Paint in its original state is a liquid, and as a liquid it is naturally prone to movement. When allowed to move and then dry the results can be very natural, free, almost alive. As the paint flows onto the canvas it searches for direction branching out exploring at will. Eventually it will dry and patterns, textures, possibly images will begin to appear. Layer upon layer, color upon color, the paints roam guided by the artists eye and imagination.
So how does the artist control this liquid while still allowing nature to play a role? In the case of New Jersey artist Jim Fuess the answer lies in the nozzle of a spray bottle. Loaded with purposefully selected paints, Jim controls the pressure, volume, direction, and area. He also paints beneath and on top of the wild paint. Forcing himself to work small also adds an element of control and limit to the direction of the paint.
Recently, Jim was kind enough to answer a few of my questions.
Orange Alert (OA): How would you describe your work Jim Fuess (JF): I work with liquid acrylic paint on canvas. Most of my work is abstract, but there are recognizable forms and faces in a number of the paintings. I am striving for grace and balance in my paintings. A lot of his work is anthropomorphic. The shapes seem familiar. The faces are real. The gestures and movements recognizable. I believe that beauty is a valid artistic goal. I also like energy.
OA: The technique of using a squeeze bottle to change the velocity and appearance of the paint is an interesting approach. How did you first come to paint this way? JF: Like 10 million other Americans I have Essential Tremor. I am not a photo realist or a pointillist. I use squeeze bottles for more control.I use Golden and Liquitex paint. The nozzles of the bottles vary in size as does the amount of liquidly. The variations are endless. I start with a liquid base and the other paints can be placed under, in or on top of the base.
OA: Is control an issue or not a factor? Is this why you chose to work on smaller pieces as opposed to large scale paintings? JF: Using the bottles is very high risk. Some of the paintings run over the edge overnight or just turn brown from too much over working or too much paint.I still throw out one in four.I like to work small. Small works cost less to do and are easier to store and transport. Small works are personal rather than the grand public statement that large works make.
OA: You seem to put together a series of paintings focusing on one or two colors, and move on to the next color or colors. How do you decide what color to focus on? Do you ever use color to evoke a specific emotion in the viewer? JF: The series of black and white paintings are an exercise in going back to the basics of form and structure. They deal with the relationship of shapes and figures to each other and to negative space.There is a long history of black and white painting. I keeps me honest rather than relying on color for effect. Color gives the work vibrancy and energy. The blue and white paintings were done because I like blue. I found Golden cobalt blue and loved what I could do with it and went a little crazy.
OA: Are the faces or forms that appear in a few of your paintings intentional? How did you first discover that there may be faces appearing? JF: The faces and forms are mostly deliberate. Sometimes there is a surprise or something that needs encouragement.
OA: What's next for Jim Fuess? JF: I just bought a ceiling fan with ten speeds so I can vary the drying time. I can also crack the paint in interesting ways.
Bonus questions: OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot? JF: I brew a combination of Starbucks caffeinated and decaf in a stove top espresso maker in the morning.
OA: Do you listen to music while you paint? Who are are a few of your favorites? JF: No. Just the sound of the birds and the street and all of the McMansions being built all around us.
For more information on Jim Fuess please visit his website.
In the future, the not-too-distant future when everyone is talking about Brooklyn-based band Bell, and specifically the charismatic leader, Olga Bell, you'll hear her compared to a certain Icelandic pop singer. A compliment for sure and as much as I wanted to write a review of her performance at Nublu on Friday night without mentioning her, I find it impossible. And in less capable hands it would be wholly unfair to saddle someone with such expectation. But Bell takes it in stride and at the intimate East Village nightclub she eschewed the covers that have garnered her much attention these past few months and focused on her own material including those on her new self-released EP.
Though awkwardly positioned in the highest traffic area of the club (where bar and band were less than three feet from each other) songs like "Echinacea" with hand claps and blips and Bell's soaring, confident voice, pushed the set forward and her excellent band mates, drummer Jason Nazary, bassist Michael Chiavaro and guitarist Grey McMurray brought out the nuances off the song's intricate arrangements. Though she is responsible for much of the instrumentation on the EP, there is so much going on in her songs that it would be all but impossible to pull off alone, live and stay faithful to the recorded version.
The way she softly delivered "Brown Bear"'s simple speak verse "It's so hard sometimes to carry, carry on..." you imagine it quietly played out in late night diner conversation over coffee. Then, driving her point home, she belted out the song's chorus ("Cause it's so hard to carry on, when the currents carry you so far from home...") with such force it echoed in the tiny club. And it's moments like these - where she let's loose - that she sounds most like Bjork. But not exactly. And away from those moments, her voice produced a fuller, steadier sound that is all her own. Thus, the initial, overwhelming comparison comes off a bit short-sighted.
On May 15th, Bell performs at the Mercury Lounge opening for Snowden and Colour Revolt with fellow Brooklyn electro-pop band, The Epochs.
In modern literature there seems to be a few reoccurring themes. The story of the immigrant is one that is vital to both literature and to the history of America. Documenting the places, products, fights and fears of the all who have come to America for a new beginning. Those who have found success and those who were not allowed to find success. Another theme is the struggle of the creative, the dream denied and then fulfilled. The writer who struggles to fund to his research and process, the artist who dreams to have his work displayed anywhere, the musician who plays to bar crowds in the single digits.
In Aleksandar Hemon's third book (first actually conceived as a novel) he manages to combine both of these subjects by essentially writing two books. You see, The Lazarus Project is both a novel about a young immigrant newly settled in Chicago in 1908 named Lazarus Averbuch, and a Chicago writer, Brik, in 2008 researching the life and travels of Lazarus. To tell both stories, Hemon decided to alternate the chapters between the two completely different yet somehow similar lives. This allows the pieces of both to unravel slowly, revealing only the essentials and building the tension. There are also a few sub stories or themes at work here, like the fear and hatred in the early 1900's towards Anarchy and immigrants and more importantly the importance of friendship. Brik travels, researching, with a photographer friend Rora who not only documents the trip, but adds the random joke.
If you are looking for novel about the journey, the struggle, the adventure of trying to live your dreams, no matter what they might be then check out The Lazarus Project. Aleksandar Hemon will be appearing at the Barnes & Noble in Evanston on May 1st @ 7:00pm.
"Its so hard sometimes to carry on when the current carries so far from home." from "Brown Bear"
I must admit that I had almost written off Bell as just another Bjork imitation. A very good one, but an imitation nonetheless. You see the first track on her debut ep is a beautiful romp featuring looped hand claps and glitchy little quirks and bubbles, while Olga Bell's voice powerfully searches every inches of the soundscape in that breathy scream/whisper that Bjork perfected years ago. I loved it, but thought it had been done before. It didn't help that she also recently appeared on a Bjork tribute Album.
However, as I listen to the entire ep I realized just how wrong I was. Her music is so much more then I expected, ranging from delicate to near anthem as she covers many styles and emotions in just six songs. In the remaining five songs the electronics are present, but more understated giving the ep as a whole a very stripped down and organic feel. On my personal favorite "Brown Bear" there is a sudden explosion of full bodied grand rock not unlike something you expect from Annuals. Overall this is a wonderful debut from this Brooklyn musician.
