John Carpenter



Empty but for a single sweeping CUSTODIAN, the 2,090-seat venue’s acoustics echo even the faintest of sounds. A broom sweeping the orchestra pit floor reverberates like a cymbal brush, the Custodian’s steps a kick drum.

A foreign creak interrupts this rhythmic routine.


A sound like slipper-muffled footsteps softly echoes from the auditorium’s darkened rear.

Who’s there?

The sound grows in volume and frequency, as if now made by a pair of boots charging at the Custodian. It stops at his feet.

What the hell?

The floorboards burst with hellfire, turning the orchestra pit into a different kind, one that cocoons the screaming Custodian, externally digesting his writhing form before swallowing its melted remains.

Then, with a flash of light, the vortex closes and the orchestra pit returns to its normal state. The sound of the Custodian’s broom falling to the floor echoes throughout the opera house.


Lost Themes, the debut album by John Carpenter (scores and soundtracks notwithstanding), will be unloosed on a panicked public this February 3 by Sacred Bones Records. Two days later, the director/composer will give a talk at the Brooklyn Academy of Music as part of the BAMcinématek series John Carpenter: Master of Fear. Tiny Mix Tapes will be in the (opera) house, taking notes for an upcoming feature.

• John Carpenter:
• Sacred Bones Records:

Mount Eerie



“I tear in dreams across the North Sea”


A sword in the sky.
I leap beyond all this into the water at night,
Disconnected, mentally wild. Mind made this.

Coals glowing on the wet ground.
In the morning coming into a clearing
Out past beyond all waking moments
With all dreams burning off, as if
Lightning has struck here. I hold this.

Sauna by Mount Eerie is out February 3rd via P.W. Elverum & Sun

• Mount Eerie:

Ryley Walker

“Primrose Green”

With the release of his second full-length album Primrose Green on Dead Oceans at the end of March, Chicago’s favorite progressive folk songsmith / unofficial American Spirit spokesman Ryley Walker stands poised to become another Great New Hope for the future of ‘Murican guitar music. Salty pundit types IRL and online will tell you that the “guitar is dead,” or at least “lame,” or “like, bad.” You’ve heard this. These people do not deserve a rebuttal, and know nothing. To sit here and list a roster of Walker and his visionary contemporaries that continue to recontextualize the guitar — even within compositional structures and ensembles that could be considered, on some level, [traditional] [retro] [nostalgic] — would unduly stoke the fire of the “guitar is dead” argument. Walker silences the haters with a simple twofold strategy: 1. breeze ‘em out; 2. keep shredding.

Jam “Primrose Green” and you’ll notice an evolution from 2014’s All Kinds of You in terms of both Walker’s tightly structured songwriting and the interplay of his accompanists. The track balances a chord progression built over flitting hammer-on phrases and ascending melodic interludes with the band’s push-and-pull backdrop of harmonic accents and rhythmic rushes of activity. Chicago jazz/avant-crossover heavyweights Anton Hatwich (bass) and Frank Rosaly (drums) breathe together as a single entity, rollicking through transitions and bouncing squarely back into place for each chorus. Brian Sulpizio’s guitar and Ben Boye’s keys gild Walker’s arrangement with swirling phrases that manage to sound off-the-cuff despite having been honed over months of touring. Walker, of course, constitutes the core of his own fantasy. He sits cross legged among his friends, pours out streams of precise sixteenth notes, and belts out his lyrics about, you know, getting high on seeds in the woods, with more confidence and clarity than we’ve yet heard from him on record.

• Ryley Walker:
• Dead Oceans:

Áine O'Dwyer

“We Plough The Fields And Scatter”

Over the course of several months, Áine O’Dwyer was given access to the pipe organ in St Mark’s Church, Islington while the cleaners were at work. Primarily a harpist, this was a rare opportunity to grapple with the “king of instruments” and apply her sense of melodic, structured improvisation in a very different context.

No matter if you’re in the middle of nowhere or the city, atmospheric sounds surround us all, and the more you focus on them, the more demanding and overwhelming they may become. Thus, the improvisational intention Áine O’Dwyer keys out while recording Music For Church Cleaners vol. I and II live, submits both her audience AND those listening to the recordings to her art. Picture it the opposite way: you and some pals are on a hike and stumble across a church being cleaned, while it’s also emitting sounds, not realizing you’re being recorded. All you really hear is this organ from the church, and it becomes tedious and potentially directionless, so in astounding silence you and your pals just listen, becoming absorbed within the moment. This is the same effect Music For Church Cleaners vol. I and II has over it’s listeners by “employing” players to the recording.

Áine O’Dwyer’s scaling, repetition, and versatility are the absorbing properties of “We Plough The Fields And Scatter” for listeners, drawing them into listening beyond the pipes, picking up clattering, chattering, laughing, vacuuming, and potentially clock setting – which is what I heard, but am not sure there are clocks in chuch – all being conducted spontaneously (or one could say modern life inspired improvisation) by these players. Now, the listener is who sits in the field with their friends, witnessing a masterpiece of fate; “Oh, these people are just folk of the area. Tyrese with the vacuum does the chili booth during the fall fest. Nancy outside with the kids doubles as our childcare expert and pub keeper. The two whispering to the priest are the Lamar twins back from college.”

MIE Music inspiring the imagination, like always, but it’s a little more public in Áine O’Dwyer’s We Plough The Fields And Scatter, out on 2xLP January 19, pre-order here, and listen to “We Plough The Fields And Scatter” below:

• MIE Music:



Now wait just a minute. I’m no clod. I know things. I know the moon is made of cheese, I know most barbers are really cobblers by trade who have had to adapt with the times, and I know I’ve already covered a mix SEENMR did for Dirty Tapes. So what’s going on here? What’s the big idea? Wait, what’s that you say? He does indeed have a SECOND mix for Dirty Tapes? Of completely different material? Well, boy, do I have egg on my face!

The Chicago #based sound manipulator (as well as his YOUNG HO COLLECTIVE) seems to always bring the goods, whether it was asked of him or not. Get this. Once, at a party, we needed some dip, and I called MR. SEENMR up and said, “Hey pal, think you can bring some dip over, you know, for the chips?” He replied, “but of course,” and no more than six minutes later there was a knocking at my door. Sure enough, it was good old SEENMR. He had forgotten the dip, unfortunately, but he did bring along a megamix that rocked the party all night long. Told y’all he brings the goods.

• Dirty Tapes:


CHOCOLATE GRINDER is our audio/visual section, with an emphasis on the lesser heard and lesser known. We aim to dig deep, but we'll post any song or video we find interesting, big or small.