Prefuse 73, Nosaj Thing, and FaltyDL announce Yellow Year tour, promoting a new Simpsons syndication deal

Prefuse 73, Nosaj Thing, and FaltyDL announce Yellow Year tour, promoting a new Simpsons syndication deal

Watch out, world, The Simpsons are coming to cable! I’ll leave the details to other news outlets, but with a new syndication deal, 2014 is going to be a monumental year for America’s favorite family. To celebrate this television event, Prefuse 73 is taking his good friends Nosaj Thing and Falty DL on tour in tribute to what is sure to be a “Yellow Year.” Everything’s coming up Prefuse! The FaltyDL has disbanded! Dental plan! Nosaj Thing! Dental plan! Nosaj Thing! And so on.

In premonition of the upcoming Simpsons deal — or what may well be a coincidence — Prefuse 73 founded a new label called Yellow Year earlier this year with photographer Angel Ceballos. The label recently put out their first release, an EP by Prefuse and Teebs collaborative duo Sons of the Morning (TMT Review). That release is the first in a 12-part EP series called Speak Soon, but I’m sure you know all about that. Anyway, the point I’m getting at is, the man you knew as E. Nagurney is dead. Say hello to Miguel Sanchez.

Prefuse 73, Nosaj Thing, and Falty DL dates:

01.23.14 - San Francisco, CA - 1015
01.24.14 - Los Angeles, CA - Echoplex
01.25.14 - Portland, OR - Holocene
01.29.14 - Denver, CO - Cervantes
01.30.14 - New York, NY - Output
01.31.14 - Toronto, ON - Hoxton
02.01.14 - Chicago, IL - Concord

• Prefuse 73:
• Falty DL:
• Nosaj Thing:
• Yellow Year:

PIXIES® announce holiday layoffs, cut 25% of staff

With the departure of the seemingly irreplaceable Kim Deal from (the) Pixies back in June, one could’ve easily imagined an alternative scenario where that represented the effective end to the legendary band — and nobody, except for a few greedy fucks, would’ve complained. Instead, much to my personal skepticism, Frank Black et al. decided in relatively short order that the literal show must go on! From whence came the inclusion of The Muffs lead Kim Shattuck, who has been touring with the band over the past few months. Did they think nobody would notice? Did they think that humans in general have some kind of genetic predisposition towards confusing Kims, despite differences in physical appearance? Should we assume that the Kim of DPRK notoriety was also on the short list?

Regardless, for whatever reason, its been revealed that Shattuck’s involvement with the Pixies has ceased just as quickly as it began. In posts via Twitter and Facebook, she makes clear the… let’s say, spontaneity of her own removal:

Super disappointed to learn that my time with the Pixies ended today. Amazing experience. Looking forward to focusing my attention back on the Muffs and our upcoming new album. All the best to everyone.

Meanwhile, Pixies still have a solid amount of performances scheduled for 2014. If the new and presumed bassist addition interrupts sets with threats of nuclear obliteration, we’ll know for sure who they’ve chosen this time. “Here comes your man… THE GREAT LEADER, READY TO ANNIHILATE YOU AMERICAN IMPERIALISTS WITH A SPECTACULAR LAUNCH OF PLUTONIUM WARHEADS.”

I mean, absent an announcement before then.

• Pixies:

First-ever Look Alive Fest in Miami featuring Wolf Eyes, Indian Jewelry, Guardian Alien, and more finally gives you an excuse to visit your gammy in her new condo

Looking for an excuse to call in sick at the ol’ factory and visit your gammy down in America’s wang? Well, if your gammy posts up down near the tip, I’ve got just what the doctor-you’re-gonna-need-a-note-from-in-order-to-get-paid-leave-from-the-factory ordered. You see, those swamp-assed slices of home over at Ad Hoc just announced the first-ever Look Alive Fest in Miami, an event they’re curating alongside Spilt Milk Projects. And even though I’m generally against the verb “curate,” I’ve gotta hand it to them: with a lineup featuring Wolf Eyes, Indian Jewelry, Guardian Alien, Pontiak, and several others (gaze upon the full lineup below), it looks like it’s gonna be a pretty great event to not actually totally explain to your gammy before heading out after dinner. She’ll probably worry about you a little too much if you tell her you’re going to a “noise show.” I mean, I know you’ve got your shit together. You know it, too. Gammy may be a little skeptical, but have you scoped gammy’s tape collection? Shit is lacking.

