Three dark comedies by award-winning playwright Gregory S Moss.
sixsixsix is a “wickedly cunning take on Faust” (Flavorpill), a metaphysical revenge tragedy about the daughter of a renowned scientist seeking to punish her famous father for her mother’s death.
House of Gold is a surreal investigation of the notorious murder of an American beauty queen. “Over the top and yet heartbreakingly real… a creepy and surprisingly profound play” (L.A. Times).
Billy Witch is a dark comedy about the 1980s, summer camp, haunted cabins and animal instincts. “Half Wet Hot American Summer and half Hedwig and the Angry Inch” (Wilmington Star), Billy Witch “takes the familiar ingredients of high school horror – summer camp, a lake, ghost stories – and hurls them into a whirlwind of comic sexual awakening” (The New York Times).
This edition includes original papercut illustrations by Dylan Metrano.
Each year, we collect “top ten”lists from Burst & Bloom artists, friends, and family. This year, we asked them to write a little bit about one or more things that they loved this year. The idea is simply to inspire you to discover something that you might like. Art isn’t a competition, but here are some things you might dig.
Guy Capecelatro III
Top Ten Albums (ordered randomly):
Jason MolinaEight Gates It feels surreal and dream-like to get another album from one of my favorite songwriters who died seven years ago. A quieter, mostly stripped-down affair but amazingly strong and heart-felt songs and well recorded in a studio as opposed to a few of the other more demo-like offerings that have popped up. So glad to get to bask in these unearthed gems.
Phoebe BridgersPunisher Bridgers’ songs are fully realized and emotionally wrought. She’s an amazing collaborator, producer and now has her own record imprint. The mix of literate, nuanced writing and her amazingly compelling voice really bring the songs home. There truly is hope hope for the future.
Hello EmersonHow to Cook Everything This band was a new discovery for me and a fun ride with their lovely and varied instrumentation and arrangements. It feels like they really enjoyed the making this album. Looking forward to more such.
Andy ShaufThe Neon Skyline Shauf seems to make my list every time he releases an album and, after the fantastic Foxwarren album last year, this is a great return to form. Amazing concept album where all the songs cumulatively create a whole story and the fun, 70’s-style production is really nice. And Shauf performs all the instrumentation himself.
PinegroveMarigold In January, Pinegrove came out of a strange hiatus to release this terrific collection of songs. To my ears, Evan Stephens Hall is one of the most interesting writers in music and the band seems to work together so easily and collaboratively.
Courtney Marie AndrewsOld Flowers This album explores the dissolution and aftermath of a long-term relationship. Lovely, understated production and a crack team of Matthew Davidson of Twain fame and Big Thief drummer James Krivchenia. It’s a plaintive, dreamy journey and a great late-night listen.
Will JohnsonEl Capitan For this newest album by Will Johnson he kept things pretty low-key with spare arrangements from Thor Harris, Lindsey Verrill and Britton Beisenherz. The songs are fairly lo-fi, recorded to tape with hiss and clicks but the intimacy of the sessions and the power of the songs are really effecting.
TrickyFall to Pieces The last few Tricky releases have been strong returns to form and this might be the most cohesive and solid of the bunch. He’s got some amazing singers on board, paired with his own gravelly, in your head deliveries.
Fenne LilyBreach It took a couple years for the follow up to Fenne Lily’s debut but it’s well worth it. Some of the songs here have a more “pop” approach but she brings her voice along in such a commanding way and there’s a nice range throughout the album.
Avians AlightOld/ New/ All For You Jenna Conrad came to my attention playing on three of Damien Jurado’s albums and, along with Eric Fischer, was a part of his amazing live band. She put out an album of her own material ten years ago without much fanfare but her voice and the songs really worked for me. Mysteriously, this album popped up this year and is tremendous.
Other Notable Releases (ordered randomly):
Alice BomanDream On, Jill AndrewsThirties, JFDRNew DreamsTrace MountainsLost in the Country, Christian Lee HutsonBeginners, InformationZittle Muy, Merce LemonRide Every Day, Nadia ReidOut of My Province, InformationZittle Muy, OwenAvalanche, Field ReportBreak Light Red Tide, LomeldaHannah, Caitlin PaskoGreenhouse, Told SlantPoint the Flashlight and Walk
Top 10 Movies (ordered randomly):
I’m Thinking of Ending Things, Lazy Susan, Crip Camp, First Cow, Rewind, Why Don’t You Just Die, Kajillionaire, The Painter and the Thief, Babyteeth, Relic
Top 10 TV Shows (ordered randomly):
Kidding, Killing Eve, Briarpatch, I Know This Much is True, Euphoria, His Dark Materials, The Alienist, We Hunt Together, The Vow, Queen’s Gambit
Chris Cote (Almanac Mountain)
The best song I heard all year was “Fortune” by Laura Marling. The song itself, with its fingerstyle folk guitar accompaniment, has a simple, timeless beauty, but whoever did the string arrangement wrings every possible drop of gorgeousness out of the music. It takes my breath away every time I hear it. Marling’s voice dials back the emotion, leaving room for all those lush violin harmonics to take on the bulk of that responsibility. It feels like the sweetest pain.
