From the representatives of Richie Havens:
RICHIE HAVENS was gifted with one of the most recognizable voices in popular music. His fiery, poignant, soulful singing style has remained unique and ageless since his historic appearance at Woodstock in 1969. For four decades, Havens used his music to convey passionate messages of brotherhood and personal freedom. Billboard Magazine writes, “This acoustic soul giant truly seems to be getting more inspiring and graceful with age.” From Woodstock to The Isle of Wight to Glastonbury to the Fillmore Auditorium to Royal Albert Hall to Carnegie Hall, Richie played the most legendary music festivals that ever were, and most of the world’s greatest concert venues. But even when performing in a Greenwich Village coffeehouse or a small club or regional theater, he was eternally grateful that people in any number turned up each time to hear him sing. More than anything, he feels incredibly blessed to have met so many of you along the way.
• Richie Havens: http://www.richiehavens.com
You would think by now it would be hard for Actress (Darren Cunningham) to do anything but see the forest for the trees. After exhibiting the capacity to rearrange techno in toto, why would you care to go back and restructure but one unit of that whole, re-dress and rework a single track? Who knows; thankfully, Cunningham remains a bewitchingly unpredictable creator, and in turn we’ve profited from some absolutely fascinating remixes. Remixes that, in the shadow of R.I.P.’s exquisitely vague patterns and sedated beauty, remain surprisingly relevant.
Most recently, Cunningham lent his penchant for chopping & screwing to fellow knob-twiddlers Legowelt and Dinos Chapman. The remixes of Legowelt’s “Elementz of Houz Music” range from hypnotically minimal to rhythmically anesthetized, both steeped in Actress’ trademark codeine fog, while the latter Chapman reworks are of a different sort altogether.
In February, Chapman — a visual artist turned sound designer — released his ear-catching debut Luftbobler, an LP of oblique IDM sketches and Stockhausen-y electronics. At some point thereafter, Actress picked up these ideas and carried them off to his nocturnal deep house alter-dimension. They reappeared as new creations on April 20, newly reanimated, newly corkscrewed, and strangely impressionistic. As FACT reported, these pressure-cooked remixes can be heard on the 500-copy limited pressing Luftbobler Remixed/Remastered EP via The Vinyl Factory.
Listen to some of both artist remixes below, and hopefully (hurry hurry) you can still snag a copy or two over at Honest Jon’s Records.
The concept behind Brian Eno’s ambient classic Music for Airports may have worked in part because so many people have personally gripped the red tape inside airports. We can relate to, and perhaps subsequently joke about, all of the strain and stress-inducing stuff that occurs because, after all, most of us don’t have a choice in the matter, aside from the airlines we choose — and because, if we’re being honest here, most of what we have to endure just isn’t that serious in the long-run. Temporary outrage at being molested in the name of security leads to late-night fantasies in your subsidized hotel room. Or is that just me?
For a stark change in venue, let’s move to hospitals, which are more or less synonymous with suffering and death. Tact assumes a role of greater importance for any artist choosing the hospital as their subject, which is probably why Brian Eno plans to limit his upcoming soundtrack and light installation to (for the time being) one hospital in particular, as opposed to disseminating the work(s) to the general public. Yeah, sorry.
Eno has two sound and light installations set for debut at the Montefiore Hospital in Hove, England. The first, “77 Million Paintings for Montefiore,” is for the reception area, while the second, “The Quiet Room for Montefiore” is a specially designed space for “patients, staff, and guests” to escape more serious, non-TSA-related stresses. Serenity and mental healing is the stated goal here, while patients will presumably start giving equal prayer time to both Jesus and his cooler, younger, follicular opposite.
To reiterate, according to The Independent, a spokesperson for Eno said, “It’s true to say that ‘The Quiet Room for Montefiore’ is an album that can only be heard in the Montefiore Hospital.” It might just be worth exposing oneself to illness.
