Discoverer 137: new indie findings

Sometimes, the stars align and the trio of bands proposed are just so good it's a no-brainer for our discoverer series. That's the case today, so we prepared to enjoy!

Witching Waves. Hailing from London, UK, the band is the creation of vocalist/drummer Emma Wigham (Weird Menace) and vocalist/guitarist Mark Jasper (Sound Savers Recording Studio), who joined forces in April 2013 with a first tape arriving at the end of that same year by Supplex Cassettes. Two more tapes followed, a split covers tape with band As Ondas in 2014, and the 'Concrete' single tape that September, which anticipated the release of their first LP, 'Fear of Falling Down', out in December, as well as the signature with the always recommendable Soft Power Records, and the addition of Ed Shellard at the bass expanding the band to a trio. A couple of limited cassettes, including another split, now with Rattle, whom with they toured, has now preceded the arrival of sophomore album 'Crystal Cafe', out just now on Soft Power and our dear friends HHBTM Records. You should check it immediately, because their music is a sonic blast. Early Cure, Wire, Sonic Youth, Buzzcocks, Yeah Yeah Yeahs, Pylon... you name it. Waves of noise, echoes of punk, a relentless urgency, a threatening edge, a fearless attitude, a mystery hiding in fuzz. An early MUST of 2016.

The High Violets. Hailing from Portland, Oregon, this unbeatable named band formed in 1998, from the ashes of the Bella Low breakup. Initially the trio of founder members Clint Sargent, Luke Strahota and Violet Bianca Grace, the line-up changed dramatically with Grace leaving very soon, while the remaining duo recruited Allen Davis of Echoplex and the amazing voice of Kaitlyn ni Donovan, self-releasing their first EP 'Dream Away' in 1999. In 2002 came out their mini-album '44 Down', followed by 'Invitation', another self-released EP, in 2005 and their debut album 'To Where You Are' a year later on Reverb Records. After a remixes album in 2007, the High Violets delivered 'Cinéma', sophomore LP in 2010, out via Comet Rock Records, probably their most celebrated release to date. Now, after another line-up change (Davis left, being replaced by Colin Sheridan) they are back with 'Heroes and Halos', scheduled for early April through Saint Marie Records. A record you shouldn't miss by any chance: a haunting collection of dreampop/shoegaze tunes recalling beloved ones like Slowdive, The Sundays or Soft Science, leaded by the magnetic vocals of Kaitlyn, the layered guitars and lush arrangements. Gorgeous sounds enveloped in haze.

Crescendo. And we end in L.A., California to meet the dreamgaze (half dreampop, half shoegaze) trio formed by Gregory Cole, Olive Kimoto and Jess Krichelle, expanded to a quintet in their latest incarnation (google cres·cen·do if you don't find enough info on them). They debuted in 2014 with self-released album 'Lost Thoughts' but now, with their sophomore release 'Unless', out now via our dear friends of the WWNBB collective, they are bound for greater things. A stomping yet ethereal collection of tunes, urgent and distant, melodic and fuelled by a very tight rhythm and light-years ahead vocals. Like a brighter and accelerated version of Wild Nothing or the Radio Dept, it's the sound of a collision, of a fast and enigmatic voyage, of adventure, rumble and endless excitement. It's the sound of the night, aiming to be lived. A crescendo of sonic wonders!

Discoverer 128: new indie findings

We go into darker and rawer sounds our discoverer series this weekend. Enjoy the three blasts you are about to hear!

Protomartyr. Hailing from Detroit, Michigan, this quartet formed in 2008 from the ashes of band Butt Babies, were three of its members performed for a while until they expanded into their current line-up and transformed into Protomartyr.  The group released debut album 'No Passion All Technique' in 2012 via Urinal Cake Records, which was followed by EP 'Colpi Proibiti' (also known as the 'Baseball Bat Ep' in the same year by X! Records. Tours and Festivals begun and they quickly put out sophomore record 'Under Color of Official Right'  released in 2014 via Hardly Art. The buzz was definetely on, something that 'The Agent Intellect', out since this October is propelling to such great heights. With a reason. Bleak  and tense post-punk with hints of punk, recalling heavyweights as Pere Ubu, Wire, The Fall or The Walkmen's roughest moments, with Joe Casey's laconic and straightforward vocals delivering bitter and emotionally draining lyrics, the menacing guitar lines of Greg Ahee, the pushing beat of Scott Davidson bass and the propulsive drums of Alex Leonard. Join the martyrdom...