We expect to be hearing more from Bell in the coming weeks, so stay tuned!
On May 13th, I'll be releasing a Cotton Jones EP called, "The Archery" via Quite Scientific records from Michigan - good friends of mine. Shortly thereafter, we'll be doing another EP, before compiling the EP's into a comprehensive 12" down the road.
I have a full length finished, and am just figuring a few things out.... (label, timeframe, etc). Hopefully it will be available sooner than later. Let me know if you have any more questions. Thanks man, and have a great day. See you in June. - m.nau
Cotton Jones Basket Ride will be appearing at the House Cafe (DeKalb, IL) on June 21st.
When do you know its over? Why do good bands have to break-up? One of my favorite local bands, The Narrator are going to play two final shows and then move on. Releasing four albums in four years on Flameshovel records, Sam Axelrod, James Barron, Jesse Woghin, have amassed a catalog of songs that will live to tell the story of The Narrator.
Listen to: Surfjew (mp3) from All to the Wall (2007)
Their final Chicago show will be on May 3rd @ The Empty Bottle @ 10:00pm.
Make Believe is real! These Chicago rockers are releasing their third full-length album on Flameshovel records on 4/29. Theirs is a complex sound of filled with quirky guitar lines and random drumming, strange song titles and interesting lyrics. If they didn't rock so hard they might even be called complex. To really understand Make Believe you have to see them perform live. Drummer Nate Kinsella is absolutely incredible as he drums, play keys, and shakes a lot of other percussion instruments all at the same time.
The soon-to-be released Going to the Bone Church pushes their sound to the next level and forces you to believe that they are real.
Make Believe are playing a free show on May 25th @ The Double Door.
In 2005, Firewater's Tod A embarked on what would become a three year sabbatical through the Middle East, the Indian Subcontinent and South East Asia. He had recently split with his wife; George W. Bush had just been re-elected; New York, his home for the last 20 years, had become a cold and foreign place. He wasn't even sure he wanted to make music anymore.
Recording with a single microphone and a laptop in his pack, he captured performances with a vast array of musicians across India and Pakistan--and eventually Turkey and Israel. Bhangra and sufi percussion would form the basis for the songs he wrote along the way--songs about the world he left behind ("This Is My Life", "Electric City"), politics ("Borneo", "Hey Clown"), and dislocation ("6:45", "Feels like the End of the World"). Tod's acerbic wit shines on The Golden Hour, elucidating both the beauty and the absurdity of the world.
Listen to: Borneo (mp3) and Feels Like The End of The World (mp3)
There is old saying that you have to take the bad with the good... or something. Well the latest mix from La Grève Générale mixes both and does it well. It takes a great amount of skill to effectively mix Fiest, Cut Copy, The Smiths, Cadence Weapon, and Klaxons with Bubba Sparkxxx and 2 Live Crew. Check it out for youself. (YSI)
I have the full tracklist, but it is 49 tracks long. I may post it in the comments.
The Peel Back: Anarchy 6 Hardcore Live! (1988, Giant/Gasatanka Records)
I have always been interested in the punk scene, but I have never felt hardcore enough to actually say I listened to punk music. Back in high school I briefly messed around with a punk rock girl, at the times she was actually my good friend's girlfriend but that's another story altogether, and she completely changed the way I view the punk sound. She had this all back mixtape with a bright red anarchy symbol on the front that she would always play in her bedroom. I'm still not sure what she found so romantic about lyrics like "Slam, Spit, Cut your hair, Kill your mom!", but who was argue with the tiny punk on top of me.
Anyway, Anarchy 6... I can not find a lot of information on them, but from what I can tell they only released one album. I know the lead singer's name is Chemical Warfare, and they like to sing about killing people, specifically hippies.
"Old Punks", "Attitude/"Unite & Fight", "Suburban Jail", "Drugs Aren't Great", "Victims Of The Government","Livin' In Society", "New Age/Old Lie", "Third World Vacation", "Skate & Destroy", "Negative Threat", "Crackwagon", "Next Stop Nowhere", "Babylon Rules", "Look Fast To Be Fast", "See You In The Pit", & "Slam, Spit, Cut You Hair, Kill Your Mom!" (mp3)
MP3 courtsey We Got Power films: check out their site for a lot of great punk history.
1. Other World: Chicago's Mark Hendryx creates classic alternative rock. Fun but meaningful, guitars and anthems. He is currently working on his third album 24 Hour Sun. Listen to: All I Need (mp3) from Sonic Spirit
2. Into Flight: UK band Into Flight plays epic noise rock. They were just signed to a small label Pit Viper. Their music soars and so should their career. Listen to: Vena Cave (mp3)
3. Fear of Music: "With the spirit of The Smashing Pumpkins, the screech of Placebo, the scale of (yes) Muse and the conscience of Manic Street Preachers, but also the grace of Jeff Buckley and the hysteria of Pixies, Fear Of Music mine a virgin sound all of their own." Wow, they summon the greats in their bio, but can they deliver... maybe. Listen to: A Blueprint (mp3)
Reading:
1. The Gospel of Tom Cruise by Tom Cruise (aka Bore Parade): "I am the president of my inner life I impeach myself and appoint you" This is a 12 chapter guide to the internal thoughts one Mr. Tom Cruise. I love the fact that he has trademarked love. 2. "Molt" by Claire Hero: "She fawns in a murmur of milk". This is from Claire's new chap, afterpastures, from Cake Train to be released in May.
3. Gloom Cupboard Issue #33: Not that every issue of GC is not great, but I like finding voices I haven't heard before. Joseph Goosey "Bears Without Honey" is greatness!
4. "The Plastic Flower Option" by Robert B. Travis: Directions for driving through the darkness of the desert.
5. "My Signature Moves" by Amanda Nazario: A drink by drink account of a house warming party.
6. "Between the Cracks of Everything" by William Taylor Jr.: To slip between reality for a moment and just breath, not lose time, not lose opportunity, just to slip for a minute... I'm in!
7. "Sometimes Girls" by Ben Segal: A glass plate and a stolen experimental cow.
8. "An Introduction to my Open Mike Poetry Set" by S. Craig Renfroe, Jr.: This is from the new hardcore-indie-underground-ultra-cool-zine that somehow manages to combine art, music, & lit (imagine that... ). This Zine Will Rock Life and Change My World... or something.
Wishing:
1. Awake: A Reader for the Sleepless: A collection of stories, poem, comics, essays, clipping edited by Steve Lee Beeber all designed to help the sleepless and entertain the rest. $15.95
2. "Who I Want in My Foxhole" by Megan Dorien: Collage on paper and wood with little pink army guys. $810
"All writing is in fact cut-ups. A collage of words read heard overhead. What else? Use of scissors renders the process explicit and subject to extension and variation. Clear classical prose can be composed entirely of rearranged cut-ups. Cutting and rearranging a page of written words introduces a new dimension into writing enabling the writer to turn images in cinematic variation." ~ William S. Burroughs
If Burroughs believed that all writing is a "cut-up" of previously used words and phrases then it is not a stretch to believe that all music is follows the same principle. A blend of notes and musical phrases, samples and loops, being pieced together in the mind of the musician. With every new arrangement, with every variation of sound and tone, with every cartoon sample, a new song is created. A song, regardless of its influences, that you can call your own. However, some of the greatest musical "cut-ups" have never been legally released. Of course I am talking about the incredible body of work created by Steve Stein (a.k.a. Steinski). With the help Double Dee, Steinski cut and paste hundreds of samples together to create three legendary works known as The Lessons. This three songs blended pop, hip hop, R&B, soul, cartoons, news casts, and all kinds beats and noises. They, along with his other pieces, were revolutionary, inventive, but above all else they were extremely funky!
