Charlie Looker (Seaven Teares, Psalm Zero, ZS) begins residency at NY’s The Stone this month, premieres Twin Peaks cover song

Airbnb is deep in a legal tug of war with New York City about where I can and cannot rest my toosh for the upcoming Charlie Looker residency at The Stone in Brooklyn. Well, that’s free-market capitalism for you. Raids, fines, jail time — hit me hard, Manhattan Supreme Court Judge Carol Edmead, because I’m making my way to this six-day residency, and you can’t stop me. During his stay, Looker will perform solo, in an acoustic set with Psalm Zero, and in a whole bunch of collaborations with the likes of Mary Halvorson, Peter Evans, Mick Barr (Orthrelm), Weasel Walter, Darius Jones (Little Women), Travis Laplante (Little Women, Battle Trance), Tyondai Braxton, Mike Pride, and many more. Looker will also perform in his groups Seaven Teares (whose last album Power Ballads was released on Northern Spy) and Period (whose last record was released in 2013 by Public Eyesore).

Each night will feature two sets at $15 each, except on the 17th (Saturday), where you get a twofer of Looker and Andrew Hock (Psalm Zero) each performing solo sets, followed by premieres of new songs during the aforementioned one-off Psalm Zero acoustic set. The following day, Looker will also premiere a new, massive 45-minute, drone-based composition with a slew of musicians, including Peter Evans, Gareth Flowers, Mike Pride, and more. And if that weren’t enough, look out for the Seaven Teares & Friends set on January 16, which will also-also include premieres of a new original track called “Of the Flood” (featuring guest singer Caleb Burhans, the violinist from Alarm Will Sound) and two new covers, Swans’ “God Damn The Sun” (featuring Azar Swan’s Zohra Atash) and “Strange Young Girls” by The Mamas & The Papas.

To get you in the mood, cozy up to Seaven Teares’ stellar cover of Julee Cruise’s “The World Spins” (from a pivotal scene in season 2 of Twin Peaks) below, and do your part in the fight against bedroom tyranny by checking out Looker at his Stone residency.

Residency details:

• Charlie Looker and Darius Jones
• Charlie Looker, Tim Dahl, and Weasel Walter

• Charlie Looker and Mary Halvorson
• Charlie Looker, Mary Halvorson, Mick Barr, and Tyondai Braxton

• Charlie Looker Solo Guitar
• Charlie Looker, Andrew Hock (electric guitars) Jamie Saft (organ, electronics) Balazs Pandi (drums)

• Charlie Looker (electric guitar) Caleb Burhans (violin) Robbie Lee (portative organ, woodwinds) Travis Laplante (tenor sax)
• Seaven Teares & Friends

• Andrew Hock (electric guitar) Charlie Looker (acoustic guitar, electric guitar, voice)
• Psalm Zero Acoustic

• The Pleasures of a Normal Man feat. Peter Evans, Gareth Flowers (trumpets) Jacob Garchik (tenor trombone) Andrew Hock, Mario Diaz de Leon (electric guitars) Mike Pride (drum set, percussion) Josh Modney (violin) Caley Monahon-Ward (violin) Karen Waltuch (viola) Mariel Roberts (cello) Pascal Niggenkemper (contrabass) Charlie Looker (composer, synthesizer)
• Period featuring Tim Berne Charlie Looker (baritone guitar) Chuck Bettis (electronics) Mike Pride (drums) Tim Berne (alto sax)

• Charlie Looker:
• Seven Teares:
• Northern Spy:
• The Stone:

Oh, the pills you’ll pop! Danny Brown writing Dr. Seuss-esque children’s book

The guy who wrote “Fucked pregnant bitch/ Save money on her abortion/ I feel like Billy Corgan/ In a church playing the organ” is now writing a children’s book inspired by both Dr. Seuss and his daughter. The guy is Danny Brown, renowned rap artist, and who are you to say this isn’t interesting or music news?

Of all places to discuss this, Brown told Kyran Wheatley on Australian radio that the book is being created to boost the confidence of black children, specifically young black girls. Brown went on to say, “I think I AM Dr. Seuss.” Don’t worry mom and dad, he’s not crazy. He simply means rapping and rhyming go hand in hand, and children’s books are super easy to make as a celebrity.

The most important question is… will Danny Brown’s children’s book be tame and earnest like Jay Leno’s mega-hit, If Roast Beef Could Fly, or will it actually be something impactful like Judy Blume? Maybe it’ll be somewhere in between. But one thing we can count on is that the main character’s name will be Molly.

• Danny Brown:

Grouper announces European tour, where she’ll single-handedly destroy buildings FREE OF CHARGE

2015’s already turning out to be one shifty bastard of a year. Forget all those cinematic promises of future technology, to be replaced by new and improved ways to pluck lengthy nose hairs; instead, the one doing the personal fooling is the apparitional Liz Harris a.k.a. Grouper, who released one of our favorite albums of 2014 last October. How misled I was; a press release announcing an album-supporting tour for the new year didn’t specify (in the subject line) that the tour is European and consists of only seven dates! Maybe we shouldn’t have expected more. Who knows what kind of rabid behavior Animal Collective engage in when they’re hitting the road. Ugh, what a turn-off.

Among the dates Grouper has scheduled: a performance at Teatre Maria Matos in Lisbon, Portugal — the primary nation-site of Ruins’ creation. That show in particular is said to contain “special piano,” but considering the aforementioned album contains so much piano anyway, I dare say you could probably say the same about the rest of the dates. Don’t forget to come back to America and give us some of that nigh-AOTY goodness, Liz.


03.27.15 - Knoxville, TN - Big Ears Festival
04.21.15 - Copenhagen, Denmark - Jazzhouse
04.23.15 - London, UK - St. John at Hackney (presented by St Johns Sessions)
04.25.15 - Krems, Austria - Donau Festival
04.26.15 - Bergen, Norway - Landmark (presented by Utmark)
04.29.15 - Gent, Belgium - VOORUIT
05.01.15 - The Hague, Netherlands - Rewire Festival
05.03.15 - Lisbon, Portugal - Teatra Maria Matos (co-presented by ZDB)

• Grouper:
• Kranky:

[Photo: Dustin Aksland]

Zola Jesus adds additional North American dates, changes name to Yolo Jesus, turns cap backwards, relates to the kids

Loading…loading…loading…hello, welcome to DADP, the Digital Acronym Dictionary Program. Please enter an acronym.


ZOLA - Zoos Only Live Always. Refers to belief that humankind will always desire to observe creatures we deem lesser.

Please enter an acronym.

ENTER: Jesus

JESUS - Just Eating Some Undercooked Steak. Self-explanatory.

Please enter an acronym.

ENTER: Zola Jesus winter tour dates.

Secret DADP feature unlocked. Congratulations. Zola Jesus’s recently announced North American tour dates are as listed below. Last year, Zola Jesus put out her third full-length, Taiga on Mute. Thank you for your continued support of DADP, user.

01.08.15 - Seattle, WA - Nepture
01.09.15 - Portland, OR - Mississippi Studios
01.10.15 - Vancouver, BC - VENUE
01.12.15 - Salt Lake City, UT - Urban Lounge
01.13.15 - Denver, CO - Bluebird Theater
01.14.15 - Lawrence, KS - The Granada Theatre
01.15.15 - Minneapolis, MN - Cedar Cultural Center
01.16.15 - Chicago, IL - Tomorrow Never Knows (Athenaum Theater)
01.17.15 - St. Louis, MO - The Ready Room
01.19.15 - Ferndale, MI - The Loving Touch
01.20.15 - Columbus, OH - Skully’s
01.22.15 - Toronto, ON - The Drake
01.23.15 - Montreal, QC - Phi Centre
01.24.15 - Providence, RI - Fete Ballroom
01.25.15 - Brooklyn, NY - Saint Vitus
01.26.15 - Brooklyn, NY - Saint Vitus
01.27.15 - Philadelphia, PA - Union Transfer
01.28.15 - Baltimore, MD - Ottobar
01.29.15 - Washington, DC - Black Cat
01.30.15 - Durham, NC - Motorco Music Hall
01.31.15 - Atlanta, GA - Terminal West
02.01.15 - New Orleans, LA - Republic
02.02.15 - Houston, TX - Fitzgerald’s
02.03.15 - Austin, TX - The Mohawk
02.04.15 - Dallas, TX - Trees
02.06.15 - Phoenix, AZ - The Crescent Ballroom
02.07.15 - Las Vegas, NV - Bunkhouse Saloon
02.08.15 - Santa Ana, CA - Constellation Room

