I hate hosting play dates at my house. There, I said it. They literally make my skin crawl. From the pretzels in the couch cushions to the disaster in the playroom to the lack of any and all manners … I simply cannot handle the chaos that is sure to ensue when I open my home to a play […] The post Top 5 Reasons I Hate Hosting Play Dates appeared first on Houston Moms Blog. from http://feedproxy.google.com/~r/HoustonMomsBlog/~3/dHtVy_u40cw/
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Howard Sherman, “Speed at the Expense of Depth,” 2016 (detail)
Creating work with abstract autonomy, Howard Sherman consistently presents art that maintains its own dialogue within the piece. His aesthetic speaks in the manner a cartoon strip conversation bounces from frame to frame. The tradition of the abstract runs through the veracious veins of his paintings. Punches of pigments play out. Texture ripples in non-sequitur directions. The often-mammoth size of Sherman’s work is the appropriate vehicle for his style, all stemming from his background as a cartoonist.
“Life shapes you as an artist,” states Sherman. “Cartooning taught me so many things. I started out as a daily comic strip cartoonist before I moved into the contemporary art world. The newspaper daily deadline taught focus and discipline. Practice makes perfect. Also, without realizing it, I learned the economy of line due to the constraints of the format. When your art gets reduced down to the size of a postage stamp, ever mark counts.”
Colors create the boom and beat similar to those found in the music of movement. Lyrical escapades seem to vibrate in blocks often in black, pink, and yellow. The arc of a track seems to be subdue in his abstract subject of a canvas or sculpture but still felt through the scanning of the eyes as one studies from corner to corner stretched. “Sometimes, I ask myself if this painting made a sound, what would it be?” says Sherman. “My studio practice is analog. My communication is digital.”
A diligent studio practice is what has made Sherman’s work consistent and cognizant of social waves. In the piece “Little Tricks That Erode Your Defenses,” Sherman utilizes acrylic in punches that saturate space while marker speaks in intricate shapes, playing with the dynamic and conversation of the canvas. Similar verses are strummed through the landscape in “Feeding Off The Land Like An Animal” while geometric spots of pigment speak to the erosion of colors such as hot pink. Elaborating with dimension, Sherman is propelling the auditory nature of his work through the use of layers and collage.
“My recent work has become more sculptural,” says Sherman. “While I’m still making two-dimensional paintings, the surfaces are more tactile and have led me down a new path. Now everything has become more physical, more raw. Simultaneously, there’s a newly discovered sophistication in the way things are created. Also, I’m more considerate of color and probably less polychromatic than before.”
Through his bodies of work, the rawness of his presentation is still tinged with the academic, leaving room for a viewer’s questions amongst the collective but meditate chaos. In a sea of self-taught talent, Sherman knows that his educational experience was worth it, aiding him in his art making then and now.
“I have my Masters of Fine Arts in Painting and Drawing from the University of North Texas,” says Sherman. “I also have a Bachelor’s Degree in Studio Art from the University of Texas. My graduate school experience was invaluable. As much as higher education seems to be under assault in recent years, I wouldn’t be where I am today without it. I had great faculty, great peers and great situations. Most importantly, it was both challenging to get accepted and then succeed. We created an intense environment which pushed several classmates to leave it all on the field.”
His work has built him up in the local community while rocketing him into exhibitions outside the city. Sherman has been in a number of solo exhibitions across the United States, and his work has been featured in exhibitions in Texas, California, New York, Florida, Spain, India, and Peru. Names of past exhibitions ring a sense of newness and edge with such titles as Eating your Friction, Apocalyptic Wallpaper, and Feeding Off The Land Like An Animal. His work has also been recently featured on the Texas Abstract: Modern + Contemporary art history book cover. Regardless of where his work takes him, Howard still considers Houston and Texas home base.
“Houston is supportive and enthusiastic without a lot of barriers to entry,” states Sherman. “The support has been tremendous and I’m very grateful. This has allowed me to recently take a studio in New York City while keeping my space here, too.” The dance between two cities has allowed Sherman to conjure a fresh perspective, utilizing the cultural vibrations and bustle of each city to round out the ideas bouncing from frame to frame in his mind, from frame to frame of canvas and beyond. Texas serves as a homecoming this spring with his solo exhibition, Shifting Fancy of the Crowd, opening April 1, 2017 at Circuit12 Contemporary in Dallas. from http://www.freepresshouston.com/visual-vernacular-howard-sherman/ Allah-Las. Photo:Paradigm Agency
Well, things are slowing down a bit after SXSW as there aren’t countless acts vying for your attention this week, but there’s still plenty happening. Bands like the Allah-Las and legends like Southern Culture on The Skids and Reverend Horton Heat will be here while locals The Wheel Workers, The Mighty Orq and more will be on hand for all to enjoy. Houston, here’s how to spend the next week.
