Our music columnist discusses the 13 closing, Blowfly and Sleazy McQueen, War on Women, J. Robbins and Kurt Vile
This Little Underground
Published: November 6, 2013
The 13 has shut down due to – wait for it – cop problems. So a DIY punk-and-metal venue located in the gauntlet run of patrol-nuts in Edgewood didn’t last. I’ll take that blank, silent look on your face to mean that you’re as unsurprised as I am. Still, it’s a serious bummer for a place that was trying some cool things. Venue rep Felipe Riesco tells me they’re looking for a new location to continue the DIY purity, with the possibility of a beer and wine license to anchor and sustain the venue. There’s no timetable yet, so effectively it’s just hope at this point. But my fingers are crossed. Stay tuned.
The freaks come out at night during Halloween week. But sometimes, if you’re lucky, they’re up on stage. Enter costumed underground hero Blowfly (Oct. 27, Will’s Pub). The original – and I contend, far superior – old dirty bastard is a mash-up of pro wrestling, pulp comics and porn. The, ahem, sexagenarian is essentially James Brown with the bedside manner of 2 Live Crew – to hell with good taste and age appropriateness. Not since the old Will’s Pub has the king perv deliciously disgraced Orlando. It takes a special kind of dedication to be this retarded for over 40 years and counting, and it’s good to see the codger hasn’t cleaned up his act one bit.
But the interesting local spark that the show ignited are talks of a collaboration between Blowfly and accomplished Orlando DJ-producer Sleazy McQueen, who spun the event with DJ BMF. Sleazy, who’s been pretty busy lately with some very high-profile work on official remixes for Bryan Ferry (“Don’t Stop the Dance”), could finally live up to his name for real with a Blowfly joint in his portfolio. It’s not a done deal yet, but the negotiation is real. I’ll keep ya informed.
Check out photos from Blowfly's show.
Speaking of local connections, post-hardcore god J. Robbins (Nov. 1, Will’s Pub) – who produced and even played on the Pauses’ album – is one of the luminaries in the Orlando band’s ever-deepening orbit. But before we get too “post,” let’s start with the straight-on hardcore of coed feminist opener War on Women from Baltimore. For a night where the culmination was a primarily acoustic performance, the Dischord Records act kicked things open on a jarringly intense note with rock that was intelligently structured and intelligibly melodic but wall-crashingly visceral.
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