Water Damage - 'In E' 2XLP (12XU 157-1_ out April 12, 2024

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Volume, repetition, volume, repetition, volume and repetition, this is the sonic mantra of Austin, Texas's Water Damage. On their new record "In E", Water Damage continues to scorch the earth with walls of punishing sound. It's no secret that something truly special can happen to the psyche when you are being pummelled with trance inducing drones, you can transcend time, you might laugh, you might cry but hopefully you look inward, letting a calm wash over you with metric tons of distortion. Water Damage are the rare "rock" band that follow in the lineage of artists like Faust, Tony Conrad, Steve Reich and Pärson Sound, one that creates such heavy yet minimalistic audio treasures that not only hit you viscerally but also give space to contemplate on your place in the cosmos. Their longest offering yet, Water Damage hits you with 4 side long tracks of krautpunk ending with a cover of "Ladybird" by Shit & Shine featuring Craig Clouse himself on vocals. Drone until you hear god speak.

Engineered by Max Deems at Diseased Tapes Billion Dollar Studio. Mixed by Travis Austin. Mastered and lacquers cut by Carl Saff at Saff Mastering. Art and design by Greg Piwonka.

"Ladybird" written by Shit & Shine.

Water Damage is Mari Maurice, Thor Harris, Jonathan Horne, Nate Cross, George Dishner, Travis Austin, Mike Kanin, Greg Piwonka, Jeff Piwonka and Lonnie "Palmtree" Slack.

The Depreciation Guild/The Pains of Being Pure at Heart/Ice Choir/Always You (fka Ablebody)

Members of @depreciationguild (Kurt Feldman, Christoph Hochheim, Anton Hochheim, Raphael Radna), The Pains of Being Pure at Heart (Kip Berman, Kurt Feldman, Christoph and Anton Hochheim), @icechoir (Kurt Feldman, Raphael Radna, Patrick South, Avery Brooks), and Always You (fka @ablebody - Christoph and Anton Hochheim). - March 2023 [x]

Listed: Water Damage

Water Damage plays a thick and noisy variety of drone, favoring looooooong compositions that the band refers to as “Reels”; on Water Damage’s most recent LP, 2 Songs, you get two reels, subtitled “FUCK THIS” and “FUCK THAT” (band’s caps). All those verbal antics feel appealingly playful, but the music is deadly serious stuff — not surprising, given the players involved. Members of this septet also play in Austin-associated bands like USA/Mexico, Marriage and Spray Paint. As the band’s moniker suggests, the music is patient, persistent and often insidious. Here's some music the band has been listening to.

Travis Austin

Surface of the Earth — Surface of the Earth (1994/95, Reissued 2022 Thin Wrist Recordings)

New to me when it was reissued and the record I’ve played most since then. It feels as huge to me as it does microscopic — prehistoric as it does post-apocalyptic.

Jon Hassell — Aka/Darbari/Java: Magic Realism (1983, E.G. Records)

Start to finish, I don’t know of anything else that sounds like this — the hazy atmosphere and way the rhythms tumble. From the liner notes: “a ‘coffee-colored’ classical music for the future.” And the cover is by the same artist who did the cover for Bitches Brew.

Mike Kanin

Archie Shepp — Blasé (1969, BYG/Actuel)

I heard this one for the first time just this past year. I can’t believe I’ve missed it. By turns raw and beautiful, honest and evocative, what’s here transcends genre while highlighting Black experience and struggle. Incredible work.

George Dishner

Clipse — Hell Hath No Fury (2006, Star Trak / Re Up Gang Records)

The most engaging rap record in history as far as I’m concerned. Pusha, Malice, and the Neptunes peaked. Sonically HHNF is minimal and alien sounding, almost nonmusical at times. Lyrically, it’s bleak throughout and incredibly funny at times (some of the best punchlines ever recorded). At 12 songs and 48 minutes with only a few guests and skits, there is no fat whatsoever.