On Wednesday you can get going at Walter’s when the post hardcore meets Nintendocore of California’s HORSE the Band swings by. These guys are screamy, they mix in video game sounds, and they’re all kinds of nutty in a live setting. This show should be interesting, as their last release was over eight years ago with Desperate Living. The post metal electronica of New York’s Infinity Shred will be on as direct support while the grindcore of LA’s Graf Orlock will also be on hand while the noise experimental thrash intensity of Houston’s MOTHS will open up the all ages show with doors at 7 pm and tickets between $12 and $14.
La Sien. Photo: Anthony Rathbun
In the studio at Warehouse Live you can get down with the Argentine reggae of Dread Mar I. You don’t have to know who this guy is to realize that his mix of reggae and Spanish lyrics are pretty catchy, and he’s huge around the globe. He’s here in support of his latest, 10 Anos (En Vivo) from last year. The Spanish rock of Houston’s La Sien will be on as support and openers for the all ages show with doors at 7 pm and tickets between $20 and $23.
At the Foundation Room at House of Blues, another edition of The Rush will take place, this time with Houston’s Alycia Miles and Michele Thibeaux. Things get kicked off by DJ 4k and the 21 & up show has doors at 7 pm, and it’s FREE until 9:30 or $10 after.
Thursday you could find yourself wanting to get all of that indie rock goodness, but acoustic, and if you do then you should go to White Oak Music Hall for a solo set from Andy Hull. Hull, best known as half of Bad Books and the lead singer for Manchester Orchestra, should have a couple of new songs as well as tracks from all of his projects to play. Dustin Kensrue, best known for leading the band Thrice, will be on as direct support and should bring tunes from his latest Thoughts That Float On A Different Blood. The indie goodness of Atlanta’s Gobotron will open the SOLD OUT all ages show with doors at 7 pm.
Rockefeller’s will host the always entertaining roots Americana of Shinyribs. This band has been grinding hard as of late and their latest album, I Got Your Medicine from this year, is fun and full of energy. The enigmatic roots blues of Houston’s The Mighty Orq will be on as direct support and opener for the all ages show with doors at 7 pm and tickets between $20 and $25.
We Were Wolves. Photo: Randy Edwards
At Continental Club you can get down with the rock n roll of Houston’s We Were Wolves. I’ve always said that these guys are like getting punched in the face with riffs and beer, and their last EP Ruin Your Weekend just proved they aren’t slowing. NOLA’s Bantam Foxes will bring their throwback sound mixed with guitar grandiose and swamp sludge riffs that comes out like a heavy indie rock on last year’s Gold Record on as direct support. Austin’s Otis The Destroyer will be on as opener for the 21 & up show with doors at 8 pm and a measly $7 cover.
Mucky Duck will host the phantom voiced beauty of Nashville’s Shannon LaBrie. I’d be lying if I said that the genre defying sounds of this singer songwriter weren’t as intriguing as they were engaging, and her latest release War & Peace from last year is hard not to love. The 21 & up show has doors at 9:30 and tickets between $20 and $22.
Friday you can help celebrate the One Year Anniversary of The Clinic in an all-day blowout before they move to a new spot. Over 25 bands will commence on the DIY venue for a show that should go down in the history books. Sets from Dallas’ I AM, St Louis’ Welcome Home, Houston’s Delivery Boy and many more will be on hand. The all ages show has doors at 2 pm and tickets for $10 with all of the information available here.
Bunny Galore. Photo: Cherry Bones
At Numbers you can catch another solid set from the ladies of Dem Damn Dames at their Cabaret Hideaway show. Featuring Bunny Galore debuting what are called “fire tassels,” this show should be pretty stellar. Performances from May Hemmer of NOLA, Maria Bella of Baltimore, Paul Garbanzo of Virginia and more as well as the Dames themselves. Hosted by Nick The Vegan and Skabz the Clown, the 18 & up show has doors at 7 pm and tickets between $15 and $30.
