’s tracks can tend to blend together. Bully’s sound is definite, yet there is little variation involved between songs. Bognanno’s overdubbed vocals also become excessive at some points, which is distracting and leads to a feeling of overproduction that hurts the band’s intended raw sound.

This album has its enjoyable moments and Bognanno delivers a clear voice, but Bully would have benefitted from taking more risks on this latest release. Unfortunately, “Losing” is a well-made album that can become less interesting on repeat listens.

The post Review: Bully’s sophomore LP ‘Losing’ is honest and energetic but suffers from invariability appeared first on Emerald Media.

Andrew Savage has always been busy. In the late 2000s, he was a member of two different bands –– Teenage Cool Kids, and Fergus & Geronimo. More recently, he has found success as a singer and guitarist for the art-punk band Parquet Courts — currently one of the most acclaimed acts in indie-rock. Savage also runs his own label, Dull Tools, out of Brooklyn, New York, and works as a visual artist making prints and paintings.

Yet somehow, between these various projects and interests, Savage has managed to quietly put out his first ever solo release, “Thawing Dawn,” under the new moniker A. Savage. This new solo album does not come in the wake of a previous band’s dissolution — as many solo projects often do. “Thawing Dawn” simply functions as an opportunity for Savage to dive deeper into his own songwriting and release music that wouldn’t have ended up anywhere else.

Those familiar with Savage’s music won’t be surprised to hear a country influence on this new album. His previous work with Teenage Cool Kids and and Parquet Courts often flirted with an alt-country sound, but on “Thawing Down” it comes on strong. The opening track “Buffalo Calf Road,” features a very noticeable slide guitar and a brief organ solo, along with narrative-driven lyrics about the American frontier.

“Phantom Limbo” features similar instrumentation along with a bouncy, country bass. As always, Savage’s lyrics are clever and melancholic. “At night when my bones surrender to wind blown from the sea / And I’m sure that you’re the sweetest breeze that’s ever blown through me.”

“Wild, Wild, Wild Horses,” a stripped down organ ballad with sparse drums and guitar, demonstrates the strength of Savage’s songwriting through stark minimalism. An untitled track near the album’s end, featuring only a church organ and a passionate vocal performance, accomplishes the same.

Savage often writes like a punk artist trapped as a singer-songwriter — or maybe the other way around. “Thawing Dawn” celebrates traditional songwriting, while simultaneously pushing it to its breaking point. The anxious “What Do I Do,” which functions well as the album’s centerpiece, repeats a simple melody and guitar pattern until a noisy, anarchic horn section bursts through its seams.

The album’s closer, “Thawing Dawn,” is the most forward-thinking song on the album. Its structure feels like it was spliced together on tape, with blunt transitions between mellow verses and energetic finger picking –– which works remarkably well. Once again, Savage writes brilliant lyrics: “Most religion is as far from faith / As the sun is from the shadows it shapes.”

“Thawing Dawn” received hardly any promotion, and it’s likely to fly under many radars; however, “Thawing Dawn” is one of the best albums to come out this year. Andrew Savage has matured his songwriting in a way that feels organic. He has created something that stands well on its own.

The post Review: A. Savage offers mature songwriting on his first solo album ‘Thawing Dawn’ appeared first on Emerald Media.

In 1997, the New York Times named “Gummo” the “worst film of the year” –– which is understandable. Harmony Korine’s directorial debut has little-to-no plot. The movie is filled with disturbing imagery, and at times it feels like viewing a grainy home video. But of course, that is all the more reason to give it a watch. 20 years later, “Gummo” remains a striking and original piece of independent cinema.

The film is set in Xenia, Ohio, in the aftermath of a violent tornado –– an environment established briefly in the film’s opening. This film exists in a liminal space, caught halfway between a dystopia and a stagnant Midwestern town. Throughout the movie, Korine strings a series of dark vignettes together through the actions of Solomon, the film’s adolescent protagonist and narrator. He travels alongside his older friend Tummler. “Tummler sees everything,” Solomon says. “He’s got what it takes to be a legend.” The two wander around town aimlessly, riding bikes and hunting stray cats.

A group of young sisters –– the oldest played by Chloë Sevigny –– also appear. They live by themselves in an old house. A shirtless boy with a bunny hat appears multiple times. Early on, he urinates off of a bridge onto the freeway below.

