coverDespite what you may have seen at last night’s MTV Music Video Awards, classic rock ‘n’ roll is not going to ever go away. As this veteran music writer grows older, every year there seems to be some group of younger and younger musicians who come up with new music that harkens back to the roots of rock. Last week, I pointed out Broncho, a band from Norman, Oklahoma, who have come up with one of the catchiest tunes of 2014. Their song “Class Historian” hits on the tiniest details of ‘70s era post punk with an uncanny sensibility (Broncho’s new single: the catchiest indie rock song I’ve heard in years).

Tomorrow, Ty Segall will release his 12th full-length album, Manipulator. Over the past few years Segall has refined his garage rock noise-pop to feature more diversity in his song-writing and a stronger grip on the subtleties of the rock song. Opening like nothing else in his catalog: with a blare of harmonizing organs, the album bounds along through 17 tracks as varied as anything else in his career. Some even include strings. But he has not compromised his command of the electric guitar, offering many a shifty, screeching solo over the course of the sprawling, near hour-long LP (and double vinyl – order here to support IndieEthos).

ty_promo_4_by_denee_petracek

“The Singer” is one of several tracks that feature a string section. It also has the added bonus of whispered vocals to add emphasis to a few words that end certain phrases — very ‘60s psychedelic. But, more than ever, the influences that shine brightest are that of the early ‘70s glam rock scene. Segall’s voice more than ever recalls Marc Bolan, and there’s even a song (“The Clock”) that features strings and an acoustic guitar line that sounds eerily like the one that drives “Andy Warhol,” a deep cut on Bowie’s classic 1971 album Hunky Dory.

A back-to-back trio of songs early in Manipulator cast a powerful shadow of the guitar crunch bravura Segall is best known for over the album. “It’s Over,” features the pounding, driving, feedback-fueled stuff fans would be more familiar with.ty_promo_8_by_denee_petracek “Feel” opens more subtly but eventually features a muscular guitar solo that builds and builds to more rapid plucking until it gives way to a drum solo featuring a nice amount of cowbell. Finally, “Faker” features dominating, strutting guitar work that stands as testament to Segall’s connection with the instrument.

But there are more surprises in store. “The Connection Man” is driven by pulsing archaic electronics that brings to mind the tools of the Silver Apples. Over all, Manipulator is one grand rallying cry celebrating the immortality of rock ‘n’ roll, produced with great affection with his stalwart collaborators Mikal Cronin (bass), Emily Rose Epstein (drums) and Charles Moothart (guitar) and several other guest musicians adding vocals, keyboards and strings. Manipulator speaks to Segall’s strength of a musician open to growth and experimentation without betraying any semblance of a signature style and could very well stand as his best album yet. I’ll leave you with a link to an mp3 of a preview track released a few weeks ago, “Susie Thumb” (jump to KEXP.org for it).

Hans Morgenstern

Ty Segall will be in Miami with Wand (Drag City/LA), Plastic Pinks and DJ Sean Ashworth on Thursday, Sept. 11, 9 p.m. at The Stage Miami courtesy of Miami’s coolest vinyl shop Sweat Records, where you can also pick up the record and tickets to the show. Ages: 18 and up. Tickets: $12 in advance, $15 at the door. His U.S. tour kicks off Aug. 28 Click here for tour dates. Pitch Perfect PR provided me with a preview of the album for the purpose of this review and an up-coming article in “Pure Honey” magazine.

(Copyright 2014 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

Credit_Gustavo_Quintas_3

Miracles! Despite being flipped off at the end of their epic recreation of Genesis’ 1974 The Lamb Lies Down on Broadway show by an audience member in the middle of the album’s perky, driving finale of “It” in a half-empty Hard Rock Live, The Musical Box are returning to South Florida. But the one expressive dissenter, who strode to the front of the stage to deliver the salute, was by no means in the majority. I wrote an approving review (read it here) as did a colleague at the blog Salty Eggs (read it here). My companion for the night, experimental musician Ed Matus, also gave his approval.

So when the Montreal Genesis tribute band head back to perform much of the band’s 1973 album, Selling England By the Pound, I will be there (As of press time, Ed is consulting his budget). This time the show will unfold at the more intimate Parker Playhouse in Fort Lauderdale. I did attempt to secure an interview with the band’s frontman/Peter Gabriel impersonator Denis Gagné, but I got no response from the venue’s publicist. I still bought tickets and plan to review the show over the weekend. Also, I had some leftover quotes from my 2012 phone chat with Gagné (read the two original articles here), some of which I was recently able to fashion into a new story for the local ‘zine Pure Honey. Read it by jumping through the publication’s logo below:

pure honey

As you might tell by that story I still had lots of colorful info about the formation of this tribute band, which is officially sanctioned by Genesis. The British prog rock legends even gave the band access to master tapes for The Lamb and consulted them for the recreation of the band’s Lamb slide show for a DVD version of the album. That deep connection they share with The Lamb would have been interesting to explore further with a follow-up chat. I would have loved to have asked Gagné about that one-fingered salute the band got at the end of their incredible 90-minute production, as it was actually a meta moment considering the original band’s premiere of The Lamb material. They took the full double album on tour preceding the album’s release, leaving many fans who had anticipated familiar material disappointed.

But this is about the reproduction of both the 1972 Foxtrot tour and 1973 Selling England tour (see the tour dates here). In 2012, Gagné admitted to me he prefers these shows because of the amount of costume changes demanded of him. Like many late-blooming Genesis fans (including this writer), he was too young to have attended any of the Genesis shows featuring Peter Gabriel, who would leave TheMusicalBox_PhotoBy_GustavoQuintas_4the band in 1975 for a noteworthy solo career. Gagné said he first got into Genesis when he was 10 years old, in 1977, but it wasn’t with that year’s Wind and Wuthering, the band’s second album with drummer Phil Collins as frontman. “The first Genesis album I bought was Foxtrot,” he said, “and then I bought Genesis Live because when I saw that cover I was like, ‘Oh, my God, what is happening here?’”

What was happening there was the finale of “Supper’s Ready,” the band’s most ambitious song. At around the 20-minute point of the song Gabriel dons a red geometrical headdress and a black robe for a character he called Magog. Beyond its biblical reference, it was a delightfully weird image for a 10-year-old to process and an inspired alternative to what was on the pop charts then. “I was in the fifth grade,” said Gagné. “Everyone thought I was some kind of weirdo at school. They were listening to Grease, and I don’t know what else.”

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He would grow up dreaming of performing “Supper’s Ready” live himself. Now, he has lost count of the number of times he has recreated the song on stage with his mates in The Musical Box, which he joined 20 years ago. As they prepare to recreate Genesis’ live show from the touring era of Selling England By Pound, costumes and all, it means Gagné will indeed play it once more, but this time, for the first time in South Florida (the set list is hidden on this page). The following night, it’s on to The Plaza Live Orlando for a Foxtrot performance, which will also include “Supper’s Ready” (and here’s where you can find that set list). The tour continues to Europe in October where they will again alternate between the two shows through Nov. 29.

Hans Morgenstern

The Musical Box will appear at The Parker Playhouse on Friday, July 25, at 8 p.m. Tickets: $37.50 – $47.50. VIP Tickets: $62.50. Get tickets here.

(Copyright 2014 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

Little Haiti Rock City logo

It’s not often that I promote a project’s Kickstarter campaign, but there’s no denying my personal connection to the subject of Little Haiti Rock City (here’s a link to the campaign). Though I hardly know the filmmakers, director Franco Parente and producer Angel Eva Markoulis certainly share my sentiments for the bar in the Little Haiti neighborhood of Miami called Churchill’s Hideaway, which was once run by British ex-pat Dave Daniels.

Daniels, a former pal of the famed BBC DJ John Peel, could certainly be considered one of the original Miami hipsters. His anything-goes attitude to the musicians he allowed on stage even allowed me to get on stage to lash at guitars and sing with the preeminent local noise band the Laundry Room Squelchers, who have long had residence on Thursday nights at the bar. The group’s founder, the legendary Frank “Rat Bastard” Fallestra, was always happiest when the din produced made people leave the bar. That Daniels could not only allow that but continue to invite Rat back over, night after night for literally decades, speaks to the kind of man Daniels is.

Dave and Rat photo by Tony Landa

Daniels (left) with Rat.

Churchill’s has not only incubated the likes of artists like Rat but also musicians like Sam Beam of Iron and Wine (who I first discovered there). Interpol’s drummer, Sam Fogarino, reunited with his old mates in the Holy Terrors a few years ago after an Interpol show (it was the better show that night). Now, after 35 years of ownership, Daniels has sold the bar, and I could hardly avoid the howl of protest from many local musician friends (this show happened, and it was one for the ages). Of course, the local musicians and fans have been only understanding, but they also harbor a bit of dread that the place will just never be the same.

Parente also has that same feeling. He has already spent much time with Daniels since he started shooting footage for his documentary on a bar that he considers Miami’s equivalent to New York’s CBGB. “I’d like to think it’s about the legacy that Dave built or rather allowed to build itself. What most people don’t see is the community of artists, musicians and just regular people that have coexisted within that space in Little Haiti.”

“The story we’re telling of Churchill’s wouldn’t exist were it not for him since it just wouldn’t be the same,” adds Markoulis.

Local musician Steven Toth, a.k.a. Mr. Entertainment, who put together the tribute show “For the Good of Music/A Night for Dave Daniels,” epitomizes the many local artists who would have never found their voice were in not for Daniels’ openness. “Well, Dave has been like the coolest uncle ever, and we aren’t related,” he says. “He gave me and my band a chance when we may not have even been good enough. He encouraged us to play, always told me how much he loved my street performing, and pretty much never said no to any of my crazy ideas. What Dave gave to us was freedom and a home all in one.”

During his interviews with Daniels, Parente found some insight into what motivated Daniels to open his stage to pretty much anyone with an instrument of some kind. “I think it’s been his interest all along to watch people flourish and shed the armor,” he says of Daniels. “I know he’s a businessman and always has been, but he’s a businessman with a heart, and that’s a dying breed.”

The idea of the dying breed is also part of the urgency that motivated Parente to begin work on this documentary before he had all the funds necessary to complete the film. Now, he and Markoulis have taken to Kickstarter to finish their work. “It’s a monumental task to raise this much money with smaller donations, as opposed to large investors bankrolling it,” admits Markoulis. But she also offers a perspective that will make it easily feasible. “If everyone who stumbles upon our project page pledged the cost of going to the movies, we’d have our funding and be able to preserve a piece of music history.”

As of the publication of this post, they are halfway to the $79,000 required to continue their work, but they only have eight days to go. Markoulis says if everything goes as planned, they could have their film completed by next year. They also hope to get the new owners on the record, even though the filmmakers admit some of these owners have chosen not to reveal their identities, which goes to show just how intimidating it is to be seen as a replacement for Daniels. “We are in the process of setting up an interview,” notes Parente, “but it’s a transitional period and direct access to the new owners has not been easy to come by. They’re not sitting at the end of the bar sipping on cider like Dave did for so long.”

“We would really love to include them in the documentary and the future of Churchill’s Pub,” adds Markoulis. “Hopefully they will be willing to sit down for an interview with us.”

Despite the doubts that seem to haunt the new ownership by many, both filmmakers remain optimistic about them. “We stand by them and hope that they make positive changes to the place and that we as a community can have Churchill’s here forever,” Parente states. “The reason we are making this film is not to preserve the building, but what Dave and his way of doing things have allowed to go on and came from that building.”

You can read much more about the film, including more specifics about how the filmmakers plan to use the Kickstarter funds, by jumping though the image below to this article I wrote for Pure Honey, earlier this month:

pure honey

If you live in South Florida, one of the best ways to experience this venue while supporting this film is by checking out a show this Saturday, June 28 (here’s the Facebook event page to join). There’s a $10 cover and all proceeds go towards the Little Haiti Rock City Kickstarter campaign. Bands slated to appear include:

-The PawnsShop Drunks
-Humbert
-Charlie Pickett
-Shark Dust Sisters (featuring members of Load, The Holy Terrors & Quit. Plus special guests)
-The Tremends
-Fulltime, MotherFucker!
-Rat Bastard
-Mr. Entertainment (playing the sidewalk, like the old days)

Remember, even if you are not in Miami, you can donate. Once again, here’s the link:
www.kickstarter.com/projects/littlehaitirockcity

Hans Morgenstern

(Copyright 2014 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

Jon_Anderson_Yes_Interview_Miami_2013Jon Anderson is one of those early pioneers of the British progressive rock scene still working who has earned the title of living legend. He was part of many important albums of the prog scene as a co-founding member and frontman of Yes. What a breath of fresh air that he appeared game to entertain some questions that I’m sure he has heard often with warmth and some amusement.

For instance, what happened that made the band carry on without him? “I was going to get back together with the band [in 2008],” he admitted while chatting over the phone, during some grocery shopping, “and then I got really sick, and then that’s when the band decided to move on and carry on touring with another singer and I just thought, well, I gotta get better first. It took me a while. It took me about eight months, nine months. And then I said, OK, well, they’re out there doing their thing maybe I should go out and do my thing, and that’s when I started really touring as a solo artist more and more, and it has become part of my life.”

It’s probably an explanation his given many times before. The fact that he put up with such questions twice in a row after my recorder failed following a 20-minute chat stands as proof that he is far from allowing an ego to overtake his humanity. Topographic OceansI regret that I lost a nice exchange about the band’s 1973 ambitions double-album Tales From Topographic Oceans, where he not only offered insight into its themes inspired by the Autobiography of a Yogi by Paramahansa Yogananda but also what exploring that philosophy meant to him personally. He said, back then, record labels and some bands, were all about maximizing profit and excess. He was more interested in keeping his ego in check and maintaining a perspective unsullied by money and fame. Exploring this Eastern philosophy has helped keep him grounded as well as inspired much of Yes’ fantastic music and lyrics. We also spoke about meditation, which he still practices, and how Yes’ albums capture the sensation of meditation and bliss in its music.

Even though he is no longer with Yes, Anderson continues to compose and record new material as a solo artist not all that different from Yes. In 2011, he self-released a 20-minute-plus digital-only single entitled “Open” (Support the Independent Ethos, purchase direct through Amazon via this link). Not long after, he teased a follow-up called “Ever” that has yet to see release. “Yeah, I started it last year,” he noted, “and it has taken longer than I expected it. We’re down to the last framework of the songs—two-and-half songs. Altogether, it’s about eight songs that are all inter-working together. It’s still not quite finished. I’m working with them now with a friend … It’s a slow process. Music never happens when you think it is going to happen. You work on something and a week later you say, ‘Nah, that really didn’t work. I gotta try again.’ And you do. You gotta keep going until it feels right.”

Let’s face it, any fan of Yes’ music is waiting to hear about his return to fronting the band that has comfortably gone on without him. Well, he did answer that question as well as reveal plans with former Yes keyboardist Rick Wakeman in our interview, the bulk of which can be read in the “Miami New Times” music blog “Crossfade.” Jump through the blog’s logo below to read that article:

crossfade

As the quote in the headline notes, Anderson may indeed once again front Yes. In an earlier interview I did with Yes drummer Alan White, for the “Broward-Palm Beach New Times” music blog “County Grind,” his former bandmate hinted at the same possibility. You can read that interview by jumping through the blog’s logo below:

county_grind logo

Hans Morgenstern

Jon Anderson takes the stage Sunday, November 10, at the Colony Theater in Miami Beach. Two shows: 6 p.m. and 9:30 p.m. Tickets cost $81.95. All ages. Call 800-653-8000 or visit ticketmaster.com. For more Jon Anderson tour dates, visit his official website.

(Copyright 2013 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

Kurt Vile

For those who know their music, Philadelphia-based singer-songwriter, Kurt Vile would like to clarify something:  When his parents, Mr. and Ms. Vile, named him Kurt, they did not know anything about the early 20th-century German songwriter Kurt Weill, whose last name is properly pronounced “vile.” Speaking over the phone from his home, the 33-year-old Vile said of his parents, “They had no idea who the composer was … I do have German in my ancestry, but my running joke is I always forget my family tree.”

It’s a great sign when a musician reveals a sense of humor about what is possibly a question he might have heard more often than he has cared to answer. As suits such a giving artist, Vile spoke frankly and was not above giving credit where due. From sonic ideas to his influences, he seemed happy to talk about it all. It was therefore easy for this writer to produce not one, but three different articles on Vile for the “Miami New Times,” ahead of his first live appearance in the Magic City tonight at Grand Central (see details below, as well as more tour dates).

The first article appeared last week, which also appears in print in this week’s issue of the “Miami New Times.” On the publication’s “Crossfade” music blog, the headline for the article tempted some commentators to answer Vile’s rhetorical question:

Kurt Vile on Pretty Daze: “Who Lately Has Opened an Album With a Nine-Minute Song?”

Kurt Vile photo by Shawn Brackbill

Vile spent even more time talking about long songs than was fit to print. His new album, Wakin On A Pretty Daze features a plethora of rambling, lengthy tracks. He admitted he has long had an affection for indulging in riffs that invite the listener to get lost in the music. He pointed to Neil Young as an example. “Like that song ‘Cortez the Killer,’ it can go on forever because he is just playing the right cords,” he said. “It has the right feel, the right groove. That’s an example of a song that doesn’t matter how long it is, and I was just taking that without exactly thinking about ‘Cortez the Killer,’ but there’s a million artists. It’s like the beginning of time, just people in the fields are playing blues riffs forever. So it’s just fine-tuning that and making it your own thing.”

Vile revealed that he felt a new-found ease with these new songs after getting his 2010 breakthrough album Smoke Ring For My Halo out of his system. Though the new songs flow easy and organically, he said they did not necessarily come out in single writing sessions. A lot of the songs were written in different parts of the world while he toured.kurt-vile-wakin-on-a-pretty-daze cover “Different parts of the songs I write in different places,” he said, “but it all just kind of works cohesively and finally, ultimately when you go into the studio, you’re still not sure it’s all going to work out, and then you hear it back. Then there are sections where you just keep it going and think maybe you’ll just fade it out, but then you think this is where a solo will happen and then you listen back and you just realize you got to a place where the whole thing is good like that or at least good enough for you to not cut it out, whereas, in the past, I’ve done long songs too where they are seven, eight minutes long, but it’s still kind of primitive, though.”

Long songs have been something Vile has tried to fine tune for several years. He looks back at earlier experiments with modesty and without shame. “You listen back, it’s primitive. I like it, but I didn’t quite nail it in the recording cause it just kinda sounds all the same, all the way through to me. There were a lot of long songs for Smoke Ring too, but we just had to edit them down because after a while you weren’t bobbing your head. And also you wanted a single. It was that kind of record where a song like ‘Runner Ups’ was longer, cut it down. ‘Society Is My Friend’ was longer, cut it down. Stuff like that,” he added with a laugh.

Humility seems to be part of Vile’s character. The second article for “Crossfade” came easy:  his confession to feeling insecure about the recording and production process:

Kurt Vile on the Process of Recording His Albums: “There Is Ultimately a Million Drafts”

Kurt Vile photo 2 by Shawn Brackbill

All there was to say on the topic appeared in that article. What was left included more technical insights into his craft but also his demystification of analog recordings to vinyl. A self-proclaimed fan on vinyl records, Vile said they just do not make them like the used to. The picture below is a still image from a home-made video for “Never Run Away,” from Wakin On A Pretty Daze, featuring his then 3-year-old daughter and his record collection. After the jump to this third article, you will find the video.:

Kurt Vile on Computer-Free Rock: “Well, That’s Cool, But Kinda Hard to Do, It’s a Luxury”

Kurt Vile Neve rRun Away still image

Hans Morgenstern

Kurt Vile and the Violators with Beach Fossils, VBA and the Band In Heaven. Friday, November 1. Grand Central, 697 N. Miami Ave., Miami. Doors 8 p.m. Tickets cost $15. All ages. Call 305-377-2277 or visit grandcentralmiami.com.

His tour continues up Florida and later in Europe:

11-02 Orlando, FL – The Social *
11-03 Tallahassee, FL – Club Downunder *
11-05 New Orleans, LA – One Eyed Jack’s *
11-06 Houston, TX – Walters *
11-11 Oxford, MS – Proud Larry’s *
11-12 Chattanooga, TN – JJ’s Bohemia *
12-07 Stockholm, Sweden – Debaser Medis
12-08 Lund, Sweden – Mejeriet
12-11 London, England – 02 Shepherd’s Social Club
12-13 Leeds, England – Brudenell Social Club
12-14 Manchester, England – Manchester Academy 2
12-15 Glasgow, Scotland – Arches
12-16 Bristol, England – The Fleece
12-17 Brighton, England – Concorde 2
12-19 Paris, France – La Gaite Lyrique
12-20 Tourcoing, France – Le Grand Mix
* with Beach Fossils

More tour dates into 2014 and several dates in Australia can be found on Vile’s official tour page (that’s a hotlink).

(Copyright 2013 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

P1010945When I wrote about Sigur Rós coming to Miami I made an off-the-cuff reference to fans who let the tears loose at the sound of frontman Jon “Jónsi” Thor Birgisson’s voice (An interview with Sigur Ros’ drummer ahead of the band’s first Miami show [go through to the Miami New Times interview, too]). It was something I had heard in passing, and I could not remember a specific reference. I could have even just made it up, as I believe the Icelandic group’s music is some of the most stirring I have ever heard. It’s the way they know how to build up music. It’s assembled with such care and patience that albums such as 2002’s ( ) earns the ecstasy of untitled track 3 (AKA “Samskeyti”) because of the two untitled tracks before it (“Vaka” and “Fyrsta”). It takes a full 15 minutes before a pretty, looping, driving piano melody appears, but it’s only as good as it is because of the investment in the rather ambient, amorphous, restrained bits of music before it.

Jonsi fronting the ecstatic finale of Sigur Ros in Miami. Oct. 9, 2013. Photo by Ana Morgenstern.

This and cover photo by Ana Morgenstern.

The other night, at the Klipsch Amphitheater at Bayfront Park, I noticed the band work that subtle magic that ultimately affected me. It was during the fourth number of the night when it felt like I stepped across a line in my consciousness.

“Glósóli” from 2005’s Takk… was coming toward its finale. After building up from sporadic, light bass string plucking by Georg Hólm, a light twinkling bell melody and the surreal muddy crunch from either a sampler or one of the band’s many percussive elements, the song soared to heights of layered ecstasy. Jónsi bowed at his electric guitar, creating a wall of sound like a ghostly wind rolling over a distant mountain. The song went double time, with more elements of percussion piling up and pounding along. Guitars joined in the din until it all became a sort of white noise that still had musical scale, growing higher and more ecstatic. As Jónsi repeated a phrase, “Og hér ert þú, Glósóli,” extending the “þú” with each refrain, I realized I could cry. I did not need to know what he’s saying. It was all about the sensation. The decision to allow the tear ducts to open was as easy as opening a door and relaxing into what greeted me on the other side.

Here’s the video for “Glósóli”:

You can read my full review of that night by clicking on the image below shot by Miami New Times’s photographer Monica McGivern:

Sigur Ros at Klipsch Amphitheater, Oct. 9, 2013. Photo by Monica McGivern

Sigur Ros at Klipsch Amphitheater, Oct. 9, 2013. Photo by Monica McGivern.

Sigur Rós’ tour continues with a stop in Mexico City and London in a few days and then a European leg in November:

Oct. 13  – Corona Capital – Mexico City

Oct. 18 – Maida Vale – London

EUROPEAN AUTUMN TOUR

Nov. 16 – O2 Arena – Dublin, Ireland

Nov. 18 – Usher Hall – Edinburgh, United Kingdom

Nov. 19 – Capital FM Arena – Nottingham, United Kingdom

Nov. 20 – Brighton Centre – Brighton, United Kingdom

Nov. 21 – Wembley Arena – London, United Kingdom

Nov. 23 – Rockhal – Luxembourg, Luxembourg

Nov. 24 – Jahrhunderthalle – Frankfurt, Germany

Nov. 25 – Mitsubishi Electric Halle – Dusseldorf, Germany

Nov. 27 – Baltiska Hallen – Malmo, Sweden

Nov. 28 – Spektrum – Oslo, Norway

Nov. 30 – Hartwall Areena – Helsinki, Finland

You can find tickets to any of these shows by visiting the band’s touring page here.

Hans Morgenstern

(Copyright 2013 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)

00428_Group3comp_NoK-3000

Thanks to “Pure Honey” for “getting” how I write and inviting me to compose an ode to Of Montreal in the 23rd issue of their ‘zine. Long-time album artist David Barnes and younger brother to the band’s frontman/mastermind Kevin Barnes took on the role of mouthpiece. And did he deliver.

He took my probing questions into his relationship with his older brother via email and either embraced them or turned them inside out, depending on how you might look at it. Though his answers had a fantastical element (he shared that, as children, his parents would reward he and Kevin with “the hose” and punish them by allowing them to dry out and “turn to dust”), they still revealed an honest love/hate relationship those with siblings might relate with. You can read the full story by jumping through the “Pure Honey” logo below…

phheaderNEW2

The editor of “Pure Honey” also commissioned the younger Barnes to compose the cover art for that month’s issue and a poster for Of Montreal’s Miami show. See the images for yourself by jumping through the detail of the cover art below:

Pure Honey Of Montreal cover art detail by David Barnes

Hans Morgenstern

Of Montreal perform with Yip Deceiver in Miami on Friday, July 5 at Grand Central. DJ set by Afrobeta. The show is all ages and is scheduled for 8 p.m. It is SOLD OUT.

(Copyright 2013 by Hans Morgenstern. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without permission.)