House of Blues will have the popular hip hop of Atlanta’s 21 Savage. While this guy has only been solo for a short time, last year’s Savage Mode threw the rapper into the mainstream and he’s become quite the act to watch. Brooklyn hardcore female rapper Young M.A. will bring her intensity on as direct support while Detroit’s Tee Grizzley will go on prior. The hip hop of Young Nudy will open the all ages show with doors at 7 pm and tickets for $29.50.
Walter’s will have the psych doom of Dallas’ Wo Fat. Their latest release, last year’s Midnight Cometh, is a steady stream of heavy riffs, thick and murky bass lines, and thunderous drums mixed with psych undertones that’s worth hearing live. The trippy psych blues of Austin’s The Well will be on hand as direct support while the prog meets doom of Houston’s Blues Funeral goes on beforehand. Warlung will open the all ages show with doors at 8 pm and tickets for $10.
Southern Culture on the Skids. Photo: The Billions Corporation
Continental Club will host their annual shows with Southern Culture on The Skids. This three piece never disappoints in a live setting, their music is a mix of hanky and panky, and last year’s The Electric Pinecones is their best album to date. Nakia and the Blues Grifters will be on as direct support and openers for night one of the 21 & up show with doors at 8 pm and tickets for $17.
Satellite Bar will have the punk sounds of Austin’s The Awful Lot. These guys sound like they’re fans of Rancid and British punk, so they could be pretty tight to catch live. The three piece punk of Yikes will provide direct support while the punk ska reggae of Bottom of The Food Chain will go one before. The hardcore of Houston’s Feels Like Murder is also on the bill and the all ages show with doors at 8 pm will get opened by Baytown’s The Drafted with an $8 cover.
The popular indie folk duo of Shovels & Rope will be over at White Oak Music Hall in the big room downstairs. This married couple from South Carolina have gotten bigger and bigger with time, and their latest album Little Seeds from last year has made them a household name. Matthew Logan Vasquez will be on as direct support and opener for the all ages show with doors at 8 pm and tickets between $18 and $22.
Merel and Tony. Photo: Ralph Elliott
On Saturday you could get started at Cactus Music for an in-store set from Merel and Tony with The Woe Woe Woes. There for their EP release, you should know that Merel and Tony make some of the most intriguing and interesting music coming out of our city today. Mixing electronica with orchestral influence, the best way to describe them is to hear last year’s Protest Psalms for yourself. The all ages event gets going around 1 pm, there’s gratis beer for the adults, and it’s 100% FREE.
Later on at Rockefeller’s you can get your laugh on with the comedy of Rick Gutierrez. Known for his appearances on BET and Comedy Central, Gutierrez has been making audiences laugh for years. The feature act on the show will be Whiskey Brother and all around funny man Sam Demaris, while Matt Golightly will open and host the all ages show with doors at 7 pm and tickets between $20 and $25.
Rec Room will host Beta Theater’s April Fools Thing. Sets from The Mustn’ts, YouTube sensation Colby Beserra, Gino Sandoval, and much more will greet you when you attend. The diverse mixture of improv, music, comedy and more should delight anyone who’s into the funnier side of things with doors at 7:30 pm and a $10 ticket.
The Wheel Workers. Photo: Allison McPhail
Upstairs at White Oak Music Hall you can get down for a double release show from Houston’s A Sundae Drive and Glass The Sky. The new A Sundae Drive album Versailles is pretty amazing while offering up a more Sonic Youth type of sound to the indie rockers. The Glass The Sky album is lush with detail and full of pop that should delight anyone who’s unfamiliar with the band’s sound. Houston’s The Wheel Workers will go on prior while College Station’s The Ex-Optimists will open the all ages show with doors at 8 pm and a $7 cover.
Night two of the Southern Culture On The Skids weekend will commence at Continental Club. The honky tonk hanky pankers will play their second set in support of last year’s The Electric Pinecones, and the trio is always a trip to see live. San Antonio’s matador surf rocker King Pelican will be on as direct support and opener for the 21 & up show with doors at 8 pm and tickets for $17.
Nashville’s Starlito and Don Trip will be in the studio at Warehouse Live. The rapper has been reinventing himself after leaving Cash Money Records, and his latest drop with Don Trip Step Brothers THREE is impressive enough for Trip to perform on this show as well. Houston producer and DJ Trakksounds will be on as direct support and opener for the all ages show with doors at 8 pm and tickets between $20 and $50, the latter being a meet and greet option.
