Arts Desk

Arts Roundup: The Friday Indie Rock Review Edition

Good morning! In what's totally a break from our usual coverage, there is a lot of local indie-rock news to discuss today! Such as: that new video right there. It's for "Siberian Eclipse," a song on Screen Vinyl Image's recent cassette on Fan Death records, which I think you should be excited about. It's out now.

Fan Death! You might remember that the Maryland label has no ish hating on some local bands! Perfect segue: One of them—undeservedly!—was Ra Ra Rasputin, which has a new full-length whose release it's celebrating tomorrow at the Black Cat. The band runs through each track over at TBD, and I think City Paper's Ryan Little was spot-on in singling out "Electricity Through the Heart" as a standout in a recent One Track Mind column. Close second place: "The Day Of," whose incessant cowbell you'll forgive when by the chorus it's toying with Calvin Harris's "Acceptable in the '80s." "I've got love for you if you survived through the '80s, the '80s," the band sings.

Also performing Saturday at the Black Cat with a new release in tow: Casper Bangs. You can download his entire new album, I Woke Up, here, or stream every track at the GOG Blog.

Here is a film shot in Portland using music composed by Beauty Pill for Taffety Punk Theatre's suicide.chat.room from earlier this year

Speaking of Beauty Pill, its leader, Chad Clark, is a curator of the Story/Stereo series at the Writer's Center in Bethesda. At tonight's Story/Stereo, Will Eastman DJs and Jenny Browne and Jessica Handler read (8 p.m. Free.). Clark announced yesterday that the November iteration will feature Devin Ocampo singing the songs of Devin Ocampo, meaning Medications, Faraquet, and maybe—maybe!—some Smart Went Crazy.

Sockets has a new Laughing Man song.

Last night I saw Richard Chartier perform a 50ish-minute reductionist sound composition at the Hirshhorn—he used sounds he captured over the summer from the grand tonometer, a one-of-a-kind instrument from the 1800s that contains 660 tuning forks, plus noises from other very old instruments. It was spooky and glacial and I tried to take the advice he gave Arts Desk—“Just kind of let it flow over you. Just zone out. I have had people fall asleep during my shows before. As long as they don’t snore, I’m fine with it.”—but it was both enveloping and jarring. I couldn't keep my eyes closed, even though the lights in the auditorium had been dimmed. Whoever was tweeting for the museum last night summed it up nicely: "Highs flirted w/ pain. Lower, you could tilt your head to squeeze the sound. The deep tones hit in the chest."

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