Archive for the Essays Category

From the Vault: Are the Pixies Milking It With Their Multitudinous Video Releases?

Posted in Album Reviews, Essays, Reviews with tags , , , , on 09/27/2025 by Kurt Orzeck

(Note: This essay was written before the Pixies released a fifth video, Live at the Town and Country Club 1988, in 2011.)

So, shocker: Some people have been suggesting in the five-plus years since Pixies re-formed that maybe the foursome – who are revving up for another trek – have only been doing it for the money. What a strange, bizarre accusation. Like the plot of a Behind the Music episode, it’s the most predictable question of all for any band getting back together: It’s been alleged of everyone from CSNY to Simon & Garfunkel to Eagles to the Stooges to My Bloody Valentine to Rage Against the Machine to Dinosaur Jr. to the Jesus Lizard and on. And on. And on.

On the other hand, there is some potentially sound evidence that raking in the clams has been the main, if not only, reason Pixies reunited. As evident in the somewhat-illuminating doc loudQUIETloud, one of the DVDs we’ll be focusing on below, David Lovering was on the verge of going broke, falling back on his career as a magician – turning tricks in order to make ends meet, if you will.

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From the Vault: Fine Print – Sunny Day Real Estate Frontman Jeremy Enigk’s OK Bear

Posted in Essays, Interviews with tags , on 09/23/2025 by Kurt Orzeck

Isn’t Jeremy Enigk adorable? Cute as a bear, the softhearted might even say.

In the off-chance you’ve never heard of him before – or the even offer-chance (?) that you’ve never heard of Sunny Day Real Estate, the recently reunited post-rock pioneers – Enigk doesn’t look like this anymore. He’s all grown up now. In fact, the sweet-sounding singer/songwriter is actually celebrating his 35th birthday on Thursday, as the stalkers among us are probably well aware.

Since the above photograph was snapped, Enigk has put out a backpack’s worth of albums. But his recently released solo effort, OK Bear, actually marks the first time he’s slapped an image of himself onto a cover.

Why? Well, it’s funny you ask, because we just asked Enigk during his recent IndiePit interview, the first part of which we posted last week (you might wanna read that article before going forward with this one, since in it he provided all the 411 on OK Bear). In addition to what you read prior, we also chatted with him in detail about the album imagery and beyond.

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From the Vault: Deafheaven’s 2017 Tour Setlists and First-Ever Show in Boise – An Analysis

Posted in Concert Reviews, Essays, Reviews with tags , , , , , , on 09/22/2025 by Kurt Orzeck

Deafheaven’s setlist from their show at Mardi Gras in Boise on 3.25.17

When Deafheaven played their first show in Boise on March 25 – at Mardi Gras, a venue typically reserved for wedding functions – they provided the five-day Treefort Music Fest with its only dose of shoe-gazing black metal. Continue reading

From the Vault: Frivolous Live Blogging of Old ‘Headbangers Ball’ Episodes

Posted in Essays, Reviews, Videos with tags , , , , , on 09/21/2025 by Kurt Orzeck

Mastodon are kings of the mountain right now. If their clip for “Divinations” were a trailer for some “Thing”-like gritty Arctic-meets-outer-space sci-fi flick, I’d have already bought my ticket. That the bandmembers stepped into their acting shoes for the video is fitting, as everybody in the group has a “voice” – all the guys are contributing vocals. …

While that video might be reason alone to pray for “Headbangers Ball” to survive, the reality is late March’s two-hour episode had at best a half-dozen worthy videos (including Mastodon’s “Divinations,” Lamb of God‘s “Set to Fail,” Cannibal Corpse‘s “Evisceration Plague,” Exodus‘ “Riot Act” and Cattle Decapitation‘s “Regret & the Grave”).

So let’s do the math: That adds up to about 20 minutes of good viewing time over the course of two hours. The rest of the time is devoted to giving life support to bad informercials and bands like Hed P.E. (vanity spellings deliberately omitted ’cause they suck) and Dope and Lizzy Borden and …

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On Tyranny: Jesus Lizard Vocalist David Yow Ditches US for Portugal

Posted in Essays, Features, News, On Tyranny, On Tyranny with tags , , , , , on 09/20/2025 by Kurt Orzeck

As our nation rapidly transforms into Authoritarian America, artists – who are typically among the first to be targeted when a dictatorship takes control of a country – are relocating to countries where their right to free speech is still protected.

One of the more prominent indie-rock artists to make the move is Jesus Lizard frontman David Yow, who relocated to Portugal earlier this year, according to multiple sources who recently confirmed the news to The Bad Penny. None of the sources said outright that Trump’s reclaiming of the presidency was their motivating factor for Yow fleeing the U.S., however.

When yours truly interviewed Yow and Jesus Lizard guitarist Duane Denison last year for a feature on FLOOD, the vocalist whose lyrics were historically apolitical admitted that he felt boxed in by the inexorable partisan strife in America and said he was compelled to address current events on the band’s comeback record, Rack.

“A larger percentage of the lyrics than I wished were based on the political climate in the U.S. for the last seven or eight years,” he confided in a video conference call.

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From the Vault: Country Music That Doesn’t Blow – Sweet Tea, Conor Oberst And The Mystic Valley Band

Posted in Essays, Videos with tags , , , , on 09/19/2025 by Kurt Orzeck
The Heartless Bastards

We like country too. Yes, really. Well, sometimes. When it’s good. Because a lot of it isn’t. Then again, a lot of music in a lot of genres isn’t good. On the other hand, a lot of music in a lot of genres is good. Weird how that works.

Moving on.

We’re having a kanipshin after hearing the new project by Alex Maas of the Black Angels and self-described Heartless Bastard Erika Wennerstrom. It’s called Sweet Tea and sounds sweet as can be: Get converted by this touching live cover of Tim Harden’s “If I Were a Carpenter”:

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Did David Yow Tell His Version of ‘The Aristocrats’ on The Jesus Lizard’s ‘Lady Shoes’?

Posted in Comedy, Essays with tags , , on 09/05/2025 by Kurt Orzeck

If you’re even fairly familiar with raunchy comedy, “The Aristocrats,” an ever-evolving running joke so dirty that comics used to only tell it to each other behind closed doors, probably rings a bell. The jape varies in length, vulgarity, structure, plot and tone, depending on whichever comedian is telling their version of it. But baked into the joke are, unwaveringly, graphic scenes of a family engaging in scatological, sordid and smutty behavior during an audition in a misguided effort to win over an agent to book their stage act. And the punch line always remains the same, with the family revealing at the end of the audition that their stage name is “The Aristocrats.”

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Doppelgängers: Louis CK’s and David Cross’ Nearly Identical Jokes on Male Rollerbladers

Posted in Comedy, Doppelgängers, Essays, Features with tags , on 08/31/2025 by Kurt Orzeck

Louis C.K. and David Cross were roommates in the ’90s, so it’s not shocking that they came up with nearly the exact same bit on men with mustaches rollerblading in public with a sense of superiority to those they passed on the sidewalk.

From David Cross’ comedy album Shut Up, You Fucking Baby (2002):

From Louis C.K.’s first full-length broadcast special, Shameless (2007):

This post is dedicated to Dan Stevenson.

On Tyranny: John Lennon and Yoko Ono Were Wrong; Karma Does Not Exist

Posted in Essays, Features, On Tyranny, Videos with tags , , , , , , on 08/30/2025 by Kurt Orzeck


Today marks the 53rd anniversary of “Power to the People,” a performance by John Lennon and Yoko Ono’s Plastic Ono Band. As a nation, we are thirsting for our own contemporary music megastars (Taylor Swift, Beyoncé, Drake, Billie Eilish, Bad Bunny, etc.) to re-create such an event at a time even more perilous than when the peace activists of yore performed at Madison Square Garden in New York.

Side note: The whole “karma” concept that Lennon and Ono preached? Yeah, that’s proven to be a fallacy. No amount of suffering that could befall Donald Trump from here on out would be commensurate with the amount of damage he’s done to our country, which will take many decades to repair.

Fortunately, Lennon isn’t around to bear witness to the atrocities that are occurring every day in the U.S.

Check out these previous installments of The Bad Penny’s On Tyranny series:

Poll: Are You Afraid of Attending Concerts as the Military Patrols US Cities?
• Haggus Frontman Blasts Punk Bands’ Silence on Gaza, ICE
• As US Citizens Get Disappeared and Terrorized, Chile’s Mawiza Reflects
• Punk Legends UK Subs Denied Entry Into US Due to Alleged Trump Criticism
• Kuwaiti Metal Artist Abzy Calls Hate ‘A Black Hole’
• Hungarian Black-Metallers Sear Bliss Lost ‘Freedom’ In Orbán’s Autocracy
• Necrofier Frontman Wonders ‘Is It Going to Be Like ‘The Handmaid’s Tale’?’
• ‘People in America Have Blinders On,’ Lamb of God’s Randy Blythe Says
• Musicians Living Under Authoritarian Rule Speak Out
• Mark Mallman Says ‘Suffering Artists’ Are a Myth, Making Art Isn’t a ‘Job’
• Cellista: ‘Creating and Existing Under Trump’s America Is My Act of Radical Resistance’

Doppelgängers: David Cronenberg’s ‘Scanners’ and Brian De Palma’s ‘The Fury’

Posted in Doppelgängers, Essays, Features with tags , , , on 08/30/2025 by Kurt Orzeck

Can’t seem to find much discussion about this online, but does anyone else notice that David Cronenberg’s Scanners (1981) and Brian De Palma’s The Fury (1978) – both films that come very, very highly recommended – are virtually identical? Both movies revolve around young adults who possess telekinetic powers that can control people à la The Force from Star Wars. These outcasts keep their potentially threatening, manipulative abilities on the DL, find solace living in secret societies, and are hunted by malevolent thugs out to kill them.

The exploding cherry on top of this theory? How often do you see self-combustion sequences onscreen?

Scanners:

The Fury:

De Palma would be the obvious plagiaristic culprit here, as his 1981 John Travolta classic (not an oxymoron!), Blow-Out, copped copiously from Francis Ford Coppola’s The Conversation (1974) – two even greater masterpieces. ‘Cept The Fury came out three years before Scanners, which Cronenberg himself wrote.

Please share any insights if you got ’em, so long as they don’t cause anyone’s head to explode.