Reverend Horton Heat. Photo:Victory Records
Downstairs at White Oak Music Hall, the Dallas based rockabilly meets psychobilly of Reverend Horton Heat returns. This guy is hell on a stage, his live shows are always amazing and full of energy, and his latest release Rev from 2014 is his best since Liquor In The Front. The strange yet entertaining honky tonk of Unknown Hinson will be on as direct support while The Goddamn Gallows will bring their crazed country folklore on beforehand. Nashville folk female duo Birdcloud will open the all ages show with doors at 8 pm and tickets between $18 and $22.
Sunday you can get going at Insomnia for the Sticky Fingers 3 Sticker Art show. Diablo Macabre, Honeybones, Dre Forgotten and so many more will have art in sticker form on display and for sale. The all ages event gets started around 6 pm and it’s 100% FREE.
Over at the Marquee Moon Lounge, Houston’s The Cops will co-headline a set with Alabama’s Daikaiju. Daikaiju play furious surf punk, they go into the crowd, they light things on fire, and their latest single Cock Lobster is a trip. The Cops dress like cops, sing from their point of view, and the tongue in cheek band sounds closest to Hot Snakes on their series of singles like “Street Hooker.” The 21 & up show gets going around 7 pm with a TBA cover, and should be fun no matter what.
Robyn Hitchcock. Photo: Yep Roc Records
House of Blues will host the return of new wave legends The Psychedelic Furs. The London group has been a big deal since the eighties, and with tracks like “Love My Way,” “The Ghost In You,” and “Pretty In Pink,” it’s no wonder. British singer songwriter and legend in his own right Robyn Hitchcock will be on as direct support and opener. His latest single “Mad Shelley’s Letterbox” just proves he’s not slowing down anytime soon. The all ages show has doors at 7 pm and tickets between $26 and $32.50.
Rudyard’s will host the stoner rock of Detroit’s Bison Machine. This four piece plays riff heavy tunes that are hard not to like, and their latest single “Cloak & Bones” is like saying you should check them out. The squeal heavy stoner doom of Houston’s Funeral Horse will bring their energized sound on as direct support and The Satanic Overlords of Rock N Roll will bring their riff heavy punk on as openers. The show has doors at 8 pm and a $10 cover.
Monday you should find yourself at Walter’s for the psych sounds of Allah-Las. Mixing the surf sensibilities of California and the grit of garage psych, this LA four piece has gotten pretty popular as of late and their new album Calico Review from last year is pretty solid. Australia’s The Babe Rainbow will be on as direct support and openers for the all ages show with doors at 7 pm and tickets between $15 and $17.
Tuesday you can head to Mucky Duck for the funny and strange sounds of the Austin Lounge Lizards. Lampooning religion and politics in their songs, this group definitely “keeps Austin weird,” and their latest release Home and Deranged from 2013 is pretty fantastic. The 21 & up show has doors at 7:30 pm and tickets between $25 and $27.
The Octopus Project. Photo:Greenbelt Touring
If you’d rather get a little weirder, you can head to Walter’s for the fun and electro pop sounds of Austin’s The Octopus Project. While their album Identification Parade will always be near and dear to my heart, their upcoming album Memory Mirror sounds pretty amazing. Couple with that a fun and crazed live show and this is where you should be on a Tuesday. There’s no word of support or openers, but that will likely change for the all ages show with doors at 8 pm and tickets between $12 and $15.