• Zola Jesus:
• Mute:

Matt Mondanile to curate experimental/electronic festival feat. Rene Hell, Dolphins into the Future, Spencer Clark, Madalyn Merkey, etc! Time to get off your lazy ass and hitchhike to L.A.

NEWSFLASH doughboy: holiday break is OVERS-ville. It’s time to get your flabby ass back into shape, pronto. Luckily for you, I’ve got the perfect fitness solution for you: an “electronic and experimental music in LA… [that features] many acts from Finland, Belgium, and Italy that have never performed in the US as well as many artists from [Matt Mondanile’s] label New Images” that’s going down on Sunday, January 25 of this chilly new year! Wait, huh?

Yup, the good dudes at New Images and Pacific City Sound Visions are teaming up to present a festival of epic proportions called “International Mystery” later this very month! And that means you’ve got like 20 days or so to brush the Ferrero Rocher wrappers and panettone crumbs from your flabby, supine self, make like Forrest Gump, and start f-ing RUNNING from wherever the hell you live on Planet Earth (a.k.a. the continental United States of America) over to smelly old Los Angeles, California.

Also curated by Spencer Clark of The Skaters, the whole shebang will reward you for your aerobic efforts with the likes of Rene Hell, Dolphins into the Future, Floris Vanhoof, Spencer Clark (performing as Pinhead in Fantasia), Tsembla, Itasca, Madalyn Merkey, Dennis Tyfus, Nuslux, Tomutonttu, Orphan Fairytale, Dracula Lewis, and some wicked cool DJ sets from Spencer Clark and Matt Mondanile. In addition, you’ll presumably be stick-thin by the time you get there.

Speaking of “getting there,” there = Jewel’s Catch One nightclub at 4067 W Pico Blvd. in L.A. and tickets for the thing are available over here for 16 bones. Which, c’mon, is WAY cheaper than that gym membership that you’re considering maybe considering to consider considering!

Okay then, so you’re sold? Good. On your mark! Get set…

• New Images, Ltd:
• Pacific City Sound Visions:


“When TMT stops publishing, it feels like the whole music world stops.”
– nobody

Welcome back to Tiny Mix Tapes! We love you all.

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While we were gone:

• Lil B has granted Frank Ocean studio time with The BasedGod. Orange Flame mixtape?
• Legowelt surprise-dropped an ambient album on Bandcamp.
• The Pirate Bay was raided and taken offline by police. Piracy is officially over with!
• Drake re-released iLoveMakonnen’s brilliant self-titled EP on December 15 as… a totally different EP. Because that’s what he does. He ruins everything. (JK!)
• Dr. Dre was the top-earning musician of 2014 at $620 million, which made Beyoncé, top-earning artist #2, look like she was barely earning minimum wage at $115 million. But don’t worry. Thanks to the trickle-down theory, we’ll be seeing some of that $620 million trickling down from Dr. Dre’s jet made out of dollar bills.
• Lil Ugly Mane vaped it.
• Apple is now offering refunds on iTunes purchases, even if just because you think an album is shitty (think that’s how it works…).
• SXSW is facing lawsuits from the families of the victims of 2014’s tragic car crash. RIP.
• Picture Thom Yorke checking his spam box for the Bandcamp account confirmation email, his ponytail gently swaying in the air, causing dimples in the fabric of the spacetime continuum.
• A. G. Cook is 24 years old!
• NY producer Lil Jabba released a new EP 47 on Local Action.
• Fuck tha police!! In other news, the N.W.A. biopic has a trailer.
• Kanye West dropped a new track with Macca.
• The Black Keys drummer Patrick Carney dislocated his shoulder, after, according to TMZ, “a humongous wave slammed him to the ocean floor.”
• Rap, always the most active genre in December, had a big month, with releases by Lil Herb, Katie Got Bandz, Chinx Drugz, Kevin Gates, Fabolous, Zuse, Gucci Mane, Rich the Kid, B.O.B., Mike Jones, etc.

Death Grips release “instrumental full-length soundtrack” Fashion Week; the powers that b likely to be released in February

Death Grips have just unloaded NOT jenny death but an unexpected “Instrumental Full-Length Soundtrack” called Fashion Week. At the moment, your guess is as good as ours, but it can be heard on YouTube here, SoundCloud below, or as a download here.

Also, according to Stereogum via Amazon via Scott with the chain wallet at Disc Exchange, listings for the powers that b — Death Grips’ final double album containing niggas on the moon and yet-to-surface jenny death — are popping up with a solid(-ly rumored #2015) physical release date: February 10. If you happen to have a calendar nearby, check it out and you’ll see that February 10 is a Tuesday, so this bit of news 100% checks out.

Knowing Death Grips, the digital release of jenny death will ALSO drop sometime before then without warning, but until that glorious moment, enjoy this totally unannounced set of 14 new tracks, or at least watch the video for “Inanimate Sensation.” Also peep our Favorite 50 Music Releases of 2014 because niggas is on there like it should be — suckaz.

• Death Grips:
• Harvest:

RIP: Joe Cocker, rock and blues singer

From Rolling Stone:

Singer-songwriter Joe Cocker, known for his distinct, bluesy voice and his heartfelt renditions of Beatles classics, died in his Colorado home on Monday following a battle with lung cancer. One of Rolling Stone’s 100 Greatest Singers, Cocker was 70. The British singer’s agent, Barrie Marshall, confirmed the death to the BBC, adding that Cocker was “simply unique” and “it will be impossible to fill the space he leaves in our hearts.”

“John Robert Cocker, known to family, friends, his community and fans around the world as Joe Cocker, passed away on December 22nd, 2014 after a hard fought battle with small cell lung cancer,” Sony Music wrote in a statement, via iTV. “Joe Cocker was born 5/20/1944 in Sheffield, England where he lived until his early 20s. In 2007 he was awarded the OBE by the Queen of England. His international success as a blues/rock singer began in 1964 and continues till this day. Joe created nearly 40 albums and toured extensively around the globe.”

• Joe Cocker:

Jason Lescalleet plans subscriptions for monthly series, new collaboration with Aaron Dilloway, answers our questions!

Tape maestro Jason Lescalleet, who really always wanted to be a magazine when he grew up, has recently announced that he will soon be one step closer to achieving his childhood goal by becoming something to which you can subscribe! Or, more specifically, beginning in 2015 with Volume Five in the series, you can subscribe to his This is What I Do monthly CD releases. The series returned back in October after a nearly four-year hiatus since Volume One in 2011. Volume Two, which kicked off the return, is a lovely, autumnal roil of a thing that is throughout punctuated by off-kilter and sample-based moments of left-turn surprise. In many ways, its occasional gentleness is a pretty stark contrast to the often harsh, and yes, needling assaults of tracks like “Needles” on Volume One. The first track of Volume Two, “Autumn Leaves (October 2014)” lays bare in its title the immediacy of Lescalleet’s project, while also perfectly encapsulating the sound and vibe of the whole release. You can read Asha Sheshadri’s take on the track over in Choco.

The deal with Volume Two in the context of the This is What I Do series was simple: it would be available from Lescalleet’s Glistening Examples Bandcamp page right up until he dropped Volume Three, at which point it would go away in a flurry of enforced ephemerality. And lo, it came to pass that Volume Three, with its even more under-the-table droning, angular sample work, and occasional blasts of noise entered our lives. On the whole, Volume Three is a bit more structurally varied than Two, with shorter pieces like “Sunset in C” and “As Seen from an Egg” counterbalancing longer works like opener “Holiday in November.” In “Complex Nova Systeme” there’s even a full-fledged beat that fulfills the dream that those of us who heard “Old Theme” on Songs About Nothing have been nursing ever since we were all like, “But I mean, you could also maybe do that for a little longer if you wanted?” Listen to it below.