His works has served as a primary influence to many of today's Dj's (i.e. Cut Chemist, Dj Shadow, Girl Talk), but it may be the popularity of the work of Girl Talk that has served as a platform for Steinski's music to be brought back into the spotlight. Until now Steinski's work has circulated through illegal means, primarily because it is so sample heavy. It only seems fitting that the label that will release his retrospective is called Illegal Art. However, it is disappointing that sample based music has been considered illegal for so long, because as I said all music is in fact a cut-up. Whether you use a guitar, a piano, a laptop, a turntable, or a tape recorded your product, you song deserves to be heard.
Recently, Steinski was kind enough to answer a few of my questions.
Orange Alert (OA): Next month (May 27th) Illegal Arts will be releasing a retrospective of your music career spanning the last 25 years. In your opinion, how has hip hop changed in that time? What I mean is there have been different phases and segments, but has there been a fundamental change? Steinski (SS): I'm not sure I'd know how to tell the difference between a phase or segment and a fundamental change. Hiphop - at least the hiphop I'm aware of - still revolves around funky beats and breaks, MC'ing, and turntable styling. Hiphop's changed from South Bronx party music to one of the most influential musical styles in the world, but like rock and jazz and house, growth is part of what happens to music when a lot of people recognize its good qualities. It doesn't necessarily mean that the form itself has undergone a fundamental change.
OA: What you and Double Dee created in The Lesson Series has always reminded me of what the DIY Zine Culture of the 70's and 80's was all about. With the cut n' paste, blending of forms and styles, mashing of genres, was there any connection between the two? SS: I was aware of some of the DIY zine culture from punk magazines like Sniffing Glue and a few others. I'm not sure what Douglas was into as far as improvised print material. I know one of the strong influences on me as far as cut & paste was my ex-wife, who's a gifted collage artist and whose work and interests played a part in my own taste. I think she's the one who turned me on to vsual artists like Louise Nevelson and Joseph Cornell. And Douglas and I were both familiar with the early Buchanan & Goodman "flying saucer" records, of course.
OA: In an interview you did last year you mentioned that you cringe when you hear your older work. What is it about these legendary pieces that make your cringe? SS: To be precise, I'd have to say that SOME of my older work makes me cringe; thank goodness, that hasn't happened with The Lessons, or with the Double Dee & Steinski remix of "Jazzy Sensation," or with "Nothing To Fear," the mix I did for Solid Steel Radio in the UK. Apart from those pieces - which I still play out and enjoy throughly - it's rare that I listen to other things I've done without wishing I could go back and make different choices about samples, timing, production, whatever.. Oh well.
OA: I just watched Scratch again this past week, I love the way your describe the first time you heard this new form of music. Are you surprised by what musicians like Z-Trip, Cut Chemist, Dj Shadow, Q-bert, and so on have been able to do with Turntable music? Do you see this as the purest form of hip hop or the antithesis of hip hop? SS: I'm wildly impressed with turntablism and turntablists. I've been lucky enough to share stages with a lot of the great DJ's, and they're all incredible. What's additionally impressive about a lot of them is that they can throw down inflammatory dance sets as well as show off their devastating fader technique.
I'm not sure I'd take such a categorical view of turntablism as being either pure or antithetical to "real" hiphop. It's a creative outgrowth from one of the most basic aspects of the music, and aren't we lucky to be able to see these great artists do their thing?
OA: Like I said your retrospective is being released by Illegal Arts, what are your thoughts on the work of your label mates Girl Talk and Oh Astro? Their work seems to be taking the cut n' paste style to a completely different level. SS: Girl Talk knocked me on my ass when I first heard his stuff. It seems like supercharged cut & paste dance music. He's great, and I'm hot to see him live. The label hasn't serviced me with Oh Astro yet, so I'm waiting with great anticipation to hear that.
OA: What is next for Steinski? SS: More touring in Europe and the UK, regular gigging in the NY area with Double Dee and our trained laptops, and probably releasing some of the remixes and edits I've been doing for my dance sets over the past 2 years - as vinyl bootlegs, naturally.
Bonus Questions: OA: What was the last great book you have read? Since I gave up TV completely in 1983, I've been able to read a lot of great books. Most recently, I re-read "Hard Times," Studs Terkel's amazing oral history of the 1930's Depression in the US. It's absolutely mindblowing. It's the period of American history when the government's free-market economic policies and hands-off management style put the entire economy into the toilet (sound familiar?), and New Deal policies like Social Security came into being.
OA: Who is the best DJ, from back the day, who never received the recognition he or she deserved? SS: There are so many great people from back in the day who seem to have drifted out of the spotlight; it's quite unfortunate. A few that come to mind immediately are Chuck Chillout, Charlie Chase, and Oscar O.C., but there are a lot of others...
Lately I have been thinking a lot about projects, complete and incomplete alike, and wondering what drives us to finish one thing while delaying the other. Some believe that everything has its moment, all things will be accomplished in time and time dictates all things. I am currently listening to an album that took two years to complete, while others are recorded and released in a matter of months. Why was April, 2008 the proper month for this release, and why was it sent to me today. Why has Portishead taken ten years to release their third album? There seems to be connections to these events, reasons for urgency and reasons to validate procrastination.
Writer F.N. Wright knows about having a project delayed until it fell into its proper place. F.N. is the author of several novels (The Whorehouse, 1977, Flight to Freedom, 1986 and The Music Sluts, 2005) over the last thirty years, and all have been written at various stages of his life. As projects are started, shelved, completed, released a legacy is born. It has to give those creative souls with lists and dreams and goals and projects hope.
Recently, F.N. was kind enough to answer a few of my questions.
Orange Alert (OA): Your latest novel, The Music Sluts, is being called the sequel to 1977’s novel The Whorehouse. What can the reader expect from The Music Sluts and why the 30 year separation between the two novels? F.N. Wright (FN): I should begin by saying I went to work for a chain of record store/head shops in the late 60’s. The name of the chain was The Wherehouse. The majority stockholder/owner was one of the most paranoid and greedy individuals I have ever encountered. All employees were required to take mandatory polygraph tests on a random basis. After several years, I refused to take any more and was surprised I was not terminated. He also hired people from a security firm to act as sales clerks in order to spy on the store managers and all other employees. It was ludicrous because it was obvious who they were since they were hired by the main office and not the store manager. As soon as I confirmed an individual was from the security firm (I had a source in the main office who would confirm my suspicions) I would terminate them.