That’s about all that’s happening around town this week. No matter what you decide to do, please remember that being responsible is in everyone’s best interest; and a safe ride home is just an app away. from http://www.freepresshouston.com/high-dry-the-best-of-the-week/ We partnered together with Children’s Learning Adventure yet again to bring you these two fun events, and we are so very thankful for the support of their amazing team to ensure a fun morning for all! The post {RECAP} Carnival Soiree at Children’s Learning Adventure – Cypress & Cinco Ranch appeared first on Houston Moms Blog. from http://feedproxy.google.com/~r/HoustonMomsBlog/~3/kI8M3fgo8no/ In order to be sure that you are able to make the most out of your moments in life, don’t hesitate to add some celebration and joy. Tropical flowers are great to purchase if you are looking for something unique. You can purchase tropical flower arrangements that accomplish whatever you would like – from celebrating an anniversary to simply creating an excellent decorative presentation. In this regard, read below and use these points below in order to learn all that you can about doing business with a company that can provide you the flower arrangements that you will enjoy. Find the right company to provide you with tropical arrangementsThere are numerous companies available to you that can provide you with flower arrangements. Make sure that you visit their website first and foremost to find pictures and videos of arrangements that they have put together. In this regard, Enchanted Florist is a very credible flower arrangement company in Pasadena that has been in business for years. You will make the most out of this decision once you are able to match up with a shop that can provide you with any sort of arrangement that makes the most sense to you. Figure out the types of flowers that you would likeOnce you are ready for an order, it would behoove you to find the different types of flowers available and select the ones that make the most sense to you. For example, florists can sell you a number of different arrangements that could include flowers such as ginger, orchid, pink mink protea and various types of roses. You can purchase these flowers in many different ways, from in-depth arrangements and single stem roses. Once you figure out what you need, you will be able to match up with a florist who can provide it. By understanding the different types of flowers available at the time, you have an array of options to select between. Understand the benefits of tropical flower arrangementsThere are a lot of benefits associated with buying flower arrangements. They beautify virtually any setup, whether you are planting them outside or setting up flower arrangements indoors. These flower arrangements are also great for your mental health, as they are known to reduce stress and produce mental health benefits. In terms of gestures, flowers are great for anything from celebrating anniversaries to commemorating new moments in life. It is an excellent way to show you care and create some memories which can go a long way toward lasting a lifetime.
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We are located at: tropical flower arrangements, birds of paradise bouquets, pasadena flowersfrom https://enchantedfloristpasadena.tumblr.com/post/158969359982 March has somehow come and gone, and it is officially time to start thinking about all things Easter. Spring time is such an exciting time to enjoy all our city has to offer before the inevitable rise in temperatures. Aside from the main event of celebrating Jesus’ resurrection, there are so many fun and easy activities […] The post Easter Egg Hunts in Houston appeared first on Houston Moms Blog. from http://feedproxy.google.com/~r/HoustonMomsBlog/~3/4LzgKUVwso8/ Have a loved one who is feeling under the weather?There isn’t a better way in the world to show you care than with a beautiful bouquet of flowers. We are a well-regarded flower shop offering florist deliveries in Clear Lake and have been serving the area for years with thousands of customers. We take pride in the flowers offered and will ensure the right message is sent for your get well flowers. Here is more on what makes this the ultimate florist for you and your needs. Same Day DeliveryNeed to get the flowers to your loved one as soon as possible? Don’t want to delay things? Customers who want to ensure things move along at a fair pace will be able to trust our team. We have been doing this for years in the Clear Lake area and have a good grasp of the delivery requirements. For those who require urgent delivery, there is a “Platinum” option to expedite things. We work hard on meeting all expectations and appreciate the importance of this investment and what it means to each person and their loved one. We do not cut corners with deliveries and ensure things are done on time. Start here and know you are in good hands with the flowers being selected. Wide Selection of Flowers in Clear Lake TexasHave a particular set of flowers in mind that will express your feelings well? We work hard on providing a range of flowers for customers to sift through and choose for their loved one. Please take the time to go through this collection and select an immaculate set of flowers that will bring joy to the loved one’s life. All flowers are robust, beautiful, and designed to provide the right message. No stone is left unturned when it pertains to providing appropriate flowers and delivering good results. It will make all the difference. Seamless ProcessWhile sending get well flowers from our Clear Lake florist, it is important to go with a service that can provide a seamless process. No one should have to wait for their flowers to be delivered. We have years of experience and understand what it takes to provide a seamless process from the moment one makes their selection. The goal is to have the flowers in your loved one’s hands as soon as possible, and that is what this florist can offer. To take advantage, please select the flowers and begin preparations for the ideal delivery. For get well flowers sent to the hospital, we provide a range of options for customers to choose from. Hospitals covered in the Clear Lake area include St. John’s Hospital, Kindred Hospital, MD Anderson Cancer Center, UTMB Victory Lakes and more. For more information, please inquire. We work hard on providing customers with a simple process that takes minutes to complete and will ensure the loved one receives their flower on time. Choose the perfect flowers and bring a moment of joy to the loved one’s life. Enchanted Florist 4416 Fairmont #104 Pasadena, TX 77504 (832)850-7677 Find us on: We are located at: clear lake florist, clear lake flowers, flower shops in clear lake texas, florists in clear lake txfrom https://enchantedfloristpasadena.tumblr.com/post/158957225767 Cory Sinclair. Photo: Christopher Pierre Bachman
As the latest project from Cory Sinclair, Hescher brings something new to the table. Formerly the vocalist for The Manichean, Sinclair has moved from working with a rock n’ roll sound to a truly cinematic one through his work with sound design. Sinclair intimates that Hescher will vary depending on the situation; one sound for live club shows, another for sound design. Prior to Hescher’s debut performance at The Nightingale Room on Thursday, Free Press Houston caught up with Sinclair to discuss what he has in store with his latest project.
Free Press Houston: Is Hescher a solo project? Cory Sinclair: I’ll be performing live with Chris Landry and Thomas Bowman, but it’s technically a solo project, and I’ll be frank, there’s a lot of ego behind it and whatnot. So much of what my role was in The Manichean was about conceptualizing things. [Guitarist for The Manichean] Justice [Tirapeli-Jamail] and I would talk about things, but I would really try to play director, and that’s what I’m doing with this, but I’m also trying to create as much content as possible since I didn’t write any of the music; Justice wrote all the music for The Manichean.
FPH: The overall sound is quite a departure from The Manichean. How did Hescher evolve into your new project? Sinclair: Actually, it was a somewhat painful process for a period of time because Justice and I came to a point with The Manichean where we were actually starting to get the kind of attention that we wanted and we were starting to play on the kinds of terms that we wanted to establish for ourselves. We played something like three shows in 2013, which was our last year, and one of them was at the Alley Theatre, one of them was a collaboration with DiverseWorks, and the other was a festival that we played in Beaumont. We were actually really happy with where things were going, but it was kind of a situation where people have been playing the same songs for seven or eight years and they get really tired of it. So, Justice needed to take a step away and I needed to take a step away and we really needed to figure things out. Our last show was at DiverseWorks in October of 2013 and I was engaged at that point. 2014 was big year for both of us because we spent so much time apart. He’s my fucking soulmate, I mean, him and my wife are it. So that was the first year that we really spent time apart and it was tough. I didn’t know what I was doing. I don’t know music theory. I’m learning it now because I have to.
FPH: Are you self-taught? Sinclair: Everything is self-taught. I wouldn’t say I play any instruments, but I compose on my computer and I’ve been singing for 15 years.
FPH: How exactly did you start making the music you’re creating as Hescher? Sinclair: The desire was there, had been there, even before I met Justice when I was still acting, I had been singing for a long time. I was in a band in high school with my friends. So I had these ideas and turned them into this kind of poetry, spoken word, performance art thing, but I luckily found Justice who was able to facilitate this whole aspect of it that I wasn’t familiar with, which was the music part. So with Justice gone in 2014, and he came back in 2015, we were working again, but his focus ended up being that he wanted to go [to California] to explore this other aspect. So that was difficult. But the separation happened and sometime later in 2015 I got my hands on a copy of Ableton Live and signed up for some online classes and started to learn the digital audio workstation and using my intuition to make sounds. Of those initial songs that I wrote, one of them survived and is one of the songs I’ll be performing on Thursday. It’s one that I haven’t recorded or released yet. It’s not [“Scarlet Shell“], that’s not really a live song, that’s more like a film score song. That was the idea behind writing and releasing [“Scarlet Shell”] because it was in line with the production, the play A Steady Rain. When I started writing stuff, a lot that turned into what I used for the score for A Steady Rain. Being approached by them, I decided I wanted to craft sound design as well. The play took place in Chicago, there were actually multiple car chases and this really dramatic script, a very dramatic script, that only had two men on stage. It ended up being a different approach with us [Thomas and I] on stage during the performances.
FPH: How did you get involved in A Steady Rain? Sinclair: When we did the performances at the Alley Theatre — we performed Lovers in 2012 and 2013 — and in 2013 the lighting guy that the Alley introduced us to, John Baker, well, him and two of his associates started Dirt Dogs Theatre Company and this was their inaugural show and they wanted to have a unique take with music as a part of it. Now Melinda [Beckham], who’s a board member along with her husband Trevor [Cone] and John Baker — Melinda was the director and she had something specific in mind. John had contacted Justice and I and he was already in Los Angeles. So it was like, “Well, I’m here. I’ve never done anything like this before and I would love to do it.” They said, “Well, this is our first show and we are a nonprofit theatre organization and we don’t have any money to pay you right now.” I was like, “Listen, rather than money I would like to indulge in fostering a relationship with your company.” I actually just did sound design for Glengarry Glen Ross, which just went up and down at MATCH [this month]. It was a great experience. It was mostly curating songs from the late ’70s and early ’80s and I also wrote some string parts for the transitions between scenes. I’m going to continue to do this kind of work with them and hopefully other people, too. So that kind of theatrical, film aspect of what I’m doing and creating is there. But that’s not so much what live Hescher shows are like. I started focusing last year, after the play, on creating tracks for a live set. I want to make people dance, so that’s the stuff I’ve been working on for the past half of a year. That’s kind of the path I’m on now in terms of debuting myself as an artist and the stuff I plan on releasing this year and next. I want to release an EP later this year and an EP next year. I know what they’re going to be called and they have this story behind them. There’s a lot about story to me. That being said, there’s a difference between the club show of Hescher and what I want to be the theatre show, and while I’m working towards that, I have to start here.
FPH: Is there a preference? Sinclair: You know, with The Manichean, we were basically a young Houston band and that’s how we approached things because we were kids. I mean, I was 22 when we started the band and Justice was 17. We met in the middle there, as we always have. Those two shows at the Alley Theatre, especially the one in 2013, that’s probably the thing I’m proudest of in my life thus far. It was just the level of professionalism involved in the whole performance that the Alley provided and whatnot. So do I have a preference? They’re totally different shows. That’s the idea. If it’s in the theatre, it’s going to have a whisper of that rock show energy, but it’s going to be a theatrical production. If it’s a rock show, a club show, then it’s going to have a little bit of that gravitas that comes from the theatrical performance, as opposed to going to a club and watching a band. There’s a time to have fun and there’s a time to rock out and dance, and there’s a time to be focused and put on a proper show that’s meant to have an emotional impact. With Hescher, I want to take risks as an artist and getting started, there’s going to be the club show. It gets people paying attention. It’s working out better than I’d anticipated. A lot of times — and I’m sure a lot of people can relate to this — trying to put something together, especially if it’s the first time that you’ve done it, can be very taxing. This is alarmingly stress-free and I know what I have to do the next few days until Thursday, and I do have work to do and the guys and I have several long practices over the next several days, but it’s all coming together the way that I envisioned it. I’m confident and comfortable, which is kind of strange.
Hescher performs with Night Drive at The Nightingale Room on Thursday, March 30. Doors open at 8 pm and tickets are $10 at the door. from http://www.freepresshouston.com/shifting-gears-an-interview-with-hescher/ There are those moments in movies where the character stares into the abyss, wordless. The moments when the audience puts together the sum of what they know to have happened to the character and tries to surmise an ending based on the actions of the character, David Bazan’s Care is the soundtrack of that wordless stare. Relying heavily on synthesized instruments, it could be a stylistic choice or sort of the chosen instrument of disconnection, robots and artificial intelligence, wading through the programmed and coordinated, looking for connection within the steel and electricity, modern music. That said, in “Permanent Record” there is the lyric, “I store my thoughts in other people’s heads, then I question what they know.” It is a slow burn, that song, a spiraling into insanity or uncertainty, which is kind of the theme of the album. The cover of the album is Bazan (or someone) sitting at a desk, and that is sort of what happens. “Up All Night,” an ode to the insominiatic behavior of late nights, to “pace the basement,” to question life and purpose and failures with the blanket of the night sky to provide the idea of hiding from. This album is perfect for that time, driving at night, contemplating. It is the things that send us to therapy (physically or chemically), sifting through memories for clues to the collapse. Bazan’s voice is also a perfect narration to these stories.
