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?
Rare Stevie Wonder track gets first vinyl release through Motown 7-inch set. You hear that, Uncle Raymond?
Okay, I’ve got this uncle. He’s generally a good guy, but he’s also kind of a jerk. Every Christmas, he comes to the house, brings his so-called famous chili dip (not very good, mostly a block of Velveeta and a can of chili mixed together), and has a little too much of that classic Pennsylvania Dutch eggnog. All that’s fine, he’s my uncle, I love him. Fine until he gets on about his damn Stevie Wonder collection. “Lemme tell you, lemme tell you all right now,” Uncle Raymond inevitably says every holiday season. “I have every single record Stevie Wonder ever put out. Can you say that, Eric? What about you, Linda? NO none of you know good music bluuuurgh.” That “bluuuurgh” part represents the sound of him barfing into my mom’s fish tank. Well, shove it, Uncle Ray, ‘cause you don’t have every Stevie Wonder record any more. As FACT reports, “Just Enough to Ease the Pain,” a 1964 song by Wonder previously released only as a digital download, is receiving a 7-inch release as part of the Motown 7s: Rare and Unreleased box set, out November 18.
Aside from this unreleased Stevie Wonder track, sure to shatter my uncle’s precious world (at least until my dad gets him the box for Christmas), the Motown 7s box contains a total of seven 7-inch singles with tracks from Marvin Gaye, Diana Ross, The Spinners, Chris Clark, and others. One of these singles is Frank Wilson’s “Do I Love You,” a song originally released in 1965 but quickly withdrawn, an original copy of which sold for over £25,000. Once my uncle receives a copy of this box, the record containing Wilson’s track, along with all the other non-Stevie Wonder records, will be thrown in a trash can and set ablaze. My uncle has some real problems.
Sacred Bones celebrates 100 releases with ritualistic milk-drinking, announces the release of lost LP from The Hunt
Hopefully pop culture hasn’t ruined associations with the word “bones” (plural) and consequently forced you to think of that television show with the woman who does stuff, but even if it has, releases from the Brooklyn-based Sacred Bones should at least be leasing some space in your — you, the regular reader of TMT — mind by now. For one, the catalog that they’ve amassed in just six short years stands surefooted in impressive territory, with artists like Blank Dogs, Nice Face, Psychic Ills, Amen Dunes, Zola Jesus, Pharmakon, and The Men all being Sacred signatories at one time or another. Preceding the possible epiphany of that label affiliation may be the thread connecting the covers — a self-described “template” carrying info in a designated font + label logo. It wasn’t always that way, however…
The very first Sacred Bones release — One Thousand Nights by The Hunt, who later went on to become members of Cult of Youth — came without notions of future success, and thus, without the desire to maintain an aesthetic that compels recollection of previous label releases, or enthusiasm towards yet another. Obviously things have changed! And in honor of those nonexistent expectations being quickly replaced by metaphorical rays of sunshine that turn homeless people into tuxedo-wearing swing dancers, Sacred Bones have announced the release of a “lost” (and seemingly great) LP from The Hunt, entitled The Hunt Begins.
What’s to know about the album’s previous misplacement? Well, nothing, really. It was recorded four years ago and simply never saw the light of day, until now. Music-wise, the NY-based duo (Jasper McGandy and Christian Kount) seem to fit pretty neatly into the post-punk category. Have a listen. The album’s out November 12.
The Hunt Begins tracklisting:
02. Fifteen Minutes
03. Summer of Hate
04. Set the Rising Sun
05. Black and White
08. When The Sky Turns Black
09. One Thousand Nights
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:
04. White Fire
05. High & Wild
06. Lights Out
09. Dance Slow Decades
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
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
[Photo: Samantha Marble]
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: http://freepussyriot.org
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.
[Photo: Jonathan Galbreath]
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: http://www.superiorviaduct.com
Google Glass adds “listen to music” to its list of stuff it can do, so now you don’t have to look like an asshole wearing one of those hideous iPods in public
Here at TMT, we like to keep you, our tech-savvy reader base, so damn abreast of everything that’s happening in the world of Google and its terrifying-because-its-so-friendly world takeover. In fact, we’re so dedicated to that kind of coverage that sometimes we’ll even [make our unpaid college intern Derek] read the New York Times and stuff. Usually that shit is [I’d imagine] boring as hell. But today? Paydirt! Seems that Google is announcing that Glass, its $1,500 pair of sunglasses, is now gonna be able to play music for you! Into your ears!
Here’s the rundown: Glass is now being marketed as a thing that can “search for songs, scan through saved playlists and listen to music in high fidelity.” And yeah, all of this while it sits on your (or, say, Kanye West’s) face as a pair of lens-less frames that respond to voice commands on a little transparent screen projected above your (or again, better yet, Kanye’s) right eye.
When you turn it on (god knows how you do that), it displays “listen to” in a list of possible voice commands, allowing you to simply name a song or artist and start streaming that shit through Google Play (you know, their iTunes app thing that most people don’t really use much right now). So yeah, you can start a play account, link it up with your nerd specks, and get sweet, sweet “access to playlists and song recommendations based on what [you’ve] listened to in the past.” What a time to be astigmatic!
But, yo, I know what you’re gonna ask: “so, the music just streams right into my freakin’ eyeballs then, or what?!?” No! Funnily enough, Google is also rolling out its own set of earbuds, specifically designed for Glass, which will be “available by the end of the month for $85.”
As of now, only Google’s music services are available on Glass, but others are expected to be rolled out as more and more people get with the program and buy into this whole nerdy Star Trek-esque hologram life that’s in store for our pathetic futures. “With these new features, we’re now building a great music experience on Glass, whether you’re a classical music professor, an acclaimed sound engineer and hip-hop producer, or someone who wants to listen to their favorite tunes anytime, anywhere,” says Ed Sanders, the director of marketing for Google Glass. And truly, why the hell shouldn’t he? I mean, he does work there, after all.
• Google: http://www.google.com
Spectrum Spools double your pleasure, fun with dual releases from Max Eilbacher and Steve Moore on December 16
Spectrum Spools is planning two releases on the same day on December 16, which leaves plenty of time for either (or both!) to become confusing Winter Solstice gifts for grandma. The first is Steve Moore’s Pangaea Ultima. Moore’s been all up in the solo synth game for a while, such as on his 2011 Moon Glyph release, but this is his Spectrum Spools debut. Taking its title from a possible future “super-continent” predicted by geologists, the album goes whole hog on the subject of time and space being artificial human constructs, and carries with it a surgeon general’s warning that close listening may result in “transformation into a formless blob that exists outside of the space-time continuum.” With mastering by Rashad Becker and artwork by Robert Beatty, you can be sure that is some serious synth-business. If you’ve got your serious synth-business-suit on, feel free to preorder it here, or listen to “Deep Time” below.
The second release is from Max Eilbacher. And whaddaya know, it’s another debut! Though Eilbacher has played with groups like Matmos and Horse Lords for some time, he’s not yet put out a collection of solo material. This debut, Red Anxiety Tracers, is the product of a year-long effort editing together found and synthesized sounds. It doesn’t carry the surgeon general’s warning like Moore’s record, but your gym teacher wanted me to let you know it’s been described as an “audio obstacle course” so you should probably bring your knee pads. When you’re adequately covered in pads, check out a video preview of the record below (or listen to the “No Room For Breathing” excerpt on the Spectrum Spools SoundCloud) and preorder it here.
Pangaea Ultima tracklisting:
01. Endless Caverns
03. Deep Time
05. Pangaea Ultima
08. Endless Mountains
Red Anxiety Tracers tracklisting:
01. Slowlo / Persistent Scenes / Did the Surfer Survive?
02. (Intro) / Geetar / No Room For Breathing / Rail Trax