Friday, October 28, 2011

SERIALITY, Group Showing Featuring Blow-Up Artist Ali Akbar Tonight



Blow- Up artist Ali Akbar will be part of a group showing at The University Of Texas in Dallas tonight after an amazing solo opening in Bangladesh last week and severe jet lag! Unfortunately we cannot make the opening but will catch Akbar's work in the coming week. Other artists included in SERIALITY are Kevin Todora, Ruben Nieto, Vince Falsetta, Greg Biermann, Michael Miller, Patrick Murphy, Patrick Dowling, Collen Shull and Jackie Chaiken. Here is the official word...

Seriality explores the work of contemporary artists who use a type of repeated form or structure in a group of related art pieces revealing historical ideas that began with the technology of mass production and industrial fabrication seen in the work of Pop Art and Minimalism. Curated by John Pomara.

The University Of Texas Dallas, Visual Art Building
800 W. Campbell Rd. Richardson, TX 75080

Visual Art Building hours:
Monday - Friday . . . . . . . 9 a.m. to 10 p.m.
Saturday . . . . . . . . . . . . . 9 a.m. to 6 p.m.
Sunday . . . . . . . . . . . . . . Closed

Here are a few of our picks from Akbar's latest collection.
-Blow-Up 





Wednesday, October 26, 2011

Flashback! 11 years ago: Radiohead/ At the Drive-In...

Kid A came out 11 years ago...Do yourself a favor this week and put it in your stereo..not your ipod, your stereo and please..go back to the way we used to enjoy music, a little less easy but a bit more personal. I saw the "Optimistic" Video on MTV 2 December of 2000 and had to buy Kid A.(oddly enough they also played the Linkin Park video "One Step Closer"every 5 minutes in the same rotation) 11 years later Kid A is still fucking brilliant. In early Spring of 2001 I saw At The Drive In on a late night show play "One Armed Scissor" and again it was another game changing band entering my life. I bought Relationship of Command and Kid A at a Target in Arlington Texas circa 2001 and have never looked back. Enjoy these videos.
-Blow-Up

                                                                           Radiohead


At The Drive-In

Sunday, October 23, 2011

Beyonce vs. Jay-Z (by Blow-Up Blog Music Editor, Mr. Paul Levins)

This spring, Beyonce and Jay-Z wed, creating arguably the biggest power couple in music.  This summer, they both released albums, Beyonce’s “4” dropping on June 28th, and Jay’s collaboration with Kanye West, the long-awaited “Watch the Throne,” appearing two weeks later.  Well, for those yet to hear these two offerings, I’ve got some good news and some bad news.  I’ll start with the bad…