Rock and roll died with Chuck Berry. Not really, but it’s good first sentence. The Cairo Gang is always great. Yes, there sound harks or at least hints at classicism, not in a revisionist sense, but more in tribute to form, or maybe not, because who can lay claim on what a time period sounds like and why must it normally be the Blade Runner soundtrack? So yes, this album is very soul and rock and roll based, or there is no rapping. “Broken Record” is the Lou Reed rocker. “That’s When It’s Over” manages to merge “Sweet Jane” and “Hey Joe,” or maybe not. I also hear Arthur Lee. Regardless, it’s a jam with a killer guitar solo at the end. “In the Heart of Her Heart” is barn burner. Recorded perfectly, the guitars are crisp, the bottom pulses, it sounds wonderful coming through your stereo; you are in it, you feel the power. “Let It Gain You” is a magical voyage; ride the clouds and wave at the unicorns. “Untouchable” is a sweet glass of tea, it is a soft cool rain on a hot day, it is the leaf falling slowly to the ground, a trail of smoke from a joint as the high kicks in, beauty. There is a hint of darkness and mystery and magic, life is not all apples and oranges, but mainly this is a good time, a celebration. The Cairo Gang did not name this album to suggest that they are untouchable, however, I would use this as valid evidence in support of that claim.
I was a huge fan of Jess Williamson’s Heart Song and upon hearing that RF Shannon was basically the band on that album, I committed myself to checking their steez. Jaguar Palace is the band’s first full following last year’s excellent EP Hunting Songs. To describe this album is to summon the feeling of the second song on the album, “In The Wild Of My Mind”: “There’s a place that I go, that no one knows, in the wilds of my mind.” This album shares the dream state quality of something like Mazzy Star or Brightblack Morning Light; you find yourself listening for sounds outside of the speakers, looking out the window. “Jaguar Palace” enters like desert wind; the skies darken, the trees shift, and then the lights come on and you are in it. RF Shannon takes their time, they caress your face, and whisper in your ear; it lulls and tempts you, it maintains a pace until “Had A Revelation,” a kind of roots rocker, gives a bit of pace to the majestic ocean of the album. However, the eleven minute “Hottevilla 1” is an island unto itself, a soul number within a psychedelic hued light; it is the blues from beyond. This is a wondrous album that continues to give and reward 5 or 6 listens later. You have to wrap your head around it, live in it, but it is a cozy stay. RF Shannon are from Austin, these songs evoke the imagery of long roads and open spaces, esoteric nights and supernatural trips. Go here now.
Gregory Uhlmann plays in the superb band Fell Runner (if you don’t know, now you know), which has more of a afro, Kuti thing going. Odd Job shows that is only one hue of the color wheel in the Uhlmann catalog. Pace and color are words of description, the album unfolds, there are moments of calm. “Odd Job” is a treatise on humanness or lack thereof. “Phone It In” is a mellow pop number, think groovy Wings, discussing the idea of moving indiscriminately friendships or relationships. Pulling from folk, classical, and other musical forms, Uhlmann and accomplanying cast (one being Fell Runner drummer Tim Carr, who also has a fantastic album, The Last Day Of Fighting, and also rips the end of “Too Much to Bear”) move through the moods and modes and modes of the album in somewhat of a slow burn, but each song is rewarding. It is a great album for reading, or cleaning your living area, or getting really stoned and staring at your phone on the table for say 40 minutes before you realized that you were supposed to write a record review, but then you smoked a bowl and forgot whilst making dinner plans, anecdotically. A beautiful album, a splendid time, oh sweet music.
Kelly Lee Owens — Kelly Lee Owens Kelly Lee Owens released the wonderful Oleic, or that is the last release that I heard from her, but it was enough that when her self-titled album came through, I was excited and enthusiastic. Owens creates music that is like distant lightning reverberating through the sky, flashes of light, distant rumbles. There are more traditional pieces like album opener “S.O” or “Throwing Lines” that sort of establish as groove and work within that. There are pieces like “Anxi.” or “Evolution” that evoke more of dance spirit or at least mellow house. The album closer, “8,” is a dream sequence, longer meditation on a rhythmic and vocal coda that presents itself and then inverts into a similar creature. Owens understands feel and space and gives songs room to grow and expand or envelop at the right time. It gives the album atmosphere and completion, from inception to conclusion it feels like a transformation; you are transported, taken, and returned, but different than before.
from http://www.freepresshouston.com/album-reviews-david-bazan-the-cairo-gang-more/ So, I decided it was time to throw my toddler into the pool. In Houston, pools are everywhere; it seemed like a good idea to teach some pool safety and strategies. Also, all signs pointed go and that the timing was right for M’s first class: Bath time was basically a swim session where more water lands out of the […] The post Preparing Your Toddler {And Yourself} for Successful Swim Lessons appeared first on Houston Moms Blog. from http://feedproxy.google.com/~r/HoustonMomsBlog/~3/yL8g_szyykQ/ |
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April 2019
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