“Gummo” has a loose feel to it. Other ‘90’s independent debuts shared a similar structure; Richard Linklater’s “Slacker” and Kevin Smith’s “Clerks” were both slow moving and light on plot. But “Gummo’s” tone is much darker, and often repulsing. Korine fills the world with bigotry, hedonism, nihilism and sexual perversion. Old men prey on young girls outside of the supermarket. Young children wander around by themselves yelling obscenities.

In one scene, Solomon and Tummler approach a kid named Jarrod Wiggley. Rumor has it that Jarrod has begun to hunt cats; if it’s true, he’s a threat to Solomon and Tummler, who sell their dead cats to a local butcher. “I do it mostly at night,” Jarrod says, his voice weak and anxious. The audience shares his discomfort. He goes on to explain in detail the experiences of living with his catatonic grandmother. “I hate that shit,” Jarrod says.

“Gummo” was shot on location in Nashville, Tennessee, Korine’s hometown. Many of the characters in the film are played by non-actors, and a decent amount of the film’s dialogue is ad-libbed. Korine kept the cameras rolling continuously, and the candid dialogue made its way into the final cut.

This all adds an element of realism, mixed in with the absurdity and avant-garde tendencies. “Gummo” is not far removed from real life, which makes it all the more affecting.

But despite the grimy and disturbing moments, Korine manages to weave humor and charm into “Gummo.” A shot of Solomon lifting weights in the mirror set to Madonna’s “Like a Prayer,” or an exciting scene in which a grown man aggressively wrestles a chair to the ground, will amuse audiences. “Life is beautiful,” Solomon says.“Without it, you’d be dead.”

Is this the main point the film is trying to make? That’s left unclear, but by the end –– as Roy Orbison’s “Crying” plays, set to a scene of the sisters and Bunny Boy swimming in the rain –– “Gummo” is transcendent. It’s disturbing, and maybe pretentious, but definitely not the worst film of 1997. On its 20th anniversary, “Gummo” remains a captivating work of art.

The post Review: 20 years later, ‘Gummo’ is still captivating and disturbing appeared first on Emerald Media.

Eugene was a little bit louder than usual on Friday night thanks to a performance from the legendary Japanese experimental group Boris. The band made a stop at WOW Hall during its 25th anniversary tour in support of its new album “Dear.”

The night began with a beautiful and chaotic opening set from the noise rock band Endon. The five-piece band formed in Japan during the late 2000s, and Western audiences are beginning to take notice thanks to the group’s recent tours in the US.

Endon brought a tremendous amount of energy to the stage. The band’s lineup consists of a drummer, guitarist, and two dedicated noise-makers controlling a slew of various electronic devices. However, the highlight of Endon’s performance was vocalist Taichi Nagura, whose screeching voice pierced through the band’s brutal noise and shifting tempos.

Sumac took the stage next, featuring guitar and vocals from Aaron Turner –– a former member of the now-defunct post-metal group Isis. Sumac’s performance was hard-hitting. With only three members, the band encapsulated the entire venue with noise. The sound was sludgy, distorted and bass heavy.

Drummer Nick Yacyshyn guided the band through complex and dynamic rhythms on a colossal drum set. Yacyshyn had a deep kick drum and a selection of immense crash cymbals that rounded out the band’s sound with each hit. Turner’s guitar work was also impressive. At one point during the show, Turner took out what appeared to be a drumstick and hit the strings of his guitar to create a percussive chord sound, just before exploding into a riff-heavy jam. On top of this, Turner’s deep, gravelly vocals only added to the band’s heavy performance.

Sumac alone made the show worthwhile, but by the end of the set anticipation had grown as eager fans awaited Boris taking the stage. The audience then received a taste of what was soon to come as bassist Takeshi appeared for a loud soundcheck. Everything had been put into place, including sound equipment and a pair of projectors. The audience then prepped for the band’s performance by putting in their earplugs.

A few minutes later, all three members of the band –– Takeshi, Wata and Atsuo –– walked on stage as the audience applauded. The lights dimmed and a prelude of sorts was playing over the sound system. As the band struck its first note, a heavy cloud of fog rose from the ground. The sound was tremendously loud, and those in the audience could feel it physically vibrating their bodies. The whole room shook with the noise.