As stressful as the job was, I really enjoyed it. I was soon opening new stores, training managers and crews, then moving on to open a new store in another city. I had been writing mostly poetry and painting for several years but soon began writing humorous stories about the company to relieve my stress. A girl (Tish Perry) I hired to work in a store I was opening and I fell in love and she started reading my stories. One night she said I had a novel on my hands so I began writing The Whorehouse or what I call the longest letter of resignation in history. Tish and I probably had one of the shortest engagements in history (laughs) though after all these years we remain close friends.
The Whorehouse is a very scatological satire about the corporate industry and what paranoia and the feeling of power and greed can do to people; and those involved with them. Eventually, four of the “honchos” and several other people in management positions resigned and started a chain of their own which they named Music Plus. Soon after, Music Plus began to hound me to come work for them. As bad as they wanted me to come to work for them, I had no desire to return to the L.A. area since I was priced out of the beach communities. However, in time, word got out about my book and I knew my days were numbered with The Wherehouse. Then Music Plus opened a store in what was then a small community in Ventura County and asked me to manage it. I drove down, checked it out and accepted their offer.
Music Plus was a blessing after The Wherehouse and referred to all employees as “family.” I think I went to work for them in early ’75 and The Whorehouse was published in late 1977. I then began writing my second novel, “Flight to Freedom” and it became so large I realized I had to break it up into a trilogy. In the meantime the four “honchos” went to hell for the most part. Two of them developed drug problems and all four discovered greed. Before long we were no longer referred to as “family” and many employee/friends were being terminated. Though I was being hassled on occasion I was pretty much left alone.
Bill Pieper, a rare book dealer I had been buying Patchen first editions from and became friends with, read The Whorehouse. He said it reminded him of Bukowski and I should try to get it published in Germany. Bill introduced me to John Martin who in turn put me in contact with Carl Weissner who was Bukowski’s German translator and European agent. Martin, by the way, did not endorse the book having not read it even though I had sent him a copy. Carl loved the book and compared me to HST. A compliment if there ever was one. He managed to sell it to one of Bukowski’s German publishers and got me five times more advance money than German publishers usually gave foreign writers, even the established ones.
Sales on the book were great. The German publisher sent Michael Montfort, Bukowski’s photographer/friend, out to take photos of me for book and publicity. He came out three times and we became friends and drinking buddies. This is relevant to the last part of your question. As I worked on “Flight to Freedom” I stopped and completed a novel called The Strangers. Then things went to shit at work and I was terminated in 1980. I went to work managing a bar and began writing The Music Sluts while finishing “Flight to Freedom”. The German edition of The Whorehouse was published in 1980. I sold “Flight” and it was published in 1986. I finished The Music Sluts and sold it to the same publisher. He lost money on a book he’d postponed publication of The Music Sluts for and went out of business. I put it aside because I was working on sequels to “Flight” but the reader can expect the same biting satire found in The Whorehouse.
In 1984 I went to work for the Postal Service. During these years Michael Montfort and I stayed in touch. He phoned one night after I’d left the Postal Service (disability) and said he had a friend and publisher who wanted to meet me. It was Gary Aposhian who owned 12 Gauge Press. He wanted to publish The Music Sluts. I enjoy writing but hate fucking around with submitting things. There is the reason for the 30 year separation between the books. I should get an agent I guess.
OA: Taking in to account your background in the record store business, what are your thoughts on the current state of the record business? With record stores closing daily, and more people turning to the web, what are your thoughts on new media and the record industry? FN: It’s in sad shape. I have a friend who was in charge of MCA Records nationwide and he said sales were down and he was constantly having to lay-off people. I phoned him at his office in Santa Monica one day and he answered the phone instead of his secretary. I asked him where Dawn was (I loved flirting with her and she kept a picture of me on her desk. I think I was with Waylon Jennings in the pic) and he said he had had to lay her off. I called his office a couple of months ago and the number was no longer in service. I called Information, got a number for the record division, and the guy who answered the phone had never heard of Bob. It’s like he never existed. His home number was disconnected so I can only assume he was laid off and returned to Cleveland or moved to Vegas where he and his wife had a condo. The sad thing is, like the book business when conglomerates began buying up publishing companies, the larger labels are afraid to sign new acts just like your large publishing companies are reluctant to publish unknown writers, less fiction and virtually no poetry. I doubt if artists like Warren Zevon or Tom Waits could even get a record deal with a major label today. But then, like the small press scene, the indie labels are beginning to grow. Kiefer Sutherland started a label and their first CD is by Rocco DeLuca and the Burden. The lead singer plays a dobro and it’s a fantastic CD.
As far as to what I think about the current media and record industry? SUCKING POND WATER! Artists are being cheated out of royalties and you don’t have the personal touch or ambience of a record store. Don’t get me wrong. I buy most of my CD’s, DVD’s and books from Amazon.com. I get better service or that equal of going into a Barnes & Noble, Borders, Best Buy or even one of the few remaining record store chains, Sam Goody’s. It used to be that record store and independent book store managers and employees developed a rapport with their customers. I am still friends with people that began as customers when I was in the record business going back 30-40 years ago; the same with people in the book business. I could go on but this answer is already too long. (Laughs)
OA: Many of your poems have a political theme to them, has your experience in the military influenced your writing in any way? FN: You might get a short answer here. (Laughs again) YES! Besides Vietnam I spent time in about another dozen countries. Our government has no idea of what other cultures are and therefore the general populace is very ignorant. We think everyone should be and live like us which is absurd. We did not lose the war in Nam on the battlefield (the politicians abandoned the people of South Vietnam) and we will do the same in Iraq. I also believe we will eventually allow the Chinese to invade and conquer Taiwan which would be a major blow to the democracy we so vehemently preach.
OA: Why do you think Bukowski is such a major influence on today’s writer? FN: That’s a tough one, perhaps because he recognized no boundaries or borders. Unfortunately, too many young writers today are trying to emulate him and not finding their own voices. They should also read some of the writers who influenced him. John Fante is the first one who comes to my mind.
OA: You’re also a painter. How would you describe your painting style? When did you first discover you wanted to paint? FN: (laughs) More primitive than the primitives and often very whimsical. Most people seem attracted to my use of color. I come from a family of artists but I would say I really took to my painting when I was in my early twenties.
OA: What’s next for F.N. Wright? FN: I hope to paint more than I have in the past two years and I want to do a final rewrite on my novel The Strangers and finish a novel I began in the late 80’s. Its working title is The Deviants and it’s about the Postal Service. Let’s say I’m picking up where Bukowski left off with his novel Post Office. The fucking place is even more of a nightmare than when he worked for them.
Bonus Questions:
OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot? FN: I usually drink more tea these days than coffee but drink Yuban when home, always black. Coffee out is usually on Fridays when I go to The Rock Store, probably the most famous biker hangout in the world, when I go there for my weekly breakfast fix. I have never been to a Starbucks or any “coffee hangout” in my life.
OA: I’ve read you listen to the blues when you write, who are some of your favorites while writing in general? FN: Oh god, that depends. I mostly prefer the “older” more than the current blues musicians when writing. Memphis Minne, Hank Williams Sr. whom I consider to be a great American poet and blues musician as well as a honky-tonker, Furry Lewis, John Lee Hooker, Cedell Davis; one of my favorites is a Tracy Nelson LP on the Prestige label I believe. She sang with Mother Earth in the 60’s and is said to have been a big influence on Joplin when the latter moved to San Francisco. There are just so many. Though I can’t leave out Lucinda Williams whose father is (I think he’s still alive) a southern poet named Miller Williams.
