FAR EAST SHADOWS: The Michigan Theater just announced a new film series: KURO: The Dark Edge of Japanese Filmmaking. Starting January 16 and running through March, every Monday night the movie house will screen a Japanese noir film. The lineup includes:
➥ High and Low (1963) [Jan. 16, 7 p.m.
➥ Tokyo Drifter (1967) [Jan. 23, 7 p.m.
➥ Branded to Kill (1967) [Jan. 23, 9:30 p.m.
➥ Zero Focus (1961) [Jan. 30, 7 p.m.
➥ A Colt Is My Passport (1967) [Feb. 6, 7 p.m.
➥ Pigs and Battleships (1967) [Feb. 13, 7 p.m.
➥ Pale Flower (1964) [Feb. 20, 7 p.m.
➥ A Fugitive From the Past (1965) [Feb. 27, 7 p.m.
➥ Dragnet Girl (1933) [March 6, 7 p.m.
➥ Ichi the Killer (2001) [March 13, 7 p.m.
➥ The World of Kanako (2014) [date & time TBA
Plus, there might be a few more films added in the future. While it's always best to see movies on the big screen, don't fret if you can't make every flick; many of these movies are in the library's collection. (➤ Michigan Theater)

BLOOMING GROVE: A new 6,500 square foot rehearsal/artist/performance space is now open in Ypsilanti. Grove Studios (1145 W. Michigan Ave.) aims to be "clean, secure, safe, inspiring, climate-controlled, and convenient," founder Rick Coughlin told Concentrate Ann Arbor. While Coughlin is more focused on Grove being a rented rehearsal space, the venue has already hosted a couple of events since its soft launch in early December. The concert schedule is ramping up, too, thanks to the Ann Arbor-Ypsilanti Music and Arts Guild, which has booked several concerts at Grove this month {link}, including performances by Gruesome Twosome (Jan. 13), Annie Palmer (Jan. 20), and Doogatron (Jan. 27). (➤ Concentrate Ann Arbor)

SONIC LENDING: MTV's The Stakes podcast interviewed Josie Parker, director of the Ann Arbor Public Library, about why AADL lends things like synthesizers, effects pedals, drum machines, guitars, amps, and mics (as well as telescopes, metal detectors, dinosaur skulls, and those thingies called "books"). Check out what we have in our Music Tools collection as you listen; the interview starts at the 11:30 mark. (➤ MTV's The Stakes)

Christopher Porter is a Library Technician and editor of Pulp.

“They call us the rebel kind” goes the chorus of the 1966 New Zealand garage-rock jam by The Chicks that gave Rebel Kind its name. But the Ann Arbor band also takes other cues from The Chicks: spare guitar lines, bold but sweet vocals, and the earnest DIY swagger that has launched a million punk bands.

Rebel Kind is celebrating the release of its new album, Just for Fools (Urinal Cake Records), with a record-release show on Saturday, January 7 at Arbor Vitae in Ann Arbor. The LP is a solid jump from 2014’s Today and the cleaner production allows you to hear how much tighter Autumn Wetli (vocals, guitar), Amber Fellows (drums, vocals, etc.), and Shelley Salant (bass, etc.) play as a unit now.

But at the core of Rebel Kind’s appeal are Wetli’s songs, which are personal without being overconfessional. She often takes a kernel from something in her own life and writes lyrics around it while exercising the artistic license to add fictional details as needed.

Rebel Kind largely sticks to a jangly sound reminiscent of 1980s indie guitar music, particularly bands from England, such as Television Personalities and The Pastels, and New Zealand, such as The Clean and The Bats (both of which recorded for the legendary Flying Nun label). But with the full-time addition of guitarist Alex Glendenning (who performs on two Just for Fools tunes), Rebel Kind is becoming a little noisier, a little punkier ... a like more like The Chicks, at least in attitude and spirit.

We talked to Wetli about Just for Fools -- and embedded the album for you to hear -- as well as her wanderlust, what happens when the songs dry up, and why she’s put music on the backburner.

The Gregorian calendar rules most of the world, but time is a continuum. That's why our 2016 Ann Arbor District Library staff picks for books, music, film, and more include items that go back as far as 1865. Our list is comprised of media (and a few other things) that made an impact on us in 2016, no matter when the material came out.

Libraries have always acted as curation stations, helping sort through the vast amount of media released every year. On our website, we have more than 50 staff-curated lists of recommendations, but we don't just advocate for things digitally. We share our "picks" in person every time you step into the library. Books with prominent positions in our spaces, whether facing forward or on shelf tops, are chosen by staff members because they want you to pick up those pages.

Consider the massive post below featuring 55 books, 25 films and TV shows, and 20 albums -- plus a few odds and ends -- as a continuation of those curated lists, those forward-facing books, and the Ann Arbor District Library’s ongoing mission to bring high-quality art, entertainment, and information into your lives.

So, ready your library cards: Most of the recommendations below are in our collection; just click on the {[AADL]} link at the end of each pick to be taken to the item's page on our website.

“It's a sense of melody, harmony, rhythm, and simplicity that is of interest to all of us,” said drummer Pete Siers about what Benny Goodman's music means to him.

In fact, Siers is so in love with the King of Swing's sound, his band recorded a second CD dedicated to the great clarinetist: Goodman and Beyond Vol.II. The band will celebrate the release by swinging into the new year at the sold out Kerrytown Concert House on Saturday, December 31. Siers will be accompanied by the virtuosic pianist Tad Weed and clarinetist Dave Bennett, a Goodman devotee.

The Ann Arbor-based Siers is focused on the core elements of jazz -- swing, improvisation, etc. -- but he’s not bound by tradition. Instead, his concept is to expand on those vital elements and take jazz into a personal realm, which has always been the objective of any skilled musician not dictated to by commercial constraints. Siers also considers Goodman’s music to be modern as opposed to vintage because, given the entire history of music, jazz is chronologically modern.

Mittenfest is the annual three-day music festival benefiting 826michigan, the nonprofit center at 115 East Liberty St.
in Ann Arbor that helps school-aged kids express themselves through creative writing. 826michigan also offers drop-in tutoring, after-school programs, and help for those learning English.

Basically, it's good people doing good things, which is why 21 bands are playing for free to raise money in support of 826michigan.

Mittenfest returns for its 11th iteration, December 29-31, and it’s again taking place at Bona Sera in downtown Ypsilanti.

We did interviews with four of the bands playing the fest:

→ The Belle Isles
→ The Avatars
→ Blue Jeans
→ JUNGLEFOWL

And below is the full festival lineup, plus sound samples, dates, and times for all the Mittenfest bands:

See the rest of our Mittenfest coverage:
→ Overview of the festival with music samples
→ The Avatars interview
→ Blue Jeans interview
→ JUNGLEFOWL interview

The Belle Isles is a new band years in the making. The quartet features guitar, drums, bass and baritone sax, and is a fascinating conglomeration of long-time Detroit area musicians who combined have played in more than 20 bands, including the Detroit Cobras, Saturday Looks Good to Me, Viv Akauldren, Gore Gore Girls, Outrageous Cherry, Detroit Party Marching Band, and more.

The group’s sound is somewhere between gritty garage rock and grimy Detroit R&B, all played with the sort of party-rocking joie de vivre that will make for a great close to the first night of Mittenfest.

Pulp spoke with Richard Wohlfeil, The Belle Isle’s founder, lead singer, and guitarist about how The Belle Isles came to be, their plans for the future, and how Detroit has influenced their sound.

See the rest of our Mittenfest coverage:
→ Overview of the festival with music samples
→ The Belle Isles interview
→ Blue Jeans interview
→ JUNGLEFOWL interview

The Ann Arbor-based rippin’ rock band The Avatars had a four-year run starting in 2003 that included one 7-inch single and a kickass album, Never a Good Time (2006). Then real life got in the way for guitarists Chris "Box" Taylor and Charlie Lorenzi, drummer Claudia Leo, vocalist Mariah Cherem, and bassist Theresa Kiefer, and the garage-rockin’ power-poppers broke up in 2007.

But The Avatars reformed in October to play a single show in Hamtramck opening for a friend’s band. The show ended up being so much fun, The Avatars decided to do one last gig near their Ann Arbor home base. (Though Lorenzi won’t be appearing.)

Pulp caught up with Kiefer (and at the end, Taylor) before The Avatars play their ultimate show at Mittenfest on December 29.

See the rest of our Mittenfest coverage:
→ Overview of the festival with music samples
→ The Belle Isles interview
→ The Avatars interview
→ JUNGLEFOWL interview

Blue Jeans takes the minimalist hooks of Buddy Holly, marries it to the stomp of glam rock, and sweetens the deal with just enough indie pop to make it a super-fine hybrid of genres and eras.

Formerly known as Santa Monica Swim & Dive Club, earlier this year the group came out with its first full-length album, Songs Are Easy, under the new-ish name Blue Jeans. The group recorded it with Ann Arbor superstar Fred Thomas (Saturday Looks Good to Me, etc.), and he kept the cymbals-free album stripped down and crunchy, just like vocalist-guitarist Tim Sendra, bassist Heather Phares, and drummer David Serra intended.

Blue Jeans, we just met a band called Blue Jeans -- well, at least Phares, who answered some questions for Pulp before the group plays the final day of Mittenfest.

See the rest of our Mittenfest coverage:
→ Overview of the festival with music samples
→ The Avatars interview
→ The Belle Isles interview
→ Blue Jeans interview

JUNGLEFOWL’s goal is to “redefine cock rock,” and the duo goes about achieving it with an extra fuzzy psychedelic blend of garage-rock and post-punk.

Comprised of married couple Melissa Coppola on drums and vocals and Stefan Carr on guitar, JUNGLEFOWL released its first EP, STRUT in 2015, and this year will play Mittenfest XI on New Year's Eve, just before the midnight champagne toast. Coppola and Carr have been playing music their whole lives and are both music teachers when they’re not blasting out JUNGLEFOWL tunes in their basement.

Pulp talked with the couple to get a feel for their sound and influences and to find out what’s next for the rock duo in 2017 after their year-ending Mittenfest show.

Ann Arbor is well known for its wide variety of ethnic restaurants. From South American, Caribbean, Asian and African cuisine of all stripes, the offerings are all high quality. But very few of these venues also feature any live music, much less classical or jazz.

So, when you think of jazz being played at an Ethiopian restaurant, your first thoughts might turn to the long-running Ethiopiques CD series that did so much to promote the Ethio-jazz style throughout the world.

But at Ann Arbor’s the Blue Nile restaurant, you won’t hear Ethio jazz, which was created by vibraphonist Mulatu Astatke and mixes traditional Ethiopian music with jazz, funk, and Latin rhythms.

Instead, every Friday and Saturday night, the restaurant on 221 E. Washington Street offers top-notch music courtesy of Louis Johnson and a small ensemble of rotating musicians who pull from the Great American Songbook, Brazilian music, the repertoires of Duke Ellington and Horace Silver, and many other jazz standards.

“I'm always trying to challenge the musicians to play something different, and they always rise to that challenge,” Johnson says. “I can't stump them.”

Jazz has been a staple at the Blue Nile going back to a time when saxophonist Doug Horn played there several years running prior to Johnson's current stint, which is going on five years.