• Brian Eno: http://brian-eno.net
Oh NYMPH, where have you been all my recent life!? From the moment of my musical maturation, it’s like a tiny light has been flickering inside my being, calling out for some revitalizing amalgam of free jazz, psychedelic rock, and music of vaguely Middle Eastern inspiration. Sun City Girls, it may said, capably filled that role at various points, but I can’t tell you how enamored I am to hear that NYMPH haven’t gone the route of the equally psychedelic Magic Lantern and preemptively called it quits, despite the warm reception. Instead, they’ve rescinded their social registration and signed with Northern Spy, through which they’ll be releasing their second LP (and first for the label) New Millennium Prayer on June 25.
A few notes on the band’s history: despite having but one formal release under their belt so far, NYMPH have been active participants in the New York psych scene for seven years, starting off as a project of Matty McDermott and Eri Shoji, who later expanded the band to its now seven-member composition. Since 2011, they’ve doubled as The New Quiet Screamers and served as the ensemble under free jazz musician Arthur Doyle, through whom they’ve undoubtedly honed their improvisational chops.
That would make New Millennium Prayer the band’s first release since The New Quiet Screamers became a thing. Anticipate it, supporting live dates, and coax your spirit over yonder with older track “U.F.O. Over Dome Rock.”
The counter to music elitism is the notion that you shouldn’t judge a person by his or her taste in music, and that you shouldn’t let said person’s musical preferences dictate, in any way, your behavior toward him/her. Well, that was before Twitter allowed their #Music app to be used by the general public, which has increased the risk of being digitally shoved face-first into the steaming pile of an acquaintance’s listening habits. Ignore that risk if you’ve carefully chosen who to follow, or, obviously, if you’re following @TinyMixTapes. Then you’re golden.
The app, previously available to just a few lucky(?) celebrities, can now be accessed online via music.twitter.com, or through the Apple App Store. The general purpose is this: to recommend you new music based on what users are tweeting about. With this aim in mind, the app consists of four tabs (or pages):
The “Popular” tab displays music that’s trending across Twitter, in case (like me) you’re ever curious about just how disconnected you are from the musical interests of mainstream society. The “Emerging” tab highlights “hidden talent,” however that works and whatever that means. The “Suggested” tab shows you artists you might like based on the artists you already follow (and also, who they follow), and the “#NowPlaying” tab lists the songs your friends are currently listening to and/or tweeting about. (There’s also a “Me” tab that displays the latest songs of the artists you follow.)
A certain boon to the app is the ability to listen to, or at least preview, the music that’s being recommended, through an interface-embedded Spotify, Rdio, or iTunes player. People who have accounts with either or both of the former services can log in and listen to full tracks.
I approached this news with skepticism, and I leave moderately less skeptical. #coolerthanithought
• Twitter: https://twitter.com
Quasimoto possibly announces new album, Yessir Whatever, definitely announces something new something
Damn Lord Quas, you’ve gotta give the people something to work with. It’s been eight years since Madlib put out The Further Adventures of Lord Quas, his most recent record under his Quasimoto alias. So when Quas himself posts on his Facebook page that he’s now listening to a test press of Quasimoto’s Yessir Whatever, people are gonna freak out a little bit. In fact, The Daily Swarm freaked out enough to report on this sentence, while we’re just picking up their freak-out and running with it. Look, it’s just that… it would be pretty neat to have a whole new full-length record from Quasimoto. That’s all.
Only thing is, Yessir Whatever may well not be a full-length record. Madlib hasn’t posted any further information about the record, so it could really be anything. Potholes in My Blog (who picked up on the initial Facebook post) speculate that the record may actually be a compilation. They also note that a Google search reveals results listing the record for a June 2013 release and that Madlib has posted a picture of the test pressing on his Instagram. So, to sum up: Quasimoto is releasing something called Yessir Whatever, it may be an album, it may not be an album, it may be coming out in June, and there is photographic proof that this test pressing exists.
• Quasimoto: http://www.stonesthrow.com/quasimoto
Television to play Marquee Moon at ATP Australia; Balam Acab and an all-star Rowland S. Howard tribute band, too
As Belinda Carlisle once sang, “Ooooooh heaven is a place on Earth.” And on October 26, 2013, that exact place will be the Westgate Entertainment Centre and Grand Star Reception in Altona (near Melbourne), Australia, when ATP’s Release the Bats Halloween party will take over for a night of mayhem and magick. Headlined by The Jesus Lizard and The Breeders (who’ll be performing Last Splash in its entirety), the festival recently got a dose of awesomeness when ATP announced the addition of a few oh-so-special performers.
Television! Performing Marquee Moon! In — you guessed it — its entirety! Creepy dude Balam Acab! And Pop Crimes, a group of all-star performers assembled by Mick Harvey to pay tribute to the too-recently-departed Rowland S. Howard. The group, featuring friends, fam, and collaborators, will cover Howard’s various musical endeavors, including Young Charlatans, The Birthday Party, These Immortal Souls, and his solo albums.
Also on deck for this shindig are The Scientists, Fuck Buttons, Lightning Bolt, Sleep, Forest Swords, Hoss, Total Control, White Walls, The Spinning Rooms, and The UV Race. Plus the always tantalizing and mysterious “more to come.” Also, there is a costume contest! A COSTUME CONTEST. Plus a cinema, two stages, art stuff, and a food court. Whatever. Costumes! Ready the fake blood and fright wigs!
• ATP’s Release the Bats: http://www.atpfestival.com/events/releasethebatsmelbourne.php
Jenny Hval boosts the confidence of shy nerds everywhere with new LP Innocence Is Kinky, out in May on Rune Grammofon
I remember it almost distinctly: it was around the month of August, in the year 2011, and I was just about to join a lesser-known offshoot of Occupy Wall Street, whose tagline was, “We are the 1%… of unabashed male pantyhose-wearers.” As I was browsing the web, caressing my synthetically soft and silky thighs with one hand and fingering my laptop’s trackpad with the other, I recalled that I had an album to listen to. Jenny Hval’s LP Viscera had entered my radar somehow, though I knew nothing about it, nor the Norwegian artist/writer whose named garnished the cover.
So the first track began:
“I arrived in town… with an electric toothbrush…”
I settled in for what I thought was another innocuous and somewhat quirky folk album.
“… against my clitoris.”
Apparently Hval isn’t exactly keen on lyrical or creative restraint, and the second album under her own name, Innocence Is Kinky, would appear to continue that trend, going by the title alone. Due May 14 on Rune Grammofon, the album features a string section led by avant-garde composer Ole Henrik Moe, and was produced by John Parish — who, usefully, is a long-time collaborator with PJ Harvey. Emotionally revealing. Intellectually thoughtful. Potential references to genitalia. You can barely ask for more.
Innocence Is Kinky tracklisting:
01. Innocence Is Kinky
02. Mephisto in the Water
03. I Called
04. Oslo Oedipus
05. Renée Falconetti of Orléans
06. Give Me That Sound
07. I Got No Strings
08. Is There Anything on Me That Doesn’t Speak?
09. Amphibious, Androgynous
10. Death of the Author
11. The Seer
[Photo: Gunhild Varvin/Henie Onstad Kunstsenter]
Daughn Gibson announces new album Me Moan out July 9, has such a pretty voice no one will correct his grammar
Fair readers of Tiny Mix Tapes, do you know about sound waves? Are you familiar, I wonder, with their form, their function? If so, then I am sure you are quite familiar with the dangers that particular frequencies can harbor. I have no doubt you’ve heard tell of the potential for stabbing abdominal pain that a 2015 Hz blast secretly carries with it at all times, like a bowie knife sewn into the lining of its jacket. And there’s no need to remind you, clever reader, of the effect that a rumble at 27.5 Hz delivered in just such a way has on certain species of tropical birds.