The Art of Heather Friedli
Heather’s paintings have gotten me through 2020. Her gorgeous landscapes look like stained glass paintings to me. She also hosts livestreams of JAZZADANCEAPAINTATHONs from her studio, acts of pure bliss in which she dances while she paints and connects with her audience online during her creative process. Heather is a dear friend and I’ve been following her career since 2001, and to see how she’s grown and blossomed in this time as an artist is truly inspiring to me. She’s a mother and also an adventurer, taking regular treks out into the wild to reconnect with nature… she once even hiked the Appalachian Trail using only tools and supplies she had handmade herself. Her work is stunning, her energy is so positive, and she is truly unstoppable, a genuine combination of raw talent, guts, and determination. I root for Heather every day.
PS: She sells her paintings online, and also has 2021 calendars of her work available now!
Dylan Metrano (Tiger Saw)
In the year 2020, a year that we’ll remember as a time when it all came to a halt; when it all seemed to be falling apart at the seams, I derived a lot of comfort from Nick Cave. I’ve been digging into his vast catalog, and found that there is much to uncover. But also his Red Hand Files arrives in my email inbox once or twice a week. People from all over the world write to Cave, and ask him all kinds of questions, from the mundane to the poignant. His answers are always well-thought, sincere, and often funny. It’s sort of an advice column from another dimension. Cave takes every question seriously, and really respects his listeners / readers. I find this discourse inspiring and truly touching. it’s always a tiny dose of what I need to hear.
Looking for more Nick Cave? He has a 24-hour-a-day YouTube channel, Bad Seed TeeVee, with lots of videos and live footage. And this year, he released two double CD’s, Ghosteen and the live Idiot Prayer.
My top ten albums of 2020:
Fiona Apple “Fetch the Bolt Cutters”
Perfume Genius “Set My Heart on Fire Immediately”
Waxahatchee “Saint Cloud”
Prince “Sign ‘O’ the Times” Super Deluxe
Mary Lattimore “Silver Ladders”
Khruangbin and Leon Bridges “Texas Sun” EP
Frances Quinlan “Likewise”
Kevin Morby “Sundowner”
Willie Nelson “First Rose of Spring”
Elvis Costello “Hey Clockface”
Eric Ott (Eastern Sleds)
The B-Side: Elsa Dorfman’s Portrait Photography (Netflix)
I had no idea about this amazing woman’s photography. She was a Polaroid photographer in Cambridge, MA. This documentary documents her beginnings up until 2015 or so. Interesting friends like Allen Ginsberg, etc. Elsa had such a positive vibe. Really well done doc.
WaxahatcheeSaint Cloud (Merge Records)
I guess the running theme here is trying to feel better in this complex overcast world. This LP just takes me to a warm place. Fantastic songs, tones and production.
Richard Hamilton (He designed the Beatles White album)
I have been researching and playing around with photomontage, still and animated. There are no rules really.
Show: Mrs. America (Hulu). In a one season series you can educate yourself on the women’s movement of the 1970’s and finally learn what it means to be an original feminist. For those of us aware of Gloria Steinem but not much else this is the education we missed in the history books. The ERA (Equal Rights Amendment) you say? Sure, sounds like something that should have happened along with the Civil Rights movement, but did it? You may never have heard of Phyllis Schlafly (played by Cate Blanchett) but once you watch this show you will never forget her, not to mention be haunted by the ghosts of the religious homemaker Republican women she indoctrinated (and whom likely elected Trump…). While we still struggle with a woman’s place in American politics today this series brings to light how much women before us have fought for our basic rights and how far we’ve come since the 70’s even if it never feels like nearly far enough.
Little Richard is sitting in the hotel room he’s called home for several years. It’s an ordinary room. Could be anywhere. His piano is at his brother’s. His dog is at his sister’s. Most of his possessions, his history, his glory- it’s all scattered throughout storage units between here and Georgia.
He’s been up since six, watching evangelists on a muted TV. Little Richard hasn’t left this room in a week. He’s nearing seventy, but still feels like a young man. His assistant Mark makes his meals, helps with his business affairs, keeps him company. Mark once played in the band, but now he’s Little Richard’s right-hand man. He makes everything a little easier.
