David Byrne: Metamorphosis Machine
Ever changing and ever challenging, David Byrne has metamorphosed his way far beyond the paradigm of the Talking Heads frontman that made him a rock star of his day.

Sodium and water. The two don't go. Drop a lump of one into the other and the metallic element will react explosively, the bigger pieces igniting in situ, the smaller ones spinning off unpredictably like uprooted catherine wheels on bonfire night. Sodium is as volatile as they come. And so too are Gallows, except instead of water, use an unsuspecting American public. The equation for such an experiment reads as follows:
Gallows + Americans weaned on pop-by-numbers = Volatile and enraged portrait of punk rock soul
It's true, too. We would know, as we were there with the band as they toured the US for their chapter in the forthcoming feature-length documentary, Lives of the Artists. It's visceral, it's loud, it's uncompromising, it's provocative. But most of all, it's real. That's the thing with Gallows: they uphold their integrity at all costs, and they've done it since their debut LP Orchestra of Wolves shook British music by the throat in 2006.
In the film, we go from mosh-pit maelstrom (amongst festival audiences seemingly unprepared for such explicit performance) to inner contemplation, and because of that, we leave at the back end of the film a little ruffed up, sure, but soothed by the way the whole band reveal their true selves to the camera. We're given rare insight into the inner motivations of a fiercely driven outfit. The result, as the equation states, is a compelling portrait of punk rock soul. Science never lies.
To learn more and view the film click here.
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Ever changing and ever challenging, David Byrne has metamorphosed his way far beyond the paradigm of the Talking Heads frontman that made him a rock star of his day.
Lycanthropy, shape-shifting, the power of the moon, the tidal flow of blood. These are mythologies embedded deep in the female psyche, mysteries of flesh and soul connecting even the most modern woman to her darkest, primal self. Angela Carter knew this, creating feminist transfigurations of traditional fairy tales in her volume, The Bloody Chamber, later adapted into Neil Jordan’s film The Company of Wolves. Natasha Khan knows it too. As Bat for Lashes, she weaves this dark imagery of transformation and possession into music.