Well, readers, I come to you today with a heavy heart to announce that Bill Callahan and Daughn Gibson have officially been disallowed from playing together in a live music context by the government agency in charge of such things as these. As we have previously reported, Callahan’s sensuous baritone is capable of forcibly disrobing all who hear. So too does Gibson’s voice carry with it a great power, like that of a wizard intently focused on nudity. The government agency in charge of these things would not go into the specifics of what exactly would occur if these two men were allowed to sing at the same time and in the same venue, they said only that it would likely end “in flames and lawsuits.”
Though this information surely comes as a shock to many, there is a substantial silver lining, my dear internet-mediated friends! Daughn Gibson has announced a new album Me Moan! Astute readers will note subtle references to Gibson’s interest in nudity and religion on the album’s cover, as it feature images of naked people in a church. The album, out July 9, is a follow-up to 2012’s excellent All Hell (TMT Review) and is Gibson’s first for Sub Pop. Lead single “The Sound of Law” (the name of which, one might observe, is quite fitting given the situation), is streamable below, though listeners are advised against listening to the song in concert with anything by Bill Callahan or Smog in the close presence of children, the elderly, or the recently deceased. Gibson will also tour quite extensively in support of his album, crisscrossing the fair nations of the world, balancing his desire to make awkwardly long eye contact with men and women everywhere with the restriction that he not do so in the near vicinity of Mr. Callahan.
Me Moan tracklist:
01. The Sound of Law
02. Phantom Rider
03. Mad Ocean
04. The Pisgee Nest
05. You Don’t Fade
07. Won’t You Climb
08. The Right Signs
09. Kissin’ on the Blacktop
10. All My Days Off
11. Into the Sea
05.24.13 - Barcelona, Spain - Primavera Sound
05.26.13 - Brussels, Belgium - AB Box @
05.27.13 - Amsterdam, Netherlands - Paradiso @
05.28.13 - London, England - Birthdays
05.29.13 - Paris, France - Point Ephemere
05.30.13 - Copenhagen, Denmark - Pumpehuset
06.01.13 - Porto, Portugal - Primavera Sound
07.16.13 - Louisville, KY - Zanzabar
07.18.13 - Detroit, MI - Magic Stick
07.19.13 - Chicago, IL - Pitchfork Music Festival
07.21.13 - Madison, WI - High Noon
07.22.13 - Minneapolis, MN - Triple Rock #
07.23.13 - Fargo, ND - Aquarium
07.25.13 - Vancouver, BC - Biltmore
07.27.13 - Olympia, WA - Capital Theater (Backstage)
07.28.13 - Portland, OR - Doug Fir
07.30.13 - San Francisco, CA - Rickshaw Stop *
08.02.13 - Los Angeles, CA - Echo *
08.03.13 - San Diego, CA - Casbah *
08.04.13 - Phoenix, AZ - Rhythm Room *
08.06.13 - Marfa, TX - El Cosmico
08.08.13 - Austin, TX - Red 7
08.09.13 - Houston, TX - Fitzgeralds
08.11.13 - Nashville, TN - Stone Fox ^
08.12.13 - Atlanta, GA - The Earl ^
08.13.13 - Charlotte, NC - Milestone ^
08.15.13 - Washington, DC - Black Cat (backstage) ^
08.16.13 - Philadelphia, PA - Johnny Brenda’s ^
08.17.13 - Brooklyn, NY - Glasslands ^
@ Kurt Vile
* William Tyler
^ Hiss Golden Messenger
From the BBC:
Storm Thorgerson, whose album cover artwork includes Pink Floyd’s The Dark Side of the Moon, has died aged 69, the band’s management has confirmed.
A childhood friend of the founding members of the band, he became their designer-in-chief, fashioning a string of eye-catching creations.
He designed the cover showing a prism spreading a spectrum of colour for The Dark Side Of The Moon.
His credits also include albums by Led Zeppelin, Peter Gabriel and Muse.
• Storm Thorgerson: http://en.wikipedia.org/wiki/Storm_Thorgerson