The finest filth and fury in Philadelphia, since 2009
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Thursday, November 18, 2010

Better than the Song by Zack Attack

Today we celebrate the 25th anniversary of crucial Sunday comic Calvin and Hobbes. At this point, Calvin and Hobbes has been gone longer than it was with us as an active strip, but it remains unparalleled in its juxtaposition of juvenile humor with legitimate social criticism. But most of all, it was a bridge that joined parents and children and help them understand one another just a little bit better. We were all reminded of the infinite possibilities that Calvin represented, those dreams that we stretched to attain, and the forces that would bring us back down to reality.

Who in 1985 could have guessed that the exploits of a boy and his stuffed tiger could speak so clearly to so many people; that thousands upon thousands of readers would be united in finding little bits and pieces of their lives mirrored in those three little boxes in the funny pages. We each have our own Hobbes--the full time foil (but part time snake charmer) for Calvin's antics; the straight man to ground us when our minds run a little too wild, and egg us on when we need to learn a lesson for our own good. Calvin and Hobbes, as characters, had a relationship with qualities from both brotherhood and friendship. Together, they involved themselves in any number of imaginative projects: parenthood approval polls, avant-garde snow sculptures, harrowing toboggan/Radio Flyer rides down hills and off cliffs, the exaggerated adventures of Spaceman Spiff/Tracer Bullet/Stupendous Man, epic battles of Calvinball, run ins with Rosalyn the baby sitter, or simply contemplating the complex world of grown ups. These are all things that we grapple with growing up, in one manner or another. Everyone has their version of Saturday mornings, jacked up on Chocolate Frosted Sugar Bombs, reading Hamster Huey and the Gooey Kablooie. And who didn't join at least one version of G.R.O.S.S. in middle school, to ensure that the object of our affection thought that their mere presence would induce vomiting.

For his part, writer/illustrator Bill Watterson always made a big deal about protecting his creation from being tainted. He refused to sign autographs, or even really do interviews, claiming that both would trivialize what he (and many others) saw as precious. None of the copious amounts of Calvin merchandise is authorized by Watterson. That includes those frat boy tee shirts with the eponymous characters dancing in shades and PJs, and the hick stickers of Calvin pissing on the Chevy logo (or Ford, depending on your particular automotive leanings). In fact, the only official Calvin and Hobbes products, besides the books, are two monthly calenders (1989 & 1990), one tee shirt created in a run of one for the MOMA, and an educational book, Teaching with Calvin and Hobbes, which is long out of print and sells for several hundred dollars if you are lucky enough to find one for sale.

Calvin and Hobbes is unique in that, in its ten years of existence, it was always consistently funny, touching, whimsical, philosophical and endearing. It never dipped in quality. You can read and re-read the collections and they are still just as humorous and relevant as ever. We can still learn just as much from those familiar panels, see our own lives reflected back at us and find comfort in that. And even through there will probably never be new Calvin and Hobbes comic, we can just remember what we once had and how good it was. That doesn't make it mean any less. True friends are hard to come by.

Tuesday, November 16, 2010

Back to the Basics (Unnecessarily)

The Queers
Back to the Basement
Asian Man Records, Released November 16, 2010

This isn't really a bad release. Really--it sounds pretty much the same as most previous Queers albums. However, for a full length that is only 22 minutes long, Back to the Basement seems to be unnecessarily bogged down by filler. Had the Queers stripped it down to the most essential songs, this would have been a stellar six or seven song EP. "Don't Touch My Hat," "Keep it Punk," "I Knew GG when he was a Wimp," and the title track are all quality tunes, though they are certainly not breaking any new ground here. (When have the Queers ever changed their sound, though? Everything from 1990's Grow Up forward has been based on a pretty simply formula that has always worked for Joe Queer.) However, this album as a whole is flawed by lazy lyrics and a total lack of production quality. Again, the Queers have never had great production, but this sounds so raw that you have to wonder if there was anything done to these tracks following recording. With just a little more attention to the drumming and a tiny bit of extra effort put into the backing vocals, Back to the Basement would be a little less embarrassing. Basically, if you already love the Queers, this record is probably going to appeal to you. If this is your first experience with these grandfathers of pop punk, you should disregard this one and start with one of their classic albums--Love Songs for the Retarded or Beat Off would be my suggestions. These guys are making their annual appearance at the Barbary in January, so be sure to catch that. Show up early and shake your ass to NJ's own the Sheckies and the Apers (all the way from Holland!), both guaranteed to please if you are into that sort of thing.

the Queers
the Apers
the Sheckies
Asian Man Records
R5 Productions (for tix to the Barbary!)

Wednesday, November 3, 2010

Not Quiet Hearse Disorder, but Close

We can't hide the fact that our musical bias here at I Hope You're not Squeamish obviously leans towards the punk side of things. However, most of the people we associate with can't stand that kind of stuff. Included in that are our musician friends, who are constantly creating bands that expose us to music that we might not come across on our own.

You may remember back a little while ago where we profiled electronic duo Valerna, we admitted almost total ignorance of the genre and simply presented an honest assessment from an outsider's perspective. So it will also be with this installment, a review of NYC industrial/goth trio Limousine Syndrome. Let's quickly clarify that when we use the dreaded "g" word, we don't mean any of the postured, overly dramatic antics or costumes. Instead, Limousine Syndrome does the genre proud by employing a bleak and minimalist guitar sound paired with a unnerving, yet still soothing, voice, backed by deceptively simple programing and keys. This is a desolate, atmospheric experience. In other words, you aren't going to jam this on the way to the beach, but it is perfect for late night drives, periods of creative concentration or maybe even intense Ouija board sessions. "Little Mermaids" is probably the most compelling track that they have released so far. Its constant beat keeps the song moving forward and concludes with some interesting spoken word. "Covered in Leaves" and "Love to Hurt You" are both reminiscent of the quieter Nine Inch Nails songs, particularly "Leaves" with it's super creepy piano line. All of the tunes are linked by their intentionally arid approach.

These guys have a show coming up in NYC this weekend, Friday the 5th at Port 41. They are playing with some other goth/industrial/genre bending acts, but this is really a mixed bag of performers. We would recommend that you show up early to see Quimera Music, as she is certainly the other strong act on the bill. The boys in Syndrome promise us that they have an EP in the works that will be ready in the near future. In the meantime, you can check out their official webpage or their Reverb Nation site to hear some tunes, watch their video and keep an eye out for future shows. For fans of Pornography/Faith/Seventeen Seconds era Cure, Dead Can Dance, tragedy and isolation.

Limousine Syndrome
Limousine Syndrome Reverb Nation
Port 41