With one eye on Billy Graham or Oral Roberts or some other whatshisname, and one eye on a palm tree outside stretching toward the sun, Little Richard calls to Mark:
“Mark, today is a glorious day.”
“Indeed it is, Sir.”
“We should take a little trip.”
And thus begins the process that occurs every time Little Richard leaves this room. Mark takes a deep breath, and gets a case from the closet. Little Richard is a king among men. It’s important that he look impeccable. People expect him to look impeccable. He always gives everything he has- because he can. His talent comes straight from God. It’s his responsibility to share his gift with the world.
So first, the hair. Sides cut short. Brushed back above the ears. Longer in the back. A pile of pomade-waves atop the crown. The hair adds six inches to his 5’10”. Cuban-heeled shoes add another six .
In the mirror, he applies his pencil-thin mustache with a pencil-thin pencil.
He sings to himself as he applies foundation, highlights, eyeliner. A little rouge. An hour passes. The face in the mirror looks familiar again. He looks like Little Richard.
Mark lays out the suit, bright white covered with rhinestone pins – saxophones, martini glasses, cameras, a G-Clef, and a pistol for good measure. Little Richard gets dressed as Mark pulls the limousine around. Little Richard grabs a pair of sunglasses from atop the television, and waits for Mark to escort him to the waiting car.
It’s after noon, and Little Richard was feeling hungry.
“Little Richard is feeling hungry.”
Mark knows that there are only a few drive-throughs in L.A. that a stretch limousine can fit through, and Little Richard is, of course, a man of very particular tastes, so he makes a quick calculation and they head to In and Out Burger. Mark orders two burgers (animal-style), two vanilla shakes, and French fries. Little Richard pecks at the food in the back while Mark steers towards their destination.
As they turn onto Wilcox, Little Richard wipes his mouth with a wet-nap, gives his lips a last minute touch-up, and they double-park, blocking in three identical grey cars.
Mark, also dressed in white, albeit without the flair of his boss, exits the limousine, and walks around to the passenger side. He scans the street, and opens the door. For a moment, everything is still. Then Little Richard leaps out of the car, like a man half his age. Matching his boss’s stride, they ascend the stairs of the Hollywood Post Office.
Inside, a small herd of tired-looking people is queued around a velvet rope. Mark opens the front door, and they step into the lobby. No one looks in their direction. Little Richard takes a breath, and then with his one-of-a-kind firecracker of a voice, he hollers “Hello, everybody! Little Richard’s here to get his mail!”.
He sashays to the front of the line where Dottie, his favorite clerk, blushes a little and gives him a gigantic smile.
“Why, hello! It’s been far too long since you’ve last stopped in. And don’t you look terrific? Let’s see what we’ve got for you.”
Little Richard looks over his shoulder at all the people in line behind him, He can see their eyes widen and smiles wash over them. He feels blessed that he’s able to bring a tiny unexpected moment of joy to all these beautiful people, people who would take this story back to their offices and dinner tables.
Mark puts a small pile of envelopes and magazines into his satchel, and they turn toward the door. Little Richard pauses for a moment and then says to the seventeen people in the room, “I’d like to wish for each and every one of you a splendid day. God bless you all.” Then, winking at a young mother with a stroller, he pirouettes, lets out a little “WOOOO!!!” and disappears out the front door.
Little Richard can hear tiny gasps of delight and a smattering of applause as the door closes behind him. A warm feeling of contentment washes over him, as he climbs back into the old limousine. Mark slips a disc into the car’s CD player. “Tutti Frutti” spills out from inside, as they drive back to their hotel.
Tiger Saw debuts the first new song from their seventh album “The Featherweight” (out March 15 on Burst & Bloom). Dylan Metrano explains the song is about his days in 1990’s post-punk band Hamlet Idiot:
Happy new year! On March 15, Tiger Saw will be releasing our seventh album, “The Featherweight”. Here’s the first single “Our Songs Were Skeleton Keys”.
This is a song about the 1990’s, and the culture of playing shows, supporting live music, making music with my friends, record collecting, and being inspired by all that was happening around us. It’s a song about being young and capable of anything, and the amazing community that I was in. For those who don’t know, Hamlet Idiot was a band I was in from 1992-1999, and many of the posters and records shown here are from that band.
I continue to be inspired today by the community around me, some of whom have been at it since back then. Keep on at it, friends. With love, Dylan / Tiger Saw
ps. We have an incredible lineup on “The Featherweight”. Here’s the players on this song:
Chris Klaxton – trumpet Eric Klaxton – tenor saxophone Jocelyn MacKenzie – vocals Marc McElroy – clavinet, Rhodes Dylan Metrano – vocals Jocelyn MacKenzie – vocals Jim Rioux – drums Erik Tans – bass