iSPY March 2012

M A G A Z I N E March 2012 // ispymagazine.co

Cursive Cymbals Eat Guitars Ann Arbor Film Festival

Black Milk

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contents

MARCH

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[the buzz] 06

The Black Keys, Beatles Tribute, Hoots and Hellmouth,

The Moth, Henry Rollins, SFS Mavericks Festival

One for the Fellas

Yelawolf

[style]

St. Patrick’s Day + pg 12

[scene] 10

Danny Brown

Retyi, Set, Go - St. Patrick’s Day

Cymbals Eat Guitars + pg 18

Prhyme Rhyme Boss

[features]

18 Cymbals Eat Guitars

20 Ann Arbor Film Festival 22 Cursive

26 Black Milk

Cursive + pg 22

50th A2 Film Festival + pg 20

[foodie]

13 Adventures in Local Food #15 14

The Dish: Conor O’Neill’s, The Blue Leprechaun

[around you]

16 March Events Calendar

[review] 29

Snap Shot - Ford Lake Frozen Leap

Rate it! - The Cut

30 Rate it! - Sounds

Join Our Online Community facebook.com/ispymagazine @ispymagazine

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foursquare.com/ispymagazine search “ispy magazine”

PUBLISHER + tim adkins

EDITORIAL +

[editor in chief] amanda slater [writers] amanda slater, tim adkins, stefanie stauffer, richard retyi paul kitti, marissa mcnees, aimee mandle, mary simkins, david nassar, ian cruz, jeff milo

ART +

[designers] tim adkins, jennifer oliphant [photographers]

The Washtenaw County Events and Entertainment Guide Pakmode Media + Marketing 124 Pearl st. Suite 407, Ypsilanti, MI 48197 Office: 734.484.0349 Email: ispy@pakmode.com

SALES +

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© 2012, iSPY. All rights reserved. Reproduction in whole or in part granted only by written permission of Pakmode Media + Marketing in accordance with our legal statement. iSPY is free of charge, limited to one copy per reader. For additional copies you must be granted written permission, with a possible associated cost.

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THE BUZZ //

Hoots and Hellmouth // The Ark / Mar. 10

The Black Keys // Joe Louis Arena / Mar. 3 BY DAVID NASSAR The Akron-based power duo who seem to be everywhere these days – from countless TV commercials and HBO series to every 15 minutes on ESPN – are rolling into the Motor City with their latest album, El Camino, in tow. And, with the success of their last two albums, something tells me they’ll be arriving in something a bit more upscale than that rusted-out Dodge Caravan that adorns their latest album cover. If you haven’t seen TBK before, you’re missing out one of the best live shows around. They may have polished up their sound a bit as of late, but there’s little doubt that they’ll be bustin’ out plenty of the rust-belt blues that built their early fan-base. I’ve seen them three times now (and already have my tickets for show number 4!) and, although their shows rarely last much longer than an hour, it’s an hour you’ll never forget. Sure, I’m a fan of that other Midwest blues-pop duo that TBK always gets compared to, but honestly, I’ll take a Black Keys’ show every time. Oh yeah, and as an added bonus, they grabbed themselves a band that could easily be co-headlining for their opening act: The Arctic Monkeys – another group I’ve seen that definitely won’t disappoint live. (Needless to say, I’ve been crazy-excited since I heard about this show a couple months ago.) Take my advice – see this show! You’ll be kicking yourself if you don’t. The Black Keys play at 8 p.m. on Saturday, March 3 at the Joe Louis Arena. Tickets are still available starting at $45.

i SPY MARCH 2012

BY ISPY STAFF

Sgt. Pepper’s Lonely Hearts Club Jam // Blind Pig / Mar. 3 BY DAVID NASSAR Fans of the Fab Four will want to mark their calendars as a host of local talent descends on the Blind Pig in Ann Arbor for a night of Beatles covers. The show begins with a 30 minute set from roots / rockabilly trio George Bedard & the Kingpins and continues into the evening with short sets by a variety of local talent including Match By Match, Wolfie Complex, The Ferdy Mayne, Gameboi and many more. So dress up like your favorite Liverpool-lad, brush-up on your sing-along skills, and prepare for an evening of tunes by the most influential band of all time. Tickets can be purchased at the door for only $10 ($13 for those under 21). Doors open at 7:30 p.m. Ages 18+ .

Hoots and Hellmouth is a band that is so beloved in the Ypsi/Ann Arbor area that they don’t need much of an introduction when they come to Ann Arbor. However, recently NPR gave them a pretty nice one: “The Philadelphia group Hoots and Hellmouth twists up the many roots of Americana to create its signature sound – an ever-shifting blend of folk, rock, country, bluegrass and blues. The four gems on the band’s newest EP, ‘Face First in the Dirt,’ feature sounds across that stylistic spectrum. ‘Threadbare’ encapsulates its laid-back bluegrass vibe, but with enough grit to make it worthy of the ‘Hellmouth’ name.” Hoots and Hellmouth will perform at 7:30 p.m. on Saturday, March 10 at the Ark in Ann Arbor with special guest Small Houses. Tickets are $20. For more information, visit theark.org/3065.html.

The Head and the Heart // The Crofoot / Mar. 11 BY MARY SIMKINS The Crofoot in Pontiac will soon welcome Seattle indie folk-pop band The Head and the Heart. The band, which was started by Josiah Johnson (vocals, guitar, percussion) through several open mic night events at a pub called Conor Byrne in Seattle, seeks to write and perform songs which “speak to the newness of a fresh start, of the ghosts left behind, of moving forward.” They use solid harmonies, varied percussions, bass groove and light drums to get toes tapping to their upbeat music. The Head and the Heart released their self-titled first album in June 2009 then re-mastered and

expanded the album, re-releasing it in April 2011. They will be making their way to Pontiac with guests Drew Grow and the Pastor’s Wives, a Portland band whose goal is to transcend the wispy acoustic sound of many modern musicians. To hear a few songs from The Head and the Heart, check out their website at theheadandtheheart.com. Learn more about Drew Grow and the Pastor’s Wives at drewgrow.com The show starts at 7 p.m. Tickets are $15 in advance and $17 on the day of the show. For more information, visit thecrofoot.com/events

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// THE BUZZ

The Moth // Cavern Club / Mar. 20 BY RICHARD RETYI

The Moth Radio Hour started in New York City in 1997 and has since spread across the country with a popular podcast and live satellite shows held every month in places like New York City and Chicago. The Moth gives storytellers a stage to spin tales surrounding a central theme from Lost Loves to Theft to Marriage, living up to its tagline, “True Stories Told Live.” The Cavern Club in Ann Arbor hosts Tree City’s monthly Moth event on the third Tuesday of every month. March’s theme is Kiss of Death, and would-be storytellers are encouraged to arrive early and sign up to share their story with the assembled. The Moth has been a hit in Ann Arbor so far with the Cavern Club reaching capacity during each of the last two shows. Doors open at 6 p.m. for the 7:30 p.m. show, and it’s strongly encouraged that you show up early to get a seat because the space fills up quickly. Admission is $5, which is well worth the price to hear a minimum of 10 stories each month. Check themoth.org for more details.

SFS Mavericks Festival // Hill Auditorium / Mar. 22-25 BY ISPY STAFF The University Musical Society (UMS) will present the San Francisco Symphony’s American Mavericks Festival in Ann Arbor on March 22 - 25, 2012. The American Mavericks Festival commemorates the San Francisco Symphony’s centennial season and begins in San Francisco March 8-18, 2012. The March 22-25, 2012 Ann Arbor performances are part of a threestop national tour that also includes Chicago and Carnegie Hall. Ann Arbor and New York are the only places in the country that will feature the entire American Mavericks programming. For tickets or additional information, contact the University Musical Society at 734-764-2538 or online at www.ums. org. Tickets may also be purchased in person at the League Ticket Office at 911 North University Avenue.

Henry Rollins // Michigan Theater / Mar. 22 BY RICHARD RETYI Punk rock Renaissance man Henry Rollins has built a resume that includes music, film, television, radio, publishing and spoken word. He burst on the scene in the 1980s as the new lead singer of California punk band Black Flag before forming the Rollins Band and really making his hay. Since then, Rollins has had a TV and radio show, made cameo appearances in TV and film and traveled internationally with his one-man spoken word tour. And his latest, The Long March Tour, comes to the Michigan Theater on March 22. Rollins’ passionate sets are crammed with tales from his past and present – USO shows in Afghanistan, politics, religion, stories from tours with Black Flag and the Rollins Band – mixed with lighter fare like visiting a Cabela’s in Oklahoma City or proper urinal etiquette. His fiery delivery and sheer breadth of material makes for a great show each time he swings through town. The show starts at 8 p.m. Tickets are $25 and are available through Ticketmaster. www.ispymagazine.co // @ispymagazine

MARCH 2012

i SPY

STYLE //

One for the Fellas BY LACEY LAKE

Throughout history menswear fashion hasn’t seen much evolution in silhouette in contrast to women’s wear. Over time the same basic equation has been formulated to create the menswear silhouette. Trends between decades have altered menswear fashion but tradition holds true when it comes to outerwear, formal wear and casual wear. These fellas mastered the art of putting a new twist

on an old classic. Incorporating traditional bow ties and suspenders with modern pieces such as Levi’s denim and Nike Air Maxes set an old school meets new school tone. You too can achieve this look by creatively selecting the right menswear accessory to stand out from the crowd. Vests, bowties, hats, and scarves are the simplest ways to freshen up any menswear look!

