Kingtone

Yesterday I was listening to Low’s new cd Drums & Guns, trying to decide whether I liked it or not (the jury is still out), when I received a call from none other than my friend, former bandmate and stellar drummer Pat Spurgeon of Rogue Wave.

Pat was standing in front of the Acme Bar in NYC, loading in for a special show they were doing. He called to ask if this was the very same place we played on the Reverend Phantom and Junkie Tour in 2001 (tour stop in AZ pictured left). It is indeed, I replied.

We joked how ridiculous it was that a) we had dragged all of our gear down into that basement venue and b) they only gave us a percentage of people who paid before and during our set. Since we were on at 8pm and we had three or four people there, we got…squat! More absurd, the other band’s fans were lined up in the hallway outside the entrance door, waiting to pay (so their friends would get their money), yet they were listening and watching our wild music/film set. I think one of them even got on our mailing list…one fan at a time baby.

Anyway, hurray for Pat and Rogue Wave. Today their fine new album, Asleep at Heaven’s Gate comes out and tomorrow night (Sept. 19) they appear on the Conan O’Brian Show. I feel vicariously triumphant.

Great news. My friend and excellent musician, Pat Spurgeon won the ‘organ lottery’ and received a kidney transplant a few nights ago. He has been trying to find a donor/match for a year and this gift came along suddenly and thankfully.

Heal well Phantom Drummer!!

Reverend Screaming Fingers (Lucio Menegon)
& Phantom Drummer (Pat Spurgeon)

Composed and improvised instrumental music to juxtaposed found slide images and 16mm film prepared by San Francisco filmmaker Thad Povey.

The music - based around the electric guitar and drums and incorporating keyboards, loops and other devices - consisted of composed and structured improvisational pieces cued by film projections.

For our 15 date US tour in 2001, we setup facing each other with the projection screen between and slightly behind us. This enabled interaction with each other, the projections and the audience.

The overall effect was stunning - with no two shows the same. Musically, we were able to stretch out and explore our compositions and really try some cool stuff with the improv parts. The effect and importance of Thad’s visuals can’t be overemphasized - wild splashes of color from prepared film, flames, disasters, racecars, absurdities of the human psyche - they all came together to create some incredible synergistic moments from show to show.