The Quite Scientific record label began out of failure.
In 2005, Justin Spindler and brothers Brian and Jeremy Peters had the idea to shed more light on their local Lansing music scene. Justin and Brian gathered songs for a compilation album that they’d release under a yet-to-be-determined name, and in the process, they met members of the band Canada.
Canada had self-released the How Dare You EP and had the song "Hexenhaus" on another compilation, which is what caught the ear of Justin and Brian. They were so impressed with that tune they struck a deal with the band to release a full album.
The compilation record never came together, but Canada's debut album did.
Brian Peters recorded, engineered, and mixed what became This Cursed House in his bedroom/living room in Lansing during the fall and winter of 2005 using a soundboard used to mix portions of The Empire Strikes Back and Return of the Jedi.
“I bought it from a studio in Kentucky,” says Brian. “It was used by a studio that Industrial Light & Magic outsourced work to. It made for a good thing to catch people’s attention in the press release.”
Theatre Nova’s Zoom play series continues with "Mortal Fools" by Ann Arbor playwright Catherine Zudak
The Goldilocks Principle, though not regularly cited in reference to storytelling, can nonetheless be maddening for those who build narratives.
For how does a writer determine, in each scene, what’s too much information (thus bogging things down and killing suspense) and what’s too little (leaving audiences confused and frustrated)? How do you consistently land upon what feels “just right”?
It’s a notoriously tough needle to thread—particularly within the tight parameters of a 30-minute Zoom play—and this notion was something I thought about often while watching the third and newest entry in Theatre Nova’s Play of the Month series, Mortal Fools, by Ann Arbor-based playwright Catherine Zudak. (The live performance recording of Fools may be viewed—along with the first two entries in Theatre Nova’s Zoom play series, Jacquelyn Priskorn’s Whatcha Doin? and Ron Riekki’s 4 Genres—with the purchase of a $30 series pass, which also covers admission for the fourth and final play in the series, Morgan Breon’s The W.I.T.C.H., scheduled to be performed April 28 at 8 pm)
Ann Arbor poet David Jibson on Crazy Wisdom's Poetry Circle, "3rd Wednesday Magazine," and his new book, "Protective Coloration"
It’s well-known that the life of a poet often means being attentive to the world around oneself, seeing parallels between things or living beings and their thoughts, actions, ideas, and values. David Jibson, co-host of the Crazy Wisdom Poetry Circle, uncovers these connections throughout the poems in his latest book, Protective Coloration.
The collection’s title is made clear by the poem of the same name, in which a restaurant scene unfolds "with the poet of a certain age, hidden in a corner booth / at the back of the cafe, as quiet as any snowshoe hare, / as still as a heron among the reeds.” There, we see the poet blending in while also taking in the view. Jibson welcomes the reader to join him in seeing striking insights through straightforward language, like the person in “Amy’s Diner” who, while studying the group of men in baseball caps eating the senior special, gets the invitation to “Pull up a chair.”
As people in another poem speculate while preparing and waiting for the arrival of guests, they are “as ready as we’ll ever be, / realizing, now, how much time has passed / since we last dusted in the corners of our lives.” The poems encourage readers to wonder at such things in their own lives.
Friday Five is where we highlight music by Washtenaw County-associated artists and labels.
This week features dub techno from Bill Van Loo, synth-pop by Same Eyes, piano miniatures courtesy Alissa Freeman, an EDM comp from Intensity Recordings, and experimental works by Blue Gene Tyranny.
Time is a flat circle.
Kwame Sakyi Jr. is a man out of time.
Or rather, his musical alter ego, Kawsaki, is a composer out of time.
Or maybe Kwame Sakyi and Kawsaki are right on time.
That's the thing about modern music that draws deeply from the past: what at first sounds retro gets reclaimed as futuristic.
Or an imagined future.
Or an alternate contemporary reality.
Retrowave evaporates into vaporwave and shapeshifts into future funk.
All of this to same Kwame "Kawsaki" Sakyi Jr. makes contemporary retrowave that looks forward to future funk misted with vaporwave to create a sound that encompasses the past 45 years of synthesizer music.
And he's a master at doing it.
But for Sakyi, an Ann Arbor native in his late 30s who now calls Detroit home, a different genre of music first turned him onto retro styles.
When Nickie P is on the mic, she commands a room.
The hip-hop artist also known as Nicole Price Smith stalks the stage with supreme confidence, projecting joy as she rips through speedy rhymes with the confidence of a Formula 1 car hugging the pavement.
