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
From the BBC:
Sir John Tavener, one of the leading British composers of the past 50 years, has died at the age of 69.
Sir John was known for music that drew on his deep spirituality.
In 1992, The Protecting Veil topped the classical charts for several months and in 1997 his Song For Athene was played at the funeral of Princess Diana.
He had suffered ill health for much of his life, including a major heart attack in 2007. He died at his home in Child Okeford, Dorset, on Tuesday.
• John Tavener: http://www.johntavener.com
Stephen Malkmus and the Jicks announce new record Wig Out at Jagbags, change name to Shoopie Magoogle and the Woops
Breaking news: Stephen Malkmus and the Jicks have officially changed their name to Shoopie Magoogle and the Woops. For clarity’s sake, the group’s future releases and press materials will still read Stephen Malkmus and the Jicks, which is also how they will continue to refer to themselves verbally. But they know and you know that they’re really Shoopie Magoogle and the Woops. Why the drastic name change? Well, take this album title: Wig Out at Jagbags. Does that sound like an album by Stephen Malkmus and the Jicks? Well, yes, it does, because Pitchfork reports it is an album by them coming out January 7 through Matador (January 6 through Domino in the UK). It just sounds even more like an album by a band called Shoopie Magoogle and the Woops.
Wig Out at Jagbags will be the debut from Shoopie Magoogle and the Woops, but the first Stephen Malkmus and the Jicks album since 2011’s Mirror Traffic (TMT Review). If you preorder the album from Matador’s store, you’ll receive a one-sided 7-inch for non-album track “Pick Up the Spare” on strawberry red vinyl. Let’s make that clear: STRAW. BERRY. RED. Not cherry red. Not some sort of crappy maroon. Strawberry red. While you’re thinking about that pleasing shade, check out the video for first single “Lariat”:
Shoopie Magoogle and the Woops will be coming to Europe this January. In France, look for Shoopie Magoogle et l’Oups. In Spain, Shoopie Magoogle y la vaya. In Germany, Shoopie Magoogle und die Woops. In England, Shoopie Magoogle and the Woops. They speak English there, dummy.
Wig Out at Jagbags tracklist:
01. Planetary Motion
02. The Janitor Revealed
04. Houston Hades
06. J Smoov
07. Rumble at the Rainbo
09. Independence Street
11. Cinnamon and Lesbians
12. Surreal Teenagers
Stephen Malkmus and the Jicks dates:
01.13.14 - Leeds, UK - Brudenell
01.14.14 - Glasgow, UK - Uran Mor
01.15.14 - Manchester, UK - Gorilla
01.16.14 - London, UK - Forum
01.18.14 - Paris, France - Divan Du Monde
01.20.14 - Madrid, Spain - Joy Eslava
01.21.14 - Barcelona, Spain - Bikini
01.23.14 - Milan, Italy - Tunnel
01.25.14 - Fribourg, Switzerland - Fri-Son
01.26.14 - Frankfurt, Germany - Zoom
01.27.14 - Berlin, Germany - Postbahnhof
01.29.14 - Copenhagen, Denmark - Vega
01.30.14 - Hamburg, Germany - Knust
01.31.14 - Cologne, Germany - Gebaude 9
02.01.14 - Brussels, Belgium - Botanique Orangerie
02.02.14 - Amsterdam, Netherlands - Bitterzoet
Neon. All-night karaoke. Cat cafes! (Thirty-nine of them, to be exact, if Wikipedia is to be trusted. THIRTY-NINE!!!!) If any world capital seems like it would be a natural conduit for the sugary magic of Red Bull, it’s Tokyo. And so it’s only logical that the sorta corporate-seeming but usually pretty awesome Red Bull Music Academy should be making Tokyo the site of its 2014 mega art/music shindigs.
Over the past decade-and-a-half, such dream locales as London, New York City, Toronto, Cape Town, Melbourne, and Madrid have played host to this genre-defying showcase where the finest purveyors of forward-thinking music and art, together with literally THOUSANDS of those 20-year-old girls who shill Red Bull on college campuses across America, descend upon a designated city to give it wings and a totally next-level hangover. Tokyo’s Red Bull Music Academy Weekender gave residents a scintillating taste of what’s to come this past month when the city played host to Damo Suzuki’s Network, Gilles Peterson, Daedelus, DJ Krush, Yann Tomita, Diamond Version, Young Symphony Orchestra, Henrik Schwarz’s WalkMusic performance, and a Harajuku-based music/art/records fair. Would-be initiates of Red Bull’s special brand of wizardry can watch Red Bull Music Academy’s website. Red Bull Red Bull Red Bull!!!! This post brought to you by new zero calorie Red Bull Overdose.
• Red Bull Music Academy: http://www.redbullmusicacademy.com
When I was eight years old, a haunting and magical book appeared at the library and changed my life forever. That book was The Carnival Ghost, an early entry into the Sweet Valley Twins Super Chillers (imagine creepy, “bloody” red letters here) series of YA “twins gettin’ scared” novels. Unshockingly, this book was about a creeeepy carnival haunted by a fetching dark-haired young ghost woman with a super-pretty long white dress with a blue ribbon sash. Apart from the fact that she was totally evil, she was PRETTY AWESOME. I mean, she got to haunt a carnival forever, while wearing fly threads, and so basically this fictional ghost person became my life role model the first day I ever read that book.
Marissa Nadler’s new album is effectively this concept brought to life. The Boston-based chanteuse’s sixth album, July, is set for a February 4 release on Sacred Bones in the US, and a February 10 release on Bella Union in the UK. Recorded at Avast Studio in Seattle with Randall Dunn (Earth, sunn O))), Wolves in the Throne Room) and featuring Eyvand Kang (strings), Steve Moore (synths), and Phil Wandscher (guitar), July has that same haunting, ethereal, dusty Depression-era carnival quality that characterizes Nadler’s best work, but the lyrics on the new album set her firmly on the modern highways and fluorescent-lit hotels of the modern carnival ghost, er, touring musician. You can preview new track “Dead City Emily” online. No dates yet, apart from a late November stop at Rough Trade in Brooklyn.
04. We Are Coming Back
05. Dead City Emily
06. Was It a Dream
07. I’ve Got Your Name
09. Anyone Else
10. Holiday In
11. Nothing in My Heart
11.30.13 - Brooklyn, NY - Rough Trade