The whole thing started in January, when the aforementioned Jigga and Ye released the first taste of “Watch the Throne” with the curiously-titled H.A.M. The title turned out to be an acronym for “hard as a motherfucker.” (yeah, ok, but it still sounds stupid), and honestly, I wasn’t into it, like at all.  I’m a fan of both guys’ musical output (mostly), so that wasn’t a good sign.  A whopping seven months later, the full album hit, and my initial lack of enthusiasm was justified.  It seems like the two rappers, who have never been shy about making sure everyone knows just how aware they are of their own talent, got together to create an album to answer the un-asked question “How awesome are we?”  Their answer?  “Totally.”  I will say in the album’s favor that these beats are EPIC.  I expected nothing less from an album with a solid gold cover called “Watch the Throne,” and the level of production, handled by Kanye’s own production company Very Good Beats and featuring a lot of work by ‘ye himself, is staggering.  Unfortunately, there are several songs that employ the devil of auto-tune (my Kryptonite), including one unforgivable instance where the effect is applied to a Nina Simone sample (the otherwise pretty great “New Day”).  But while the album generally succeeds in the musical department, the actual words these two hip-hop heavyweights lay over said music more often than not falls flat on its face.  I can forgive one or two odes to the self on a rap album as long as the proof is in the pudding; after all self-aggrandizing is no stranger to the world of beats and rhymes. But when it is the sole subject on song after song, all that talent gets drowned under a static sea of narcissism.  There are exceptions.  “New Day” expresses hope for the pair’s future sons, and “Welcome to the Jungle” hints at the vulnerability behind the swagger.  It’s too bad these two songs have the only really irritating beats on the album.  There are actually a couple of great tracks here:  “Murder to Excellence” attempts to provide some context to all the braggadocio and sounds fantastic in the process, and the Otis Redding-sampling “Otis” is the top tier of the self-aggrandizing tracks, clever and fun, towards the end of which we get the line “Jay is Chillin’, ‘Ye is chillin’, what more can I say, we killin’ em.”  If only they could have left it at that and moved on.
Beyonce fairs much better on her fourth solo album, simply titled “4.”  While she hasn’t held much appeal for me in the past, even going so far as to annoy the hell out of me during the Destiny’s Child days, this new album has been in heavy rotation on my iPod since I first listened to it.  Simply stated, it’s a huge leap forward for the singer, voice-wise, song-wise, and production-wise.  There is one caveat:  I listened to the last song on the album one time, and immediately deleted it from my computer.  The song is called “Run the World (Girls)” and it flat out does not fit with the rest of the songs at all.  It sounds exactly like all of the other bland club songs that have been populating the charts for the last few years, repetitive, electronic, and hollow.  So it’s no surprise that it served as the album’s first single.  It feels tacked on, like a record exec’s contractual demand, so I don’t consider it a part of the album proper.  As for the rest of the songs, they are all stunners.  Album-opening track “1+1” is the attention grabber, a slow-burner with a deeply felt performance of what feels like very personal lyrics.  Right of the bat, you notice a huge difference from her past output.  Her voice has matured into a powerhouse of soul, and her songwriting has matured as well.  She has developed from a sassy club kid to a grown-ass woman.  The album is also her most adventurous musically.  See “I Care,” in which she pits her impressive vocal range against a screaming guitar solo, or check out the drum-line percussion on “End of Time” and “Countdown,” the latter of which seems to cram half a dozen songs styles successfully into one marathon ode to devotion.  And all over the album, you can hear re-appropriations of 90s R&B tropes (casual horns, digital instrumentation, the entirety of “Love on Top“), augmented with new technology for a musical profile that sounds at the same time nostalgic and fresh.  I’m surprised and delighted by this album; good one B.


Paul Levins for Blow-Up Blog

Thursday, September 29, 2011

Washed Out's Within and Without: By Blow-Up Blog's Newest Music Editor, Paul Levins


Let me start by saying that I am not a fan of this “chill-wave” movement.  Sometimes called glo-fi  or dreampop, depending on whom you ask, the genre’s style is midtempo, heavily electronic, and with a hazy, detached quality that does nothing for me.  I tend to gravitate toward a more visceral music experience, be it propulsive intensity that gets my blood pumping, complicated arrangements that tickle my brain, affecting lyrics that push my buttons, a truly soulful performance, or simply a beat that compels my ass to shake.  Chill-wave puts emphasis on none of that, so bands in this genre (Destroyer, The XX, Toro y Moi, etc.) usually bore me to tears.  Ladies and gentlemen, I have found my exception.  The band is Washed Out, and the album is Within and Without.
It’s not that this album is set that far outside the genre; it carries all the trappings listed above.  I think what elevates it for me is the high level of production and the slightly accelerated tempo.  On the production side, the album sports a fully fleshed out sound with arrangements deeper than the “electronic bleeps in empty space” profile of its compatriots.  And the faster tempo brings it up to a level  necessary to avoid garnering my usual chill-wave descriptor, “sleep inducing.”  The record still doesn’t command my full attention; the lyrics are buried under reverb, and the songs are not particularly unique from one another.  It is however a fantastic background record, pleasing but unobtrusive.  Remember that song “Porcelain” from Moby?  If not, here. (http://www.youtube.com/watch?v=uBKa9lqdwjw)  The sound of Within and Without is something akin to that song with the melancholy surgically removed, nine variations on one very solid theme.  The effect is like an audible neck massage, fingers through your hair, and a whispered “Everything is okay.”  A more reductive way to say it would be that the music seems tailor-made for the ecstasy crowd, but unlike some records (I’m looking at you, Neon Indian.), a history of drug use is not required for enjoyment.  (http://www.youtube.com/playlist?list=PLF67C10869720A729)

Meet Blow-Up's Newest Music Editor: Paul Levins


Portland Oregon is home to The Dandy Warhols, Modest Mouse and Blow-Up Blog’s newest editorial member Paul Levins. Over the next few months Paul will be expanding our musical horizons with his unique and excellent taste in sonic offerings.  We look forward to his contribution to the blog and hope your mp3 players  and imaginations do too. Paul, welcome to Blow-Up!