Remarc — Sound Murderer (2003, Planet Mu)

I’m always looking for cheap electronic records at every record store. Mid 1990s Jungle scores are the best. It’s a pretty narrow subgenre but one of my favorites. Remarc checks all my Jungle boxes — chaotic, lo-fi, dubby, rough. It’s devoid of any pretentious jazziness or techy soullessness. His formula is pretty basic — supreme mastery of The Amen and sick ragga Bass shit. This is a comp of some of his best stuff of the era when Jungle was at its best.

Nate Cross

Omertà — Collection Particulière (2022, Standard In-Fi, Zamzamrec)

Not to point out the obvious, but France is a huge influence for Water Damage. I’ve obsessively kept up with everything they’ve done and all their various related projects and their label Standard In-Fi. This is Omertà’s second LP; the group features members of France, Tanz Mein Herz, Societe Etrange and more. The album is a vibe, I can listen to it over and over. Really interesting to hear these folks do something more ‘song oriented’ instead of the normal long-form style in their other groups. Also, you can never go wrong with two bass players.

Bumblebee Unlimited — Sting Like a Bee (1979, RCA Victor)

Always been a huge disco nerd and Patrick Adams was a genius. This one-off LP and group was about as close to perfect as you can get and is a sort of bridge between disco and house music. So much glorious repetition on this album, and the bass lines are minimal brilliance. The chipmunk-esque vocals are ridiculous, but still work so well (similar to another 1979 disco gem — Bryan Adam’s “Let Me Take You Dancing”).

Jeff Piwonka

John Coltrane — Olé Coltrane (1961, Atlantic)

This is one of the first jazz albums I heard that had two bassists on it, Reggie Workman and Art Davis, Davis being a little lesser known I think and a really really amazing bassist. This whole album is great but the first side, 18 minutes of everyone going in and out, and there is space for the bassists to get weird with arco and pizzicato playing. I’ve known this album for a long time, but it’s been played a lot lately because both my 4-year-old and 16-month-old grab this record from the shelf all the time. It’s really strange actually, I put it in a different spot each time and they still grab this record very frequently, it’s a French pressing and Reggie Workman’s name is spelled “Reggie Wokrman” and Eric Dolphy is “George Lane.”

Greg Piwonka

Lungfish — Artificial Horizon (1998, Dischord)

Love this record, and the repetition is something that I often thought about as we were still figuring out Water Damage ideas. I feel like some of the newer songs that we are working on sound like extended Lungfish songs. Much of that has to do with the influence of this band on my drumming. There is a part toward the end of this interview where Daniel Higgs talks about experiencing repetition as a listener, and how there isn’t really a thing such as a repeated passage in time — that it’s unique every time… the listener is creating the pattern. That idea is foundational to me in relation to what we do as a band. Every time we play, I get lost and question how the pattern is even working.

Palace — West Palm Beach/Gulf Shores (1994, Drag City/Palace)

These two songs back-to-back are high on the list of my favorite things ever recorded. The mood here reminds me of all the rundown beach towns around the Gulf. The playing is great, it sounds like they just went in the studio and made it with very little effort. Many other recordings have that same vibe, Neil Young’s Zuma, Songs: Ohia’s Didn’t It Rain, John Coltrane’s A Love Supreme… this list could get long. I guess a technical term for that vibe is magic. I had not listened to this for a few years and returned to it recently and instantly loved it again.

The superior Garson Kanin / Ruth Gordon collaborations include ADAM’S RIB and PAT AND MIKE. Aside from sharing their life.

New episode!

Script below the break

Hello and welcome back to The Rewatch Rewind! My name is Jane, and this is the podcast where I count down my top 40 most frequently rewatched movies in the 20 years from 2003 through 2022. Today I will be discussing number 27 on my list: MGM’s 1949 courtroom comedy Adam’s Rib, directed by George Cukor, written by Ruth Gordon and Garson Kanin, and starring Spencer Tracy, Katharine Hepburn, and Judy Holliday.

When housewife Doris Attinger (Judy Holliday) shoots her husband Warren (Tom Ewell) at the home of his lover Beryl Caighn (Jean Hagen), assistant district attorney Adam Bonner (Spencer Tracy) is assigned to prosecute her. Adam’s wife, defense attorney Amanda (Katharine Hepburn) is moved by Doris’s story and fed up with the double standard for men and women regarding adultery, so she decides to represent her. The tension in the courtroom leads to tension at home between the Bonners, which is further strained by their neighbor Kip (David Wayne), a musician who is very openly interested in Amanda.

