Kickstarter created for Daniel Johnston-starring film Hi, How Are You: A Short Film, so yeah, go kickstart it already

Kickstarter created for Daniel Johnston-starring film Hi, How Are You: A Short Film, so yeah, go kickstart it already

Hi, how are you? I’m okay. No complaints. Well, actually, I guess I’m feeling a little lowdown today… but nothing really serious. I think it’s just the few bad nights’ sleep I’ve gotten lately. Well, that and some issues I’m having with trying to be a little more strict with my intake of dairy to work on some of my skin issues. That shit is just always worse for me in the winter, you know? But it’s so stressful at work right now, and my workout schedule is just fucked and crazy, and my girlfriend has been driving me up a wall with this stupid… well, never mind. I’m good! I actually mostly just wanted to let you know that Hi, How Are You, a “collaborative short film by a group of dedicated Daniel Johnston fans” (including the creators of the film Archie’s Final Project, and starring Johnston himself) has launched a Kickstarter campaign to get itself made so that you can watch it and enjoy it and then like it on Facebook. Check it:

It’s a musical tale of an aging artist encountering psychedelic dreams, nightmares, and characters from his past. We began shooting with a simple outline: an intimate interview between Daniel and his younger self addressing his most prolific and maddening era. Our hope was to bring his stories, memories and art to life. What ensued during shooting was beyond anything our crew could have hoped for. Daniel not only opened up and told stories none of us had ever heard, but embraced and relished the idea of speaking with his younger self, gifting advice and warnings from the future. That became the backbone of our script. As shooting continued Daniel interacted with imaginary creatures from his cast of Spirit World characters like Jeremiah and Joe the Boxer. It was a truly unreal and moving experience. The result is something that will appeal not only to Daniel fans, but to any artist trying to find their way.

Dig it? Then get over there and support that shit ASAP. There’s only a few weeks left, and there’s plenty of fun incentives like free downloads of the film and soundtrack and end-credit listings and signed merch and whatnot. It’s fun. And, oh jeez, I’m sorry! You never told me how you were, did you?

• Daniel Johnston:
Hi, How Are You:

Angel Olsen plans Burn Your Fire For No Witness for 2014, making “light” of the very real struggle of closet arsonists around the world

There’s a quiet flapping of wings from the west, a sprinkling of glitter, and some asshole in the distance who keeps repeating the word “hark,” over and over. What could all this mean? Why… surely we aren’t making lame jokes about Angel Olsen’s name by way padding the lead for a news post on her recently announced sophomore LP, are we? Of course not. That would be crass and unfunny. In fact, all that glittery hustle and bustle is just my roommate getting ready to head to rehearsal for his church group’s production of A Very Burlesque Christmas.

Crazy coincidence though, as Pitchfork reports, Angel Olsen does have a new record coming out early next year. She’s calling it Burn Your Fire For No Witness, it’s produced by John Congleton, and it’s out on CD, LP, and Digital on February 18 from Jagjaguwar (preorder here). I told my roommate about it and he was like, “Oh nice, I’m on my way out the door for rehearsal, but I really liked 2012’s Half Way Home (TMT Review) so I’m looking forward to this one!” Actually, now that I think of it, it was pretty considerate of him to say that. I was looking for an organic way to integrate a link to Rowan’s review, anyway. In general, my roommate is pretty considerate, and I honestly sort of regret calling him an asshole back in the first paragraph. Too late to change it now, though. You can watch the video for the album’s first single, “Forgiven/Forgotten,” below, or if real life interactions are more your speed, you can also catch her on tour.

Burn Your Fire for No Witness tracklisting:

01. Unfucktheworld
02. Forgiven/Forgotten
03. Hi-Five
04. White Fire
05. High & Wild
06. Lights Out
07. Stars
08. Iota
09. Dance Slow Decades
10. Enemy
11. Windows


11.29.13 - Jacksonville, FL - Jack Rabbits
11.30.13 - Orlando, FL - Will’s Pub
12.03.13 - Tallahassee, FL - FSU
12.04.13 - New Orleans, LA - Circle Bar
12.05.13 - Oxford, MS - Lamar Lounge
12.12.13 - London, UK - The Forum*
02.18.13 - Charlottesville, VA - The Southern
02.20.13 - New York, NY - Le Poisson Rouge
02.22.13 - Nashville, TN - The Stone Fox
02.23.13 - Fayetteville, AR - JR’s Lightbulb Club
02.24.13 - Dallas, TX - Three Links
02.25.13 - Austin, TX - Red 7
03.01.13 - San Diego, CA - Soda Bar
03.02.13 - Los Angeles, CA - The Echoplex
03.03.13 - San Francisco, CA - Great American Music Hall
03.05.13 - Portland, OR - Mississippi Studios
03.06.13 - Vancouver, BC - Media Club
03.07.13 - Seattle, WA - Barboza
03.08.13 - Moscow, ID - Mikey’s Gyros
03.10.13 - Denver, CO - Larimer Lounge

* Neko Case

• Angel Olsen:
• Jagjaguwar:

OPN is touring in 2014. OPN is short for Oneohtrix Point Never. But if you knew that second thing, how come you didn’t know the first one? What kind of fan are you?!?

OPN (Oneohtrix Point Nervous). What can I say? Dude’s kind of an all-star EMA (experimental music asshole) these days. And we here at TMT (Tinny Mix Tapes) like that dude a lot lately, so we’ll write up whatever scrap of news pisses down into our high-tech CPU (Central Processing Urinal)’s mainframe reservoir.

But yo, that’s not because we’re trying to be hip or trendy or AFC (abbreviation for “cool”) or anything like that. Not because he’s from Boston, USA. Not because, according to our BFF’s (balding ferret fuckers) at COS (Consequence of Sound), he’s got some TDs (touchdowns) scheduled for late 2013 and early 2014 that seem totally KA (kick-ass!), including a stop at ATP (Altoona, PA [Pennsylvania])’s “End of an Era.” But truly, just because he’s a good man. Not to mention a total, total SHITCAT (you know, right?).


11.15.13 - Chicago, IL - Constellation
11.16.13 - Minneapolis, MN - Walker Art Center *
11.23.13 - East Sussex, UK - ATP End of an Era
11.25.13 - Helsinki, Finland - Korjaamo
11.28.13 - Utrecht, Netherlands - Le Guess Who?
01.16.14 - Chicago, IL - Lincoln Hall *
01.17.14 - Columbus, OH - Wexner Center
01.19.14 - Washington, DC - Atlas Performing Arts Center
02.03.14 - Vancouver, BC - Fortune Sound Club
02.04.14 - Seattle, WA - The Crocodile
02.05.14 - Portland, OR - Doug Fir Lounge
02.06.14 - San Francisco, CA @ 1015 Folsom
02.07.14 - Los Angeles, CA @ Echoplex

* Tim Hecker

• OPN:
• Warp:

[Photo: Samantha Marble]

Missing Pussy Riot member Nadya Tolokonnikova discovered in Siberian prison hospital

Update: Rolling Stone reports that Nadezhda Tolokonnikova was moved to a hospital, not a new prison, so she could be treated for conditions related to her hunger strike.

News update, everyone: Pussy Riot’s missing member Nadya Tolokonnikova is alive and (relatively?) well. Missing since earlier this month, Tolokonnikova has been discovered in a Siberian penal colony. She has ended the hunger strike which she started in September to bring attention to the horrendous conditions facing prisoners like herself.

Vladimir Lukin, a Russian human rights official, told news agency ITAR-TASS that Tolokonnikova’s alleged disappearance can be attributed to the standard 10-day quarantine that Russian prisoners receive between transferring prisons. According to Lukin, the jailed Pussy Riot member will meet with lawyers and her husband this week. Tolokonnikova, along with fellow punk rockers Yekaterina Samutsevich and Maria Alekhina, received a sentence of two year’s imprisonment after a now-famous Pussy Riot performance at Moscow’s Christ the Saviour Cathedral protesting the links between the Russian Orthodox Church and President Vladimir Putin. The charge was described as “hooliganism motivated by religious hatred or hostility.” Although Samutsevich has been freed, Tolokonnikova and Alekhina have been sentenced till March 2014.

• Free Pussy Riot:

Thug Entrancer to release Death After Life on Oneohtrix Point Never’s Software imprint

Ryan McRyhew is a long-time, influential member of the Denver electronic music scene, having performed and released music as Thundercade and in groups like Cougar Legs and Hideous Men (who recently performed at Denver’s Goldrush Music Festival, put on by our very own Strauss). His latest project is named Thug Entrancer, and while a brief stint in Chicago aligned his tightly sequenced, DIY approach to experimental electronic music with a rich history of electronic dance music, he’s back in Denver, inadvertently proving how his music — an analog hybridization of juke, techno, house, acid, and more — is not geographically bound.

Death After Life will prove as much when it’s released next year on Daniel Lopatin’s Software Recording Co. The album expands on a 5-track EP of the same name that was self-released earlier this year on his own Laser Palace imprint (which is no stranger to these parts). The new version features three new tracks and a couple bonus cuts.

Check out the video for “Death After Life IV” below, and look for Death After Life on February 11, 2014.

• Thug Entrancer:
• Software:
• Laser Palace:

[Photo: Jonathan Galbreath]

Superior Viaduct dips into the Brigitte Fontaine vaults for two reissues

It has been a banner year for the Bay Area archival label Superior Viaduct, which went from issuing a handful of Tuxedomoon-related obscurities to close out 2012 (Noh Mercy, Factrix, The Sleepers) to trafficking in a range of European and American avant-garde offerings. Such projects as a vinyl issue of Fluxus artist Henry Flynt’s Graduation and reissues of rarities like Musica su Schemi from Gruppo di Improvisazione Nuovo Consonanza (Cramps, 1976) and Phill Niblock’s Nothing to Look at Just a Record (India Navigation, 1982) offset the much-anticipated reemergence of Devo’s storied Hardcore set, out of print for nearly two decades. Their vinyl reissues are manufactured to exacting quality, and contain copious liner notes — something often missing from needle-drop and ultra-compressed, shoddy grey-market reissues that clog the bins (Phoenix Records, anyone?).

Perhaps the work of French chanteuse Brigitte Fontaine appears a little out of place next to the Darkwave industrial/post-punk moves of the Tuxedomoon crowd or the improvisational sound-art world of Il Gruppo. But the seven albums she recorded for the French label Saravah (alongside one for BYG) between 1968 and 1980 are among the finest in outsider folk music. Most of this music was recorded in collaboration with multi-instrumentalist and vocalist Areski Belkacem; she also worked with the folk singer and actor Jacques Higelin and lyricist Olivier Bloch-Lainé during this period. Fontaine’s second record and first for Saravah was Brigitte Fontaine est… Folle, orchestrated by Jean-Claude Vannier and putting forth a singer whose strange rhythms and immediate, aggressive delivery are at odds with twee psych-pop arrangements. Originally released on marbled vinyl in a collagist gatefold sleeve, Fontaine est… was the debut release on actor-composer Pierre Barouh’s Saravah label, which epitomized more than any other imprint the attraction between the new left/May 1968 revolts, the Parisian artistic milieu, and popular youth culture. Along with the work of Fontaine, Belkacem, and Higelin, Saravah issued free jazz from the Cohelmec Ensemble, avant-garde and sound-art work from cellist Jean-Charles Capon and saxophonist Philippe Maté, Gabon folk singer Pierre Akendengue, oddball jazz groups like Trio Camera and the Baroque Jazz Trio, and numerous other outfits.

The first Fontaine LP to feature Belkacem (generally credited only using his first name, Areski) was 1969’s Comme a la Radio, which joined the two singers with expatriate Great Black Music outfit the Art Ensemble of Chicago, trumpeter Leo Smith (who came to Paris from Chicago as part of a 1969 exodus) and French bassist Jean-François Jenny-Clarke. Filling out the ensemble are Higelin, Capon, and Kakino De Paz and Albert Guez on zither and lute, respectively. Comme a la Radio is an album like no other, and probably the high point in the Fontaine-Areski discography, if for no other reason than the eight-minute vamp-and-declamation that comprises the title track. Fontaine’s surreal recitation crests an intricate and slinky groove set by AEC bassist Malachi Favors, accented by the woodwinds of Roscoe Mitchell and Joseph Jarman and the bleak blues of trumpeter Lester Bowie. Held up alongside “Theme de Yoyo” waxed the following year with Fontella Bass as part of their soundtrack for Marcel Camus’ Les Stances a Sophie, it is quite clear that the group cut a strong figure when paired with theatrical vocalists. The rest of Comme a la Radio is full of dusky chants and isolated chamber vignettes, and is sparser than subsequent albums that merge avant-garde orchestration, ethnographically influenced pastiche, and street-busking lyricism. With five more potential reissues in the Fontaine catalog, it is likely and hopeful that Superior Viaduct will find this work a new and interested audience.

• Superior Viaduct:


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