Boris powered through an hour-long set, performing their latest album “Dear” in its entirety. One highlight of the performance was “Absolutego,” the doomy, stoner metal anthem with a piercing guitar solo from Wata near the song’s end. Wata also contributed some of her softer vocals on “Beyond,” which started out quieter, giving a brief break in the noise, before diving back into a wall of sound.

Throughout the performance, drummer Atsuo made good use of a full drum set, frequently utilizing the enormous gong that hung behind him. Both Wata and Takeshi played through a huge stack of amps –– Takeshi with his signature double-necked bass. All of this allowed for an intensity in the music that could only be experienced live.

During some moments of the show, the tempo reached an incredibly slow pace with some notes lasting around ten seconds each. The music felt like waves crashing in slow motion. Near the end of the band’s final song “Dear,” tempo was forgone completely as the music devolved into a heavy drone.

After the set, the band came back up for a one-song encore. They performed “Farewell,” the opening track from 2005’s “Pink.” By the end of this fitting conclusion, it was nearly 1 AM. Fans of the band left the venue satisfied, as they walked out onto the quiet street.

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Godspeed You! Black Emperor has been crafting long, challenging and often thought-provoking post-rock music since the late 1990s. The Montreal band has become known for its drawn out crescendos and cacophonous orchestrations, usually resulting in strong emotional responses from those patient enough to listen.

Due to the band’s experimental nature, Godspeed has become a cult favorite. A number of the band’s albums, such as 2000’s “Lift Your Skinny Fists Like Antennas To Heaven,” are now considered classics.

Given that Godspeed’s music is mainly instrumental –– only a few spoken word bits are thrown in here and there –– it can be surprising to find out that the group is often considered to be political. This characteristic is only evident upon noting various liner notes, as well as the group’s consistent refusal to play along with what its members perceive as a capitalistic music industry.

The band gave a statement that made certain beliefs more explicit in response to winning a Polaris Music Prize in 2013 for their album “Allelujah! Don’t Bend! Ascend!” Among other things, Godspeed criticized the absurdity of “holding a gala during a time of austerity and normalized decline.”

Out of this same insurgent energy comes Godspeed’s latest full-length project, “Luciferian Towers.” Prior to this LP’s release, the band issued a note explaining that the album is informed by a list of “grand demands,” which concluded with an insistence that “the expert fuckers who broke this world never get to speak again.”

And “Luciferian Towers” is certainly fitting of a broken world. The album’s dirge-like opening track, “Undoing A Luciferian Towers,” begins with a dissonant string section that holds off on any kind of tonal shift until about two minutes in. At nearly eight minutes long, the composition functions well as an apocalyptic storm, leveling the landscape for the rest of the album still to come.

“Bosses Hang” immediately follows this. At nearly fifteen minutes, it stands out as one of the two longer movements featured on the album. This track is the closest Godspeed has ever come to creating stadium rock. It opens with a calming electric guitar riff that soon finds itself backed by a crowd of uplifting instrumentation.

Despite the dismal world Godspeed often places itself in, this track feels hopeful. By the composition’s latter half, it feels like a call to action. An increased tempo and energetic string section carry it into a satisfying conclusion.

“Fam/Famine” works well as an interlude. With bouncing strings and a lack of any discernable melody towards the beginning, it is both lively and clouded. The song then shifts into a familiar musical phrase that was first introduced toward the beginning of the album on “Undoing a Luciferian Towers.” This moment is brilliantly executed and helps tie the two halves of the record together.

The album concludes with the massive “Anthem for No State.” Its beginning is pastoral, but the song eventually builds into an intensity that would not feel out of place on a late-era Swans record. Moments of this track are definitely dizzying, but as a whole it encompasses a synergetic mix of vigor, reflection, and perhaps a sense of responsibility.

On “Luciferian Towers,” the world has gone to shit, but Godspeed has left room for renewal. If previous Godspeed releases could be compared to dense, philosophical tomes, “Luciferian Towers” is a DIY political pamphlet –– easily digestible, yet greatly impactful.

It is worth finding the moments of beauty buried in the discord. With this latest project, Godspeed has created nothing short of an inspiration.

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