Roofless Records' Cinema Sounds IX at O Cinema November 23
An astute and insightful cultural seer once observed that the movies are actually mankind's collective dreams. But what about our freaking nightmares?
Well, our fave films can be anxiety-soaked, terror-inducing experiences too — especially when scored by a deeply twisted noise trio like Miami's Ballscarf. So this Wednesday, when the lights go out on Cinema Sounds IX, Roofless Records' semiannual movies-meet-music sesh, expect a little extra intensity.
Usually they are dreamy affairs. But we just spoke with Roofless boss and frequent New Times contributor Matt Preira, and he's already sounding the warning alarm about the distinct possibility of nightmarish chaos consuming Cinema Sounds IX.
New Times: We know the movie selection is always top secret and the whole thing really relies on the element of surprise for maximum effectiveness. But what can you say about Cinema Sounds IX?
Matt Preira: I would like to apologize in advance for Ballscarf.
Um, what are they planning to perpetrate?
I don't even know yet. But it's going to be horrible. Just take their two best sets recently: (1) Jay Hines and Nick Ruiz unleashed stupidly harsh noise at Churchill's as Aiden Dillard shrieked into a mike, wearing nothing but his underwear, while a video alternating between his shitting ass and his grunting face played behind him, and (2) there was the Snooze, where Aiden ran out with a "temporary tattoo" of a swastika drawn in shit on his chest.
Now they have an entire movie theater at their disposal.
Is there even a name for that kind of act?
Well, I wouldn't describe them as nihilist because they actively care about bumming you out.
Right. And aside from Ballscarf's insanely harsh vibes, where does Cinema Sounds IX sit on the musical spectrum — as you've described it, "rock 'n' roll, ambient, electro, noise, and so on" — in comparison to the last few editions?
I would say it fits our grand mission statement of being as eclectic as possible while still remaining consistent.
I usually think of individual acts as delegates from different parts of the scene: Holly Hunt represents the metal/reefer contingent; Devalued comes from punk and hardcore; Mothersky and Luma Junger are both postpunk variants, although they couldn't sound more different; and, yeah, Ballscarf is noise and then some.
And finally, where does Cinema Sounds stand on the notion that movies are actually mankind's collective dreams?
We don't have a position. But we've been trying to book a show in someone's subconscious for a while.
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