If German prog rock bands of the early 70s were members of the Weasley family from Harry Potter, Can would be Ginny Weasley, Cluster would be Bill, Kraftwerk would be Percy, Neu! would be the one who studies dragons, and Faust would be the twins. Faust have always been known for musical larks, marketing scams, and instrument destruction across a career that’s spanned 40 years and seriously nurtured redheads in the process. This interview by Dan Collins.

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Orders from the Fire Marshal sent the marathon Fauxchella festival packing from the announced Traction Ave. venue earlier in the week, but by showtime on Good Friday organizers had moved the event to gamier precincts many blocks away. Hangar 1018 is beloved of the downtown party set and I know the space well, having wandered along its sketchy and verminous stretch of S. Santa Fe many times in various states of hallucinogenic inebriation. Inside, instead of the usual haul of faux-fur and near-naked ladies, were a couple hundred gamboling on the fragments of their Eastside Cool. I was waved past the door by promoters spoke cheerily of the ultraviolence they’d already visited upon everyone else inquiring after The List.

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Jimi Cabeza De Vaca is the man who climbs the holy mountains in between playing with bands like dios (malos) and Red Cortez. On Sunday, he will conduct his visionary Cabeza De Vaca Arcestra, performing an original live score to the classic Murnau silent Faust at Cinefamily. This interview by Tom Child.

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A landmark of German Expressionism, Faust was Murnau’s final film in Germany, impressing Fox Studios so much that they lured him to the U.S. immediately afterwards. The most expensive UFA film to date–taking six months to film, and costing over two million marks–Faust is full of bravura effects, including the magnificent signature visual of Mephistopheles [...]

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