Royal Headache. Cross the Ocean to land in Sydney to meet this punk rock & garage outfit and garage formed in 2008. With cassettes surfacing during their first three years of activity we can say their first offical release arrived in 2010 with self-titled 7"via R.I.P Society, that preceded eponymous album a year later. Another 7", 'Stand and Stare' released by Matador in 2013  anticipated what was about to come, a brilliant force of nature in the form of sophomore album 'High', out on What's Your Rupture? since this August. It's a very unusual, refreshing blend: the primeval nature and adrenalinitic urgency of punk packed with the emotional arrest, dare I say soul? intensity of Shogun's vocals, and the inmense hooks provided by a frenzied guitar line, an acoustic rendition or the surprisingly delicate couple of notes of a sparse organ. It's a moving record, one that gets you high and gets you places... Do not miss it.
Maff.  And we end our trip in Santiago de Chile (first band from Chile featured on the Blog, so happy!) to meet this promising quartet. Formed originally in 2012 by childhood friends and punk-rockers Ricardo (Richi) Gómez and Nicolás (Nek) Colombres they became a full combo with the addition of Martín Columbres and Gonzalo (Talo) Correa. Their only release to date is their self-titled, self-recorded and self-published mini-album, out since March 2015. Eight powerful and experimental tunes, connecting the haze and open spaces of shoegaze myths like Ride or Slowdive with a heavier, rockier side, one where Pixies or Sonic Youth easily come to mind. I know, big names... for a big debut. Keep an eye on them!

'A Man Within', Burroughs, the alien

William S. Burroughs: a Man Within

I'm about to start reading 'Cursed from birth' (review coming soon at Indienauta), the memoirs of the unhappy and short life of William Burroughs Jr. and I remembered I had this documentary on the (long, overlong, infinite) movies-to-watch-list. Perfect timing, right?

'A man within' tries to offer an insight, based on archival footage (seems some never-seen-before) plus an impressive cast of interviewed people (Peter Weller, John Waters, Laurie Anderson, Gus Van Sant, Jello Biafra or Genesis Breyer P-Orridge to name a few), of William Burroughs, the writer, cultural-social activist and counterculture icon. It's an extremely difficult goal, as Burroughs might be one of the most elusive, contradictory and hermetic authors/human beings I can think of. Director Yony Leyser's does a nice job of assembling the movie, dividing it on a number of topics regarding "the man", as well as making it quite dynamic, with and engaging pace. But after the ending credits roll on, the mysteries surrounding Burroughs remain the same.

As entertaining 'A Man Within' is, revelations are few for the already converted. Ok, you have a point. With Burroughs you can pretend to have clear answers. But with the exception of a few remarks and memories from some of his most intimate friends and colleagues (not the bunch of famous admirers, with the exception of Patti Smith, who was really close to her and has a wonderful account on him near the end of the documentary), and the scenes on which we see him sharing the table with Allen Ginsberg or shooting cans outside his house, the promised insight on his work, life and times it doesn't go beyond the surface. More like an introduction, done with heart and wisdom, but just an introduction.    

In terms of structure, 'A Man Within' is a worthy attempt of gathering all the pieces that conform Burroughs' legend & complex puzzle: his role within the Beat movement; his subversive, rebellion against his time, against control & restrictions; drug addiction and experimentation (another of the most remarkable aspects of the film, he was a slave of drugs, not his defender); gun lover and main responsible of the death of his wife, something that tortured him for the rest of his life; absent father; punk godfather; and a revolutionary writer (a dubious painter too). But maybe Leyser's approach was too modest? It seems to me there's a lot more to dig in every chapter. For example: I'm not that interested in knowing that Iggy Pop wrote a song about him (despite the anecdote and how he explains is hilarious) or that Sonic Youth visited him in Kansas, but it would have been great to know why he collaborated with so many artists and what the artists were looking for with these collaborations. Besides I do miss a much deeper account on his books, having the impression 'The Naked Lunch' and 'Queer' are vindicated by many... but have been read by very few.

But let's keep with the moments that endure, as a 'A Man Within' has plenty of them. Aside from the already mentioned relation between Ginsberg and Burroughs, there's the amazing 'Thanksgiving Day ' short film ("thanks for a Continent to despoil and poison"...), his suffering after the ill-fated, demented William Tell. And the lovely, surprisingly charming end. Even the alien, the iconoclast, the irreverent, the guru, the cut-up pioneer, futuristic visionary, needed the same we all strive for...

SCORE: 6,25/10

Discoverer 113: new indie findings

A very eclectic trio of proposals in our discoveries' series this weekend! Sure you'll find something to love!

The Go! Team. Call it prejudice, I won't argue, there's too much music out there to reach everything, so I never got into this six-piece band from Brighton, UK, conceived by Ian Parton in 2000s as a project to mix all sorts of music styles, from Sonic Youth to Bollywood soundtracks, from hip hop to electro. The ambitious ideas crystallised in three LP so far, 'Thunder, Lightning, Strike' (2004), 'Proof of Youth' (2007) and 'The Rolling Blackouts' (2011); and five EPs, debut 'Get It Together' (2000), 'Are You Ready for More?' (2005), 'Audio Assault Course' (2006) and two live recordings. But the real reason The Go! Team are included here is because of 'The Scene Between' their latest album, out since this March via Memphis Industries and, easily, one of the best of the year so far. Without losing any of their trademark's effervescence and kaleidoscopic way of understanding pop, here's a collection of stunning, bright, cheery, jumpy and joyous indiepop tunes. Dance, smile, enjoy, go!

Death and the Maiden. When you receive an email from Fishrider's boss Ian Henderson you are going to hear something worth listening, so it's time to go back to Dunedin, NZ, folks. Inspired by an Edward Munch engraving, vocalist and bassist Lucinda King returned to New Zealand from Berlin in 2012 to make music with synth and drum programming Danny Brady. It seems Chromatics was a major influence but, luckily (not a fan of italo-pop for blatantly empty movies) the duo found there was something more authentic, menacing, darker here, flirting with post-punk as well as with hypnosis, and adding a wider sonic palette to their sound with the addition of guitarist and drummer Hope Robertson. Now that their self-titled debut LP is out via Fishrider we invite you to introduce yourself into the gloomy but starkly beautiful world of Death and the Maiden, seven haunting pieces set on a parallel universe of telluric shadows, icy machines and ethereal vocals. The distant war dances of the heart...

Etti/Etta. We end our round of proposals with Raffaella and Marcus, a duo coming from Campora, Italy, and Toronto, Canada, active since 2014 and with a stunning debut EP, named 'No? Yes', self-made, handmade, totally DIY-casette-made, out since past September, with another tune available at their bandcamp (all-pay-what-you-want) since this February and the promise of more to come very soon. Six tunes so far and a lot to admire: somewhere in between post-punk and noise pop, here's the unadulterated lo-fi attitude, the howl, the roar, the edge, the stomping feeling packed with the ominous, the mystery, the haze. Rough dreams. A personal favourite of the year so far...

"The Punk Singer", Girls to the Front!

The Punk Singer: a Film about Kathleen Hanna
Beefeater In-Edit 2013, Chapter V

And last but by no means least (on the contrary) here's the winner of the International Award at Beefeater In-Edit 2013. A touching and engaging film on Kathleen Hanna, iconic leader of Bikini Kill, Le Tigre and happily back on the scene (hopefully on stage too) with The Julie Ruin, the voice of the riot grrrl movement and feminist activist symbol. And a slap in the face to all the female prostitutes that some consider artists (not me) and keep invading mainstream pop music (sometimes also indie), serving the greedy industry while degrading themselves.

Director Sini Anderson had a lot of information to digest and compress on "The Punk Singer". Her music career, her crucial role as a pivotal person on a socio-cultural movement, her disappearance from scene in 2005 and her legacy. But she doesn't just nail it. She is also capable of moving the viewer deeply, affected by the dramatic turn of events of her personal story clashing with her fierce and fearless attempt of being a force of change. I left the theater with the feeling the movie is just too short. I didn't want to end. I just wanted to see and know more.  

The combination of archival footage, comments from other musicians plus her intimate interviews makes the movie flow with grace and dynamism. But again, it's more than that. The remarks from other artists are usually flattering if the rockumentary subject is someone the viewer likes, but truth be told, they tend to be tiring and mostly irrelevant. That's not the case with this film, as they also serve to determine better than any director's digression could do the importance of Kathleen Hanna. Kim Gordon (Sonic Youth), Joan Jett (The Runaways, solo), Tobi Vail (Bikin Kill), Carrie Brownstein (Sleater-Kinney, Wild Flag), Corin Tucker (Sleater-Kinney, Corin Tucker Band), Allison Wolfe (Bratmobile)... are only a bunch (just to name a few) of wonderful artists eager to acknowledge Kathleen as a cultural reference and an unforgettable influence.