I think this was the first Spencer Tracy/Katharine Hepburn movie I watched, but it was the sixth that they made together, out of nine total. Somehow this is the only one to make it into my top 40, although Pat and Mike was very close, with 14 views. Both Adam’s Rib and Pat and Mike were written specifically for Tracy and Hepburn, who were together in real life, by their friends Ruth Gordon and Garson Kanin, who were married to each other, so it’s unsurprising that the stars and the scripts were perfectly suited for each other. And yes, I am talking about the same Ruth Gordon who was also an actress and won an Oscar for being delectably creepy in Rosemary’s Baby. Looking back on my viewing history of Adam’s Rib is very interesting to me: I watched it twice in 2003, once in 2004, and three times in 2005, then took a fairly long break and saw it again in 2009, then 2011, then another break until 2016, and then I watched it twice in 2018, once in 2019, once in 2020, twice in 2021, and three times in 2022. So I watched it a lot soon after I started keeping track, then hardly revisited it at all until the last five years I was tracking, when I watched it a lot again. This wasn’t a conscious decision so I’m not sure exactly why it happened, but I do know that there are things I appreciate about it now that I didn’t quite catch when I was younger, and I think I needed some time away from it to realize that.

There are two main reasons I enjoy this movie. One is that it’s very entertaining and funny, and the other is that it’s fascinating from a historical socio-political perspective. When I was younger, I mainly focused on the first reason, but more recently the second reason has particularly compelled me to keep rewatching. I’m definitely still there for the comedy though. Some of it is broad and over-the-top, such as the scene when a witness, who is also a female weightlifter, picks up Adam in the courtroom and lifts him over her head, but most of it is more understated. As I mentioned at the end of last episode, I’m pretty sure my favorite part of the whole movie is when Beryl Caighn is on the stand and says she heard a noise, and when Adam asks her to clarify what kind of a noise, she pauses for a moment and replies, “Like a sound.” That is so perfectly tailored to my sense of humor that I can’t believe that my parents weren’t even alive when it was written. Also I would like to acknowledge that this was Jean Hagen’s film debut, and while she doesn’t have much screentime, every moment of her performance is gold. (Jean Hagen is, of course, best remembered for playing Lina Lamont in Singin’ in the Rain three years later.)

Adam’s Rib was also an important steppingstone in Judy Holliday’s career. She was starring in Born Yesterday on Broadway (which was also written by Garson Kanin) but was relatively unknown in Hollywood and was initially not considered for the film adaptation. Her performance in Adam’s Rib convinced the producer of Born Yesterday to give her a screen test, and she ultimately got the part and won an Oscar for it. Katharine Hepburn in particular worked hard to get her recognized, asking director George Cukor to focus more on Holliday than on her in their shared scenes, and then leaking stories to the press about how Holliday’s performance was so fabulous it stole the spotlight from her and Spencer Tracy. This behavior is particularly surprising from Katharine Hepburn if you recall how competitive and envious she was when working with Ginger Rogers in Stage Door. Clearly she was far more mature and self-assured at this point in her career than she had been 12 years earlier. And she was also correct: Judy Holliday gave a fabulous performance in Adam’s Rib, and nobody else could have played her role as well as she did in Born Yesterday. She had such perfect comedic timing. My second favorite part of Adam’s Rib, after the “noise like a sound” exchange, is when Amanda is interviewing Doris in jail – which was the main scene that convinced the producer of Born Yesterday to consider casting Judy Holliday. The way Holliday just keeps talking every time Hepburn thinks she’s finished and is about to say something is brilliantly done. Apparently Holliday was trembling because she was so nervous to be working with Hepburn, but she managed to turn that into part of her character and it works perfectly. That scene also features Eve March as Amanda’s secretary Grace, whose snide remarks greatly add to the humor as well. Watching these three women masterfully turning a serious situation into comedy never gets old.

The character I’ve changed my mind about the most over the years is the neighbor Kip, played by David Wayne. Kip is the kind of guy who clearly thinks he’s the funniest person in the room, and when I watched this movie in my early teens, I was inclined to agree with him. I enjoyed his antics, and I felt bad for him when Adam was mean to him. But as I continued to rewatch this movie, he started to irritate me, and now I can barely stand him. Granted, I do still enjoy his song “Farewell Amanda,” which in real life was written by Cole Porter, although the way he just casually walks into a married couple’s apartment and sings a love song to one of them is so rude. In last week’s episode I talked about the trope of the married couple’s male friend who is interested in the wife, and Kip is one of the most obnoxious instances of that trope. He’s not anywhere near as funny or charming as he thinks he is. This isn’t meant as a criticism of the movie; I feel like he’s intentionally irritating, and he’s definitely important to the plot and the message of the film. But I do think that when I was watching this movie mainly for the comedy, realizing that I no longer found Kip funny was a big part of why I started rewatching it less frequently.

But what I’ve grown to appreciate more recently about this movie is how progressive it was for its time, and the fascinating way that it has aged because of that. Bear in mind that this movie was made in 1949, shortly after WWII, very much in the “women stay home and support your man and raise those boomer children” era. So it was quite bold of this movie to question gender roles, particularly in terms of the infidelity double standard. After Amanda reads about the shooting in the paper but before she has taken the case, she asks Grace what she thinks about a man who cheats on his wife, and Grace replies, “Not nice, but…” and shrugs. Then Amanda asks, “What about a wife who cheats on her husband?” and Grace says, “Something terrible!” When Amanda demands to know why there’s a difference, Grace protests, “I don’t make the rules!” And Amanda retorts, “Sure you do; we all do!” And I think that’s such an important point: even if you don’t agree with social norms, accepting them and perpetuating them is equivalent to endorsing them. Amanda decides to argue that if a man confronted his cheating wife with a gun, people would consider him to be justified, and there shouldn’t be any difference in this case just because the genders are swapped. Adam, on the other hand, argues that nobody has the right to just show up at somebody’s house and shoot them. And what’s so great about this conflict is that they’re both partly right and partly wrong. Amanda’s right that women shouldn’t be punished more harshly for cheating on their spouses than men are, but at the same time, that doesn’t mean everybody should go around shooting each other. And Adam’s right about that part, but he’s wrong in the way he dismisses his wife’s legitimate concerns and fails to recognize the effects of misogyny on society and on his marriage.

It is a little odd that Doris is charged with attempted murder instead of assault with a deadly weapon or something like that, but this way it’s easier to believe that she is found innocent. She definitely did commit assault, but it doesn’t seem like she really meant to kill anyone. I’m kind of surprised the censors allowed her to be acquitted, since my understanding of production codes is that crime couldn’t be shown to pay. I guess Warren getting shot was his punishment for cheating, so now they’re even? I want to know what happens to the Attingers after the trial – hopefully they get divorced and manage to find some happiness – but we don’t get to find out because ultimately the story isn’t about them; it’s about the Bonners. Adam has moved out after the whole weightlifter-picking-him-up episode, and Kip has started to attempt to take his place. After the trial, Amanda is at Kip’s apartment to go over a contract with him, but she’s distracted with worry about what’s going to happen to her marriage, and instead of listening and being a supportive friend, Kip decides it’s a good time to confess his love for her, using the irresistible line that he’s in love with her because she lives across the hall and it’s so convenient. And then Adam bursts in with a gun, and Amanda, terrified, says, “You have no right! Nobody has the right-” and then realizes what she’s saying. Satisfied, Adam reveals that the gun is actually made of licorice, and Amanda is furious, but it’s kind of the best possible outcome here: Doris doesn’t have to go to jail, but her actions are not being condoned, which I assume is what appeased the censors. And then later Adam demonstrates that men and women are truly equal by crying to get what he wants, which is…not great, but…I guess it’s good to challenge the stereotype that masculine men aren’t supposed to cry? It’s just not great to perpetuate the stereotype that women cry to manipulate men.