Caleb Jeans: Levi’s Red suspenders: Hot Topic Sweater, glasses, and shirt: Express Shoes: Nike Air Max

Sterling Vest: Men’s Wearhouse Coat: Aeropostale Glasses: America’s Best

i SPY MARCH 2012

Andy Basic Stripe Tee: BDG Urban Outfitters Denim button down: Urban Outfitters Necklace: Topman Boots: Urban Outfitters Jeans: Topman

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// SCENE

Yelawolf BY PAUL KITTI Southern-rooted rapper, actor and skater extraordinaire Yelawolf has actually been around for a while. Before Eminem reached out and yanked him into the international spotlight, the now thirty-two-year-old Michael Atha had been Huck Finn-ing his way around the country (in a more 21st century kind of way). From bruising his knees as an aspiring professional skater in California to charter fishing for extra change to signing and ending deals with both Columbia and Interscope, Yelawolf seemed to be some kind of tattoo-covered fish who refused to be hooked, exploring the channels that weave through Alabama, Louisiana, Tennessee, Georgia and Florida (all of these temporary homes come through as clear as paintings in his lyrics and music videos). Leave it to Detroit’s hip-hop prince to reel in the talented wordsmith and display him on the great wall that is American media. Luckily, what we’re looking at isn’t another Eminem clone, but someone with a fresh – if not bizarre – persona that seems something like a cross between a heavy metal singer, a skater punk and Ricky Bobby. But give him some no-nonsense bass and a little synth and he turns into one of the most technically gifted rappers since, well, Eminem. His delivery is cocky, almost snarling, prone to shift into Twista-like hyperspeed and level out with well-placed pauses and whispers. Yelawolf’s Shady Records debut “Radioactive” combines rap, rock and country influences behind a gritty southern perspective that is reminiscent of Outkast – but still decidedly hard to place. It has some awkward conventions you might expect to see on a crossover album (Kid Rock collaborative effort “Let’s Roll” looks more like a bridge to a targeted audience than a rap song), but the talent on display is energizing and, for the most part, there isn’t anything else like this being produced right now. It’s often off-the-wall and can flush your mind with surprising imagery – like a shotgun-wielding trucker with a PBR gut guzzling lighter fluid from a snakeskin canteen or …just give him a listen. You’ll see what I mean. Yelawolf will be performing at 7 p.m. on March 6 at St. Andrew’s Hall. Tickets start at $18 and are available through Ticketmaster.

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MARCH 2012

i SPY

SCENE //

Danny Brown BY PAUL KITTI

“[Brown] demonstrates a knack for combining twisted, abrasive and sincere into something relentlessly entertaining.”

Have you heard the song “Monopoly” by Danny Brown? Maybe I’m getting ahead of myself… Have you heard of Danny Brown? I hadn’t until sometime this past summer when I read a piece about him in the Detroit Free Press. It wasn’t the headline that got me – I skim articles about Detroit rappers all the time on my way to the album reviews. It was the picture. More specifically, it was the hair: buzzed on one side, long and straightened on the other – the kind of style that would make any hipster look twice in approval or any rap battle opponent grateful for the easy source of material. Skinny jeans, loud tank tops and missing front teeth are other elements of his style. What does a rapper that looks like that sound like? Turns out his delivery is even more unique than his fashion. Energetic, almost like he’s yelling into the mic, sly and selfassured, his is a voice that will hook some and repel others. But as long as it’s there, you can’t ignore it – and that’s saying a lot, considering there are dozens of new rappers each month being hailed as the next big thing. Danny Brown has an attitude that suggests he isn’t too worried about

i SPY MARCH 2012

“making it” or about what’s trending in the industry. He’s more interested in rolling blunts, playing video games and crafting graphically-detailed raps about the dark corners of his hometown. The thirty-year-old emcee has serious raw talent and is clever to a fault. Thankfully for Danny Brown, I’m not the only one who’s noticed. Last year he was signed by indie label Fool’s Gold through which he released the album “XXX,” which made the year-end best-of lists of Pitchfork and Spin – as well as iSPY. Throughout the album’s 19 hedonistic tracks – aggravated shocker “Monopoly” among them – he demonstrates a knack for combining twisted, abrasive and sincere into something relentlessly entertaining. Currently on tour with Childish Gambino and playing the Fillmore in Detroit on March 27, Brown is slowly infecting the country with his distinct wordplay and manic yap. You’ll know him when you see him.

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// SCENE “For me, it’s the actual lyrics – but the rhythms come naturally. I usually know how I’m going to say something before I actually know what I’m going to say.”

BY IAN CRUZ

Prhyme Rhyme Boss

Taking only a quick glance is something you can’t do with Trent Davis, Ann Arbor’s own Prhyme Rhyme Boss. His latest mixtape, “Golden,” just dropped a few months ago and this mic master is already starting to make more hits than Rocky. During our one-on-one BY AMANDA SLATER interview, he told us about repping the 734, a possible reunion with his old friends from Seven Tre Quad and more. I noticed on your Facebook page you like to announce your area code, “734.” Is this going to affect our interview since I’m a “313”? (laughs) Nah, that’s just me representing Ann Arbor/ Ypsi, but I love my state. I love Detroit, too. “Golden” will be your third solo mixtape/ record. Reading comments and seeing the reviews on your past mixtapes, like 2010’s “UP NEXT: PRHYME,” everyone seems to be getting into your style of hip hop. Is “Golden” going to be your “Thriller”? I wouldn’t go that far (laughs). My last album “The Herbal Tape,” I feel is my best work to date. My next album, “PrhymeTime,” I feel will reach a lot more audiences based on the content. What do you look for in other emcees and producers when you ask them to collaborate with you? I look for that same passion, ambition. Also I look at style of music. But I’m open for collaboration with artists I feel some sort of connection with.

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You used to be a part of Seven Tre Quad. What exactly is the story behind the Quad and Golden? Seven Tre Quad started in 2003 at Pioneer High School. We played shows like Breakin Curfew, etc. through the Neutral Zone and whatnot. Plus, we were one of the only rap crews around the time with five emcees. We gained a lot of exposure early on and around the state of Michigan by opening up for crews like Subteraneous and AML. Due to creative differences and life struggles we broke up in 2008, three months after “Golden” was released with the help of my homie, Sofa King (Producer/DJ Gus Stranahan) and London Homicide (Producer Chris Bowerbank). Would you consider yourselves the Wu of Ann Arbor? (laughs) Though I love Wu, I wouldn’t say that – I just feel like we were ahead of our time and, at that time, things couldn’t work out. But there has been talk about a reunion project. Of all the people you have performed with over the years, who are some of your favorite rap artists to share the mic with? Man! There’s too many to name right now, but definitely cats like Macpodz, The Friar, Nickie P, Tree City and the whole team! How do you feel towards hip hop and rap in Michigan? A number of people have said that

Detroit and Ann Arbor are becoming flooded with new artists, and the only way to make a name is to move outside of the state. Do you think you will ever find yourself leaving Michigan as an artistic leap of faith? I did leave in 2011 to go to Minneapolis, so I know what people mean. But you have to start at home. Wherever you plan to make music out of, you have to start there and get a foundation. Then you can expand outwards from there. What part of creating a song is the most challenging for you personally, and do you have any tips for writer’s block? For me, it’s the actual lyrics – but the rhythms come naturally. I usually know how I’m going to say something before I actually know what I’m going to say. Writer’s block can be tough – that’s why you have to just freestyle it sometimes. Not just rapping, but in real life as well. Writing songs about your own personal vendettas seems to be a natural lyrical style for writers. Do you ever feel that you tell too much of your own story than most people should know? Even when writing about a person you know, does lyrical content ever become an issue? Yeah – I feel like most writers can easily get tied up with their own personal lives in their music. You have to have a balance. Words are very powerful.

MARCH 2012

i SPY

SCENE // RETYI, SET, GO

St. Patrick’s Day More than Vomiting Green Beer

PHOTO BY GREG SADLER

BY RICHARD RETYI

Fat, drunk and stupid with green vomit dribbling down your chin is no way to go through life, son. Do you think Saint Patrick brought Christianity to Ireland so you could stand in line at a bar waiting to be served green beer and soggy eggs before the sun’s even broken the horizon, a green plastic top hat on your shaggity head and a $5 “Kiss Me I’m Irish” t-shirt stretched tight over your freshman 15? Did Saint Patrick drive the snakes out of Ireland so you could pretend to know all the words to Danny Boy and suddenly become the biggest Dropkick Murphy’s fan this side of Chestnut Hill? Stop it with that horrible fake Irish accent and let’s rethink St. Patrick’s Day in our final year on earth. I won’t argue every point. Drinking funnycolored beer four hours before you’re normally awake does have a certain panache to it. I also won’t deny that green flatters you. But there are other ways to celebrate St. Patrick’s Day, even in a region with shallow Irish roots (Ann Arbor was founded by a Californian and a Connecticut businessman while Ypsilanti was named after a hero of the Greek War of Independence).

i SPY MARCH 2012

St. Patrick’s Day is about the Devil’s water, so let’s start with the taverns and get them out of the way. Did you know Conor O’Neill’s has a delicious Guinness Ice Cream Sundae or that The Blue Leprechaun has Irish Whiskey chicken wings? Even nuns eat that stuff without having to say penance. Did you know that Powell’s Pub isn’t really an Irish pub – but with those fried dill pickles you won’t give a damn. See, we’re having fun at bars without falling asleep at the table at 10 a.m.! If you can’t trust yourself to be on the town, susceptible to the peer pressure that comes with roaming bands of beer-soaked college kids, you could always stay at home and hire the Mystic Minstrels on GigSalad.com (“top-notch Celtic folk”). Hailing from Kalamazoo, they’re willing to make the short drive to entertain you in your home while you watch Boondock Saints on Netflix streaming and eat corned beef hash out of a coffee mug. If you can’t afford the Minstrels’ $400 – $2,000 fee, there’s sure to be live entertainment somewhere where grown-ups hang out. Try The Ark or see if the O’Hare Irish School For Dance is performing

that day. You’re much less likely to catch a contact buzz from that crowd. If you’re a masochist or want to give your kids good old-fashioned body dysmorphia, you could always sign up for the Shamrocks and Shenanigans 5K or Kid’s Kilometer bright and early on St. Patrick’s morn. You’re all winners! When in doubt, I’m sure there’s some vaguely creepy St. Patrick’s Day themed happenings at Déjà Vu. Heck – they celebrate President’s Day, so why not the most popular day dedicated to a saint who’s never technically been canonized? There you have it. With my handy guide you’ll make it to class the next day, have one less Facebook album to delete and your poo will be an all-American brown.

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// FOODIE

adventures in local food #15

Building the Future ARTICLE AND PHOTOS BY STEFANIE T. STAUFFER

The growing momentum of local food is a compelling thing. I continue to be awestruck by innovations in every aspect of the local food movement from education to empowerment to entrepreneurship. I’m also totally thankful for the way in which supporting local food production has put people back in touch with their families, their communities, their health and the land. I have seen the amazing impact that buying a locally-grown tomato for the first time from a farmer’s market can have on a person’s outlook. It sounds cliché, but it really begins from an act as simple as that. Too often we’re encouraged to ignore the state of the world because the onslaught of negative news overwhelms us to the point of apathy or we feel like we don’t have the capacity to have an impact. Plus, people are often so busy with their own lives that, if they already feel powerless, then they are less likely to want to invest the time needed to affect a change. In this way, apathy leads to an inaction that in turn rationalizes continued apathy. But luckily, that is where the transformative power of local food comes in.

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Once people begin to buy locally-grown food or start to grow their own food, those simple decisions tend to snap people out of any apathetic consumer habits. In particular, since the local food movement offers tangible action steps that people can take to safeguard their health and the health of their communities, any feelings of powerlessness are rapidly replaced by feelings of empowerment once people begin to eat locally-raised food. Just imagine the moment when an individual first tastes a fresh vegetable out of his or her own garden. That initial moment of accomplishment is powerful – and it usually encourages people to get progressively more involved in local food production, whether by growing more of it themselves or buying it from local growers and producers whenever possible. In this way, local food facilitates the adoption of a different type of thinking than the one guiding consumption decisions based on lowest prices. Let us remember that the massive, seemingly ubiquitous retailers who are “known” for their low prices are often also the ones with poor track records in terms of working conditions, business

practices and environmental pollution (as we have seen before here at Adventures in Local Food). And, when it comes to food access, these same megastores tend to offer low-quality, old and sometimes even rotten produce (an ugly truth behind “low prices”). In this sense, then, local food teaches us that you get what you pay for. If you only care about your personal, short-term consumer decisions and don’t care whether the global economic situation becomes more tenable, local food is probably not for you. You may even be better off high-fiving since you saved so much money on your full cart purchase of Gatorade, soda and Velveeta shells and cheese (how is this a good deal?). It’s true that some people will always believe those purchases are legitimized, and that is going to have to be fine. After all, we are steadily building the future one garden, one purchase and one person at a time. In this way, local food is a simple act that has incredible influence on the state of our economies, on our environment and on how we interact with each other. Often times people identify local food with affluence, but this does not capture the full story since organic food is cheaper at the farmer’s market than at the grocery store and since organic growers are traditionally people who could not afford herbicides, pesticides and fertilizers. What really drives the discussion then is the low “sticker prices” that mask the environmental, economic and social costs of the commodity chain production processes that deliver food to our grocery stores. Locally-grown food seems expensive compared to that, but the difference is that there are no hidden costs of purchase. So, if you are a stakeholder in the local food system and want to join the conversation, I urge you to participate in the Fourth Annual Local Food Summit coming up on April 2 at Washtenaw Community College. This year’s theme is “Remembering Our Roots: Local Food Victories Past, Present and Future.” So come talk with your neighbors, meet local growers and celebrate exciting initiatives going on throughout Washtenaw County as we carry local food into the future. For more info on the Local Food Summit or to register, check out: http://localfoodsummit2012. blogspot.com.

MARCH 2012

i SPY

FOODIE // THE DISH

Conor O’Neill’s ARTICLE AND PHOTOS BY RICHARD RETYI

318 S. Main, Ann Arbor

The epicenter of traditional Irish Fayre in Ann Arbor is Conor O’Neill’s. With walls lined with futbol jerseys and the beautiful game on multiple TV screens, diners can choose from Irish beers on tap, Magner’s Cider and a Erin go braugh worth of bottled ales and lagers. Drink is just the tip of the culinary shamrock, complimenting a rich menu of traditional Irish favorites from Fisherman’s Pie to Bass Ale Battered Cod and the house specialty: the Donnegal Fry – a hearty Irish breakfast served with thick cuts of Irish bacon, sausage and black and white pudding. I opted for the warm mother’s embrace of corned beef and cabbage, starting with an appetizer of Dublin brie. The imported brie is tossed in beer, battered and fried and served on a plate with peach chutney and two kinds of bread. The golden crust was delicious and the brie and chutney made for a rich appetizer suited for two. The entrée – corned beef covered in creamy parsley sauce, buttered cabbage, pert redskin potatoes, carrots and onions – was a dream. The cabbage (the unsung hero of the dish) didn’t fall apart on my fork (yet melted in my mouth) while the corned beef was nicely spiced. Like the Dublin brie, this dish was incredibly rich and worked best when each of the ingredients were combined on one busy forkful. For traditional Irish food, there’s no better place in town that Conor O’Neill’s.

Blue Leprechaun

ARTICLE AND PHOTOS BY RICHARD RETYI

The Blue Leprechaun sounds about as Irish as Mayor McCheese, but looks are deceiving. They might have more football than futbol jerseys on the walls, but the Blue Leprechaun has its share of traditional and contemporary Irish treats. The Happy Hour menu features items at just $3, including a pair of mini-corned beef Reubens, Celtic potato skins with mustard ale sour cream and mini Blarney fish sandwiches. On the standard menu, Irish appetizers include Murphy’s Red Ale battered mushrooms, black and tan onion rings and, the showstopper, Irish whiskey style leprechaun wings – a must. The wings were crispy and the sauce took a little getting used to, but overall they were some of the better wings I’ve had in town – and I love my chicken wings. The entrées featured a nice assortment of Irish fare such as traditional fish and chips, corned beef and cabbage, shepherd’s pie and Irish stew. What sealed the deal for me was “Blu Stu’s” Irish Breakfast – a happy marriage of corned beef hash, peppers, potatoes and onion mixed with scrambled eggs. Though not imported directly from Kilkenny, the breakfast was delicious with incredibly tasty corned beef chunks and generous portions. You might not win a lot of points from old Uncle Finnegan McHaggis, but the Blue Leprechaun’s contemporary Irish cuisine is definitely worth trying.

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1220 S. University, Ann Arbor

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G N I T N E R Thursday, March 22 11 a.m. - 2 p.m. EMU Student Center Grand Ballroom

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CALENDAR // AROUND YOU

february//march

BY AMANDA SLATER

music 2/28: • Nic Cowan, 8 p.m., Magic Bag, Ferndale • Young the Giant, 8 p.m., Majestic Theatre, Detroit 2/29: • Metro Times Blowout 15, 8 p.m., Polish National Alliance, Hamtramck • Cold Men Young, 9:30 p.m., Blind Pig, Ann Arbor • Brit Floyd, 7 p.m., Royal Oak Music Theatre, Royal Oak 3/1: • Jammin’ For Joseph, 7 p.m., The Fillmore, Detroit • Royce Da 5’9”, 7 p.m., Emerald Theatre, Mt. Clemens • Metro Times Blowout 15, 8 p.m., Polish National Alliance, Hamtramck • Rachelle Ferrell, 8 p.m., Sound Board at MotorCity Casino Hotel, Detroit • Dia Frampton, 7:30 p.m., Blind Pig, Ann Arbor • The Steep Canyon Rangers, 8 p.m., The Ark, Ann Arbor • Bill Grogan’s Goat, 8 p.m., Woodruff’s, Ypsilanti 3/2: • Boondox, 5 p.m., Harpos, Detroit • Mutemath, 7 p.m., Saint Andrew’s Hall, Detroit • Sleeping with Sirens, 7 p.m., Clutch Cargo’s, Pontiac • Rick Springfield, 7 p.m., The Fillmore, Detroit • Metro Times Blowout 15, 8 p.m., Polish National Alliance, Hamtramck • Arkells, 10 p.m., Shelter, Detroit • Catie Curtis, 8 p.m., The Ark, Ann Arbor

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• October Babies, 8 p.m., Woodruff’s, Ypsilanti 3/3: • Bone Thugs-N-Harmony, 7 p.m., Saint Andrew’s Hall, Detroit • Metro Times Blowout 15, 8 p.m., Polish National Alliance, Hamtramck • The Black Keys, 8 p.m., Joe Louis Arena, Detroit • Sgt. Pepper’s Lonely Hearts Club Jam, 7:30 p.m., Blind Pig, Ann Arbor • Zeds Dead, 8 p.m., Royal Oak Music Theatre, Royal Oak • Chatham County Line, 8 p.m., The Ark, Ann Arbor • Bear Lake, 9 p.m., Woodruff’s, Ypsilanti 3/4: • Mt. Clemens Hip Hop Awards, 9 p.m., Emerald Theatre, Mt. Clemens • An Evening with Altan, 7:30 p.m., The Ark, Ann Arbor • Legendary Wings, 7 p.m., Woodruff’s, Ypsilanti • Todd Osborn, 10 p.m., Woodruff’s, Ypsilanti 3/6: • Yelawolf, 7 p.m., Saint Andrew’s Hall, Detroit • Black Milk, 9 p.m., Blind Pig, Ann Arbor • Hot Tuna, 8 p.m., The Ark, Ann Arbor 3/7: • Lúnasa, 8 p.m., The Ark, Ann Arbor • Congress, 9 p.m., Woodruff’s, Ypsilani • Dragon Wagon, 8 p.m., Circus, Ann Arbor 3/8: • Gomez, 7 p.m., Saint Andrew’s Hall, Detroit • Matt Pryor, 7 p.m., The Crofoot, Pontiac • Electric Six, 9 p.m., Blind Pig, Ann Arbor • Teitur, 8 p.m., The Ark, Ann Arbor • The Vibrations, 8 p.m., Woodruff’s,

2012

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Ypsilanti 3/9: • Deicide, 6 p.m., Blondie’s, Detroit • Too Short, 7 p.m., Emerald Theatre, Mt. Clemens • Barry Manilow, 7:30 p.m., Fox Theatre, Detroit • Raekwon, 8 p.m., The Crofoot Ballroom, Pontiac • Dirty Deville, 9:30 p.m., Blind Pig, Ann Arbor

• Gavin DeGraw, 7 p.m., Royal Oak Music Theatre, Royal Oak • Caravan of Thieves, 8 p.m., The Ark, Ann Arbor • Thrall, 9 p.m., Woodruff’s, Ypsilanti • Cheek to Cheek with Sandra Bomar and Tony Camilletti, 8 p.m., Kerrytown Concert House, Ann Arbor 3/10: • The Fresh Beat Band, 3:30 and 6:30 p.m., Music Hall Center, Detroit • Barry Manilow, 7:30 p.m., Fox Theatre, Detroit • Lyle Lovett and John Hiatt, 7:30 p.m., The Fillmore, Detroit • Young Jeezy, 11:30 p.m., The Fillmore, Detroit • The Bang!, 9:30 p.m., Blind Pig, Ann Arbor • Hoots and Hellmouth with Small Houses, 8 p.m., The Ark, Ann Arbor • IAmDynamite, 8 p.m., Woodruff’s, Ypsilanti • Sumkali and Wisaal, 8 p.m., Kerrytown Concert House, Ann Arbor • Killer Flamingos, 9 p.m., Circus – Millenium Club, Ann Arbor • DJ Helluva, 9 p.m., Circus – Gotham City, Ann Arbor 3/11: • Emery, 6 p.m., The Crofoot, Detroit • The Head and the Heart, 7 p.m., The Crofoot Ballroom, Pontiac • Bill Harley, 7:30 p.m., The Ark, Ann Arbor • Shin Hwang and Enid Sutherland,

ispymagazine.co 7:30 p.m., Kerrytown Concert House, Ann Arbor 3/12: • Anti-Flag, 7 p.m., Magic Stick, Detroit 3/13: • Tyga, 7 p.m., Royal Oak Music Theatre, Royal Oak • The Tartan Terrors, 8 p.m., The Ark, Ann Arbor 3/14: • Algernon Band, 9 p.m., Woodruff’s, Ypsilanti • Henhouse Prowlers, 8 p.m., Circus, Ann Arbor 3/15: • The Jeremy Kittel Band, 8 p.m., The Ark, Ann Arbor • Turks Head Knot, 8 p.m., Kerrytown Concert House, Ann Arbor 3/16: • Iced Earth, 7 p.m., The Crofoot Ballroom, Pontiac • Mindless Self Indulgence, 7 p.m., The Fillmore, Detroit • Badfish, 8 p.m., Saint Andrew’s Hall, Detroit • The Smoking Popes, 9 p.m., Blind Pig, Ann Arbor • Sunny War, 8 p.m., The Ark, Ann Arbor • The Boys Themselves, 9 p.m., Woodruff’s, Ypsilanti • Piano Quartet, 8 p.m., Kerrytown Concert House, Ann Arbor 3/17: • Motor City Blues Festival, 7 p.m., Detroit Opera House, Detroit • The Saints Play for Patty’s Day, 7:30 p.m., Saint Andrew’s Hall, Detroit • Hit Society, 9:30 p.m., Blind Pig, Ann Arbor • Vishtén, 8 p.m., The Ark, Ann Arbor • Elbow Deep, 10 p.m., Woodruff’s, Ypsilanti

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AROUND YOU // CALENDAR 3/18: • David Wilcox, 7:30 p.m., The Ark, Ann Arbor • Jazz with the Ellen Rowe Trio, 4:30 p.m., Kerrytown Concert House, Ann Arbor 3/19: • Levon Helm, 7:30 p.m., Michigan Theater, Ann Arbor 3/20: • Peppino d’Agostino, 8 p.m., The Ark, Ann Arbor 3/21: • The Sheepdogs, 9 p.m., Blind Pig, Ann Arbor • Terri Clark and Jefferson Ross, 8 p.m., The Ark, Ann Arbor • Stefan Koch and David Peshlakai, 8 p.m., Kerrytown Concert House, Ann Arbor • Lonesome Country, 8 p.m., Circus, Ann Arbor 3/22: • The Saw Doctors, 7 p.m., Saint Andrew’s Hall, Detroit • Boyz II Men, 8 p.m., Sound Board at Detroit MotorCity Casino Hotel, Detroit • Henry Rollins, 8 p.m., Michigan Theater, Ann Arbor • Van Hunt, 8 p.m., Magic Bag, Ferndale • Runeship of the Rhyme Traveler, 9:30 p.m., Blind Pig, Ann Arbor • The Steel Wheels, 8 p.m., The Ark, Ann Arbor • Domination, 7 p.m., Woodruff’s, Ypsilanti 3/23: • Eisley, 6 p.m., Shelter, Detroit • Celtic Woman, 8 p.m., Fox Theatre, Detroit • Lez Zeppelin, 8 p.m., Magic Bag, Ferndale • Fanfarlo, 9 p.m., Blind Pig, Ann Arbor • The Ragbirds, 8 p.m., The Ark, Ann Arbor 3/24: • Andrew W. K., 8 p.m., Saint Andrew’s Hall, Detroit • Human Nature: The Motown Show, 8

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p.m., Fisher Theatre, Detroit • Trick Trick, 9 p.m., Blondie’s, Detroit • Andre Williams, 9 p.m., Blind Pig, Ann Arbor • Uncle Bonsai, 8 p.m., The Ark, Ann Arbor • John Shea Trio, 7 and 9 p.m., Kerrytown Concert House, Ann Arbor • Killer Flamingos, 9 p.m., Circus – Millennium Club, Ann Arbor • DJ Helluva, 9 p.m., Circus – Gotham City, Ann Arbor 3/25: • Every Avenue, 6 p.m., The Crofoot Ballroom, Pontiac • Chris Webby, 7 p.m., Shelter, Detroit • Gemini, 1 p.m., The Ark, Ann Arbor • Blackthorn, 7:30 p.m., The Ark, Ann Arbor 3/26: • Rosie Thomas, 8 p.m., The Ark, Ann Arbor • Daniel Fichera, 8 p.m., Kerrytown Concert House, Ann Arbor 3/27: • Danny Brown and Childish Gambino, 6:30 p.m., The Fillmore, Detroit • Peace of Mind Tour, 7 p.m., Saint Andrew’s Hall, Detroit • The Deep Dark Woods, 8 p.m., Pike Room, Pontiac • Cursive and Cymbols Eat Guitars, 9 p.m., Blind Pig, Ann Arbor • Needtobreathe, 7 p.m., Royal Oak Music Theatre, Royal Oak 3/28: • Sierra Maestra, 8 p.m., The Ark, Ann Arbor • Nancy Steltmann and Robert Conway, 8 p.m., Kerrytown Concert House, Ann Arbor • Woody Pines, 8 p.m., Circus, Ann Arbor 3/29: • Chairlift, 8 p.m., Magic Stick, Detroit • Grand Funk Railroad, 8 p.m.,

Sound Board at MotorCity Casino Hotel, 8 p.m., Detroit • The Juliets, 9:30 p.m., Blind Pig, Ann Arbor • Brian Vander Ark, 8 p.m., The Ark, Ann Arbor 3/30: • The Digitour 2012, 6:30 p.m., Blind Pig, Ann Arbor • Skream and Benga, 8 p.m., Royal Oak Music Theatre, Royal Oak • The David Wax Museum, 8 p.m., The Ark, Ann Arbor • Easy Action, 9 p.m., Woodruff’s,

Ypsilanti • Latin Jazz, 8 p.m., Kerrytown Concert House, Ann Arbor 3/31: • Echoes of Pink Floyd, 8 p.m., Magic Bag, Ferndale • Allan Holdsworth, 8 and 10 p.m., Jazz Café at Music Hall, Detroit • Appleseed Collective, 9 p.m., Blind Pig, Ann Arbor • Noel Gallagher’s High Flying Birds, 7:30 p.m., Royal Oak Music Theatre, Royal Oak • Justin Roberts & the Not Ready for Naptime Players, 11 a.m., The Ark, Ann Arbor • Elephant Revival, 8 p.m., The Ark, Ann Arbor • Lightning Love, 9 p.m., Woodruff’s, Ypsilanti • Ramona Collins, 8 p.m., Kerrytown Concert House, Ann Arbor • Killer Flamingos, 9 p.m., Circus – Millennium Club, Ann Arbor • DJ Helluva, 9 p.m., Circus – Gotham City, Ann Arbor

comedy

3/2: • Ahmed Ahmed, 7 and 10 p.m., Magic Bag, Ferndale 3/3: • Mike Stanley, 7 p.m., Emerald Theatre, Mt. Clemens 3/9: • Amy Schumer, 7 and 10 p.m.,

Magic Bag, Ferndale 3/15: • Hannibal Buress, 8 p.m., Magic Bag, Ferndale 3/16: • Mythbusters, 4:30 p.m. and 8 p.m., Fox Theatre, Detroit • Kevin Nealon, 7 and 10 p.m., Magic Bag, Ferndale 3/20: • The Moth: Kiss of Death, 6 p.m., Circus, Ann Arbor 3/24: • Andrew Dice Clay, 7 p.m., Andiamo Celebrity Showroom, Warren • Clucked Up Live with Damm Fool and Cocoa Brown, 8 and 10:30 p.m., The City Theatre, Detroit

FILM 2/29: • Van Houten, 9 p.m, Woodruff’s, Ypsilanti 3/14: • WCBN Free Movie Night, 8:30 p.m., Tap Room, Ypsilanti 3/27 - 28: • Ann Arbor Film Festival, Hill Auditorium 3/24: • Andrew Dice Clay, 7 p.m., Andiamo Celebrity Showroom, Warren • Clucked Up Live with Damm Fool and Cocoa Brown, 8 and 10:30 p.m., The City Theatre, Detroit

COmmunity

3/10: • Joe Faris & Denise Illitch: Fashion in Detroit, Noon, Sound Board at MotorCity Casino Hotel, Detroit 3/30: • FoolMoon, Dusk – Midnight, Washington Street, Ann Arbor

MARCH 2012

i SPY

FEATURE //

Exploring the Darkness with Cymbals Eat Guitars 18 BY JEFF MILO PHOTO BY JOSH GOLEMAN

i SPY MARCH 2012

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// FEATURE

“[“Lenses Alien”] is… darker and denser. I don’t think Joe’s lyrics are entirely or even mostly confessional, but there’s a certain amount of semiautobiographical catharsis happening.”

Cymbals Eat Guitars are one of those bands often tagged as something-something-“sensations…” I suppose this is warranted since their brand of indie rock is not necessarily a casual listen. No, it’s more like walking slow-motion through vociferous waterfalls, slip sliding over the rocky, capriciously changing song progressions and rocky/pointed melodies. And Cymbals Eat Guitars want to slip, want you to fall in. They want your ears to thrum and your eyes bleary and you gurgling air bubbles as you doggy paddle into their cresting melody waves. To be washed away in echoes, sweet and startling sonorousness, chest-thumping rhythms and lyrics so verbose it’d make any headphonediving indie fan reach for their thesaurus as often as any aspiring bird-watcher grips their zooming binoculars. More often than that, this Staten Island-based quartet are tagged as “sensations” by scads of zines and blogs because they seem to make every half-cocked journo/freelancer want to connect their sound to a bygone ostensible golden-age of 90’s indie-rock. And their flourished guitars, intricate and dazzling rhythms and heady lyrics, all swollen together with bolstered baroque-esque aspirations, admittedly affect that dizzying space rock aesthetic. Last year they released their second proper LP, “Lenses Alien” – more of the mystic sunset to the ebullient sunrise of their debut “Why There Are Mountains” (the former having been a self-released effort that wound up garnering them their fateful ticket to the launch pads of numerous influential culture websites). With blogs refraining that “they

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put it out on their own and “just went for it, man” is another reason they’re sensations. But, in 2012, going free has become commonplace. “The free availability of music on the internet is a good thing,” said CEG bassist Matt Whipple, and going that route initially “was the only way that made sense” with “Mountains.” “Obviously we wish we could sell more records and be able to approach some sort of fair compensation for all the work,” Whipple said. “Having everything be widely available for free is certainly an obstacle to that, but the fact is that no one would have ever heard of our band if that wasn’t the way things were, so we’re grateful people have shown interest at all.” Going free, Whipple said, would have been their preference again with “Lenses,” had their label (the Death Cab For Cutie king-makers Barsuk) been up for it as well. As it happened, endemic to the unruly Internet, “Lenses” wound up leaking early anyway, which was simultaneously “a bummer” Whipple said, since it showed up without cover art, “but also exciting …just because people were really excited about it.” In response to their latest batch weaving darker sonic blankets, musically and lyrically, Whipple admits, “it is…darker and denser. I don’t think (singer/guitarist) Joe (Joseph D’Agostino)’s lyrics are entirely or even mostly confessional, but there’s a certain amount of semi-autobiographical catharsis happening. Expressing yourself is healthy! Most of the time…” For those knotty, eloquent word whirls that D’Agostino serenades, it’s likely best for each

listener to mine what they may from repeated listens – because if CEG do share anything with indie-rock icons like Built To Spill or Modest Mouse, it’s achieving through a guitar-splattered minoranthem an understated cerebral quality: wideeyed wanderlust for deeper meaning hidden in an otherwise cynical world. “Lenses” was, says Whipple, “mostly pretty painstaking,” but a step-up and forward for them as a unit, with this being “the first time we had all been together in a room, (along with drummer Matthew Miller/bassist Brian Hamilton) writing a record.” Thus, they’ve evolved from what was once more “a studio project” into an actual band. And yes, when they’re not touring Europe (as they are in January), they’re back home in New York enjoying the same eerily mild/warm winter (or fakewinter) weather as us Michiganders. “That’s completely welcome since last year was such a disaster. We’re just enjoying being home with friends and family now and working on a couple new songs – but with no big rush to finish or release anything.” No rush crafting any new epic studio soundscapes since this interview came days before they were about to pack back into the van and hit the road. And now, these sensations are coming to Ann Arbor. See Cymbals Eat Guitars live at 9 p.m. on March 27 at Blind Pig with Cursive and The Conduits. For tickets and more information, visit blindpigmusic. com.

MARCH 2012

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FEATURE // On March 27, the oldest experimental film festival in North America will start spinning the reels of nearly 200 independent films in the Michigan Theater. What started in a university lecture hall as a humble alternative to more mainstream film attractions has since developed into one of the most exciting and respected film festivals in existence and is one of only a few festivals in the U.S. that qualifies for the Academy Awards short film category. Established in 1963 as a platform on which truly artistic and inventive films could be showcased and appreciated, the Ann Arbor Film Festival now spans six days and attracts filmmakers and supporters from all over the world. It all begins with an opening night reception followed by a short-film screening with the rare opportunity of hearing from some of the filmmakers in person. Few people are more excited than the festival’s Development Manager, Becca Keating, who tells me that in addition to some truly amazing films, there will be local food selections, an open bar, multiple DJs and special guests present to help celebrate the festival’s 50th anniversary in style. For those fifty years, this event has been similarly effective as the vibrant music scene in drawing positive attention to the city of Ann Arbor. “The Ann Arbor Film Festival brings our region into an international and contemporary conversation about film as an art form,” says Keating. “All of our filmmakers and special guests say it – there’s no place like Ann Arbor.” And there may be no other place to see these films, either. Nearly 2,700 entries were

BY PAUL KITTI

50TH

7 i SPY MARCH 2012

submitted from all over the world, and the 200 chosen for screening showcase multiple genres and techniques. You won’t find these on Netflix, and until the festival proceeds to present its collection through a world tour, you won’t find them in any other city. Narrowing down those 2,700 submissions to a number appropriate for the festival’s length must have been a careful and difficult process. “There isn’t any one particular thing we are looking for – it’s a combination of positive attributes that a film possesses which leads to its acceptance,” says Keating. “When it all boils down, though, we’re looking for films that are works of art – films that make people think and question, but also films that are just beautiful.” She mentions groundbreaking avant-garde filmmakers Bruce Baille and Tomonari Nishikawa as two of the most anticipated contributors, although even the most unheard-of filmmakers have the potential to shock and impress. Tickets for the festival go on sale February 29, and purchasing options include full passes, weekend passes and opening reception and screening tickets, as well as tickets to the backstage fundraiser dinner. Programs consist of animated and family-friendly screenings, feature documentaries and new avantgarde works. It’s a risk worth taking – attending films with no precedent, with no trailers to guide your expectations and no telling whether you’ll see something bold, breathtaking or bizarre. If the past 49 years are any clue, the Michigan Theater will probably be showcasing some combination of the three. “It’s a place where beautiful and sometimes sad or scary truths are spoken and not shunned,” states Keating. I hope that, someday, every theater can become that sort of place. For more information about the Ann Arbor Film Festival, visit http://aafilmfest. org.

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FEATURE //

Cursive Brings New Life to Prog-Rock After more than 15 years together, Cursive’s newest album, “I Am Gemini,” is a heavy, theatrical, prog-rock narrative of biblical proportions.

BY DAVID NASSAR PHOTO BY DANIEL MULLER

i SPY MARCH 2012

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// FEATURE Cursive has technically been around since 1995, and, while core members Tim Kasher (vocals, guitar), Matt Maginn (bass) and Ted Stevens (guitar, vocals) have been together for most of that time, they have brought a number of different musicians into the fold over the years. The result has been a dynamic sound that combines haunting melodies and jolting, angular guitar licks that blur genre lines and mix tempos with undeniable expertise. At times, like on the band’s 2009 breakout album, “Mama, I’m Swollen,” Cursive has sounded like pop-rock, college-radio mavens combining acoustic guitars and full-blown horn sections. But with a new cast of characters (in more ways than one), their latest album, “I Am Gemini,” is venturing into uncharted waters for the Nebraska-based veterans. Beginning with the reunion of two estranged twin brothers, Cassius and Pollock, “I Am Gemini” is the story of a struggle for the soul with a Shakespeare-like cast of characters including a set of conjoined twin sisters and a chorus of angels and devils. The album’s psychedelic narrative is driven by 13 of the heaviest songs Cursive has ever put onto one album with numerous biblical and Greek mythology references. With lyrics laid out in an elaborate set of liner-notes organized as a three-act stage play (including stage directions), “I Am Gemini” may be not only the band’s most ambitious album to date, but it might also be their most creative. I had a chance to speak with lead singer/songwriter, Tim Kasher, as the band prepared for a Washington date on their three month U.S. tour in support of “I Am Gemini” – one that will land them in Ann Arbor at The Blind Pig on March 27. How did you get together with Matt and Ted to form Cursive? Matt and I grew up together. We met Ted in high school, but we were all playing in different bands at that time around the Omaha area. It wasn’t until college that we started playing with Ted and the three of us just really hit it off. Since then, we’ve all moved around a little bit and have done various side projects with other musicians, but we’ve always come back to Cursive and kept a home base in Omaha. How did the concept for “I Am Gemini” come about? We just started by writing a few songs. There wasn’t really a story in place at the very beginning, but I kind of hand a hunch that I wanted to write something that would sort of layer our many personalities. So, once we had a few songs laid out, that’s when we started really developing the story. We sequenced the songs on the album before I ever started writing out any of the lyrics, which was a little different than it has been before. The idea started as kind of representative of the internal arguments that we all have in our minds, and I just sort of characterized all those arguments that I have in my head. It made sense to have these twin brothers, and the story just became more fictionalized from there. I tried to take it in some interesting directions just to make it sort of, I don’t know …stranger, I guess. Do you have any aspirations of seeing the play acted out on stage or incorporating some of the theatrical elements into your live show? When it first started, I had a lot of daydreams to sort of do something like that. But I kept reminding myself that this is an album we’re writing, and I wanted it to be that, first and foremost. I wanted make sure it can live on its own and not have to be a musical piece that has to be connected to something larger. The story should just kind of exist on its own for now, but you never know what will happen later on down the road. Like I said, I have had daydreams about seeing this thing acted out on stage. Although it’s not completely different from some of your previous work, the new album seems more consistently aggressive. Was that a conscious choice?

CONTINUED ON PAGE 24 >>

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MARCH 2012

i SPY

“The idea [for the album] started as kind of representative of the internal arguments that we all have in our minds, […] and the story just became more fictionalized from there. I tried to take it in some interesting directions just to make it …stranger.”

Yeah, it definitely was. When we first got together to start working on the new album, we decided that we wanted to go in and have fun making a true rock album, whereas with the previous albums we were really focused on trying to produce a more dynamic range of quieter and louder songs. We kind of wanted to keep it moving this time around and to really have the guitar and drums loud and in the foreground. You’ve worked almost exclusively with the Mogis brothers in the past, but this is the first album you’ve done with producer Matt Bayles (Mastodon, Minus the Bear). Why the change? Well, when we decided that we were going to try to make a sort of heavier album, we just decided, what the hell …this might be a good time to try working with someone else. We had all been big fans of his work for a long time. Matt tends to mix things loudly with beefed-up drums and bass, which was exactly what we were looking to do on this one. Speaking of beefed-up drums, this is the fist album you’ve done with your new drummer, Cully Symington. How has he influenced the band’s sound? He’s really an outstanding drummer. His style really lends itself to this kind of album where he can just kind of go overboard in a really fun way. And, for me as a songwriter, it was really great because we could kind of push each other in new and exciting ways, which resulted in something just a little bit weirder than usual. You had the chance to play on The Late Show with David Letterman for your last album. What was that like? It was a huge thrill. You know, you watch all these bands that you admire play on that stage for your whole life, so when you actually see it in person and get to play on it, too, it’s a really amazing feeling. There’s a line in “What Have I Done” off your last album where you reference Ann Arbor. I assume you’ve been out this way before? I played a show out in Ann Arbor last year at The Blind Pig, but I don’t know if the other guys have been out there. That song was kind of a memory from forever ago when I was 20 years old and going around selling posters at college campuses. I remember there’s an old theater there, I can’t remember the name, but they have a huge screen and an old orchestra pit. The Michigan Theater? Yeah! I think that’s it. I remember it was really old and beautiful. I went there almost every night for the week I was there, and they were playing Nosferatu and a couple of other old movies. I remember really liking that place a lot. Cursive’s new album, “I Am Gemini,” was released on February 21 via Saddle Creek and is streaming for free on RollingStone.com. You can catch Cursive playing at 9 p.m. on March 27 at The Blind Pig in Ann Arbor with Cymbals Eat Guitars and Conduits. Tickets are $15. For more information and to download music, visit CursiveArmy.com.

i SPY MARCH 2012

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FEATURE //

Record Stores and Restaurants with Emcee and Producer Black Milk

BY AMANDA SLATER PHOTO BY ROSALINDA RUIZ

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// FEATURE

Having collaborated with the likes of Jack White, Danny Brown and Royce da 5’9” and about to embark on his first U.S. tour, Black Milk’s future is a blank page that he’s looking forward to filling.

Curtis Cross is never idle. His mind is always moving a million miles a minute – thinking, creating, putting pieces of potential sounds together. It’s this kind of relentless creativity that makes him so good at what he does. And there’s no denying that he’s good – not only can he craft clever, insightful verses, but his masterful production has a way of tying everything together in the perfect package, striking just the right chord of fresh and familiar – between new sounds that make your ears perk up to tracks that almost instantly feel like old friends. Born and raised in Detroit, Curtis Cross – or Black Milk, as he is known in the music world – has his fair share of street cred. And as not only an emcee and producer but also a multi-instrumentalist who has collaborated with the likes of J Dilla, Danny Brown, Royce da 5’9”, Invincible and Jack White, it’s safe to say that he has earned his musician credentials, too. Yet he still retains one quality that seems scarce, almost unpopular, in the larger hip hop word: humility. As we chat about everything from his influences to his accomplishments, I don’t hear even a tinge of arrogance. Instead, he talks about the artists that he respects, lessons learned and potential for growth. How refreshing. Could he brag? Absolutely. But it’s the fact that he doesn’t and that, instead, he seems to see his musical career as a continual journey of growth and improvement that speaks volumes more about his greatness than it would for him to constantly be pushing his credentials in the face of his audience. And maybe that’s because, unlike many hip hop artists, he doesn’t have anything to prove. Instead, he’s fueled by the music itself as an art form and by the spirit of Detroit competition that keeps him pushing on. What have you seen over the years in the local music scene in terms of growth, and where do you think it’s going to go in the future? It seems like it just gets better each year. And

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if not necessarily better, it definitely gets more progressive and innovative. There’s always something new and fresh coming out of Detroit. Music from Michigan in general has this certain purity to it that kind of separates it from music from other regions. I think another thing that separates the artists here from other places around the world is that the artists here really focus on their craft. It’s kind of a competition. They just want to be the best – even if it’s just the best on their block or the best in their area or on their side of town. I think that having that spirit is why there are so many great artists that come out of the city. Being the best rapper, being the best singer, being the best producer, being the best dancer, being one of the best musicians – I see that in the Motown era. I guess the same spirit got passed down to the generation that came after. What are some of your favorite local hangouts? I don’t hang out that much. I don’t really go out when I’m here since I’m gone so much. I guess my favorite hangout is the record store. I go to buy more records to make more music – like Street Corner in Southfield and Encore Records in Ann Arbor. I look for records that have the craziest covers. Most of the time those records have some music on it that you can chop up that I’m going to at least like. I’ve been record shopping for so long now that I can just go into the store and grab a stack of records without even listening to them and come away with stuff I can use in my music. I also like to hang out in downtown Detroit and go to Bucharest Grill. They have some of the best Chicken Shawarma that you’ve ever tasted in your life. Restaurants and records. You’ve collaborated with Danny Brown. Tell me about that. I did a collaboration with Danny last year. We did the EP, “Black and Brown,” which kind of stemmed

from a song on my last solo album, “Album of the Year.” I’m a fan of Danny’s emceeing and his style, so I hit him up. He came to the studio a few times, laid some lyrics down, wrote a few tracks and I remixed all of the tracks he recorded and did my producing thing. Danny’s a star. It was a great collaboration, and hopefully we’ll do some more work in the future. I know you’ve also collaborated with Invincible. Invincible and I have known each other for a while. It was only a matter of time before she and I did something together. The song came out dope. Invincible is definitely one of the top emcees from Detroit, and I know everybody respects what she does. And Royce da 5’9”? We did a few songs before we collaborated on “Deadly Medley.” It always feels like an event when we release something together. Royce is like my favorite emcee. When I have someone on a song or feature them, I usually move on after and find someone else to work with, so for me to have him on two albums back to back – on “Tronic” and “Album of the Year” lets you know how much of a fan I am of Royce. When it comes to lyrics and emceeing or if I need some inspiration to get my pen flowing, Royce is the first artist that comes to mind that I want to listen to. He’s a lyrical beast.

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FEATURE // How did your collaboration with Jack White come about? Actually, Jack White emailed my manager and said, “I’m interested in working with Black Milk.” At first it was funny because my manager didn’t believe it was Jack White, so they went back and forth for a little while before he finally realized that it was actually him. We talked to him for a minute, and he was like, “I want to bring Black Milk down to Nashville and do a recording with him.” It was one of the craziest music experiences I’ve had in my music career. I went down to Nashville with my band members, the guys I play with, and went to the studio in his home. It was a crazy experience seeing him walk out the door and thinking, “This is really happening. I’m really about to make music with Jack White.” It was kind of messing my head up. Once we got in the studio and had a little small talk, I asked him, “How did you even know I existed? How did you come across me and my music?” He told me that he came across one of the videos for “Deadly Medley” that I did with Royce da 5’9” and said he liked the song a lot. He had been wanting to collaborate with a hip hop artist from Detroit, but he didn’t see anybody that would really make sense and compliment what he does until he came across my stuff. He said, “It seems like doing it with you out of all artists makes the most sense since you produce, too. You’ve got a certain quality to your music.” I just appreciated it. I thought, “I’ve been doing something right for a musician like Jack White to understand and like what I’m doing.” So, we went in the studio with him. He had some of his musician friends come over, and we jammed out for a little while. We laid a couple of tracks down. The next day we were back in the studio and laid some vocals down. That was it. The third day I was there, me and my band actually did a show at the Third Man Live. They have a little venue where they let people come and perform. It was a crazy experience to get to work with him and hang out. Are you working on another album? Not necessarily working on another album, just kind of in the creative process and experimenting in the studio. I’m trying to figure out what sound, what style I want for my next album. I kind of took a step back from trying to rush another album. I want to take my time with this next one and make sure I can make a statement. I want to really focus on making the project better than the previous project and taking it up another level. Any idea which way you’re leaning as far as inspiration goes? I always tend to go back to artists from back in the day to get inspiration – old cats that created this sound of soul music. I get inspired from their

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talent and from their live shows. I try to take some of the ideas, apply them to the hip hop format and make it fresh. I look toward a lot of the legends from back in the day when it comes to trying to get inspiration, and, of course, my hero J Dilla, I listen to a lot of his music, too, if I’m trying to get some kind of spark, energy or inspiration. Take me back to 2009. I know that was a rough year for you. It was a pretty crazy time with Baatin of Slum Village passing away unexpectedly. I was also going through family issues with close family members passing away. My manager, HexMurda who was a close, close, close friend of mine had a stroke. It was a crazy emotional rollercoaster with a lot of ups and downs. But it came through in my music. My last album is pretty personal …way more personal than the records and albums that came previous to “The Album of the Year.” I felt a lot of feelings that I really never had felt in my life, and it was a lot going on all happening at once. It was definitely hard. I made it through, produced some good music and moved forward. Before that, my music was trying to meet popular demand feel-good soul music. I really wasn’t going through anything in my life to make me get really deep and dark and personal. All of that put me in a position

where I had to tap into really personal emotions and bring it out on the record. It showed me I had something else in me that I didn’t even know about. People respected it because a lot of people could relate to the stuff I was talking about. What’s on the horizon for you right now? I’m about to start my first U.S. tour of my whole career. My last real show in Michigan was a while ago – back in September 2010. [During my next one,] we’ll rock out. It’s going to be dope. There will be a lot of funk, a lot of hip hop, a lot of soul. Aside from working behind [the scenes], stage is probably my second love. I love to put on a great show and see fans with their hands up and singing the words to the song. I rock with a band, so my show definitely has that live element to it. In terms of recording, right now I’m just working on a lot of instrumental stuff. After that, I’ll start working on my next solo record. It’s just kind of like letting the music take me where it’s going to take me. I don’t like planning or trying to force anything. Black Milk will perform on Tuesday, March 6 at the Blind Pig in Ann Arbor. Doors open at 9 p.m. Cover is $15. Ages 18 and up.

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REVIEW // SNAPSHOT

4th Annual Ford Lake Frozen Leap BY ISPY STAFF Given the fact this winter hasn’t really been the snowy, cold chill of Michigan’s past, on February 11, for just one day, we were reminded of just how cold it can get at the 4th Annual Ford Lake Frozen Leap. With the help of all of our participants, donors, sponsors and volunteers, we were able to help raise a total of over $10,400 for SOS Community Services! If that’s not cool enough, we snapped some great photos and video of all the action. To see all the footage, visit our Facebook page at facebook.com/ispymagazine or the event’s page at facebook.com/ frozenleap. For more information on how you can help SOS Community Services and their mission to end homelessness in Washtenaw County, visit soscs.org.

++ PHOTOS BY BRUNO POSTIGO www.ispymagazine.co // @ispymagazine

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REVIEW // SOUNDS

Here’s an interesting way to start a band: place an ad on craigslist describing your musical interests and aspirations, calling for like-minded musicians who are looking to join forces. The results may vary – perhaps your ad would just collect web dust until you forgot you even posted it, or perhaps you’d get responses from tweens with Yamaha acoustic guitars or lonely internet scavengers with no musical talent. Lucky for keyboardist/vocalist Charles Maven, he got the other two members of Access Royale. They describe their sound as “modern indie alternative” and I mostly agree. Their debut album “City of Paradigm” kind of hovers in some musical atmosphere, appearing to be more indie or progressive or alternative depending on the angle you’re viewing it from. These three musicians clearly have eclectic tastes, but what’s impressive is that this album isn’t all over the place. Their sound is quite inviting, with Maven’s clear, clean vocals always a

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ARTIST: Access Royale ALBUM: City of Paradigm 3/5 TOWERS BY PAUL KITTI couple volume notches above repetitive melodic guitar riffs, waves of distortion and energetic percussion. These songs are earnest and harmonious, with just enough invention and experimentation to suggest serious talent that becomes a little more evident with each listen. Self-exploration and existential purpose drive the album, thematically speaking – especially through anthemic album highlights “Hide” and “Aim High.” Occasionally the music dips into periods of mediocreindie-soundscape nothingness before rediscovering its direction, but like new roommates, no newly formed band can become too tight without first allowing for a little elbow room. This is an extremely solid debut from a new voice in the indie rock scene that I’m expecting to hear a lot more from. Yamaha-wielding tweeny-boppers, take note.