But what makes the film achieving such great heights is the personal side of our beloved punk singer. Almost a superhero, outspoken and determined to raise her voice to defend women rights, the sudden end of Le Tigre comes as a shock, and when we know the reason why she had to vanish from the spotlight (what a memorable, human scene when pours her heart out) is like being teenager and seeing your own music Wonder Woman losing her superpowers, forced to hide herself... to RISE again. The scenes with her husband Adam Horowitz (Beastie Boys) are breathtakingly vivid and emotional.

As I said before, my only complaint is how short this rockumentary is. 75 minutes is an extremely efficient work of concision, and as it develops, I can't say anything else but praise it. It's a great, flawless film. One to celebrate as Kathleen Hanna is a real role-model, a positive influence in this time of pornification of music, where terrible women without any talents are fighting to lead the music charts. She's such an interesting person, and her story is so powerful I believe there's a lot more to be said. About her, and of course about the riot grrrl movement. But please don't take this as a complaint. Take it as a suggestion. A second, third, fourth chapter as good as "The Punk Singer" would be more than welcomed. And needed.

SCORE: 8,25/10

Guitar lessons with Lee Ranaldo

Lee Ranaldo (+ Murnau B).  La [2] de Apolo, Barcelona, April 24th.

Ranaldo in BCN. Photo: Bloobuzzed

Spring is always the best time for live music. April its been a month  pretty full of gigs and May looks, happily, even busier in that sense (Primavera Sound is just around the corner, folks). Past Wednesday it was my second chance watching live a veteran stage legend, that to me is a recent discovery. I'm referring to Lee Ranaldo, Sonic Youth's guitarist, responsible of one of my favourite records from last year, "Between the Times and the Tides".

Murnau B. Photo: Bloodbuzzed

Ranaldo's gig was supported by local band Murnau B, an instrumental trio aiming to create dense, cinematic and dark no-wave tunes. They sounded solid and fierce, but this is just a matter of taste I guess. To me every tune was too similar to the previous one (only exceptions the couple helped by keyboards), a bit grunge, and sorry to say, pretty boring. In my opinion.

But then Lee Ranaldo took the stage. It wasn't going to be a surprising gig, and we quickly realise that, once again La [2] de Apolo was going to frustrate our aspirations of enjoying a great sounding performance. Instruments were crystal clear, but Ranaldo's vocals were pretty average. I can't really understand why there's such a huge difference in what regards to sound quality between the two Apolo rooms.

Steve Shelley. Photo: Bloodbuzzed

Guitar heroes. Photo: Bloodbuzzed

Having complained about that, the gig was almost flawless. Ranaldo and his band were amazing, and the whole place vibed with the heavily-charged electric tension propelled by guitars (Ranaldo was backed by Alan Licht and Tim Luntzel) and Sonic Youth Steve Shelley's relentless drumming. Songs like the shiny "Off the Wall" or "Lost" are priceless, and played with that level of intensity live, they inoculated euphoria on the listener. The veteran musician combined this more straightforward pieces with angular, longer and more oblique rock pieces, like "Xtina As I Knew Her" or "Shout". Ranaldo makes me think about R.E.M.'s "Document" era or their most abrasive, rockier tunes. I even hear traces of Stipe vocals on Ranaldo's way of singing. That, combined with his skills, a gentle little chat there, and a a bit of show with his guitars (that couple of moments destroying the strings playing the instrument as if it was a violin) made the night absolutely remarkable. Guitar lessons with a maestro.

Up & close. Photo: Bloodbuzzed

Ranaldo and his band weren't shy to offer new tunes (a couple of them sounded really exciting) plus a cover of The Byrds "Everybody's Been Burned", written by David Crosby, and when the time came for the end, with the majestic finale of "Waiting On a Dream", after a generous hour and half gig, the overall feeling was easy to define: total satisfaction. Even despite not having the best sounding.    

Discoverer 41: new indie findings

Here we go! New band proposals for your listening pleasure!

The Soft Pack. Formed in San Diego in 2007 but based in L.A., they began as a duo, becoming the current quartet a year after. Initially named The Muslims, their debut EP arrived in 2009, but due to "being disgusted and exhausted by the ignorant, often racist, bullshit that came out of people's mouths" they changed their name, releasing another EP and self-titled debut album in 2010. A lot of touring and studio work followed, with the result being "Strapped", second LP out in two weeks on Mexican Summer. Without leaving their indie rock's fuzz, with a garage and vital spirit, music has now evolved into a more richer and diverse territory. Looking forward to The Soft Pack comeback!
The Soft Pack - Saratoga 
Arc in Round. We move to Philadelphia to meet Jeff Ziegler, producer of The War on Drugs or Kurt Vile, and leader of this very particular combo. Formerly known as shoegazers Relay (2005-2010), Arc in Round became alive in 2010, when they released their EP "Diagonal Fields", followed past year with "II". Now the transition is completed with their self-titled album, out now on La Société Expéditionnaire. A sound as hard to describe as not falling for, think on Joy Division meeting Stereolab (hear singer Mikele Edwards amidst loops and effects), or Sonic Youth experimenting with dreampop. Music as vibrant as haunting.

StarTropics. And we finally end in Chicago with a band discovered thanks to the indie wisdom of skatterbrain's website. Not much information to explain about this unsigned foursome, so I'll focus on the music, so far just a four tune collection you can grab freely, which seems to aim for capturing the essences of post-punk gloom and blend it with the twee-pop warmness of Sarah Records. From the jangling delicacy and sweetness of “Into The Night” (these whispering boy/girl voices) to the 80's sounding bleakness of "Chapel Hill", there's a lot of promise in this band. Hoping for more very soon!
spring 2012 demo by StarTropics 

Discoverer 40: new indie findings

New band recommendations for you: lots of girls playing guitars (and other stuff)!

Sweater Girls. Checking the roster of Happy Happy Birthday To Me Records was on my agenda for quite a long time. But thanks to my frequently recommended friends of Indie Pop Saved My Life, this time I had a clear goal: the Sweater Girls. The L.A. band, active since 2010, is quintessential indiepop, the one that will immediately grab you and make you smile, full of jangling guitars, delicious twee vocals singing about impossible loves and friendships. Immediate warm and gentle feelings to your ears... and heart. After a couple of 7" releases, "Were Here", their debut album, is out on September 25th. The countdown has started.
 
Cruel Summer. Short trip from L.A. to Frisco to meet this quartet, which started to play out not even a year ago, and that defines themselves "like Sonic Youth making illegitimate kin with The Wedding Present". After hearing their small collection of tunes, an initial self-titled 3-songs EP (demo?) and another, comprising 6 tunes, out very soon, you'll see that BIG comparison might not be too far-off. Leaded by the voice of Thea Chacamaty, magnetic in the stunning "Carquinez", one of two pieces available to hear of their forthcoming EP, this band could have it: fuzzy, crunching guitars, dreamy melodies, infectious pop hooks. Have it all.    
 
TEEN. Change of coast with this Brooklyn's band, the current project of former Here We Go Magic keyboardist Kristina “Teeny” Lieberson, and a very familiar affair, as the (now) quartet is completed with her sisters Katherine and Lizze, plus long-time friend Jane Herships. A first EP in 2011, "Little Doods", preceded their debut album, "In Limbo", out just now. Rich and haunting, full of synths, spacey percussion, ethereal vocals, flourishing harmonies, guitar cascades and psychedelic turns, I hear echoes of Electrelane, The Velvet Underground, Rose Elinor Dougall, but I bet you'll find many others. An absorbing kaleidoscope of sounds.

Spanish indie 6: suggesting the best national acts

After a long hiatus with this section, we are back with new proposals. Enjoy!

Reina Republicana. Born in 2009, but really active in 2010, after two singles (one with Las Robertas) and several changes in the line-up (initially it was formed by members of Kokoshca, Tristessa and Half Foot Outside), by the end of 2011 they released their first, self-titled, LP. With the new voice of Maite Rodríguez, and the help from Banin Fraile, Florent (Los Planetas and Los Pilotos), Guille Mostaza (Ellos) y Paco Loco, the album flourishes as a wonderful collection of shiny indie-pop tunes. Here's great pop for everyone, from shoegazers to La Buena Vida fans or c86 lovers. Hail to the queen!.