And that’s when you have to bear in mind that this movie is 74 years old. In addition to outdated gender role assumptions, there’s some weird body shaming and normalization of domestic violence that is very uncomfortable. But on the whole, it does a pretty good job of supporting women standing up for themselves in a post-WWII, pre-second-wave feminism America. Also, in a time when pretty much the only non-white characters in mainstream Hollywood movies were servants, it is worth noting that there are some people of color in the background of Adam’s Rib. There’s a black man on the jury, and when Amanda brings in a bunch of witnesses to demonstrate that women are equal to men, there are a few women of color in the crowd. Granted, when the judge rules that only three are allowed to testify, all three are white women, and the juror doesn’t get to speak either, but the representation bar was so low that even this tiny amount of racial diversity among the extras feels noteworthy.

While I’m pretty sure it wasn’t intentional, this movie also shows the harms of amatonormativity, and possibly even heteronormativity. Doris and Warren certainly should not have gotten married, but amatonormativity told them that that was the life they should want. When Warren is on the witness stand, Adam asks him why he married Doris, and Warren responds, “How should I know? Why did you marry yours? Does anybody know?” The assumption that everybody wants and needs a long-term monogamous romantic and sexual relationship leads to so many incredibly dysfunctional marriages that the people trapped in them think they’re not only normal, but universal, and that’s a problem. Nobody should feel like they have to marry someone they can barely stand just to have a partner. And speaking of people I can barely stand, let’s go back to Kip. While I don’t like him as a character, I do find it interesting that he’s kind of queer-coded, and Adam in particular mocks him for being effeminate, yet he pursues and tries to seduce Amanda. Of course, being a rather effeminate man and being attracted to women are not mutually exclusive, but it does feel a bit like he’s going after Amanda because he thinks that’s what he’s supposed to do. I mean, he says he’s into her because she’s his neighbor and it’s convenient – not exactly the most convincing display of attraction. When Amanda finally understands what Kip is saying, she has this great line: “Now, you look here, Kip. I’m fighting my prejudices, but it’s clear that you’re behaving like a, like a – well, I hate to put it this way, but like a man!” – meaning in the entitled to women’s attention and bodies sense of the word. Which, as someone whose masculinity has been repeatedly called into question, is probably what he was going for. I can’t really blame him for struggling to figure out how to perform gender in a way that’s socially acceptable, but that’s not an excuse for being a jerk who refuses to take no for an answer. As Amanda pointed out earlier, we all make the rules. The only way to overthrow harmful norms is to refuse to perpetuate them. So to summarize what we’ve learned: only get married if you want to, not because you think you should; if you find out your spouse is cheating, either work it out or get divorced, but don’t shoot them; and listened to your married neighbor when she says she doesn’t want to have an affair with you.

If this movie sounds kind of weird, that’s because it is, but the true story that inspired it is, if anything, even weirder. When actors Raymond Massey and Adrienne Allen got divorced, they were represented by husband-and-wife lawyers William Dwight Whitney and Dorothy Whitney, who then divorced each other to each marry their client from that case. Garson Kanin and Ruth Gordon then took the idea of married lawyers on opposite sides of a trial and turned it into Adam’s Rib. While the acting is fabulous, ultimately the script is the best part of this movie, and it was even nominated for an Oscar, which has always been unusual for comedies. While in some ways this movie presents a cynical view of marriage, it is worth noting that Kanin and Gordon’s lasted for 43 years until her death in 1985 and seems to have been a relatively happy one. They were clearly both very talented writers, and I think the film’s commentary on gender roles greatly benefitted from having a man and a woman working on it together. Gender roles have changed a bit in the decades since this movie was made, so from that perspective it feels a bit outdated, but it definitely makes some important points that are still relevant. And if nothing else, the script is clever and the performances are captivating.

Thank you for listening to my analysis of another of my most rewatched movies. I appreciate those of you who have stuck with me through this stretch of relatively obscure older films. If you’ve been enjoying hearing about them, don’t worry, there will be plenty more, but if you’re ready for a break, good news: the next movie was made in the 21st century, and you’ve probably at least heard of it! As always, I will leave you with a quote from that next movie: “I haven’t slept with hundreds of men.”

it's a brand new year and no love for ned still airs on wlur every friday night from 8pm-midnight. swing by tonight for the latest show featuring our new winter theme (which we kicked off last week) "songs about work sucking".

no love for ned on wlur – january 6th, 2023 from 8-10pm

artist // track // album // label east river pipe // backroom deals // we live in rented rooms // merge baseball gregg // take your chances with me // selected covers (2016-2022) // (self-released) galore // jackpot // blush cassette // paisley shirt orange folder // don't think i could // orange folder // (self-released) cheekface // don’t get hit by a car // live at baby's all right // (self-released) smirk // revenge // material // feel it sbdc // see you around // the feeling of winning // kingfisher bluez the molds // it just happens // enter the universe // (self-released) dummy featuring lifeguard // hallogallo // (bandcamp mp3) // (unreleased) the web of lies featuring jessica higgins // redeemer // nude with demon // wrong speed greyhound // around // wilted pansies in a broken vase cassette // all gone cassandra jenkins and suhail yusuf khan // michelangelo // chale jaana cassette // ba da bing! tilth // equality of vibrations // renewal // cached media photay and carlos niño // quartet improvisation on may 30th, 2021 // more offerings cassette // international anthem konstrukt and joe mcphee // tell me, how long has ‘trane been gone (for james baldwin) // if you have time // omlott dezron douglas // luna moth // atalaya // international anthem minnie riperton // les fleurs // come to my garden // grt sault // champions // untitled (god) // forever living originals liv.e featuring pink siifu // 93 // f.r.a.n.k. // dolfin mike // no curse lifted (rivers of love) // beware of the monkey // 10k jody watley featuring eric b. and rakim // friends // larger than life // mca sharada shashidhar // present // rahu cassette // leaving ylayali // green walls // separation // dear life living hour and peel dream magazine // double bus // double bus digital single // kanine scivic rivers // shenandoah granite // scivic rivers // potluck foundation joan shelley // like the thunder // live at the chapel of st. phillip neri // (self-released) voice actor // beautiful burglar // sent from my telephone // stroom

Richard Arlen, Edward G. Robinson, and Zita Johann in Tiger Shark (Howard Hawks, 1932) Cast: Edward G. Robinson, Richard Arlen, Zita Johann, J. Carrol Naish, Vince Barnett, William Ricciardi, Leila Bennett. Screenplay: Wells Root, based on a story by Houston Branch. Cinematography: Tony Gaudio. Film editor: Thomas Pratt. Assistant director: Richard Rosson. Howard Hawks made a classic in 1932, but it wasn't Tiger Shark, it was Scarface. Which is not to say that Tiger Shark isn't a very good film. It has a hugely energetic performance from Edward G. Robinson and some terrific second-unit footage (supervised by Richard Rosson) of actual deep-sea tuna fishing, beautifully edited into the story. It also has Hawks's efficient zip-through-the-slow-parts direction. The slow parts are provided by the film's too-familiar love triangle plot: Quita (Zita Johann) marries Mike (Robinson), the homely older man, out of a sense of duty, but falls in love with Mike's first mate, Pipes (Richard Arlen) , with a predictable outcome. Hawks later admitted that he stole the plot from Sidney Howard's 1924 Broadway play, They Knew What They Wanted, which was filmed in 1940 by Garson Kanin and which Frank Loesser turned into the musical The Most Happy Fella in 1956. The film really belongs to Robinson, who seems to be having great fun upstaging everyone, which isn't very hard with a second-string supporting cast. Arlen is stolid, and although Johann has a sultry exotic presence, it was put to better use in her other 1932 film, Karl Freund's The Mummy, in which she plays the woman stalked by Boris Karloff's Imhotep because of her resemblance to his long-dead love.

Live Concert Photography: New Colossus Festival and 18th Ward Brewing Presents Summer Sundays at 18th Ward Brewing 8/21/22 feat. We'll Be Fine, Tatiana Owens, Blonde Otter, Meg Smith, Die Spitz, and Cousin Oven

Live Concert Photography: New Colossus Festival and 18th Ward Brewing Presents Summer Sundays at 18th Ward Brewing 8/21/22 @NewColossusFest @18thwardbrewing @kaninerecords @tatianaowens @megsmithlol @blondeotterband @DieSpitz

Co-founded by three New York music industry vets and longtime friends, Lorimer Beacon‘s founder and head Mike Bell, Kanine Records‘ founder and label head Lio Kanine and Kepler Events‘ and Dedstrange Records co-founder Steven Matrick, The New Colossus Festival over the course of the past couple of years have featured a few hundred handpicked, emerging indie bands and artists from across Canada,…

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Festival Extravaganza to Kick Off the Weekend!

This week is your chance to celebrate the arrival of autumn with a festival extravaganza in the UK or New York! From music to food to art, there is something for everyone to enjoy. So gather your friends and get ready to have a blast! ADE NLD 18 – 23 OctThis is the month when Amsterdam comes alive on its EDM scene. Where the Netherlands hosts its biggest events. ADE is the annual event of dancing and networking with 300 parties across 80 venues and 2000 DJs and highlights on the global dance music events calendar. It's where the famous city comes alive, its electrifying and a non-stop celebration of the best dance music and having a massive good time.  With one impressive line-up of globetrotting DJs preforming at the annual iconic Amsterdam Dance music Event you'll be spoilt for choice. The line-ups confirmed!  featuring Sasha, Dimitri Vegas & Like Mike, The Martinez Brothers, Fleur Shore, Dixon, Jamie Jones, Purple Disco Machine, Michael Gray, Dennis Ferrer, Bicep, The Blessed Madonna, Markus Schulz, Kraak & Smaak, Dave Clarke and so many more music artists and entertainers to make this one hell of a party weekend in one of Europe’s most magnificent city’s. Delivering on all your clubbing desires and more... Tickets and the latest info www.amsterdam-dance-event.nl AMF NLD 21 OctReturning once more on the global festival calendar this is one more Amsterdam's biggest EDM festivals, to make October go off with a bang. Festival-goers travel from all corners of the globe for the annual pilgrimage to Amsterdam for this one-day dance music extravaganza. With an EDM genre of the finest house music, dance, techno, trance, and hardstyle dance tunes making this a non-stop danceathon. This year's stellar DJ lineup features Afrojack, Armin van Buuren, Dimitri Vegas & Like Mike, Head-hunters, James Hype, Meduza, Purple Disco Machine, Vini Vici Tickets and the latest info www.amf-festival.com Square One: Halloween Festival with HEDEX 21 Oct Bringing the celebrations for the ghostly and spooky monthly of October.  This Halloween, thousands of die-hard dance music lovers are going on a road trip to one of Lincolnshires hotspots at the Showground, for one of the biggest epic warehouse raves.  Featuring a carefully curated line-ups of the biggest Drum and Bass line-up yet with huge headliners. This is the ultimate Indoor event where festival-goers thousands of ravers up for one big night out, some dressed in their finest Halloween attire if this your thang? Are here to bring it on, non-stop hardcore! With stage productions that's on another level including Insane lights, jaw-dropping lasers and a floor-shaking sound system that's so big you can hear from space! Not quite so, but its gonna be big and not to disappoint for Lincoln’s biggest ever Halloween rave.  Expect all the frills from a proper full-on rave. The Halloween special line-up inlcudes Hedex & Eksman, Kanine, A Little Sound, Born on Road, Monrroe & Duskee, Phibes, Jayfor & Deon, Summer LC, Bushido Soundboi, Shotty and some surprises.  And if this is not enough there's an afterparty for the fierce ravers to see you through till the sun comes up.  The Final wave of tickets is available and selling out fast so if this is right up, you're alley, get in there quick if you fancy this super big D'n'B festival special! Tickets and the latest info www.squareonednb.com Read the full article

First radio play for Pieuvre, on Awwww Man, in Prague!

