The Beatles’ penises nigh unrecognizable after Museum of Liverpool defacement

The Beatles' penises nigh unrecognizable after Museum of Liverpool defacement

If you’re male, ponder the importance of your penis for a moment. If you’re female, imagine you have a penis and consider its importance, as well as the details of its appearance. Few appendages are as treasured and few moments as welcome as when another person takes the time to appreciate your penis through touch. So, oblige me for a second and imagine someone’s hand slowly gliding down your abdomen, towards that venerable shaft and scrotal region. Suddenly… SMASH! SMASH! SMASH! SMASH! Your penis has been flattened like Play-Doh by that ambiguous hand! Oh god!

That actually happened, albeit the penises in question weren’t actual ones, but models created by painter Jonathan Gent for a piece entitled “The Beatles in America.” That’s right — the original work depicted each member of The Beatles’ penises. According to Click Liverpool, “The Beatles in America” was defaced last week by a group of visitors to the Museum of Liverpool, who pressed the soft oil into the canvas, thereby sparking uncertainty as to whether the painting can still impregnate be auctioned and/or displayed.

A spokesperson for the museum explains, “The damage is all the more regrettable because along with other works in the exhibition the painting is due to be auctioned to raise funds for children’s charity Claire House.” How unfortu— wait, what?! A painting of penises meant to raise funds for a children’s charity? Well, I guess they don’t look like penises at first glance — more like smeared cake frosting. I hope nobody misled the children into thinking that they can lick it.

Check out this short film if you, for some reason, want to learn a bit more about the painting. In particular, note how one of the final shots is of paint slowly spilling out of a tube. Something tells me Gent has spilled his paint to more than a few Beatles photos…

L-R (top) Paul, George; L-R (bottom) Ringo, John

• Jonathan Gent:
• Museum of Liverpool:

Ulrich Schnauss to release first new album in six sad, blip-bloop-less years

After a six-year absence from the New Releases shelf at your local record store, German shoegaze/electronica maestro Ulrich Schnauss is back with a new album called A Long Way to Fall. Due for a mysteeeeerious early 2013 release, Schnauss’ latest will come out via Domino in the US and through his own Scripted Realities label in the rest of the world. On his fourth album, the My Bloody Valentine-lovin’ bleep-blip-blopper is all about the synthesizer. According to Schnauss: “While I had spent a couple of years mainly listening to songwriting based music (a lot of ‘indie’/band-type stuff), I was now rediscovering my love for electronic music based on more open structures. This provided the main inspiration of trying to record an album that would celebrate the synthesizer as the very capable musical instrument that it is, but without the need to disguise it behind a wall of echo and reverb.”

That’s right, Ulrich! Say it loud! We’re synthesizer lovers and proud! But the album isn’t just about synths and shoegaze and blip bloop blops. No! It’s also about art. And not just musical art. For Schnauss’ latest, the London-based photographers/visual artists Nat Urazmetova and Anastasija Nikitina have crafted visual works to go along with the tracks “A Ritual in Time and Death” and “I Take Comfort in Your Ignorance.” The latter track is also coming out as a single, with remixes by Tycho and ASC. As Missy Elliot once said, “Come, get your art on.”

A Long Way to Fall tracklisting:

01. Her And The Sea
02. Broken Homes
03. Like A Ghost In Your Own Life
04. A Long Way To Fall
05. I Take Comfort In Your Ignorance
06. A Forgotten Birthday
07. The Weight Of Darkening Skies
08. Borrowed Time
09. Ten Years
10. A Ritual In Time And Death

• Ulrich Schnauss:
• Domino:

William Basinski to release new album Nocturnes, hopefully before year is out

In an interview conducted by TMT earlier this week, composer and ambient legend William Basinski revealed the title and details for his next album release. Entitled Nocturnes, the disc will include two pieces, one culled deep from his Tupperware archives and the other a more recent composition. The young post-grad Basinski of the late San Fran 1970s here provides a “very trippy” prepared piano and tape loop piece, built in part upon an experiment with graphic notation. Meanwhile, Basinski the elder L.A. gun (and Williamsburg veteran) contributes a drone, loop, and feedback piece of a two- or three-year vintage, freshly revised after having originally been employed in Robert Wilson’s recent opera, The Life and Death of Marina Abramović (for which decade-plus Basinski bud Antony Hegarty also spun some tunes).

There is no firm release date yet in place, but as Basinski finalizes the artwork, he hopes to have it out on his own 2062 label sometime before the end of the year.

Meanwhile, Temporary Residence Ltd. is set to release on November 11 a stately 9-LP x 5-CD x 1-DVD x 144-page hardcover box set version of Disintegration Loops (our #10 favorite release from 2000-2009). You can pre-order it here. And watch for TMT’s full interview with Basinski next week!

• William Basinski:
• Temporary Residence:

[Photo: Seth Tisue]

Cat Power announces European tourdates, purchase of new scratching pole

As you are surely aware, indie-folk mainstay Cat Power returned this year after a lengthy absence. She returned with a new record on Matador, Sun (TMT Review), that wasn’t quite indie-folk, but also wasn’t quite not indie-folk. Do you dig? I understand if you do not dig. What I am getting at, is Cat Power has re-appeared in the world of modern music.

When you re-appear in the world of modern music, it’s generally accepted that you’ll do some touring. Just seems right. With all the confident acceptance of a strong handshake, Cat Power is doing some touring this fall. Particularly, she is going to Europe and the UK, the latter of which she has not set a foot on for four years. At least, she has not set a foot there with intent of playing music. There always exists the possibility that Cat Power took a trip to go see Big Ben or something. Now, imagine a picture of Cat Power standing in front of Big Ben, grinning ridiculously. It’s a good picture.

Cat Power dates:

11.26.12 - Amsterdam, Netherlands - Paradiso
11.28.12 - Koln, Germany - E-werk
11.29.12 - Berlin, Germany - Huxleys
12.01.12 - Hamburg, Germany - Grosse Freiheit 36
12.02.12 - Munich, Germany - Theaterfabrik
12.03.12 - Milan, Italy - Alcatraz
12.04.12 - Bolgona, Italy - Estragon
12.06.12 - Zurich, Switzerland - Volkshaus
12.10.12 - Paris, France - Le Trianon
12.12.12 - London, UK - Roundhouse
12.14.12 - Brussels, Belgium - AB Club

• Cat Power:
• Matador:

Future of the Left announce fall US tour, and Jack Black is probably all like “hells yeah, broseph”

I’m sitting here at this Formica desk. I’m watching the blades of the ceiling fan cruelly quantize the lazy flow of my chump workday. I bite my dry bottom lip. I sigh. I let my hot eyes droop back down toward my computer screen. Damn, I hate that blinking cursor. Blah. I know how news stories like this usually start: Welch ass-kickers Future of the Left are well-known for their predilection for yelling all the time, both on and off the stage. Etc. etc. I should be off to the races from there. But I just can’t do it. I just don’t have the energy today. How can I do a high-octane band like FOTL justice in a mood like this? I let my eyes gaze, out of focus, at my stained, empty coffee mug, and I start to…

“We’ve got a fall tour of the United States coming up at the end of Octobaaaaah!”

Wha? FOTL frontman Andrew Falkous? What are you doing here? I mean, gee, sorry, man. I know you do. But like, I was out kinda late last night, and…

“Our new album, The Plot Against Common Sense (TMT Review) c-c-c-came out this yeeeeeeeeeeeaaar!”

Oh, did it? I haven’t really gotten around to listening to it that much. I still kinda like your first one though. Though, truly, how many loud, fuzzy, honking, steamy, balls-to-the-walls lambaste-rock albums does a person need in his or her collection? Seems to me like one or two go-tos is enough for when the mood strik—

“You don’t know whatcha talkin’ Abouuuut! The world needs its sweaty SWEATY rock and rollllllll, yeah! And speakin’ of sweaty, when’s the last time ya gotcho fat ass to the gyyyyyyym-ah?!”

Hey, shut up, Falkous. Do you fucking want me to post your band’s dates or not? Cuz I can shut this thing down right now.

“No, no, dude, we’re coooooooool! No hard a-feeeeeeelainz-ah! Yeah! Anyway, I gotta jeeee-yet-ah! TIME TO WAKE UP, MOTHA FUCKAAAAA!!!”

Huh? Wha? Uh Oh. Shit. Was I just asleep? Boy, what an oddly thin-plotted dream I just had. Anyway, more coffee. Then tourdates…

10.30.12 - Towson, MD - Recher Theatre
10.31.12 - Boston, MA - The Sinclair
11.01.12 - Philadelphia, PA - Union Transfer
11.02.12 - New York, NY - Le Poisson Rouge
11.03.12 - Cleveland, OH - The Grog Shop
11.04.12 - Detroit, MI - The Magic Stick
11.05.12 - Chicago, IL - The Bottom Lounge
11.06.12 - Minneapolis, MN - The Triple Rock Social Club
11.08.12 - Denver, CO - Marquis Theatre
11.09.12 - Salt Lake City, UT - Kilby Court
11.10.12 - Boise, ID - The Venue
11.14.12 - San Francisco, CA - Slim’s
11.15.12 - Los Angeles, CA - Echoplex
11.16.12 - San Diego, CA - Che Café
11.17.12 - San Diego, CA - Che Café
11.18.12 - Phoenix, AZ - The Crescent
11.20.12 - Austin, TX - Red 7
11.23.12 - St. Louis, MO - Ciceros
11.25.12 - Buffalo, NY - Mohawk Place
11.26.12 - Hoboken, NJ - Maxwells
11.27.12 - Brooklyn, NY - Knitting Factory

• Future of the Left:
• Xtra Mile:

Melbourne synth-punk legends Primitive Calculators working on first studio album since 1979

Just in time for Halloween, another long-buried post-punk act comes snarling out of the grave, a little bit older, a little bit more demented, and with a little bit more dirt/blood under their fingernails. In this case, it’s Melbourne’s legendary synth-punk band Primitive Calculators, a sort of missing link between Suicide and Big Black, with a dash of Sex Pistols-esque punk rock sneer. Now, 33 years after the lads released their first single, “I Can’t Stop It,” they’re back in the studio, and working on their first new recordings since 1979. Recorded by famed Melbourne man-about-town Julian Wu and mixed and mastered by seasoned Yank producer Casey Rice, the album is slated for release in 2013.

With new tracks like “Sick of Myself,” an ode to the ludicrousness of being in a synth-punk band when you’re a dude in his mid-50s, and “Cunt Life,” a song written in 1977 by Primitive Calculators-related project The Moths, it sounds like the band’s latest will be as cheerily snotty as ever. The band reunited in 2009 when Nick Cave asked them to play All Tomorrow’s Parties; Primitive Calculators and Cave’s band, The Boys Next Door, were part of the same St. Kilda-based punk rock scene. In the 30 or so years since the band hung up their synths, appearances by classic Primitive Calculators tracks on Australian post-punk compilations have reignited an interest in their screeching, visionary tunes. Listen to “Cunt Life” below, which was released a few months ago as a 7-inch b/w “Sick of Myself” via Chapter Music.

• Primitive Calculators:
• Chapter Music: