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Found around 60 results for white boy scream in The Wire.
The Wire January 2019 (Issue 419) 62 Subscription
Reviews Index White Boy Scream Soundcheck A – Z 75 Shohei Amimori 65 Martin Archer 63 Autechre 63 Beans 65 Maja Bugge 71 Don Byron & Aruán Ortiz 65 Ron Caines – Martin Archer Axis 63 Daniel Carter/Patrick Holmes/ Matthew Putman/
The Wire January 2019 (Issue 419) 51 Subscription
(Hasana) 9 Tom De Cock/Pierluigi Billone Mani (Sub Rosa) 10 Heather Roche/Christopher Fox Headlong (Metier) Emily Pothast on Noise & Industrial 1 Nordra Pylon II (SIGE) 2 Hekla Á (Phantom Limb) 3 White Boy Scream Remains (Crystalline Morphologies) 4 kutin | kindlinger Decomposition IV (Ventil) 5 Ekin Fil Maps (Helen Scarsdale Agency) 6 Wizard Apprentice I Am Invisible (Ratskin) 7 Fosil Sangiran
The Wire January 2019 (Issue 419) 77 Subscription
s like forgetting that you’re walking on an escalator and stepping awkwardly on to a corridor or platform moving at a different pace – disarming and confusing, but strangely exciting. Spenser Tomson White Boy Scream Remains Crystalline Morphologies DL/MC There is a stark duality at the heart of Micaela Tobin’s work as White Boy Scream. On one hand, the Los Angeles based artist and vocal coach (she has
The Wire May 2014 (Issue 363) 68 Subscription
way to barrelling, bulldozer crescendos, then fracture into tensely coiled grooves like rattlesnakes in a hole. The most impressive pieces stray the furthest into uncharted territory. “Just A Little Boy (For Chester Burnett)” wanders woozily into the desert on a slow gallows crawl, trailed by twanging slide guitar, vulture shadows, random bursts of deranged laughter, Gira shrieking “I’m just a
The Wire January 2001 (Issue 203) 26 Subscription
-Science". Artists toured the community on the backs of flatbed trucks, lighting up the streets w~ththe sounds of outer and inner space. "Our aesthetic was t o do art that was independent of Amerlcan White Supremacy," Baraka reiterates. "To be truly independent of that force. Even today I tell students that they should not wait to be discovered by these forces. They have to publish themselves, print
The Wire May 1993 (Issue 111) 64 Subscription
page in a rock weekly -replies to Suede fan Chickstick of the Fens, 3/4/93: You'reapattiot culture, a patriot caste culture. YOUMUST HAVE YOUR0WN ICONS. They must bep u ~ I yBrib'sh, working class, white and male, slightly swaggering, a little cocky and indigenouslysexy in a WRELY WHITEMALE BRITISH WAY,as t m d m and archetypedictate. To which Isay, yes, it's a white thing, Courtney, I understand i t
The Wire October 2002 (Issue 224) 58 Subscription
other hand, was the closest thing to folk music America had produced in decades. Of course, apart from Vatican City, America is also the most religious nation in the Western world. For disaffected white kids in the early SOS, punk became religion, particularly in DC. That city not only gave birth t o Straight Edge, but the scene was also issuing scores of diktats, edicts and bulls about locality,
The Wire April 1994 (Issue 122) 26 Subscription
-always just out of reach - promised by the title. ("Sweet Surrender" is AI Green via Wilhelm Reich: "If we couldjust. . . SURRENDER.") When Buckley lets loose a strange, piercing, happylsad scream at the song's apex you don't know how to react, because you have never heard anything like it before. You have been in this place, but you have never heard anyone sing it: not sing about it, but sing
The Wire January 2001 (Issue 203) 76 Subscription
biarre fragility of mind behind this briefly shimmering group, into whose gigs I snuck on guest lists that I knew would contain the name Robert Young (the bassist ~nanother Creatlon act, Primal Scream). MyMagpie Eyes 1s a hugely ambitiouswork, and even if, in hindsight, the musical output of Creation between 1983 and its closure in May 2000 only producedvery sporadic gems, it is well worth reading
The Wire July 1994 (Issue 125) 44 Subscription
- it Should really have been collected together in its own time, or not long after, when i t would have constituted a definitive pre-punk document Kenfs 'dark' vision centres around messed-up boys who communicate ~ i t han indifferent world via big mouth, cocked guitar or hammered 3rgan; his ideal exegete is white, l ~ i redand wanton: somewhere benveen Thomas De Quincey and Keith Richards. A
