Screaming Females are one of those bands who are just that good; they have an unwavering idea about who they are and what they want to do, have worked relentlessly to get where they are and have retained their weirdo aesthetic throughout. In the past two years, the band has gained the attention of indie icons like Henry Rollins and Jay Mascis, and they have played to huge auditoriums and basements alike, sharing the stage with bands like Dinosaur Jr., Ted Leo and the Pharmacists and Yo La Tengo as well as dozens of local musicians just starting out. The band doesn’t stop at concerts either — on March 30th, Screaming Females teamed up with frontwoman Marissa Paternoster and LNY’s new art collective, called Doodle Drag, for a multimedia show at Maxwell’s in Hoboken, New Jersey.
Every now and then, if lucky, you’ll encounter a mode of performance or an artwork that simultaneously requires and supplies a kind of attention that you didn’t even know existed. Sitting in an otherworldly, attentive, stupor, I had that experience watching marble white humans covered in a thin layer of dust on a stage that seemed to be both as empty as nothing at all and, at the same time, as full as a night sky.
As Sankai Juku begins their recent piece, TOBARI, everything melts into darkness and a lone human form materializes — bald, half-naked, monochrome; the dust looks like it’s marble or bone, maybe a thin layer of atomic ash, and it covers the body, which, for a while, is motionless; a quiet, lunar presence in a dark room.
Video games appear to be making oddly pervasive cameos across fields as varied as architecture, art, cinema, criticism, and now theater. Theater of the Arcade: Five Classic Video Games Adapted for the Stage is exactly that, a series of five plays that Jeff Lewonczyk wrote and Gyda Arber directed at the Brick Theater in Williamsburg through July 25.
The premise of Theater of the Arcade is to take the characters from an iconic video game — let’s say “Frogger” — and insert those characters into a world that operates according to the logic and stage vernacular of an equally iconic 20th century dramatist — let’s say Samuel Beckett à la Godot …
When a gaggle of Meriden teenagers got together in the early 80’s to form Napalm Death, they weren’t thinking of completely restructuring the DNA of the Song. They weren’t thinking about inventing a new Metal genre, Grindcore. They weren’t thinking about garnering the lifelong support of John Peel. They weren’t thinking about any of these things. They were just bored with the music they were hearing. They wanted to make something faster than Punk. They wanted to kill it, the latest tired beast. Turned out the beast was already out of breath, but that didn’t mean it didn’t need a good clubbing. Overkill never hurt anyone.