Anyway, the fest is over two days, December 6 and 7, with each night starting at 8 PM, and… actually, you know what? I’m not even going to insult your gammy here with another joke about her age. She’s a great old bird, and I’ll bet you can guess where I would’ve gone with it anyway (hint: old people get tired easy). The first night is $8, and the second night is $FREE.99 if you RSVP before 10 PM the day of the event. The first 300 humans to RSVP will get priority on getting in before 10 PM; after that it’ll be open to the public. Got it? Cool. Say hi to your gammy for me. She hasn’t been returning my calls.

Friday, December 6 at Churchill
Wolf Eyes
Guardian Alien
Chronic Youth
Rubber O Cement (performance piece)
Cop City/ Chill Pillars

Saturday, December 7 at Gramps
Indian Jewelry
White Mystery
The Wiggins
Nerve City
Lil Daggers

• Look Alive Fest:

James Blake cancels previously postponed tour dates… or maybe postpones previously canceled ones; whichever one is more subversive and cool

Earlier this fall, we stopped the motherfucking presses to tell you all about how James Blake had to postpone a few US dates in order to go win himself a Mercury Prize real quick (which he did win, by the way) for Overgrown (TMT Review). Initially, he took to his Facebook page to assure all the poor losers in the Southern United States that those dates would be rescheduled for 2014.

But wouldn’t you know it? In typical “I Just Won a Mercury Prize” rockstar fashion, Blake (or actually, probably his butler!) has logged onto his Facebook once again, and, after posting a few Instagram photos of food and his high score in Candy Crush Saga, he confirmed that those southern US dates — in Nashville, Houston, Austin, and Dallas, specifically — have been called off all-together! Oh cruel world. Check it:

It’s with great regret that we announce the cancellation of the four postponed US shows in March 2014. A number of events have conspired against us leading to it becoming impossible to fulfill the dates. Sincere apologies to those who bought tickets. Refund info to follow asap. HQ

Sorry, Southern US. :( If it’s any consolation, it’s NOT gonna be BALLS-COLD FOR THE NEXT EIGHT MONTHS where you live.

James Blake tourdates:

11.19.13 - Vancouver, BC- Vogue Theatre
11.20.13 - Seattle, WA - Showbox Sodo
11.21.13 - Portland, OR - Roseland Theater
11.24.13 - Guadalajara, Mexico - Teatro Estudio Cavaret
11.25.13 - Mexico City, Mexico - El Plaza Condesa
11.29.13 - Tokyo, Japan - Electraglide
01.17.13 - Taipei, Taiwan - Legacy
01.19.14 - Seoul, Korea - Uniqlo Ax Hall
01.21.14 - Shanghai, China - QSW
03.20.14 - Nashville, TN - Marathon Music Works
03.23.14 - Houston, TX - House of Blues
03.24.14 - Austin, TX - Emo’s East
03.25.14 - Dallas, TX - House of Blues

• James Blake:
• Republic:

R. Stevie Moore releases new cassette on new label Oma333, premieres video for “I’m Dancing,” answers our questions!

I hope your stick-shaking arm is good and rested, because R. Stevie Moore’s got a brand new tape of even more songs coming out pretty soon. You heard me right, a tape. Turns out the dude actually hasn’t released a cassette in 25 whole years, but this fellah who lives in Sweden finally talked him into it, which makes me wonder how resistant to peer pressure our pal R. Stevie really is. If everybody else jumped off a bridge and into a swirling sea that consisted only of watered-down peanut butter, would you just follow along, Mr. Moore? Think hard on that one because it’s a serious question and not in the least an attempt at absurd humor.

Anyway, the tape is called In the History of Ever and it collects 18 songs spanning all the way from 1969 to 2013. It’s out November 29 on a brand-spanking new tape label out of Sweden called Oma333, and it’ll only be available in a limited run of 333. You can buy it here. Also, get this: because it turns out that we, Tiny Mix Tapes, actually are the prettiest girl at the prom, we get the unique little privilege of being the first folks to embed the video for the track “I’m Dancing” on our website! Whaaaaatt??? The track features Moore whispering vocal-fried come-ons straight into your ear, and the Kevin Luna-directed video has a little dog in a sweater and a kid making some questionable questions vis-à-vis lung health. If you’re into that (and, honestly, who isn’t?) check it out below:

But wait, because if you let capitalism run wild for long enough, the world starts to imitate infomercials, THERE’S MORE! In addition to the R. Stevie Moore tape, Oma333 has two additional releases slated as a way of inaugurating itself into existence, both of which will be limited to 99 copies. The first is from Gabo and the Wartels, a group who describes themselves as “a marching band somewhere between Suicide and LA Law,” which I think is an oblique way of saying they use saxophones, trumpets, and even a bass clarinet. Their release is called In a Very Small Boat, and you can purchase it here, and watch the video for “Sleepy Head” below (directed yet again by Kevin “the busiest man in the Making Music Videos for Fledgling Tape Labels market” Luna). The third inaugural release is from Blood Music. Entitled Bits and Pieces for Aunts n Nieces, the release collects actual bits and pieces the band put created between 2002 and 2012. Bits and pieces include but are not limited to: demos, alternate versions of songs, bits of dead skin, candy bar wrappers, candid pictures of someone’s dad. Buy it here, and check out the also-directed-by-Kevin-Luna-video for “Problematique” below.

Aaaaannnnddddd, in the interest of making this the longest news post ever, there’s EVEN MORE!! Below you can scope a cute lil’ Q&A with R. Stevie Moore in which he maybe calls you a hipster? Don’t take it personal though. If you’re a hipster, then I definitely am too. I mean I was the guy gumming up his inbox with the dorky “Q’s” that demanded these “A’s” in the first place anyway.

Since this is the first cassette release you’ve done in 25 years, I was wondering if you felt any resistance to returning to the format. The way the press materials describe it, it seems like you might have required a little talking in to it.

I currently have very little interest myself in using the tape format any longer, and I’m amused at its new hipster resurgence. Of all the many audio options, cassette seems the least appealing, on so many levels. So, I’m not really “returning” to it, just allowing someone else to issue my music this way. But I’ll never be doing that again for myself. I suppose this modern romance with cassettes is for young people who missed out on the original K7 revolution of the early 80’s. I don’t even have a deck anymore, just a cheap boombox.

How did you get connected with Oma333?

Met and befriended Gavin when I played Stockholm in 2012. He started his label and asked if I’d like to issue something. Voila!

What lead you to stop releasing on cassette in the first place? Was it just expediency — with the rise of CDs and all that — or was it something else?

Many reasons. Tape remains inferior, in sound quality, fragility and severe inconvenience accessing individual tracks quickly. I always loved the upgrade to CDR’s, which easily solves those 3 problems. Being able to record, compile & index homemade discs is like having your own record pressing plant in your own little makeshift studio. What could be better than that! They say CD’s are over, but I beg to differ. I do dig vinyl (again), but spindles of blank compact discs are my bag. And digital files are also very beneficial for me, both as artist and listener. I adored cassette’s appeal when it first exploded (again, one could now make and distribute their own music, in real time), but by now it’s an ancient annoyance, like antique tape reels or 8-track cartridges.

This release pulls together tracks from over 40 years. What was the selection process like on your end?

Selection was quick and quite easy; we didn’t belabor over what to include and what not to. It simply fell into place. There usually isn’t one given method of choosing tracks for an RSM compilation. I often have a big hand in deciding, but it varies, release to release. Much of the time there’s a reliance on picking material which has yet to be heavily anthologized already (if at all). There’s so much back catalogue available on demand, such a deep deep reservoir of still unheard classics. I am quite easy to please in the long run, without restrictions.