For more information on F.N. Wright please visit his website, and also be on there look out new material from Wright to be released by Rural Messenger Press this month.
The statistics on child abuse are hard to track down mainly because many cases of abuse goes unreported. However, no one can deny that children are abused on a daily basis be it physically or mentally. As a father of four, I quickly understood the high level of trust that young children place in their parents. Children look to their parents for the essentials and so much more. They need a stable, loving environment to flourish, and abuse destroys their this balance and everything they ever thought to be true and trustworthy. It is hard to comprehend a bigger crime then the abuse of a child.
April is national child abuse month, and I couldn't think of a better artist to feature this month than Jason Amos Oaks. Since entering into fatherhood he has focused on two goals, being the best father he can be and creating quality art. His early work focused more on this subject then his current piece, but still the original thought behind the Chocolate Shores in intact. Looking through Jason's work I feel at times as though I have entered into the dreams of an abused child. With illustrations, spray paint, exposing bunnies, and so on, all speaking out, searching a world of fantasy that never quite escapes the violence.
Recently, Jason Amos Oaks was kind enough to answer a few of my questions.
Orange Alert (OA): How would you describe your work? Jason Amos Oaks (JAO): I believe the root of my work is storytelling. The south is rich with it. My father is a storyteller and a minister, but unlike him I'm not verbal. I don't express myself well at all in conversation, explanations, or debate. My work is often viewed out of context. I think of myself as an installation artist. I know I'm not in the traditional sense, but I love to create an environment for a viewer to walk into and through. I combine drawings, paintings, structural elements, found objects, audio, and sometimes photo and video. These create vague story lines that I hope overwhelm and consume the viewer. Unfortunately I don't get the venue to do this often. The work ends up separate as a show of drawings or any other individual grouping. Regardless they stand strong as a story to be told.
OA: There seems to be elements of graffiti in your work, especially your "Honeycomb Series". Is there a connection in your work? Do you feel graffiti has played a role in the current art world in general?
JAO: Though I work in a variety of media, I get recognized for my cartoon based illustrations. Saturday morning cartoons, comic books, and frequent trips to Disney World were huge influences on me, unfortunately. I say 'unfortunately' because of the saturation of 30ish white male artists pursuing the same thing as me. I'm guessing quite a few from my generation had the same influences, because the market seems to be overflowing with it. Much of it is garbage, but the select that are great at it make it hard to push one's work. I think the art world is an exciting and diverse community right now, and I'm thrilled with it. I really hate getting lumped in the Juxtaposer Category though. I like to believe I'm not in a trend. This is something I've developed over years and years. It isn't a style I decided to jump on board with, so I think that help makes me legitimate... I guess I should give you a direct answer, sorry. I'll try to shorten this part of the answer even though it's a long story: Graffiti in the urban/street sense doesn't have any relevance to me at all. I'm from the gut of the south. I was never exposed to it. I certainly saw it on K-Tel Breakdance Records and in previews for movies like 'Beat Street', but that was it. I am however a lover of crude graffiti. The "I love you Jane!" on an overpass, bathroom stall scrawl. I love old desk tops from gradeschool. I like finding faces my daughter has drawn on the baseboard behind the couch. And I even like arms ruined by homemade tattoos on tragic southerners. I started writing in my work. I was scared to be bold and expressive with it though. I started using spraypaint and stencil letters as another element of word writing/storytelling just to add somewhat meaningful atmosphere in the background of my drawings. Later in the year I fell 16' from a ladder and shattered my wrist on my drawing arm. I was, of course, unable to draw at this point. I started to fall back on the spraypaint and discovered the use of my left hand. This pushed my work in a completely new direction. So, my accident was the real reason spraypaint came in. I don't really see it as urban/street graffiti influence though. As far as its influence in the art world? Most certainly. It's in every art publication from Artforum to Hi-Fructose. It has trickled to the masses in advertising, design, and clothing. Everywhere you go, man.
OA: Do you work with a set color palette? Do you ever use color to express a certain emotion in a painting?
JAO: I do tend to gravitate to a palette. I like muted and washy colors. I studied watercolor, so that's what I know. I'm very colorful with reds, pinks, blues, greens... I use quite a bit of color. The overall taste kind of goes...hmm...I guess I could describe it as terra-cotta? I do have a custom color I mix that I call bruise. It's a peachy-bluish-grey, and I'm quite fond of it. For emotion, red is the big one. When you have all of these dead or muted colors all over and you throw in faint touches of red, it really seems to create uncertainty or unease. And in a simple drawing, just one lone color with the black and white gives a nice empty feeling.
OA: I've read the Chocolate Shores came about when you entered into fatherhood. What is the significance of the title Chocolate Shores, and has fatherhood changed the way you look at art in any way?
JAO: It came from worrying about being a good father. I noticed other fathers that really shouldn't be fathers, or others that just pretended to be. Oh! The tragedy of what their kids will become! One day I ran across a statistic about abuse and kids. It specifically addressed sexual abuse. I don't remember the exacts, but it was unbelievably awful. Just terrible. My heart is still heavy about it. What fathers (and mothers) are capable of doing to their children is unacceptable. I did a lithograph after that called 'A Man, the bear and his family.' It was a huge piece that told the story of a hunter transforming into a ravenous predator and consuming his family. It's really a poor piece now that I look at it, but it was the springboard for Chocolate Shores. There is so much symbolism that I forget what it all means. Every mark I make in a piece symbolizes something. The chocolate girls and licorice boys are victims of abuse. Chocolate bunnies are somewhat like excrement, but not really because there is still a sweetness to it. It is a product of a kid's demise though. The chocolate bunnies turn into 'ghost bunnies' that work their way through the Licorice Forest helped by various characters along the way to make it to the Chocolate Shores. The beehive is a holy of holies type icon. It stings you, but it coats you in sticky sublime, and heals all wounds. And I'll quit with the Shores. It's a purgatory of sorts for victims to wait on the Ship of Gold. It's a very obsessive-compulsive tale. Fatherhood has confirmed my obligation to creating art. It has increased my appreciation for everything. I get annoyingly excited to expose my family to museums, galleries, and other art-related events.
OA: A main theme in your work is the various abuses you have observed in the lives of children. What was it that lead you to chose this issue to focus on, and how do you feel your work speaks to these concerns? Have you considered donating proceeds or pieces to organizations that address the same concerns?
JAO: Abuse at this point is no longer the central theme, although it's still around. The ideas are never really pleasant though. They are about being broken, lost, empty, desolate, thirsty, tired, and all guilt that may crawl into your mind when your head hits the pillow. I have absolutely considered donating proceeds to such an organization. The brutal truth though is that I'm lazy. I've often considered looking up the statistics that moved me originally and posting them on my website, or handing out information at my shows. I have such a hectic life that I never get around to it. Now that you've exposed my illness, I must go cure it!
OA: What's next for Jason Amos Oaks? JAO: Next, I'm drawing again. I'm working on my first group of drawings since the accident. This body of work is for a show in Sacramento, California with artist Annie Owens. She draws beautifully and uses watercolor also. I think our work will compliment each other well. I'm doing raccoons and possum interacting with Licorice Boys and Chocolate Girls. I'm uncertain of the storyline. It's vague as usual. These creatures are so mysterious and I'm certain I'll pair them with some symbolism. I just don't know what yet. I also have several products coming out this year. I have greeting cards that should be out by the end of the month. After that there are shirts, journals, stickers, a felt Chocolate Girl Doll, and other kitsch in the works. It will post on my website as I work through it all.
Bonus Questions: OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot?
JAO: Yes, and straight no chaser...strong. Bitter, black, mmm! I don't do the local haunts for coffee. At the risk of sounding artsy, I love drinking it at a diner in Astoria, NY. There is a diner down the street from a friend of my brother's apartment. It's under the subway tracks. I don't know if it's just the atmosphere and the fact that one is in New York, but that is one dem fin cup'a cafe! My other spot is the back yard in early morning while letting the dog roam.
OA: Do you listen to music while paint? Who are some of your favorite musicians while painting and in general?
JAO: The music goes with the theme. Sad, sad stuff. Mark Kozelek (Red House Painters, etc.), Damien Jurado, older Black Heart Procession, etc. I'm also into emotional stuff like Mum, Sigur Ros, Mogwai, Explosions in the Sky, Arab Strap, etc.
Cloud Cult have been one of those bands that I could never quite figure out. I'd hear a song I'd like followed by something that made me cringe. No more so than their cover of Mr. Tambourine man which my favorite radio station, KEXP, in Seattle seems to think is the greatest cover ever. I believe otherwise. But beneath the bocce ball games and book-covered shelves of Union Hall in Brooklyn last Thursday, the quirky sextet's energetic performance won me over. The coziest performance space you're likely to find in Brooklyn, and near capacity, lead singer Craig Minowa led his band through material from Cloud Cult's new album Feel Good Ghosts (Tea-Partying Through Tornadoes), which has been out less than two weeks. Their performances are half concert half spectacle as Minowa's wife, Connie, tucked back into the left corner of the stage, painted on a large square canvas. (The painting was auctioned off for charity after the show.)
Opening were Brooklyn's The Forms, a foursome that specializes in smartly-crafted indie rock. A sound that is equal parts Modest Mouse and defunct Dallas outfit Chomsky, The Forms performed songs from last year's self-titled release and 2003's Icarus. "Knowledge By Hand", the opening track to the new record, highlighted the quick, spirited 45-minute set. A moody bass line backed by punchy guitars and stop-start drumming, Alex Tween screaming his vocals. "Red Gun"(mp3) showcased the band's affinity for vocal harmonies that texture many of their songs. The Forms also dropped a well-placed cover of Nirvana's "All Apologies" into the set. A possible hat-tip to their producer Steve Albini who produced a little record called "In Utero".
Starting off the evening was Arms, the solo project of Todd Goldstein. Catchy tunes with smart turns of phrase, Goldstein (also a guitarist in Brooklyn band Harlem Shakes) reminded me of a cross between two other solo indie rockers John Vanderslice and Jens Lekman. His new record, Kids Aflame, is due in June. The whole set was enjoyable while the title-track (a jaunty little ukulele number) (mp3) and the angry guitar strumming of The Frozen Lake have me excited to see him perform again.
It gives me great pleasure to announce that the first ever (hopefully first of many) What to Wear During an Orange Official Mix Tape entitled Orange Pulp has been completed! The finished product has turned out way better than I expected, and that is largely due to the efforts of Jill Summers and Stray Dog Studio's, the team at Team Concept Printing & Thermography, Chris Szostek for the above cover, and the recording skills of one Mr. Ben Tanzer.
A blend of power pop, indie folk, spoken word, electronic, and hip hop clocking in at 79+ minutes. There are 500 copies of this album that will be distributed around Chicago and New York this summer. If anyone not invovled in the project (you'll get your copy soon) would like a copy please let me know.
"So many times you've been tempted to just walk away. It would be so easy. It would be the easiest steps you've ever taken. Yet you stay. She's your addiction." from "Accumulating Hells" In every life there are a few demons, not skeletons... demons. The dark addictions, the thoughts of death, the moments of rage, apathy, and fear that seem to mix so well with liquor and drugs, these are the modern demons that fill the pages Koweski's Demon Country. Karl has always held the magical ability to capture the life on the fringe of financial poverty and mental despair. His stories and poems paint a such vivid picture of the daily lives of the working class. However, he then takes his characters and pushes them to limits beyond their level of comforts just to see how they react.
Karl Koweski is a good friend of and reader of Orange Alert, he writes a monthly column for and co-edits Zygote in my Coffee. He is a displaced Chicagoan living on top of a mountain in Alabama. This is his fifth chapbook, and preceeds his other release of 2007 "Diminishing Returns" (sunnyoutside press).
Demon Country was released last April by Showcase Press, but still be purchased for $7.50 through paypal.
Langhorne Slim & The War Eagles s/t (Kemado, April 29, 2008)
"I'm Dreaming of leaving my demons, and the first one I'm leaving is you" from "Hummingbird"
Leopards lurking in trees like vicious memories of lost time, lost love, and lost faith. Faith in a future without demons, faith that someday ever thing will be alright, faith that your dreams really will come true. As time seems to move forward without control or direction you begin to believe that your life is somehow different, like you are always a step behind, like you are consistently missing out on something. Not good enough for success, but quite at the bottom of hill, not good enough for heaven, but not in hell, landing directly on the rebel side of heaven.
On his latest album, Sean Scolnick (aka Langhorne Slim) has created a soulful album full of confused hope, unknown futures, and a perfect sense of longing. On top of all of this thought lives great melodies, poppy sounds, and a great and powerful singing voice. At their core these are love songs, but just as in actual love these songs are complex in theme but appear simple on the surface. So as the leopards stare down wondering where their next meal might come from, man and woman continue to walk alone wondering with their next touch might come from.
Spinning Compass/Rebel Side of Heaven (mp3)/Restless/Sometimes/She's Gone/Hello Sunshine/Diamonds are Gold/The honeymoon/Tipping Point/Oh Honey/Worries/Hummingbird
This past week we reviewed the perfect new album from Sweden's El Perro Del Mar, and mentioned how she would be appearing at Shuba's on May 12th. Well we wouldn't be giving you the full picture if we didn't tell you about her opening act and tour mate, fellow Swed, Lykke Li. Having already gained popularity in Sweden, her US debut ep, Little Bit, will be released on her own label LL Recordings. Her full-length debut, Youth Novels, will follow later this year. Her sound is tender much like El Perro, but Lykke's music has a little of a worldly feel. This could be attributed to her time spend traveling as a child. Her music brings together many cultures and sounds, while remaining fun and poppy.
Turn Heads is the Third full-length from Sweden's Tobis Froberg. This journalist turned singer/songwriter has the ability to not only write a quality lyric, but to create melodies that sound new and familiar in the same three minutes. This album features guest appearances from Peter Moren [Peter, Bjorn and John], Ane Brun, Kathryn Williams, Teitur.
The creative cover of their latest release is not the only creative aspect of this Portland, OR bands new album. Verbs(aagoo records) is in fact the second album from AU, and it promised to be one of the most surprising albums of the year. Verbs is padded out with contributions from nearly thirty collaborators, a list which includes featured vocalists Sarah Winchester (track 6; of Team Love recording artists A Weather) and Becky Dawson (tracks 2 and 4; of Ah Holly Fam'ly, Saw Whet), as well as members of Yellow Swans, Parenthetical Girls, and Evolutionary Jass Band, among many others-inadvertently resulting in a strange and singular snapshot of a very particular corner of the city's famously sprawling musical community. The resulting record-recorded over three days at Portland's Type Foundry Studios and finished over a subsequent two-month period in Wyland's own attic studio-seamlessly segues through new and unlikely ecstatic extremes with an arresting economy. Breakout Pop jams like "RR vs. D" rub shoulders comfortably with retreating meditations ("Two Seasons", "Summer Heat")-the record's several distinct movements working at once with more autonomy and cohesion-with arrangements that stretch in longhand across the album's length.
Over at L.O.A.F. Recordings you can download a free sample of the new Gable album to be released on May 27th. Check it out!
Also coming out on May 27th is the latest album from the Dallas band I Love Math. On the surface this album has a very southern feel with harmonica, banjo and steel guitar, but there is a natural lean to the indie pop sensibilities of Belle and Sebastian and others. Getting to the Point Is Beside It is a bouncy jaunt through Texas with many knowing glances toward the sounds of the rest of the country.
Ikey Owens (The Mars Volta) & 2Mex (Visionaries/SonGodSuns) are the Look Daggers. This is a concept album and the concept was simple: a Hip-Hop album performed by human beings. Straight from Long Beach, CA, this is a album for all of those who have been craving the sound we have come to love from the West Coast. The full-length debut Suffer in Style(Up Above Records) was released on March 25th, but check out this message dated April 14th from their myspace page.
"Here is your chance to ask 2Mex and/or Ikey Owens those burning questions you've been dying to know! We're going to have an interview section in our upcoming Look Daggers "Suffer In Style" CD+DVD and we want YOU to ask the guys some questions! The generic "How'd you guys hook up" questions will already be answered, so come original and ask those questions you won't find anywhere else...this is YOUR interview! Please e-mail all questions to mailto:%20BONUS@UPABOVE.COM - only the best questions will be chosen so make'em good! And please ONLY SERIOUS QUESTIONS!"
The CD/DVD package will be released in Sept. 2008.
The Peel Back: Boogie Down Productions Criminal Minded (B-Boy Records, 1987)
For me the year was 1990, my friends and I thought we were in the know when it came to hip hop. I had order several tapes from Columbia House (Digital Underground, Kriss Kross, Vanilla Ice, and my favorite 3rd Bass). We knew what was going on, and this was what hip hop was all about. Well we were wrong, very wrong. We grew up is small two street farm town in Illinois, and only new what was on the radio and in Columbia House. That was until Ann moved in across the street, she was in high school and could drive. She wore these huge pant's, Cross Colours, and had dread locks, as twelve year boys were intrigued. One day she walked by and we were blasting "Little Boys in the Hood" by Kriss Kross. She asked if we like hip hop, and in a speechless shock we nodded our heads. She then said "That's not hip-hop, follow me". She took us over to her car and pulled out a tape case that was so large it needed a strap to be carried. She lead us into her bedroom opened the case, and told me to close my eyes and point at randomly. I did and she had us all keep our eyes closed while she put the tape in her system.
There it was sparse drum, beat, scream, horn, scratch... primitive, not in sound but in nature, primal. We open our eyes, "When I enforce, to listen to the teacher and lesson, class is in session...", and it was in session. Ann says, "Boys, this is hip-hop!". We spent to the rest of the afternoon in her room listening to Boogie Down, EPMD, Eric B. & Rakim, and so much more. This was the first day I really listened to hip-hop.
Poetry (mp3)/South Bronx/9mm Goes Bang/Word From Our Sponsor/Elementary/Dope beat/Remix for P is Free/The Bridge is Over (mp3)/Super Hoe/Criminal Minded/Scott LaRock Mega-mix
Listening: 1. Rustcycle: Primarily the work of Adrian Johnson, Rustcycle combines electronic music with live instruments resulting in a great sound. Listen to: The Vaulted Blue (mp3) 2. Fishhawk: This band creates tiny pop music straight from Alabama. 3. Red Light Company: This London band recently signed to Lavolta Records in the UK. They create wonderful pop music. Listen to: a three song sampler (YSI)
Reading: 1. "The Platypus" by Zach Plague: This is actually an except from Zach's upcoming debut from featherproof. 2. "Blow" by Melissa Mann: An incredible story of the darker side of life. 3. "The Fight" by Charles Edward Brooks: A story with a "chubby blonde"... it makes me think of your the one for me fatty. 4. "The Cracks and Strains!" by Gabe Durham: I had no idea why this was labeled experimental until the very end. Nice one Gabe! Those tireless tencho drummers get me every time. 5. "Slideshow" by Miles J. Bell: A walk down memory lane, and proof why Miles does not play ska. 6. "Topless Breakfast" by David Jordan: I think I lost my appetite. 7. "Being Chris Beniot" by Matt Finney: A story of realizing your power and sadness in the same moment.
Wishing: 1. Six Sentences, Volume 1: This is a 374 page collection of the very best of the now legendary Six Sentence Lit journal. Robert McEvily has really created a literary monster, and now exploring his various options. Check out 6S Films and 6S Art. 2. Black & White Bangers Volume 4: Just released and well... Bangin'. A series of monochrome explorations on watercolor paper by Matt W. Moore. $28 3. Anything from Bleeding Heart Organic Bakery: The mixture of punk rock, organic ingredients, and baked goods, you add in The Beat Kitchen being just down the street and you have yourself a great day.
Getting: 1. Pinnacle Issue #1: Brand new art zine of Canada, this mag has already got it down.
Watching: 1. Architecture in Helsinki "Like It Or Not": Great new video from AIH.... (Saturday Morning Cartoon). 2. Mike Doughty "Foot Hood": One of the most recognisable voices in music, Mike Doughty is back again. 3. Dan Deacon "Okie Dokie": The most unlikely rockstar I have ever seen!
Close your eyes, picture that volcano you made in seventh grade out of glue and newspaper. You work hard on that, didn't you? Now picture the crowd of kids gathered around, staring, waiting for something, anything to be produced. You push the button, but nothing. Silence turns to laughter and you run from the gym. Ok, not your best moment, but close your eyes again. This time picture yourself pushing the button and there is an explosion of noise, "lava", and kids and teachers running for the exits. That is the sound of The Fake Fictions, and on their brand new concept album, Krakatoa, they draw upon this raw and volcanic middle school fear and anger.
The Fake Fiction formed by in 2004, and have released two previous albums. They consist of husband and wife Nick and Sarah Ammerman and Ben Bilow. Krakatoa is being released today on Chicago's Comptroller Records, and to launch the album they are performing tonight at the Empty Bottle.