Happy birthday Katharine Hepburn♡

Kate admired Ruthie for a long time before they became friends, and even said that in "Morning Glory" (1933), she tried to do a good imitation of her. Ruthie and her husband Garson Kanin wrote screenplays for two of her movies, co-starring Spencer Tracy . "Adam's Rib" (1949) and "Pat and Mike" (1952). Read the book by Garson called "Tracy and Hepburn: An Intimate Memoir". There are many cute stories about the four of them.

out today : Water Damage - ‘Two Songs’ LP/digital bandcamp : https://waterdamage12xu.bandcamp.com/album/2-songs 12XU mail order : http://12xu.bigcartel.com/product/water-damage-two-songs-lp-12xu-141-1 Spotify : https://open.spotify.com/album/5JR2zvz1pj3HwraumXUWqL?si=gzJ6XP4cQaKg9Brld3HQdA Apple Music :  https://music.apple.com/us/album/2-songs/1690128546 photos by David Fox

original lobby card for When I Grow Up (1951), directed by Michael Kanin. It was his only director credit. Mike was born in Rochester, New York, and had 24 writer credits, from 1939 to 1969. His other notable writing credits include his Oscar winning original screenplay Woman of the Year (with Tracy and Hepburn, 1942), his Oscar nominated Teachers Pet (with Doris Day and Clark Gable), and How to Commit Marriage (with Bob Hope).

Water Damage — 2 Songs (12XU)

2 Songs by Water Damage

It’s likely that other folks have already discoursed on the apt nature of this Texas-based septet’s band name: Water Damage makes music that’s patient, relentless and most effective, ruinously so, when it goes on for a long, long time. Hence the band’s tendency to label their studio-produced songs “Reels”: on this record you get “FUCK THIS: Reel 11” and “FUCK THAT: Reel 13”. The nomenclature invokes the now-venerable medium of the reel-to-reel recorder with its long and steady spin, a technology that grounds us in analogue and in physical space. It’s material. It has presence. It degrades, but that’s part of its interest and its intensity. It won’t be around forever. And even though Water Damage’s Reels are long (respectively on 2 Songs, almost 19 and over 21 minutes), they don’t go on endlessly. They just feel like they could, and when you sink into their rhythms, you may wish they would.

It's also likely that some folks will assert that this droning, repetitive music is too familiar, that other bands and artists have already explored and mapped out the terrain. There are some reference points and comparisons: Steve Reich’s rigor, Nadja’s sense of dread, Oneida’s understanding of how austere minimalism can be made playful (that last word written without a whiff of condescending stink on it). You might hear or think of all of them when you spin 2 Songs, but none of those names or sounds is coextensive with Water Damage’s textural variety. The band combines heavy music’s impact and predilections for drama with drone’s more hifalutin conceptual thrust without diminishing the effects of either. That may not be surprising, given some of the players involved: Nate Cross plays bass in the art-damaged sludge band USA/Mexico; he also provides rhythms in Marriage, along with Water Damage bandmates Mike Kanin and Greg and Jeff Piwonka. Guitarist George Dishner makes thick, No-Wavey noises in Spray Paint. 

“FUCK THAT: Reel 13” may be the more interesting side of 2 Songs; certainly its dynamics are brighter and more complex. The song’s mutations and modulations feel tidal, more channeled than calculated. As it accumulates, “FUCK THAT…” slowly acquires a dissolute vibe, bottoming out into distressed, mechanical moans and aching scrapes. Imagine an industrial-scaled vacuum cleaner becoming clogged with some gummy, vaguely organic substance. The gears and belts try to turn, thumping and thrumming, lumps of matter spinning and catching and making patterned splats. Meanwhile, the tape spins away and the song keeps going, resisting the insistent logic of its own destruction. It’s not enjoyable so much as it is compelling. This reviewer has had it on repeat for at least a couple hours. Spinning and thumping, listening to that water pour. 

Jonathan Shaw

From Justin to Game: The Last of Us (2013) and Superman 64 (1999)

Happy New Year, Kanines! Mike and Bob take a break from talking about movies and spend an entire epi talking about video games. We find that The Last of Us - the "Citizen Kane of video games" (not our words) - is the same as one of the worst games ever made, the famously terrible Superman 64.  We also discuss what unlikely movies and TV shows would make interesting games, we talk about Bob's newfound love of Halo, and we talk about why people have lower standards for storytelling in video games, among other things! It's a super fun epi! Wa-ha!

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