Happy 68th, wherever you are!
DISCLAIMER: I fucking curse in this review, so beware! I know, I know. Why is a dainty book nerd like myself wielding profanity? I am a many-petaled sunflower, okay?
While y’all are sitting around watching Super Bowl LIII, I’m listening to Thelma and the Sleaze and drinking cheap booze. In other words: when it comes to gen-u-ine American pleasure, I’ve got you beat by yards.
Wait, who? Thelma. and. the. Sleaze. Remember those words. You’ll want to remember my name, too, so you know who to thank later. You’re welcome, by the way.
LG and LG’s Pals.
Queens of Rock.
From Nashville, Tennessee.
You’ve gotta see ’em live. That’s imperative.
As musicians, they kick ass all over any stage brave enough to hold them.
LG is the eye of this hurricane. She’s raunchy, rowdy, and fucking hilarious. But, she doesn’t do it alone: everyone up there with her is worth the price of admission any damn gig they play. R-E-S-P-E-C-T.
Their energy is its own entity. Ultimately, you need to be in the same room as that shit to understand its pull. Trust me on this. I could describe a TATS show down to the smallest sweaty detail, until you felt fucking transported to that place and time. Virtual Reality Level: 10. It still won’t do it justice.
Fortunately, there’s something that is closer than anything short of seeing them live.
That’s a magic word, right there.
Your ticket to TATS nirvana.
What is a RELIX?
Oh, hey! Thanks for asking. It’s just…the best.
“Officially” (via LG on Facebook) RELIX is an “open concept not album.”
Or (in my-speak): it’s a sixteen-song treasure box whose contents keep changing.
I bought version two on Friday, when it was still pay-what-you-want-or-can. By the time you’re reading this, it will cost $217.00 or an original poem. But, probably not. Or, maybe. See, it’s that kind of exchange. Elastic, symbiotic, fiercely creative. Ya know, art. The real deal, brought to you by demos recorded, I believe, at home, and left unmastered.
Imagine trying to bluff your way into a hip stranger’s house party. You’re a bit shaky at the prospect: dry mouth, moist palms. “Do people really do this kind of thing? Is it normal? Am I an idiot for even trying?” You ring the bell. The door flings wide. Maybe you manage a few mumbly words of greeting. Nothing you say matters, though, as you discover there was no reason to worry about being caught and called out for trespassing. You weren’t invited, because no one was: everyone’s welcome, the food and drinks are plentiful, the conversation is actually interesting. Better yet? Some richly talented chicks are hanging out in the living room, playing lit-as-hell songs. As you wander from room to room, meeting new people, getting wasted together, you keep hearing the musicians as they run through a bunch of songs. Sometimes the music is loud, sometimes the music is low, but it’s always radically compelling. Of all the waves in the universe to inhabit, everyone in the house is sharing the same one. (Except for Janet, who has shit taste in music. Fuck Janet.) What are the odds? (That’s rhetorical. I’m not a statistician, so please don’t come at me with your fancy numbers. Also: I don’t care.)
The party breaks-up. People go back to their lives. The only remnant of that night, aside from a short-lived collective hangover, is the whisper of “Oh, my God! Have you heard of this band?” to friends and strangers alike.
That’s the joy of RELIX.
I hope you’ll listen, and join the chorus.
So, here we are. What’s left to speak of, except for:
Mutual generosity, getting-and-giving, the vulnerable transaction between creators and consumers. Are they mere ideas, or the lifeblood of every artistic project worth a damn?
RELIX is simultaneously a gutsy experiment, a middle finger to corporatized art, and a gift to those music lovers who will, in turn, give a damn right back.
When I bought RELIX a couple of days ago, I paid xx amount of dollars of my choice. I wish that I could have paid more dosh, but, ya know, bills. The majority of my bills are due on the first of the month. That’s adult life, right? I told LG that I would write a poem to pad out my contribution. As you know, when it comes to indie artists I try to put my money where my mouth is. After all, I am one and I respect the hell out of creative types who forge their own path. Look out for my next post (which is going live in a few minutes). It, I believe, more than fulfills my promise.
THELMA AND THE SLEAZE LINKS:
I see a lot of live music. Here are some October highlights!
Sarah Shook & the Disarmers. 10.3.18 @ Ace of Cups:
Lorkin O’Reilly. 10.13.18 @ Ace of Cups:
Gruff Rhys. 10.13.18 @ Ace of Cups:
Betsy Ross. 10.23.18 @ A&R Music Bar:
Thelma and the Sleaze. 10.23.18 @ A&R Music Bar:
Thunderpussy. 10.23.18 @ A&R Music Bar:
The photos are pretty bad, but the music was awesome.
We saw Richard Lloyd (co-founder of iconic band Television) in concert last night!
It was epic.
The other day, through complete happenstance, I found myself listening to/reading the perfect music/book combo. I’ve never consciously attempted to so harmoniously blend the two before, but I’ll definitely do so in the future.
Book: Art on the Block: Tracking the New York Art World from SoHo to the Bowery, Bushwick and Beyond by Ann Fensterstock
I’ve been listening to a lot of music by Erik Satie, Arnold Schoenberg, and Benjamin Britten.
- Patti Smith Talks Fame, Youth, and Her New Memoir, M Train [VANITY FAIR]
- The Blue Highways legacy [VOX MAGAZINE]
- An Animated Introduction to Virginia Woolf [OPEN CULTURE]
I’m only sharing three links today, but they are all worthy of your time.