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As a teenager, I had an unnatural obsession giving an intimate look to listeners. with poet Nicole Blackman and her work Highlights on the album include a with The Golden Palominos. It was a gritty, honeyed, mellow introduction that displays industrial sound that used spoken word Magarill’s soft singing in “Boom.” “Glass” as its axis, and I loved everything about it. is an infusion of strings and delicate Mostly it had to do with her fluid, noir style harmonization that sounds like a lullaby. that would hook in listeners before they “I am not a Monster” is a punchy ode to even realized what was going on. In turn, the female identity, and “The Carousel” I developed a deep admiration for artists blends sensual vocals with somber lyrics. who have the ability to verbally illustrate From start to finish, the album bases emotions and connect with their audiences. itself on personal but somber storytelling. Up until listening to New York-based In context with elegant strings and singer/songwriter/composer Nancy reverberation of drums, it makes for Magarill’s “The Carousel,” it had been a strong contribution in a musical awhile since I had heard anything that era dominated by pop and hip-hop. resembled poetic styling of that nature – and it wasn’t until I nearly reached the end that I realized how much I missed listening to music like that. Especially with spoken track “Falling” that packs a depictive punch. Magarill fluctuates between tender and fiery tracks that diverge from the ordinary, ARTIST: Nancy Magarill ALBUM: The Carousel 4/5 TOWERS BY AIMEE MANDLE

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SOUNDS // REVIEW

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ARTIST: Lana Del Rey ALBUM: Born to Die 2/5 TOWERS BY AIMIEE MANDLE

Internet hype can be a forceful catalyst for any artist, but in Lana Del Rey’s case, it could also be the very end to a seemingly promising career. Before she could even put out her first album, Del Rey had a disastrous performance on Saturday Night Live complete with woozy twirling, cancelled shows, a hoopla of speculation over her personal life and monumental praise and expectation over one track, “Video Games” – all of which has perhaps influenced the less than favorable reactions to her album, “Born to Die.” If you take that all away and focus on the album itself, it becomes apparent that Del Rey has embodied a new wave of music that is based on a concocted image of Americana glam and modernized romance (which judging by the substantial buy in around the world, no seems to have that much of a problem with a “gangsta Nancy Sinatra” until they feel like it is a gimmick at their expense). After listening to “Born to Die” for a few

I had to put away the bias for this one. I’ll admit, I haven’t been a huge Ingrid Michaelson fan, and it’s nothing against her or her music. I’ve just never really branched out into her genre. Let’s just say, I’m pretty happy I checked out her new album, “Human Again.” I’m probably not going to become a diehard fan overnight, but listening to this album has definitely opened my eyes – or in this case, my ears – to music I would have otherwise not listened to. It’s a compilation of intriguing sounds – many of which have a somewhat dark quality about them that is a far cry from previous tracks like “Be Ok” and “The Way I Am.” This is not an album I would have normally picked up, and other than a few tracks, it probably still won’t be in my normal music rotation. But, for you true Ingrid fans out there, I’m sure you will not be disappointed with the more mature “Human Again.” Notable tracks: “I’m Through,” “Black and Blue,” “Ghost”

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weeks, I found that some tracks are weaker than others. “Radio,” “National Anthem,” “Carmen” and “Diet Mountain Dew” don’t quite hit the mark and come off hollow, filling in the empty spaces to make the collection of songs more than an EP. On the other hand, self aware “This is What Makes Us Girls,” descriptive codependency at its worst in “Off to the Races,” lush “Video Games” and smooth “Born to Die” make up for the album’s low points. One thing that seems to be agreed upon across the board is that this is an extremely polished album with very little fault in its overall production. Whether that is considered a disadvantage is really up to the listener. Above all, “Born to Die” shows that Del Rey still has room to grow and improve her craft. If given more time to find her true voice and style as a musician, I expect that we’ll see something a little more real from her.

ARTIST: Ingrid Michaelson ALBUM: Human Again 4/5 TOWERS BY MARISSA MCNEES

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REVIEW // SOUNDS

When The Fray came out with “How to Save a Life,” I was hardpressed to find a track that I didn’t enjoy. There was a great mix of catchy, upbeat pop-rock sounds as well as earnest, meaningful ballads (for lack of a better term). But, when their self-titled sophomore album was released, I didn’t feel the way I felt about “How to Save a Life.” Don’t get me wrong, there were some songs I downloaded, but I didn’t find the whole album noteworthy. Now, with the release of their third album, “Scars and Stories,” I’d say The Fray is back in their element. They’ve got a new producer who has definitely helped the band push things to the next level, and the album has a good mix of a new and old. The band stays true to their poprock roots and meaningful lyrics while exploring a newer sound. For those of you, like me, who doubted The Fray after their most recent (somewhat disappointing)

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ARTIST: The Fray ALBUM: Scars & Stories 4/5 TOWERS BY MARISSA MCNEES

When loner Dylan Baldi made his way out east to the Big Apple (far from his Cleveland roots), he tended to a small space he called home where his guitar and computer awaited him. In 2009, not long after recording a few demos, 17-year old Baldi sent off the recordings to various indie blogospheres. The positive reaction was surprising even to him. Now full time music is Baldi’s life and an album a year seems to be the only way that this band works. After dropping out of college, the Cloud Nothings got two albums under their belt (“Turning On” and “Cloud Nothings”) with a third shortly following, “Attack on Memory” – which turned out to be a completely different leg for the band’s career. Unlike past efforts where songs such as “Hey Cool Kid” or “Forget You All the Time” were putting people on their feet, dancing to catchy melodies and a string of upbeat, heartbroken

themes, “Attack on Memory” takes away the shield that protected their bubblegum-like sound with foot-in-mouth vocal patterns and loud guitars. Opening track “No Future/No Past” brings a distinct rush of melancholy (with a welcoming vibe) upon its listening audience where other songs (“Stay Useless,” “No Sentiment”) turn up the turmoil ridden instrumentation. It is obvious that this record isn’t just an isolated project for Baldi, but a collaborative effort with fellow bandmates. While there’s no doubt that many older fans are going to hate on the newest addition to the Cloud Nothings’ discography, it’s a non-stop loner-rock escapade.

album, don’t let that stop you from checking out “Scars and Stories.” From “Heartbeat” all the way through “Be Still,” I’d be willing to bet you’ll be back on their bandwagon in no time. Notable tracks: “Heartbeat,” “Run for Your Life,” “Munich”

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ARTIST: Cloud Nothings ALBUM: No Future | No Past 3/5 TOWERS BY IAN CRUZ

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THE CUT // REVIEW

FILM: The Artist DIRECTOR: Michel Hazanavicius 5/5 TOWERS BY PAUL KITTI

I didn’t give “The Artist” a coveted five-tower rating out of critical respect for filmmakers daring to explore the archaic, black-and-white silent film genre. We’ve had color and sound for a while now – why not use it? If not done with purpose and style, a movie like this could be considered devolutionary. But this film has style to spare, and in all its beautiful silence, it has more to say than any five Michael Bay productions combined (you can pick these at random). Similar to experiencing sharper hearing after suffering blindness, French director Michel Hazanavicius demands audiences to sacrifice basic movie-going expectations and activate a section of their brains that modern cinema rarely calls upon. Jean Dujardin received best actor honors at Cannes for his performance as George Valentin, a silent film superstar who refuses to follow Hollywood into the new era of “talkies.” Dujardin’s smile is almost a character in itself as he proves he doesn’t need words to create an undeniably authentic and captivating personality – one that is only strengthened by a supporting cast who looks like they’re having as much fun as the audience in the theater. The storyline is an homage of sorts to such classics as “Singin’ in the Rain” and “Sunset Boulevard,” with enough cleverness and attention to detail to stand alongside those legendary works. The scenes where George Valentin and Peppy Miller (played with a stir of confidence and fragility by Argentinean beauty Bérénice Bejo) interact exhibit more charm than you’ll find in two dozen sitcoms. The story is tight, if not a little predictable, acting as a simple framework in which symbols and themes are creatively communicated. The “magic of the movies” of yesteryear seems to be buried beneath sex-filled film reels, pointless remakes and box office battles. “The Artist” is a reminder that, sometimes, they still make ‘em like they used to. www.ispymagazine.co // @ispymagazine

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