Each new release is planned to arrive right around the middle of the month, with Volume Four scheduled to drop on December 16. You can find the full specific subscription details over on the Glistening Examples site, but there will also be the option to purchase each release individually throughout the year. Lescalleet is also planning a quarterly level of the subscription, in large part out of consideration for his international fans who might find themselves really taking it in the teeth with shipping costs if they bought each release individually. What a guy! In fact, speaking of Lescalleet being a guy, and one who can type using a computer no less, he was gracious enough to answer a few of my questions via email about the project, as well as about his recently announced and soon-to-be-released collaboration with Aaron Dilloway entitled Popeth; it’ll be out December 16 too, and it’s up for pre-order now. Peep the Q&A below.

Looking at the This is What I Do project as a whole, do you have any sort of an arc planned out for the way the 12 releases over the course of 2015 will unfold? Do you have them plotted out already, or maybe even have some of the recordings in the can already?

No. Part of this project’s value comes from the immediacy of the material. It will usually contain material that was recorded within the past 30 to 60 days. If not, it would then be material that might be weighing heavily on me during that month, or perhaps a retrospective release of material based on anniversary date. The series is also free from format. I have no predetermined criteria for what will appear on these discs.

I guess my only true criteria would be that it’s a peek into my creative work on a real time basis, and I hope that my selections will always be interesting to my audience.

Could you tell me a bit more about why immediacy is so valuable to you in the context of this project?

Immediacy means that I won’t have time to over think anything. Raw. Pure. Also, timely, current, now. A glimpse into my state of mind on a real time basis. Keeping it real.

It seems that putting a requirement on yourself to create and release that much material on such a clear schedule will have the effect of really honing your process–a process, which based on your work up until now, I imagine is already pretty well-honed. Do you foresee it having any measurable effects on how you work, or do you have any goals in that arena?

Absolutely. I now need to be as organized as possible. This series will require discipline.

Another consideration that eluded me when announcing this series is the monthly requirement to produce interesting cover art. This is a good thing, since I enjoy photography and visual art, so I will be honing these skills as well. The other disciplinary challenge will be to still allow myself ample time to study and to work on new concepts for future detail-oriented compositions. I have two or three ideas for future solo records and it will take a lot of time and effort to bring them to fruition. Thinking this through, out loud, right now, I’m thinking that I may need to rely on other labels to produce and publish these works to set them apart from my monthly series.

You mention trying to leave time for yourself to still work on other projects and compositions. How do you think all this consistent work will effect your approach to those?

I have two main concerns that I consider challenges or problems to solve when embarking on this project:

1.) I need to maintain a level of quality work with artistic integrity in a manner that satisfies me as an artist.
2.) I don’t want to flood the market with a lot of similar material that might cause my audience to lose interest in my work.

This was the main motive for deleting each subsequent volume on a monthly basis. The music will belong to the people that were interested enough to buy it, but it won’t be hanging around as a tedious reminder to the casual audience member that doesn’t need to hear every single composition that I publish. I have a large catalog of available work and I still plan to release the occasional large scale solo album. Those releases are often very specific to a certain concept and they stand alone based on those concepts, away from this crazy schedule of artistic output.

I’m wondering how literal the This is What I Do title is. Is this process of constantly creating new compositions a thing you have been doing for a while simply without releasing all the results?

Yes, I’m always working with sound, and yes it has mostly gone unheard. I consider it my practice or something similar to a pianist or vocalist that practices regularly to maintain their chops. Now I am raising the bar for myself, since I’ll be showing my homework to the world. It’s like a monthly open workshop.

In light of that idea of “showing [your] homework to the world,” I’m thinking about how much of a personal/risky type thing this could be, to let listeners in on your process over such an extended period. Do you think you would’ve done something like this at another, earlier stage in your career?

No, I doubt it. This is a combination of technological convenience and my path of exploring myself as an artist. In addition to the personal (intimate) risk you mentioned, it’s also a challenge to myself and my discipline, stamina, and artistic depth.

Were you planning something similar to this back in 2011 with Volume One?

Well, yes, it was always my plan to continue the series - but I never expected to do it monthly. Yearly, maybe, but never monthly.

Several of the pieces on Volume Two and Volume Three use samples pretty prominently. Could you tell me a bit about how you’re approaching those? With tracks like “Dwayne & the Bluebird Prophecy” from Volume Two, it’s clear that in addition to thinking of them as pure sonic material, you’re considering their “explicit” or surface-level content as well.

Yes, I think of them as pure sounds, much like phonography and field recordings - but I definitely consider their explicit/surface-level content since that’s part of the code that’s unavoidable. It is my goal to deliver more than just a listening experience. I want my audience to feel something when listening to my music.

And finally, if you could just tell me a bit about the new collaboration with Aaron Dilloway — how that came about, what to expect, and so on. I saw on the Glistening Examples Bandcamp that you recorded back in February — was the period of waiting between that recording process and the release just simply a reflection of the manufacturing process, or was there any substantial post-production work you did with it? (And if it was just a manufacturing time table, did that period give rise to any frustrations that might’ve led to the series we’re talking about?)

This duo came about quite naturally, since we’ve known each other for so long and we work with similar tools with a similar aesthetic, swimming in the same pools, talking to the same people about the same records, etc…

The raw material was recorded in February. We passed it back and forth a few times over the course of a few months before I gave it a final mixdown and mastering job. I think we were officially finished with it in June or July and I sent it off for pressing within a month from that date. The pressing took longer than expected, and yes that’s always frustrating, but it’s not something I like to bitch about in public. It’s part of the job, just like in any business, and I need to find a way to make my label a successful endeavor while being realistic about these challenges. I learn a little bit more about the business with each record I publish.

I’m still a fan of music and a record collector at heart so the idea of publishing music for a living is exactly what I want to be doing right now. I’m hoping 2015 will be year of further growth for Glistening Examples and I’m looking forward to publishing music from a wide variety of other artists. There are several projects in the works, and I’m hoping that the TIWID series will be successful enough to assist in funding these future projects. Look for albums of music from artists such as Olivia Block, Glen Galloway (Glen Galaxy, Soul Junk, Truman’s Water), Chris Cooper (Angt Hase Pfeffer Nase, Fat Worm of Error), Kevin Drumm, and others.

• Jason Lescalleet:
• Glistening Examples:

Weyes Blood announces North American tour, featuring all of your favorite presidential summonings

Haunting my butt. Even if the name of Weyes Blood’s newest album does (unintentionally, as it turns out) take from a 1961 film explicitly having to do with hauntings, I personally didn’t get that impression at all listening to the LP just now — as the floor beneath me opened up to a wormhole-like space, and Teddy Roosevelt grabbed my hands for a 45-minute session of circular dancing. The admirable bear hunter also relayed information from a recent interview, where Natalie Mering elaborates on “innocents” as people of a certain age having hopes or expectations that are possibly naive. You think you deserve an unlimited supply of bubble wrap!? Wrong. The popping must be distributed evenly amongst the population.

You think you deserve a stellar performance from Weyes Blood and a full band accompanying her!? Well, who am I to serve as dream-crusher? Check the dates below. Western half of the continent: you’ll sadly have to wait for that in-person inducement of folk nostalgia.


12.10.14 - Brooklyn, NY - Glasslands *
01.10.14 - Philadelphia, PA - Johnny Brenda’s
01.11.14 - Baltimore, MD - The Crown
01.13.14 - Durham, NC - The Pinhook
01.14.14 - Asheville, NC - Tiger Mountain
01.15.14 - Columbus, OH - Bourbon Street
01.16.14 - Chicago, IL - The Empty Bottle
01.17.14 - Detroit, MI - UFO Factory
01.19.14 - Toronto, ON - The Smiling Buddha
01.20.14 - Montreal, QC - Le Divan Orange
01.21.14 - Quebec City, QC - L’Agitée
01.22.14 - Boston, MA - TT The Bears

* Waxahatchee, Steve Gunn, The Goodbye Party

• Weyes Blood:
• Mexican Summer: