13 For Halloween

Because of the various dark, but fun themes of Halloween, many different types of genres and songs can be included in one singular mix. Here are a quick thirteen tracks for the holiday, some accompanied by creepy clips.

1. "Black Sabbath" - Black Sabbath (Black Sabbath 1970)


2. "Rainbow" - Boris with Michio Kurihara (Rainbow 2007)


3, "Bodysnatchers" - Radiohead (In Rainbows 2007)


4. "Candy" - Vitalic (Fanfares 2004)



5. "To Here Knows When" - My Bloody Valentine (Loveless 1991)


6. "Distortions" - Clinic (Internal Wrangler 2000)


7. "Halloween Theme (Main Title)" - John Carpenter (Halloween [Original Score] 1978)


8. "21st Century Schizoid Man/Mirrors" - King Crimson (In the Court of King Crimson 1969)


9. "Der Erlkönig" - Franz Schubert [poem by Johann Wolfgang von Goethe] (Opus 1 D328 1815)


10. "Closer" - Nine Inch Nails (The Downward Spiral 1994)


11. "Mysterons" - Portishead (Dummy 1994)


12. "Come to Daddy [Pappy Mix]" - Aphex Twin (Come to Daddy EP 1997)


13. "Careful with that Axe, Eugene" - Pink Floyd (Ummagumma 1969)



Bonus because I have to: "Thriller" - Michael Jackson (Thriller 1982)

Jonseing for Jonsi

           A full house gathered in the close quarters of Fox Theater in Pomona on Monday in eager anticipation of their favorite Icelandic siren, Jonsi. The audience made warm conversation, waitresses hustled up and down tiers of tables compiling drink orders, and always from somewhere else in the room, that one distinguishable laugh echoed a good night.

But as Sigur Ros’ lead singer Jón “Jonsi” þór Birgisson took the stage with his band, the buzzing in the air was replaced with something infinitely more special.
White fog-lights caused Jonsi to glow in front of a huge projection screen that illustrated stories of forest animals sprinting, butterflies fluttering, leaves falling, and water at every pace. And when Jonsi started to strum his guitar and sing out in his signature unearthly falsetto, these animations took real life. They started to feed the audience real life aurally. 

When Jonsi opened his mouth, he put listeners in a happy trance. He stirred water in the deepest parts of hearts and made every problem on the planet feel ages away. He weaved stories from his soul and cried them out to us in words that only our hearts could understand.
Experiencing Jonsi play is like dreaming about love. Every note and sway of his voice strikes beautiful chords across heart-strings, and his humble presence is inspiring. 

Each band member seemed to have actually stitched together his own whimsical outfit from fairy tales. Jonsi wore a long, plaid shirt held together by patches and strips of other plaid shirts. Dozens of long ribbons with feathers and beads hung from his shoulders and arms and danced with his movements.

For his encore, “Grow Till Tall”, Jonsi came out wearing a towering, feathered headdress, and boas to match. Lights shaped like birds flew around the theater and the rolling thunder of þorvaldur þorvaldsson’s drums said goodbye in the only way Jonsi could have been expected to –– by embracing the audience one last time with warm sounds and a voice that pierces every facet of unhappiness with unfathomable joy.

 - Story and photo by Garrett Marshall

Jeramiah Red kicks up dirty blues

JERAMIAH RED: (from left) Wes Dickson, Travis Ruiz, Matt Pleskacz, Ian Cullen, Tim Miller. Photo by Austin Ruiz.

            With a soulful, charismatic swagger, Jeramiah Red is kicking up dust in the Orange County music scene with reckless abandon.

            Inspired by acts like The Black Keys and Bob Dylan, Jeramiah Red’s sound is an intoxicating blend of blues and classic rock. The bite of the group’s lyrics coupled with the warm tones of acoustic guitar and harmonica make every song go down like the whiskey in their veins, and they are picking up speed.

            Jeramiah Red rose from the ashes of several of the members’ past acts. Lead vocalist and rhythm guitarist Wes Dickson, 24, played in punk band The Relentless with Jeramiah Red’s bassist Tim Miller, 24, prior to forming the group.

Vocalist and lead guitarist Ian Cullen, 21, drummer Matt Pleskacz, 25, and percussionist and harmonica player Travis Ruiz, 23, were also in a former band together. Cullen described the band, they asked not to include the name, as a “hip-hop Jack Johnson band.”

The two former bands merged into Jeramiah Red in 2008.

            “Me and Wes are from such different backgrounds that we come together between mainstream and alternative,” Cullen said.

            To watch Jeramiah Red play is to see five friends really work toward something they all feel potential in. Their energy is awesome.

            “I’m super happy to be in this band—I’ve done enough stupid stuff,” Cullen said from the band’s practice space overlooking a Diamond Bar valley.

            The group’s passion for the music they create sings out in each song they play. The boot-stomping beats of “My Baby” and “Whole Lotta Love” demand a listener to their feet, and the fiery vocals keep them there. Naturally, Jeramiah Red wants to reach out.

            “When you write a new song, you want to show the world,” Ruiz said.

            Jeramiah Red fairly recently hired manager Matt Gardner to help execute its vision.

            “Wes came to me saying he wanted to get serious, and right out of the gate they got a show at the House of Blues,” Gardner said.

            The band is releasing a self-titled EP at their headlining House of Blues Anaheim show on Oct 7. They will perform on Oct. 21 at The Continental Room in Fullerton.

They are planning a music video by spring.

            “We’re gonna play as many shows as we can,” Gardner said.

-Garrett Marshal

Ariel Pink gets funky at The Glass House 9/11

Ariel Pink at the Glass House (Photo: Taylor Hamby)

Perhaps it's the difficulty in defining Ariel Pink's music that makes it hard to review one of his shows. Ariel Pink and his band played at the Glass House in Pomona Saturday.

The Kurt Cobain look alike creates David Bowie-esque tunes than can be classified as dance, eighties revival, lo-fi, funk, or a genre of its own.

Whatever you want to call it, it was not love at first listen. Ariel Pink's music takes a bit of time to dial in your ears to this unique sound.

He has an odd stage presence. Sometimes he looked nervous. He fiddled with a tie during two songs; wrapped it around his neck and then his finger. He put the microphone in his mouth.

Odd presence or not, he is still able to get the crowd riled up. During songs like "Fright Night" and "Menopause Man" fans screamed out and formed a pit.

In fact, I was called out at my lack of visible excitement. A boy hit my shoulder to get my attention and told me to start dancing. "I'm not seeing enough excitement out of you!" he said.

The has more energy in concert than his live recordings, but offers the same comparison defying, confusing sound.

Ariel also demonstrated the large range of his voice that night, and moved from a speaking voice to a falsetto seamlessly.

White Arrows opened for Ariel Pink with their psychedelic goes electric sound. While they didn't break any new ground, they played an entertaining set.

They projected light fractals onto the stage which added an element of mystery, or pretentiousness, depending how you look at it, to the show.

White Arrows seems to be at the imitating, not innovating, stage in their career, but this is nothing that a bit of practice and an acid trip or two can't remedy.

In that vein, they played the best version of Springsteen's "I'm on Fire" I have ever heard.

Bella Novela opened up the evening. Sorry guys, I was late and missed them.

-Taylor Hamby