Jul 162025
 

Kentucky Route Zero  is a point-and-click adventure game created by Jake Elliott, Tamas Kemenczy, and musician Ben Babbitt working together as Cardboard Computer. Started in 2011 with Kickstarter funding, it contains five parts and four interludes that were released over several years, with the final section completed in 2020.

The game begins with a truck driver named Conway arriving at a highway gas station with his dog. He is having trouble finding the address he was given for his delivery. From there you travel with him over various roads, an underground highway, and eventually even by boat. Along the way you stop at museums, an abandoned mine, local bars, an odd office building, a cave filled with bats, and more while meeting several of the area’s residents. You can choose to learn more about the characters and often join them to explore locations. The story unfolds with no sense of urgency and you are often given the choice to move on or to stay and explore further.

Filled with magical realist elements, it is often a world that can still feel depressingly familiar. Most of the characters are struggling in some way with the effects a failing economy, something that feels even more relevant since 2020. But there are also glimmers of hope in the ways the characters show up for each other- adapting, creating, and forming communities.

Below are a few selections from the game’s interludes that provide engaging breaks from the main story.

In Limits and Demonstrations three characters visit an art museum. You can check out several artworks including- Overdubbed Nam June Paik installation in the style of Edward Packard, which pays homage to Nam June Paik’s 1963 work, Random Access.

Scenes from The Entertainment– a play directed by one of the characters-

One of the phones from Here and There Along The Echo– you dial the number and the character Will (played by musician Will Oldham) reads information from the Echo River’s Bureau of Secret Tourism.

Scenes from Un Pueblo De Nada take place at the public access station- you can also find a live action version here.

Kentucky Route Zero is a game that stays with you long after it finishes. There are lots of things to discover and it’s worth playing more than once to find them. The website Highway Zero is good for things you may have missed.

The game is available for purchase on their website and can also currently be found on Netflix.

 

Jul 142025
 

Helado Negro- Best For You and Me

This song is from Helado Negro‘s 2024 album, PHASOR.  He is playing a free show (with RSVP) at Skirball Cultural Center in Los Angeles on 7/17/25 with Rodrigo Amarante.

Jul 072025
 

Illuminati Hotties- Can’t Be Still

This song is from Illuminati Hotties‘ 2024 album, Power. They are playing at Venice West in Los Angeles on Wednesday, 7/9/25.

Jun 302025
 

Pardon Me Sir- Me Duele

Every month I listen to the majority of bands and musicians who are playing in Los Angeles and select some for a monthly playlist. It includes a variety of genres and usually newer work by the artist.

The song above is from Los Angeles band, Pardon Me Sir. The band just released their video for the 2024 single.

Below are May’s selections-

 

Jun 232025
 

Jagged Baptist Club- Blow Dry Nation

This song is from Jagged Baptist Club‘s 2024 album, Physical Surveillance.

The band will be playing at Zebulon in Los Angeles on Saturday 6/28/25, with Ughh, Buckets, Normans, Sisters of Black Mountain, and Slugs.

 

Jun 162025
 

Traps PS- Peer Review

This song is from LA band Traps PS‘s 2025 album, Abstractor.

They will be playing at The Smell in Los Angeles on Friday 6/20/25, with The Two Seasons and Practice. The show is a benefit for Immigrant Defenders Law Center.

Jun 122025
 

The Beach Boys- Good Vibrations

Brian Wilson, musician, singer, songwriter and producer passed away today at 82. As a member of The Beach Boys he helped create some of the most famous music of 1960s America, and also arguably one of the best and most influential albums ever made, Pet Sounds.

Good Vibrations was released as a single the same year as Pet Sounds but was left off the album. It is one of the songs that best exemplifies Wilson’s unique production style.

A little more on the song from Wikipedia

Promoted as a “pocket symphony” for its complexity and episodic structure, the record had an unprecedented production and expanded the boundaries of popular music, elevating its recognition as an art form and revolutionizing standard practices in studio recording. It is considered one of the greatest works of rock, pop, and psychedelia.

Wilson was inspired by the concept of extrasensory perception, Phil Spector‘s production of “You’ve Lost That Lovin’ Feelin’“, and recreational drugs, possibly including LSD, in creating the song. He produced dozens of music fragments (or “modules”) with his bandmates and over 30 session musicians across four Hollywood studios from February to September 1966. Over 90 hours of tape was consumed, with production costs estimated in the tens of thousands of dollars, making it the costliest and longest-to-record pop single at the time. The resulting track subverted traditional songwriting conventions through its use of development, a process normally associated with classical music, and abrupt shifts in texture and mood.

One of the most influential pop recordings in history, “Good Vibrations” advanced the role of the studio as an instrument and effectively launched the progressive pop genre, heralding a wave of pop experimentation and the onset of psychedelic and progressive rock. The track incorporated a novel mix of instruments, including cello and Electro-Theremin; although the latter is not a true theremin, the song’s use of the instrument spurred renewed interest in theremins and synthesizers. The flower power-inspired lyrics reinforced the Beach Boys’ association with the 1960s counterculture, while the phrase “good vibes”, originally a niche slang term, entered mainstream usage.

Rest in Peace.

Jun 112025
 

In 2016, Taylor Mac performed his immersive 24-Decade History of Popular Music in a theater in Brooklyn for a full twenty four hours. Normally performed in sections, this was the first and only time this had been done. Decade by decade, from 1776-2016, the history of popular music and the history of America merge, with a decidedly queer slant.

The documentary, directed by Rob Epstein and Jeffrey Friedman, includes footage from the show combined with interviews with Mac, his incredible costume designer Machine Dazzle, his musical director Matt Ray, and his co-director Niegel Smith. Although Mac is the main performer, the show includes a stage full of musicians, additional singers, and his “Dandy Minions” who can often be found offstage interacting with the audience. Mac’s desire to draw people together and build community is highlighted during several moments focused on the audience’s participation.

Throughout the many hours, performers leave the stage for good leaving only Mac by the end of the show. This is meant to mirror the losses from the AIDS epidemic. Even with only a small selection of these moments, you can feel the effect this creates.

Inventive, beautiful, funny, and often moving, this documentary provides a small taste of the performance and will leave you wanting more.

Mac’s costume for the 1980s

Taylor Mac and Machine Dazzle

Mac’s costume photo shoot for the 1950s

Mac with an audience member