The Gospel Truth’s 3rd record and 2nd full length takes ideas & sounds cleverly sketched out on 2013’s ‘A Lonely Man Does Foolish Things’ and opens ‘em up wide screen to the point where the quartet’s range is running neck-and-neck with their imagination. Expertly recorded by Ian Rundell (Spray Paint, Empty Markets, Xetas), ‘Jealous Fires’ is a brooding, kinetic masterpiece, one that makes a very strong case for vocalist/multi-instrumentalist Mark Tonucci’s unique take on the human condition.
(photo by Julie Bishop)
There’s vague echoes of some exceptional moments in rock history (Suicide, the Bad Seeds, ‘Transformer’) but there’s no contemporaries with The Gospel Truth’s ability to fuse such unvarnished explorations of mind, soul & spirit to a musical accompaniment nearly as explosive. In bassist David Petro and drummer Brandon Crowe, Tonucci’s got one of underground rock’s more inventive rhythm sections ; in guitarist Patrick Travis, a player whose flair and stylistic range makes a mockery of, well, anyone who’d settle for calling this band post-punk.
All four of these guys have logged considerable time in other Austin bands you most likely know and love ; Mark in the improv jazz quartet Art Acevedo and as the frequent saxophone fixture in troubadour John Wesley Coleman’s live band, David on guitar/vocals for 12XU labelmates Xetas, bass for Art Acevedo, Brandon’s past tenure in When Dinosaurs Ruled The Earth and recent work alongside Quin Galavis in False Idol, or Patrick’s drumming for The Golden Boys…but suffice to say, The Gospel Truth SOUND ZILCH LIKE ANY OF THE ABOVE and said backgrounds only serve to point out the fellas in question are all-over-the-musical-map in a very good way.
Since 12XU is legally bound to mention The Scientists at least once every band bio this quarter, the 8 originals on ‘Jealous Fires’ are augmented by a blistering cover of “Set It On Fire”.
Jets CB Antonio Cromartie is somewhat infamous for his difficulty remembering the names of his many children, however, he’s no slouch when it comes to keeping track of rent arrears amassed by the person who brought him into the world. TMZ reports that Cromartie is attempting to kick his own mother to the curb, banishing her from a Florida home he purchased in 2007.
TMZ Sports spoke with Cromartie’s little sister, LaQuinta Gardner … who says their mother was served with an eviction notice on Thursday and the family is pissed.
Gardner claims … Cromartie bought the house and paid for everything for years — but the gravy train stopped in February when he asked his mother to pay the $700 per month mortgage bill.
We’re told the mother refused — insisting Cro, who’s made millions in his career, should pay since the house was supposed to be a gift.
Both sides dug in … culminating in the eviction papers, which say Cro’s mother needs to be out by August 15th … UNLESS she forks over a check for $2,310 in back payment. Gardner says she has set up a GoFundMe page to raise money for her mother.
If you had at any presumed the dismissal of Knicks head coach Derek Fisher was in any way related to his zipper issues and/or endless feud with Matt Barnes, Knicks president Phil Jackson would like to assure you that nothing could be further from the truth. In a wide ranging chat with Today’s Fast Break’s Charley Rosen, Jackson instead infers it really comes to something along the lines of a (wait for it ) millennial mindset :
“Almost from the start, this was a difficult time for Derek. Derek did have a situation that took some focus away from his coaching during the preseason, but I never doubted that his focus was on coaching the team. A divorce and coast-to-coast move with children does put pressure on a person’s life, but that’s the NBA. However, Derek did move the team forward. He was dedicated and he worked hard. The players hustled and, for the most part, stayed as positive as was possible. And Derek did manage to survive last season and to deal with the heavy pressure of the constant losing, which is probably more intense in New York than in any other NBA city.”
“Because Derek was still in a player’s mindset, he’d talk to the guys about diet, how to approach shootarounds, the importance of gameday naps, of game preparation, and of being ready for the practices that are called the day after games. He was training individuals, which was really in tune with the so-called millennials, young people and young players who are primarily interested in themselves. In the NBA, these young guys are concerned with what playing for whatever team they’re on can do for them. Can playing in New York or Boston or LA or wherever add 10K followers to my Twitter account? Will the local media get me lucrative endorsements? What do I have to concentrate on to get a better contract?”