Christina Rosenvinge. It was a matter of time Ms.Rosenvinge had a space here. Musically active since "la Movida Madrileña" (80s) she pursued a very personal career, working with Lee Ranaldo and Steve Shelley (Sonic Youth) during the 90s-early 2000s. Back to Spain from NY and from English to Spanish, her latest albums, the excellent "Tu Labio Superior" (2008) and "La Joven Dolores" (2011), have consolidated her status as a national indie muse. My advice? Check the exhaustive boxset, just out now, "Un Caso Sin Resolver", and enter the world of this unique artist.
Christina Rosenvinge - Mi Vida Bajo el Agua

Cosmen Adelaida. You'll always find interesting groups on El Genio Equivocado's roster, a Spanish label with a special nose to detect and recruit talent. Like this band born in Madrid in 2007, that after two EPs, at the end of 2011 released "7 Picos" their mini-album debut, an impressive and highly addictive small collection of the most diverse indie-pop. Ranging from gorgeous twee-pop (irresistible girl-boy vocals) to creeping guitars on a grunge style, to synths and loops that recall names like Stereloab, Cosmen Adelaida has created a unique pop caleidoscope. Band to follow closely.

"The Devil and Daniel Johnston", artist, sick man, myth

The Devil and Daniel Johnston

Love when a film leaves you wondering and asking questions yourself. If these questions are about music, its even better. "The Devil and Daniel Johnston" is that sort of movie.

The story of Daniel Johnston is fascinating. "Thanks" to his "special" behaviour, filming and taping everything, we witness his entire and incredible life. What we see is intriguing and moving. In that sense the documentary is not about a musician, but about someone who suffers, and tries to deal with his manic depression/bipolar disorder. Daniel's life captivates the viewer because the mixture between his artistic creativity and his madness. Moments of astonishing craziness (the NY affair, the plane, seeing the Devil everywhere) followed by bits of his music is a combination that speaks and impacts for itself.

But as the film develops it reveals how difficult it is to separate the musician from the seriously ill person. Johnston's is not, like many artists in history, an eccentric or a slightly weird outsider. He's a fragile and highly sensitive human being with a really and very serious mental problem, that brings him to moments of profound depression, delirium and rage accesses, affecting the people that surrounds him, parents (a special note to them, as they have a couple of scenes where emotion just reduce them to tears), family, friends (including his quite peculiar manager), musicians, etc. The film doesn't hide any bit of him acting oddly, or just falling apart, going in and out of mental hospitals while he tries to keep his prolific work. But his mental condition permeates (it couldn't be any other way) everything he creates. And that brings me to a double question.

So while the portrayal of his life is fascinating and touching, I have some concerns/doubts about the musician itself. I know about Daniel's cult music status, and that his songs have been covered by hundreds of artists, but after seeing the film, I wonder to which extent that fame and prestige has to do with his complex, troubled character, and not just his music talents. It's obvious director Jeff Feuerzeig loves Johnston work, both music and drawings. But in my opinion, the film doesn't care much about we, the ones that don't know a lot about Daniel, or that simply are not their fans.  

Because for the "regular" viewer, "The Devil and Daniel Johnston" offers a strange musician portrayal. About someone tortured inside that creates music... and becomes a star... without knowing the reasons why. Feuerzeig explains us his music career with brush strokes, so for me at least is a bit hard to believe how Daniel gets his shot at MTV, how he is capable of working with Jad Fair and Sonic Youth, or how he manages to gather 3.000 people in an auditorium after a forced hiatus because his illness. Moreover, what we see in that gig is someone singing really out of tune, suffering on stage and offering songs that cannot we qualified as extraordinary (I'm not saying his music is bad by no means, I'm just saying that what we see/hear at the documentary doesn't justify his cult status). So, what's up with their fans? They were all converted just because Kurt Cobain wore a shirt of him for a while? Why we don't have more interviews and thoughts of fans about his music, and why we don't get more information about how their career evolved and it is considered? It left me wondering the same sort of questions that "Exit Through the Gift Shop" did. Who decides what's art, in this case with music, who elevated Johnston's to a myth category?

It is a complex movie about an equally complex person, so it's kind of logical the review has to be a bit "tricky" too. As a film about a human being with serious issues that tries to deal with them while offers the world his talents, this movie is outstanding and absorbing. But as a music portray, to me, its incomplete or just for die-hard fans. Having said that, is a must-see oddity

SCORE: 7/10