Sunday, September 25, 2011

James Emerson's 2nd Coming On Blow-Up Blog


VERFYLSCHTE!  VERFYLSCHTE!
BY
JAMES EMERSON


          A middle-aged man relaxed at his kitchen table on an early Saturday morning preparing to read the Mobile Statesman’s front page. He was sipping black coffee and chewing homemade butter tarts his wife prepared the previous night.  She was sleeping warm under the covers of their king size mattress dreaming of her stepson, Frank Mitchem.  She hadn’t seen him for three days and he called her when he’d leave for a midweek getaway with Quincy, his childhood friend.  He hadn’t called!  She and her husband expected the worst praying for the best.
The sun hadn’t risen and geese on their family property were still floating on a small man-made pond with their heads tucked into their feathers not bothered by the multitude of water bugs sprinting back and forth in front of their breasts.  Edward Mitchem filled his second mug of coffee and added sugar while yawning.  He hadn’t wiped the sleep from the corners of his eyes and could feel green sand paper run-off scratching his eyelids.  Edward set his cup on the newspaper and cleared his eyes.  Now, he felt awake and decided to play a record.  Thumbing through his sizeable vinyl collection from Classical to Opera to Blues and Smooth Jazz, Edward picked a soothing piece from Puccini.  His favorite opera, La fanciulla del West, he relaxed in its soothing intensity.
It was time to open the paper.  He looked at the headline, “Alabama continues to allow drilling in the Gulf”.  He clapped his hands.  The day wouldn’t be so bad.  He continued to the next story, “August, Alabama…” the rest of the headline was smudged by a small coffee stain.  It didn’t catch his interest.  He tossed the front page and grabbed the sports section.  Nothing worthwhile either, Edward was from Georgia and hated the University of Alabama.  It was the only sports topic his newspaper covered.  Besides, he was getting too old for the newspaper.  Edward hadn’t a reason to keep with current affairs.  He had money and a comfortable retirement and a loving wife.  It was enough to keep Edward busy through the rest of his life.  He was fine with seclusion.  A solitary life in the southern Alabaman country with Aphelia was all Edward wanted in the first place.  Still, he worried about Frank.  It was time for their annual Mobile weekend vacation.
It wasn’t too big of a deal.  Still, it wasn’t like Frank to abandon him.  The boy knew the day, the time of year.  It was annual.  Drive to the coast, eat a bucket of raw oysters and hit up a strip bar.  They were adults and neither ever mentioned it to the woman of the household.  It was a once a year type of thing where they’d sit in the back and glory behind concealing darkness.  Edward and Frank refrained from catching each other’s eye while buying a dance.  This wasn’t out of embarrassment.  They enjoyed being men and exhibiting their freedom once a year to be men.  Edward was getting old.  He was pushing sixty.  The excitement a mid-twenties naked female brought him would soon abandon his loins.  Soon, his heart couldn’t take the pleasure   Dammit, he wanted to spend the day with Frank, the stupid bastard.  He was a thankless orphan.
Years before, Frank’s mom ran off leaving him at a fire station.  Edward imagined the moment it happened.  Frank’s toothless mouth sucking on his mother’s nipple, drying the well the best he could.  All the sudden, he starts getting pulled and jerked.  Frank has to let go.  He’s crying while his teenage bitch mother struggles to button her top.  She sets him on the steps without thought or regretful notion. She wanted to get high and whore herself on the streets for some pimp.  Babies are regrettable mistakes to girls who refuse to change their lives.  However, Edward believed abortion was murder.  He had no problem with it.  The less Alabaman unwanted children there were, then the less there were in foster homes.
Edward didn’t have children of his own.  His wife, Aphelia, was barren.  They went to the adoption agency and saw Frank staring at them from a wooden cradle.  He was the only infant not crying or drooling.  It caught their eyes.  He was proud.  Edward and Aphelia wanted Frank to remain proud the rest of his life.  He wasn’t going to know the horrors of a pedophile foster home parent or the trifles of an abusive state ward.  Frank was theirs. 
During Frank’s childhood, Edward worked him hard on the property and crafted him to the best of his ability in the image of a good southern boy.  Frank was better looking and taller and stronger than Edward.  He chuckled and thought it better for society he wasn’t able to spread his seed like a mule into every nook and cranny he caved.  It was fate the one crevasse he filled throughout his adulthood couldn’t sprout forth his seedlings.  He watered and fertilized his lawn three or four times a week for ten years before he sent Aphelia to get her area examined.
The best way Edward could explain it to his curious now passed mother was as he so sweetly said to her, “Pulverized from birth, mother.”
After so many years of sadness, Aphelia and Edward were over it.  Old age smoothed out their bitterness and frustration.  Edward never held it against Aphelia.  They found a blessing in the form of an abandoned, athletic bastard. 
He had to come home!  Frank was going to come home.  He was twenty-two and strong and intelligent, smarter than the average adoptee.  He wasn’t in trouble.  They raised the boy right, but he was nowhere in sight.  He always called.  Three days gone is too long.  “Damn him, the thoughtless prick,” said Edward.
He threw a stone at an unwary goose in the pond.  The half-pound rock pounded into the bird’s chest and Edward delighted in the small explosion of feathers.  The goose struggled to stay above the water disturbing the dawn’s serenity as a dozen other geese jettisoned into the air flying in their v-shape formation to the north where some peace resided.  Edward looked at them coast off and saw the light from his back door.  He turned and was surprised to see Aphelia.  She bore the weight of a nightmarish sleep.  He noticed deep stress in the fluffy bags under her eyes.  They were dark and moist with tears as she walked to Edward in her nightgown and slippers.  In a moment of mutual trepidation at the reality they were facing, Edward put his arm around his wife’s shoulders.  Looking toward the stretching shadows, they enjoyed the sun rising above the treetops of their Alabaman landscape hoping to melt in its serene divinity. 

THE END

Tuesday, September 20, 2011

Beavis and Butt-head return to MTV! What?

That's right, the dynamic duo are making a comeback! According to the October issue of GQ it's unbelievably true. In this world of supreme mediocrity where more remakes than makes exist and our generation's nostalgia for the"simple pleasures" triumphs all, Beavis and Butt-head are back. As an somewhat educated and active member of Generation Y (watching Matlock and blogging on a Tuesday afternoon) personally, I'm excited. The only problem is that MTV doesn't play music videos anymore. Word is the duo will be taking their "talents"(oh God help us) to The Jersey Shore! Oh well, you have to start somewhere after 14 years off the air. Props to Mike Judge for being a bad ass again. Wonder if other Generation Y'ers are going to harass their kids about watching the show like our parents did to us! Progress my friends, progress.   
-Blow-Up

Thursday, September 15, 2011

Dallas Weekend Openings: September 10th, 2011

   
Although there were about 15 art openings around Dallas this last weekend, I decided to see the 500X "New Members" show and the opening at Conduit Gallery as my top picks. As an art critic or more importantly as an art enthusiast I always try and do my best to propel the local art scene and give credit where it is so grossly deserved. In other words, I try not to slam any artist or particular gallery for having what I feel is somewhat...we'll just say, "misunderstood art". This time though, I think I should say what needs to be said! The great 500X Gallery, known as the oldest artist run space in Texas..lets just say.. needs a little help. There were a few good pieces in the “New Members“ opening and I cannot deny that. I’ve posted a few of those finds below on this blog. However, for the most part the show was...well...just not what I expected from a gallery with such pretenses surrounding its existence. In other words, "The wine was delicious". That was the general consensus in the group of ten that were with me that night. On the other side of town, Conduit Gallery had a remarkable display of work and including photography, sculpture and collage art (Pictured Below). It did seem most unfortunate that they closed the show at 8:30PM when clearly people wanted to hang longer. Also it looked like people were actually buying the art! Sculpture artist Sandra Ono of California sold several pieces that night. A pretty impressive display at the Conduit indeed.

500X Gallery Opening (The good, interesting and... very strange)







The Conduit Gallery Opening








Our group finished the night at The Foundation Room inside HOB with a bartender named Pat, who makes a great cocktail. Another night in Dallas comes to a close.
-Blow-Up