Thursday’s (since-edited), “The Other Olympic Sport in Rio: Swiping” by The Daily Beast’s Nico Hines promises the sensational (“armed with a range of dating and hookup apps—Bumble, Grindr, Jack’d, and Tinder—your distinctly non-Olympian correspondent had scored three dates in the first hour,”), but the author fails to comprehend the real-life consequences for those he’s mocking, as The Advocate’s Daniel Reynolds details :
In a piece titled “This Daily Beast Grindr Stunt Is Sleazy, Dangerous, and Wildly Unethical,” Slate LGBT issues writer Mark Joseph Stern branded it “a uniquely disgusting and irresponsible entry into the tired genre” of “Grindr-baiting,” a practice in which journalists engage with Grindr users for editorial reasons that differ with the app’s intent.
What makes Hines’s piece uniquely “dangerous,” Stern pointed out, is that the original version provided details like nationality and physical descriptions that could be used to out an athlete — a dangerous prospect indeed for competitors from anti-LGBT nations.
The Daily Beast has since revised the article to omit descriptions of athletes that might reveal their identity. A look at the URL suggests the title has also been changed. It is currently “The Other Olympic Sport in Rio: Swiping,” while the HTML reads, “i-got-three-grindr-dates-in-an-hour-in-the-olympic-village.html.”
As you may or may not be aware, the debut album from Austin’s Meet Your Death is released this coming Friday (August 12), coinciding with a show at East 6th Street’s Hotel Vegas also featuring labelmates James Arthur’s Manhunt, Atlanta’s Omni and early contenders for Best Band Little Steven Would Have A Problem With, Borzoi.
Anyhow, a local website graced us with their opinion of Meet Your Death’s forthcoming album and declared the band’s repertoire, “music so obscure and varied that most wouldn’t recognize the songs unless they had an extensive musical knowledge.”
The reviewer has a point. What did Bo Diddley or Mose Allison ever accomplish compared to say, Moving Units?
Still, while each critic is entitled to his or her opinions and biases, deeply entrenched or not, there was one sentence in particular that I must take exception to ; “perhaps because Meet Your Death is comprised of seasoned performers, or perhaps because they have friends at 12XU, it seems we’ve been asked to consider this as a record by a developed band.”
The reason folks are invited to consider ‘Meet Your Death’ the work of a developed band is rather simple : John Schooley and Walter Daniels’ individual resumes and discographies look like a virtual who’s who of crucial players in US underground rock history. The rhythm section of Harpal Assi and Matt Hammer have merely been key components in 4 of Texas’ most acclaimed modern outfits (and that’s a modest count). Collectively, the band has been playing out for two years. But the implication that efforts to bring their work to the wider public are a byproduct of “friendship” could not be further from the truth.
For starters, I can’t stand these guys. When I see John or Walter on the street, not only do I cross to the other side, I hop in a cab, head straight to the airport and purchase a one-way ticket to the furthest-away domestic location. You ever wonder why I’m nowhere to be found after they play? Because I’d sooner cut my own throat than discuss topics like, “was the guitar loud enough?”, “how was the lighting?” or, “do you think they’ll have us back?”
I realize it makes convenient copy, suggesting the label roster is one-big-happy family, but truth be told, I work with a never-ending succession of horrible, horrible human beings and I need to take drastic steps every day to make sure none of their character flaws rub off on my otherwise perfect self. My sole motive for documenting their endeavors is complete and thorough appreciation for their art (and the fervent desire to exploit the fuck out of it). But do I consider these musicians to be friends? Listen, if any of ‘em showed up at my doorstep asking to use the bathroom, I’d demand a doctor’s note and a $50 deposit.
(Luis Guzman is not simply the bus driver, but he’s also super wise and has many mystical insights and/or Dylan rarities at his disposal)
The best thing I can say about Cameron Crowe’s “Roadies” (Showtime) is that it could not have very easy to make “Vinyl” seem super realistic/accurate by comparison.
(other works “Roadies” manages to make seem very realistic : “Battlefield Earth”, “The Island Of Dr. Moreau” (Brando/Val Kilmer version), the entire M Night Shyamalan filmography).
That said, I’m hopeful the series can inspire a new game where people start showing up for terrible bands’ soundchecks (in cities where such things exist, anyway) and proceed to lose their collective shit at the sheer rock’n'roll majesty of well, pretty much fucking anything that’s being banged out (insert random story about Van and Jim Morrison vomiting into each other’s mouths, did you realize the tour bus is about to stop at the birthplace of Chicago’s Terry Kath, etc.)
I guess if i had to choose between a reality in which ISIS rules the globe and one in which the entire road crew for generic arena bands consists of nothing but uber-fans who’d lay down their lives for sub Loggins & Messina garbage, I’d probably pick the latter. But I’d have to think about it for a least a few minutes.
Also, we’re nearly six hours in and there’s no Kozelek cameo, WTF.
TPPRC: You recently wrote the book, Under Our Skin, about the racial divide in America. Do you have any unique insight about how race factors into the issue of abortion?
BW: I wouldn’t say I have any unique insight. I do know that blacks kind of represent a large portion of the abortions, and I do know that honestly the whole idea with Planned Parenthood and (Margaret) Sanger in the past was to exterminate blacks, and it’s kind of ironic that it’s working. We (as minorities) support candidates, and overwhelmingly support the idea of having Planned Parenthood and the like, and yet, that is why she created it. We are buying it hook, line, and sinker, like it’s a great thing. It’s just amazing to me and abortion saddens me period, but it seems to be something that is really pushed on minorities and provided to minorities especially as something that they should do. In the public, it seems to be painted that when minorities get pregnant they need to get abortions, especially when it comes to teen pregnancy. It’s like when black girls are pregnant, it’s like a statistic, but when white girls get pregnant, they get a TV show. My book talks about race, and how all these things are kind of forced into our brains. When we think about abortion, what’s the picture we get in our minds? It’s usually a minority, and those images are reinforced in culture. We sit here and talk about advancing the black agenda, whatever that means, we talk about our interests, and what’s important to us – like having political power and advancement and all those things – and then we are turning around and we are killing our children. And we are buying the lie that it’s our personal decision to make. Honestly, I am sympathetic, I am. Because I know it’s a hard decision. I don’t know exactly what it’s like to be pregnant and to be a single mom, or even to be a married mom and not want the child. I would never assume people are having abortions flippantly. I know people have them for convenience, but that doesn’t mean it’s not a tough choice for the mothers to make, so I always want to be sympathetic to that.
TPPRC: Men are often told they aren’t welcome in the discussion on abortion because it is a “female” issue. How would answer that challenge?
BW: It’s a women’s issue, but a lot of the women wouldn’t be having abortions if the men would step up and be a part of what they are already biologically a part of. Raising children and having children, even though the women birthed the child, is designed for two people to do it. And there is so much undue stress and pressure on the woman if the other one isn’t there. So, really one thing we do is say it’s a woman’s issue, forcing the woman to have to deal with it on her own, so that way men don’t have to. As a man, I am going to passive-aggressively tell you you are in control, when really I am just telling you that because it makes my life easier, cause that way I don’t have to step up and make a decision. I obviously think that a man has just as much invested in that child as the woman does. He need to be there to support her through the physical changes of the pregnancy, and help and provide emotional strength, and do it together. As much as he has a role in making the baby in the first place, it needs to take both of them the whole way through. Any idea that a man doesn’t have a role in it is not true, and is simply more about politics and making a man’s life easier. If you are going to say, “It’s your choice” and she decides on an abortion, then at least be man enough to go with her through the entire process. You should have to sit with her through the entire procedure (and recovery) if you are going to go that route…
People sometimes ask “what are you looking for in a candidate?” I always answer that I’m looking for someone who can successfully reenact the scene in “(The Day Of) The Jackal” remake where Bruce Willis blows Jack Black’s arm off. With as little advance training as possible.