Rhys Chatham announces release of Harmonie du soir, plans debut West Coast performance of “A Secret Rose,” continues to evade simple questions like, “Where’s a guy like you get all those guitars?”

Rhys Chatham announces release of Harmonie du soir, plans debut West Coast performance of "A Secret Rose," continues to evade simple questions like, "Where's a guy like you get all those guitars?" http://www.tinymixtapes.com/sites/default/files/1310/news-13-10-rhys-chatham.jpg

I have but one question for the inimitable Rhys Chatham: “Mr. Chatham, just where did you get all of those guitars?” For years, Chatham has hidden behind layers of press handlers, interviewers too starstruck to ask the tough questions, and his status as master composer and probable father of noise rock (imagine that episode of Maury), but no longer. The people demand to know, and I won’t write this news post about your new Northern Spy release Harmonie du soir until you answer us!

Okay, so it’s 30 minutes later now, and I just got off the horn with Squeo, the news editor over here. He says we’re “not in the business of holding the news hostage,” which I think is bullshit and makes me wonder exactly what business we are in. I’m up for my pension soon, though, and I don’t want to rock the boat. Harmonie du soir is out November 12 from Northern Spy on both CD and LP. The release features three pieces, the first of which, “Harmonie du soir,” is Chatham’s first recorded composition for six guitars, bass, and drums since 1986’s Die Donnergötter. The second is another new composition for 70-piece brass band entitled “Harmonie de Pontarlier: The Dream of Rhonabwy,” and the final is a “burning re-imagination” of 1982’s “Drastic Classicism” (this final track is only available on the CD version and the bonus download with the vinyl edition). You can preorder the record from Northern Spy right now.

What’s more, in what feels like a targeted attack against those of us brave enough to ask the real questions, Chatham is also planning the first West Coast performance of “A Secret Rose,” a piece written for an orchestra of 100 electric guitars. The performance is on November 17 at the Craneway Pavilion in Richmond, California. You can grab tickets right now if you’re the type of nerd who “plans ahead for events.” He’s also got a few other dates coming up, including a solo trumpet performance at the Hunters Moon festival in Ireland, and a collaboration with Charlemagne Palestine in the United Kingdom.

Harmonie du soir tracklisting:

01. Harmonie du soir
02. Harmonie de Pontarlier: The Dream of Rhonabwy
03. Drastic Classicism Revisited


10.27.13 - Carrick on Shannon, Ireland - Hunters Moon Festival
11.02.13 - Birmington, UK - Library of Birmingham *
11.17.13 - Richmond, CA - Craneway Pavilion

* Charlemagne Palestine

• Rhys Chatham: http://www.rhyschatham.net
• Northern Spy: http://northernspyrecords.com

Neil Young to release 1970 performances Live at the Cellar Door this December, then complain that the audio is shit

Folks, I’m sure this goes without saying, but: ol’ Neil Young fucking rules. But I’ll tell you something else: the man’s “extravagant-batshit-curmudgeon-upstart-artist” lifestyle is no easy or cheap thing to maintain. So I’m sure you’ll agree that we’ll have to forgive the guy for continuing to package up and sell-off his old live shows like some jacked-up senior citizen on Antiques Roadshow, right? Good, cuz here’s a bunch of information about a new one.

Live at the Cellar Door, the latest in his Archives Performance Series, will see the light of day on December 10 (via some label called Reprise Records). I know, I know; you’re already SOLD, but let me at least tell you a little bit about this one. According to its press release, it “collects recordings made during Young’s intimate six-show solo stand at The Cellar Door in Washington D.C. between November 30th and December 2nd, 1970, a few months after Reprise released his classic third solo album After The Gold Rush in August.” In other words, dude was IN THE ZONE when this shit got cut. So don’t sleep on it.

The album primarily features Young on acoustic guitar and piano (oh yeah, there’s totally a “rare solo version of ‘Cinnamon Girl’, performed on piano rather than guitar” from 1969’s Everybody Knows This Is Nowhere, which seems awesome!) and includes, well, all the good stuff: tunes from After the Gold Rush (“Tell Me Why,” “Only Love Can Break Your Heart,” “Birds,” “Don’t Let It Bring You Down,” the title track), Buffalo Springfield jams from all over the catalog (“Expecting to Fly,” “I Am a Child,” “Flying on the Ground Is Wrong”), and even some “early, raw performances of songs that wouldn’t appear until subsequent Young albums,” such as “Bad Fog of Loneliness” (which appears on the 2007-issued Live at Massey Hall ‘71 that we all already love, and “Old Man” (two years before it’d show up on 1972’s Harvest)! Hell-to-the-yeah. You’re gonna folk out to this shit so hard during those mellow, dying-down-hours of some idiotic wintertime loft party, I just know it!

The performance was recorded by Henry Lewy and produced by Young. As per the other stuff in the Archives series, Live at the Cellar Door will be released on horrible-sounding digital, okay-sounding CD, and cock-suckingly-transcendent 180 gram vinyl (mastered by Chris Bellman at Bernie Grundman Mastering and pressed at Pallas in Germany). So yeah; let’s all keep Neil Young in the black! What the hell are you waiting for?! Oh, that’s right; December 10. Yeah, right on… me too.

Live at the Cellar Door tracklisting:

01. Tell Me Why
02. Only Love Can Break Your Heart
03. After the Gold Rush
04. Expecting to Fly
05. Bad Fog of Loneliness
06. Old Man
07. Birds
08. Don’t Let It Bring You Down
09. See the Sky About to Rain
10. Cinnamon Girl
11. I Am a Child
12. Down by the River
13. Flying on the Ground Is Wrong

• Neil Young: http://www.neilyoung.com
• Reprise: http://www.warnerbrosrecords.com

NGUZUNGUZU announce Skycell EP, travel around Europe in their ISUZUISUZU

Everyone’s favorite all caps’d duo, with the name that either makes you think of an aggressive pluralization of weaponry or a Yoda interpretation of a zoo taken over by a miscellaneous sticky substance, NGUZUNGUZU, have been plenty busy not releasing a full-length album, but, importantly, not not doing anything at all. Of particular note due to its temporal proximity and the quality of the release itself, they produced two of the tracks (“Enemy” and “Something Else”) on Kelela’s debut mixtape, capably succeeding in their task of creating relatively sparse, bass-heavy rhythms to complement the vocals. Likewise, NA (Daniel Pineda of NGUZUNGUZU) also recently made his solo debut with the EP Xtreme Tremble, released a short while ago. I feel like that title could use some more X’s.

You’re noticing it too: a secret hatred of long plays that continues into the present, as evidenced by the announcement of Skycell, a new EP on Fade to Mind (out November 5 digitally and November 19 on vinyl), their sixth EP overall, and possibly a hybrid of their mutual love for Skyfall and Splinter Cell. Go on, resist the temptation after you read the EP being described as a “game…”. Continuing: “a game you don’t know your [sic] playing, a hostile environment where your mind takes a vacation, but your body is in a cage.” So, you know, sure. Expectations are of something not dissimilar to their previous work, and as has been belabored, not something much longer either. It’s all good. No, really, forgiveness:

Skycell tracklisting:

01. Foam Feathers
02. Harp Bell
03. Vision of Completion
04. Break In
05. Tumultuous
06. Mecha
07. Skycell


10.18.13 - Mexico City, Mexico - NAAFI party
10.22.13 - Los Angeles, CA - Viper Room
10.25.13 - Zurich, Switzerland - Longstreet Bar
10.26.13 - Copenhagen, Denmark - Stengade 30
10.30.13 - Berlin, Germany - Panorama Bar
10.31.13 - Paris, France - La Machine du Moulin Rouge
11.01.13 - Stockholm, Sweden - RBMA Ljunggrens
11.02.13 - Moscow, Russia - Solyanka
11.08.13 - Los Angeles, CA - Fade to Mind

• NGUZUNGUZU: https://www.facebook.com/pages/NGUZUNGUZU/353887257279
• Fade to Mind: http://fadetomind.net

C V L T S release cassette on Beer on the Rug, spit a thousand V’s and spaces at that other Cults

There are Cults and then there are C V L T S. Not to spend this news story badmouthing the band Cults (they’re fine), but know this: C V L T S could chew them up, digest them, and then spit out an infinite stream of negative space and capital V’s. It’s just fact! Funny thing, though, C V L T S aren’t even a terribly tough band. They make soundscapes, many of which are fairly warm. Still, tougher than Cults, tough enough to put out music on Beer on the Rug. Music like their new cassette, Intentions, out now.

Act now on this tape, lest you end up in a void of regret. What I mean by this is that the cassette is limited to a mere 75 cassettes, though all of those cassettes do come with download codes. If you really, really act quickly (possibly into the past, but maybe not), you can receive a piece of raw black tourmaline, the likes of which is packaged with the first seven cassettes. You hear that? RAW. BLACK. TOURMALINE. Beyond that, all the cassettes come in a purple tinted shell and all have been pro-duplicated on chrome tape. But, at that point, you’ll have to get tourmaline yourself.

• C V L T S: http://www.cvlts.com/index.php
• Beer on the Rug: http://www.beerontherug.com

Heatsick preparing new album Re-Engineering for PAN, slowly saving up for a better keyboard

Heatsick a.k.a. Steven Warwick has a brand-spanking-new full-length coming soon (November 29) on PAN. It’s called Re-Engineering because it plans to “re-engineer” your concept of what a record album can be by being both familiar (it has songs on it like all the others!) and unfamiliar (I’ll bet you bitcoins to buttercream frosting you haven’t heard any of these songs unless you’re Rashad Becker, or Bill Kouligas, or Warwick, or maybe Warwick’s mom). You might remember Warwick as the fellah who made some major waves in the electronic music community because instead of using super fancy electronic machines to make his music, he used slightly less fancy electronic machines to make his music. If you’ve hit your head or slept since then, I’ll remind you that at first folks were kinda skeptical about that, but then eventually they were less skeptical, which is a pretty cool demonstration about how things change over time.

Warwick describes the record as a “cybernetic poem” about “hypermodernity in crisis,” which are some real cool sounding words that make me think about robots, which is something I really like to do. Also, to be totally candid, I’m pretty stoked about the whole robot angle here because if poetry really is dead, I imagine robot stuff is just the ticket to get it breathing again. If you’re in the mood to get hyped and also think about robots, you can check out a recording of Warwick’s set at this year’s PAN_ACT festival below, or maybe catch him on one of his several international tour dates which are also below.

Re-Engineering tracklisting:

01. Re-Engineering
02. E-Scape
03. Mimosa
04. Watermark
05. Clear Chanel
06. U1
07. Speculative
08. Après Moi, Le Déluge!
09. Dial Again
10. Emerge
11. Accelerationista


10.17.13 - Nantes, France - Pôle Etudiant*
10.23.13 - Bristol, UK - The Exchange#
11.09.13 - Sydney, Australia - Sound Summit Festival
11.14.13 - Brisbane, Australia - TBA
11.15.13 - Perth, Australia - Connections Nightclub$
11.16.13 - Melbourne, Australia - Boney
11.20.13 - Dunedin, New Zealand - Chicks Hotel
11.21.13 - Auckland, New Zealand - Whammy
11.22.13 - Wellington, New Zealand - Puppies
11.23.13 - Christchurch, New Zealand - Third Door Down
11.24.13 - Palmerston North, New Zealand - The Fish
11.30.13 - Rio de Janeiro, Brazil - Novas Frequencias Festival%
12.01.13 - Rio De Janiero, Brazil - Panel Discussion

* Sculpture
# Shangaan Electro
$ Tama Sumo
% Lee Gamble, Miles

• Heatsick: http://perpendicularrain.blogspot.com
• PAN: http://www.pan-act.com

RIP: Ronald Shannon Jackson, jazz drummer/composer who collaborated with Cecil Taylor, Ornette Coleman, and Albert Ayler

From JazzTimes:

Ronald Shannon Jackson, a drummer and composer who worked largely within the realms of free jazz, funk and fusion, died this morning, Oct. 19, in Ft. Worth, Tex. Jackson’s passing was confirmed by his cousin, Tobi Hero, on Jackson’s Facebook page. No cause of death was cited, however, Jackson was suffering from leukemia and had been living in a hospice. He was 73.

• Ronald Shannon Jackson: http://ronaldshannonjackson.com