Did you attempt to do any sort of thematic shaping for the songs on this collection? If not, looking at them now as a final product, does any theme emerge from your perspective?

Not at all, no connective theme “shaped” here. It’s just random songs. Gavin [Maycroft, of Oma333] liked the old tracks I suggested, so they became the final listing (with a few minor changes and shifts in sequence). Not really as complicated as it seems. Far too much emphasis is always placed on over-analytical inquiries about “which came first? the words or music?” or “were you attempting to express any specific theme or concept?” or “what vibe are you truly trying to convey here?” I think you’ll find most albums are merely a hodge-podge bag of unrelated tracks, which can however unintentionally take on a whole unified statement to listeners.

I dig both extremes, but random shuffle can be delightful.

Some musicians don’t like to look back at their back catalog because they’ve got hang ups about how they sounded when they were less experienced. From interviews and the fact that you seem to be so comfortable with archival releases like these, it would seem that you aren’t quite as bothered by that. Is that the case? And if so, why do you think you’re more comfortable looking back over your discography?

I differ greatly from most who do hide and protect their embarrassing “baby pictures.” I openly accept and validate equally ALL of what I have ever recorded for 45 years, so there’s not a problem whatsoever. The early, elementary music works are fascinating, and as relevant to my oeuvre as my latest highest-fidelity fully-developed sessions. I never differentiate between the old and new, the good and bad, the worthy or discarded. I offer a complete lifetime of my diary of sound, and THAT’S what I favor… not the insistence of ranking my best all-time favorite songs, etc. blah blah blah…

• R. Stevie Moore:
• Gabo & the Wartels:
• Blood Music:
• Oma333:

William Basinski curates Arcadia performance series in the UK starting in March 2014, finally comes clean about his wizarding ways

It’s sort of an open secret in ambient/drone circles that William Basinski is a wizard, and in a recent interview with TMT’s Jakob Dorof, he sorta obliquely referenced that fact by way of a description of his legendary Arcadia studio/performance space/wizard coven. He said it was…

[…] just a beautiful, magical place. It was a place where everyone went, a home for all of my friends… crazy children. We did a lot of concerts there, over the years, records there, for different people. Antony’s first demo, we did there — Diamanda Galás performed there one Halloween, an amazing show. A lot of great memories.

Emphasis on the “magical,” am I right? Unfortunately, as a result of changes in zoning, not to mention the tanking economy, when the lease for the space ended back in 2008, Basinski left Arcadia, a process he describes as “a bitch.” However, not content to let his wizarding ways fall entirely to the wayside, Basinski has announced that he’ll be curating a new Arcadia-inspired performance series in the United Kingdom, which many of you may know as the place where Harry Potter lives, i.e. an obviously really great location for wizards like Basinski to hang out and talk about wizard stuff with like-minded folks. The series will be put on through Basinski’s partnership with the organizations Sound and Music and Art Assembly, both of which are committed to fostering new music and helping out young artists. This seems like a pretty swell idea as long as Voldemort doesn’t attack or that hairy giant fellah who tells Harry that he’s a wizard doesn’t set, like, a dragon or a horny goblin loose someplace stupid again.

Because one of the main points of this series is to nurture young artists (sorta like a Hogwarts-type deal) Basinski will work with Art Assembly and Sound and Music to put together an “artist call out” in order to recruit up-and-coming performers. These artists will have the opportunity to perform in support slots at the slew of concerts that the series will hold over the next year. As of right now, only two such concerts have been announced, both of which will be at St. John in Hackney in London. The first is a solo performance from Swans’ Michael Gira on March 12, and the second is a collaborative performance between Rhys Chatham and Charlemagne Palestine on March 20. The Chatham/Palestine collaboration will be the first time the two have shared a stage in nearly 30 years. Both shows will feature Basinski gallivanting around, probably casting music spells and futzing with tape loops, as is the fashion. You can grab tickets for the Gira performance here, and the Chatham/Palestine performance here.

• William Basinski:
• Art Assembly:
• Sound and Music: