In the midst of Black Friday bargain-hunting, I passed by this pair of large Silver Ears attached to the glass doors of a not-yet-opened business called, as the sign on the left door would indicate, Inked. A little Googling reveals that the ears belong to the future home of a retail shop and tattoo parlor affiliated with Inked tattoo lifestyle magazine. Originally scheduled to open its doors in October, Inked will inhabit an 8,500-square-foot space for an art gallery, tattoo studio” in this ground floor space in Chelsea. Inked will be the first retail location for the tattoo lifestyle company. The magazine was launched in 2004, reaching some 1.2 million readers, according to a press release.
The Inked Retail Store is (or will soon be) Located at 150 West 22nd Street Between 6th and 7th Avenues in Manhattan.
In contrast to the ethereal, romantic, midnight cabaret vibe of Blonde Exodus, my favorite album by Scottish expat Chris Connelly, Artificial Madness, the latest from the ex-Ministry/RevCo vocalist is fierce, briskly paced and vibrant with frenetic energy. Oh Chris, why did you stay away so long?
While the undeniable bombast of Connelly’s impressive musical pedigree is in full evidence over the course of these eleven tracks, he’s also imbued these tunes with the essence of eighties-era bands that, in effect, carried the torch for all that came along in the nineties. “Wait for Amateur” would sound right at home book-ended by “Terror Couple Kill Colonel” and “Dark Entries” on a Best-of Bauhaus album and “The Modern Swine” resembles an aural bow to Howard Devoto’s Magazine, whether intentional or otherwise. As always, Connelly’s sublime Bowie-esque croon takes even Peter Murphy’s embodiment of the Thin White Duke past the realm of homage and into the arena of a vocalist whose imprint is arguable matched only by Bryan Ferry among those currently recording. If you enjoy music with a serious pulse, there is no reason not to add Artificial Madness to your collection.
Chicago-area fans can catch the Artificial Madness record release show on Friday November 18, 2011 at The Hideout. For this show, Chris will be joined by the those who backed him on the album including producer Sanford Parker (Minsk, Nachtmystium), Noah Leger (The Karl Hendricks Trio, The(e) Speaking Canaries, Head of Skulls), Will Lindsay (Indian, Nachtmystium, Wolves in Throne Room), and Dallas Thomas (The Swan King, Circle of Animals, Asschapel).
Malevolent, beautiful, creepy and compelling all at once, Artificial Madness, out on Relapse Records on Tuesday, November 8, 2011, is one of my favorite releases of the year.
On This Date, December 12th, in 2008, Modern Drummer Editor Bill Miller passed away after a long and hard-fought battle with melanoma. Bill was just 47 years old. I still miss Bill every day and I know that everyone at Modern Drummer does as well. He was not only a great editor who taught me so much about drumming and how to write about drummers, he was also a good friend. Rest in Peace, Bill.
June 1st is the Birthday of ex-Smiths drummer Mike Joyce (1963), Alan Wilder (formerly) of Depeche Mode (1959) and Barry Adamson, composer and former bassist for Magazine (born 1958). Although we don’t hear much from Joyce or Wilder these days, Barry Adamson is still making some crazy music and composing soundtracks for mind-tweaking films such as David Lynch’sLost Highway. The soundtrack of Lost Highway is worth owning on the strength of Adamson’s atmospheric soundscapes alone. Happy Birthday, Guys!
Thanks to The P5 Blogspot: This Day in 80s Music, for bringing the Birthday Love!
It’s sort of old news by now that Blender magazine shut its doors earlier this week; its April 2009 issue being the very last to see print. I just went through this very same situation with Metal Edge closing-up shop – and god knows I’ve seen it happen with every other print outlet and paying website I’ve ever written for in the past ten years save for Modern Drummer – so I have a moderate degree of empathy for the writing staff and freelancers who will now have to scramble even harder for work in a field that thinks it shouldn’t have to pay writers. But not many tears will be shed for the management of Blender, because they never let me write for them anyway. Goodbye, Blender magazine, I won’t miss you.