But when she was younger, the 36-year-old Smith wanted to belt out tunes, not rap them.
"When I first started performing, I wanted to be a pop singer," she said in an email interview. "I took vocal lessons as a kid and studied genres like Italian opera and Broadway, which is what they had me perform at local music events. But at the time, I really wanted to be a big pop singer like Britney Spears or Christina Aguilera, who were very popular at the time."
It was her brother and Seven Chakraz bandmate Kevin, aka Esque, who shifted Smith's attention to hip-hop.
"He would pull me in his room and play me tracks by Wu-Tang Clan, KRS-One, Mobb Deep, early Eminem, and the like," Smith said. "From there I started listening to artists such as Bahamadia, Lil Kim, Jean Gray, and Lauren Hill ... [whose] vocal stylings paired with her colossal rhyme style is unforgettable and it has driven me for many years. More recently, I have really been influenced by artists like Atmosphere, Sa-Roc, and Brother Ali on the Rhymesayers record label."
Like Hill, Smith blends her rapping and singing talents into a compelling whole on a new EP, The Collective Thought. The record was a long-time coming, too: It's been five years since Smith's last single, "Soma," which was more of a soulful singer-songwriter tune, and eight years since her album, the rap-based The Triumphant Rise & Tragic Existence of Sick Nick.
The answer to why there's been big a gap between releases is layered and complicated.
Friday Five: Suburbo, Kat Steih, Virga, Carson C Lee, Dr. Pete Larson and His Cytotoxic Nyatiti Band
Friday Five is where we highlight music by Washtenaw County-associated artists and labels.
This week features indie-rock by Suburbo, Kat Steih, and Virga, ambient hip-hop by Carson C Lee, and African psych-rock jams by Dr. Pete Larson and His Cytotoxic Nyatiti Band.
Yasmine Nasser Diaz's "For Your Eyes Only" invites viewers to wrestle with our public-private lives in the Digital Age
Over the course of the past year, art spaces have shifted from in-person to primarily online, marking an enormous—and sometimes challenging—shift in the experience of an exhibition. Though many galleries and museums have now reopened at least partially, one artist’s recent exhibit bypasses concerns about whether to invite bodies into enclosed spaces. In fact, artist Yasmine Nasser Diaz created a space that's intended to be viewed from outside. Her latest exhibition, For Your Eyes Only, featured in the University of Michigan Institute for the Humanities Gallery through April 16, questions the boundaries of public and private space through the inaccessible, room-sized installation, which can be viewed from the street outside the gallery.
With the weather warming, now might be a better time to visit the exhibit than when I first attended in mid-February, when I rushed over on opening day. I was eager to participate voyeuristically, as both someone who has avoided public and private spaces during the pandemic, and a fan of installations that mimic a now-foreign “normal life.”
Detroit is many things to many people. Ken Meisel’s poetry collection Our Common Souls: New & Selected Poems of Detroit outlines these many views through substantial narrative poems that tell stories about the city. The wide-ranging poems examine specific places in the city, people such as its famous musicians, and historical events, including riots, the World Series, and Devil’s Night.
The collection opens with a poem called “Detroit River, January, 1996” that sets the scene for both the book and its perspectives of the city: “River on this coal-blasted shore, / River whose name now starts with a fist, / ends its knees in St. Lawrence.” The poem concludes with an emphasis on the river’s persistence, “River of sunken beer bottles, churn on,” just as the place will carry on through time and everything that has happened there.
The poet peers at the various scenes and underbelly of the city, not overlooking the rough edges, as the poem, “The Gift of the ‘Gratia Creata,’” with a note setting its location in “Hamtramck, MI” declares:
Streets of Your Town: Jeff Vande Zande’s new short story collection focuses on "The Neighborhood Division"
In the neighborhoods, streets, homes, rooms, and basements of author Jeff Vande Zande’s new short story collection, The Neighborhood Division, people live out their lives, their relationships, and their struggles.
Yet, something is always a little unsettled. A car that follows a character on his run, with threats emerging from the driver. The paranoia of being mugged haunts a female character. A man lives shackled in the basement, unbeknownst to the residents. A neighborhood, where no outsiders are supposed to come in, restricts its residents under the guise of making lives better for them.
These stories peer into the disarray of lives behind the four walls that they call home and also question the character’s choices. In the story called “That Which We Are,” a widower reflects on his marriage. His wife used to save money during the year so that she could give it to people in need during the holidays. Yet, he coveted the money for household expenses and splurges, like a television. He reconsiders: