a musical overview
by Mark McCawley
Danny Kolm, Gregory Kolm and Max Kostaras are three twentysomethings who’ve lived their whole lives in Queens, NYC. Danny and Greg are brothers who started playing music together in 2003 under the name Arklight, releasing dozens of cassettes and Cdrs on small independent labels. Their early sound was a harsh mix of no wave noise, free jazz energy and punk psychedelia. Various friends filled in the lineup, with Danny playing guitar and Greg manning the drums, until 2013 when Max, a childhood friend and sometimes collaborator, became a permanent member on lead guitar. It was then that their sound shifted to reflect a burgeoning interest in songwriting, structure and improved musicianship. For inspiration, Arklight looked to the music they grew up on and loved, including Neil Young, Nirvana, Sonic Youth, Velvet Underground, Nick Cave and Beat Happening. They hope to continue their development and follow the muse wherever it may lead them.
(Kate Crash & The UFO Club)
in conversation with
“Musician, glam punk alien cross-dressing renegade
robot from the future, multi-media performance artist,
novelist, poet, director — Kate Crash is a punk
feminist with a DIY ethic. Whether it’s her music, her poetry,
her spoken word performance pieces, her fiction
or her documentary filmmaking — Crash’s glitter-speckled allegorical art
holds a unique mirror up to the present day decay and decadence of Los Angeles
in her search for her own personal authentic amid L.A’s streets of broken dreams
and almost realized celluloid fantasies.”
Urban Graffiti Mix #15 by Mark McCawley on Mixcloud
Urban sounds. Urban vibes. Urban verse. Urban tribes. Urban Graffiti. Songs of the city. Past and present. Old and new. The city keeps singing. Los Angeles. New York. San Francisco. Watts. Amsterdam. Auckland. London. Toronto.
of Rick Miller
review by Mark McCawley
Self-taught Canadian multi-instrumentalist, Rick Miller has released thirteen individual albums since his 1984 debut release, Starsong, moving from ambient, techno electronic synthesizer based music (Paradox-Electro Leftovers) in the mid to late 1980s and 1990s (Interstellar Passage) towards more progressive rock oriented music (Dreamtigers, The End of Days) around 2000 and beyond.
by Gary Lucas
review by Mark McCawley
Artist: Gary Lucas
Genre: Instrumental, Acoustic
Label: Northern Spy Records
Release date: 1 October 2013
Gary Lucas is among that contemporary cadre of post-Zappa guitarists — Fred Frith, Henry Kaiser, Mike Keneally, Steve Vai, Al Di Meola, John McLaughlin, Thurston Moore, Lee Ranaldo (to mention a few) — who are as at ease with complex compositions, regular use of dissonance and atonality and polyrhythmic time signatures, as they are with collaborations and on-the-spot improvisations. After well over 20 acclaimed solo albums to date, this Grammy-nominated songwriter and composer, soundtrack composer for film and television, and collaborator with such musicians as Captain Beefheart, Lou Reed, John Cale, Nick Cave, John Zorn, Bryan Ferry, Joan Osborne — Lucas shows no sign of slowing down creatively any time soon.