Recently, Nick, Sarah and Ben of The Fake Fictions were kind enough to answer a few of my questions.
Orange Alert (OA): Your new album "Krakatoa" will be released today. This is a concept album about volcanoes, and we all know Chicago is known for its volcanoes. What else can you tell us about this album? Nick Ammerman (NA): It is hard to talk about the album except in relation to what we've done in the past, so for a second you're going to have to pretend like you've heard of us before. Our older albums were fairly diverse, with songs shooting out in all directions, the only restriction being that they somehow fit a broad definition of "pop." But when we were working on songs for "Krakatoa," we realized that what with the concept and the storyline, we had a much more cohesive package of songs. So when it came time to record these songs for posterity, we decided we wanted the same sound through the entire album. We wanted the album to sound very much like we do live (i.e., awesome), so we recorded almost all music live, with almost no overdubs, and recorded on cassette tape to get the blown-out, loud sound that seemed necessary for an album about the world's biggest volcano eruption. We turned into annoying dogmatic analog purists and alienated everyone and it was worth it. Sarah Ammerman (SA): The word "Krakatoa" sounds fierce, a little rough around the edges, and a little silly too. The event itself of course was in no way funny. This album is not morose. It is more of a mockery of the daily nondrama that makes us sweat and leads to fetal position panic attacks. It is not the end of the world! It is just the beginning! One door closes and another opens. This too shall pass. In the meantime, feel free to bitch about it. We're here for you. We understand. We're bitching too. But also, we think you're just being silly. Ben Bilow (BB): I have never been interested in volcanos before the experience of recording this record, but now I'm totally hooked. Really, the only fact worth noting from a drummer's perspective is that three of these tracks were recorded with broken drumsticks.
OA: You are on a small up-and-coming label here in Chicago, Comptroller Records. What has your experience with Comptroller been like? NA: It has been mysterious but fantastic. The day-to-day operations of the label are handled by friends of ours (Jody of the Spectacles and Max of the Prairie Spies), and I (Nick of the Fake Fictions) hold a nominal title and help out whenever I can. The label line-up is diverse but cohesive and awesome, featuring the electronic girl-group sounds of the Spectacles, the pop mastery of the Prairie Spies, notoriously reclusive art punks Boner Jamz, and the captains of the proletariat Poem2Song. So we're really proud to be included with all these great bands.
The only thing that's a little weird is the funding. We've never actually met Phil Smithick, the CEO of Comptroller Records, and I guess he just keeps his distance and signs the checks when they're needed. I'm not really sure where he gets his money. We hear rumors that he's at shows but he refuses to come up and say hello … we probably shouldn't say much more about this in an interview. But apparently he's a big fan of the Fake Fictions so we deal with his eccentricities. SA: It's been nothing but a constant stream of awesomeness and love. BB: What label are we on? When did that happen?
OA: Is there a "Chicago Sound"? NA: The long answer is an extended, red-faced nerd-rant about the effect of the Internet on musical regionalism and whether it's a good thing or a bad thing but the short answer is no, not really. BB: I wish there were -- it would make it easier to write new songs. Instead we have to be totally original. It's a lot of work.
OA: What is the Fake Fictions live experience like? I've heard you tend be on the wild side. NA: We aren't exactly crawling in glass and covering ourselves in peanut butter, but I think that perception comes from us being tagged with the dreaded "twee" term after our first couple of albums. People hear there's a married couple in a band singing pop songs and expect the whole show to be us staring in each others' eyes and cooing tender words. In reality, we have a lot of contempt for the audience: people who like us are suckers, and people who hate us are morons. So there's some audience abuse at our live show, both verbal and sonic. SA: I thought we were staring lovingly into each others' eyes at shows? Now I don't know what to think about our relationship, about the band… BB: I try to remain calm and cool during shows. I do my job and get out of there. I don't want to look like I'm trying too hard. My primary concern is to keep the beat, Nick can get crazy and act like an ass, that's cool, but Sarah and I are the engine that keeps this train on schedule.
OA: I saw your performance on Chic-A-Go-Go, what a weird and wonderful Chicago product, what was that like? Do you find that kids are drawn to your music? NA: We aren't really a "career band." We are all hovering around 30 and we all have real jobs and serious relationships and responsibilities. We talk about boring stuff like books and mortgage payments and 401(k)s. Being in the Fake Fictions is what we do for fun. We like staying up late and playing shows in bars, but a big part of why we're in a band is to experience weird things like playing on Chic-A-Go-Go, showing up at a TV studio at 11 a.m. on a Sunday and lip-synching our song while a bunch of kids dance around. Weird things like performing in a plexiglass cube at the Museum of Contemporary Art as part of an exhibit. Weird things like driving 12 hours to New York to play CMJ and then turning around and driving back home. Things we wouldn't get to do if we weren't in an awesome rock band, in other words. So basically being on Chic-A-Go-Go is the whole reason we're in the Fake Fictions. SA: Totally. BB: It is a lot harder to "lip-sync" drums than one would think. I will never do it again. That said, it is true that kids LOVE our music: my nieces and nephew are obsessed with the Fake Fictions so much so they have started their own band. I have helped them to write a few songs, most notably "(If You Want to Look Nice You've Got to) Dress With Some Spice." and "(Mirror Mirror on the Wall) Who's the Cutest Pug of All." They seem to have adopted Nick's wordiness. They are looking for a good band name if you think of one. I keep telling them "Hannah Montana" is already taken.
OA: What's next for the Fake Fictions? NA: We're going to become more insular and private, to the point where we are total hermits and only play music in our practice space and tell everyone we broke up and keep making new albums but only make three copies of each one and exist as a secret Howard Hughes-style band until we die. BB: Honestly, I just think we'll continue to do what we do without too much careful calculation. The real question is: can I see my self doing this when I'm 64? To paraphrase Mick Jagger, "Yes."
Bonus Questions: OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot? SA: Roasts darker than the deepest jungles. NA: My favorite coffee spot is my house because I don't have to wear pants there. BB:Caffeine is a diuretic, which means it causes the body to eliminate water. I get easily dehydrated so I tend to stay away from coffee. I do like Filter on Milwaukee though; oh wait, it's not there any more...
OA: What was the last great book you have read? NA: Chronologically the last great book I read was "Charlatan" by Pope Brock, which is a nonfiction book about a fake doctor who implanted goat testicles into men as a virility enhancer and almost become the governor of Kansas. BB: Michael Pollan's "The Omnivore's Dilemma". If you really care about your health, your community, and the future of our natural environment you should read this book. And if you don't care you should read this book twice.
(I Cannot Get Any) Satisfaction / Lasers + Mirrors (mp3) / Enough Isn't Enough / Retrace Yr Steps / (Don't Drink the) Office Coffee (mp3)/ After Hours / Which Witch is Witch / Krakatoa / Pick Up the Phone / Radical Movement / No Attraction / Esperanto / TV Snow / Soiree
For more information on The Fake Fictions please visit their website. To order your copy of the album visit the Comptroller website.
When we say small press what exactly are we calling small? As I am finding out, it is not the drive, it is not the quality, it is not the creativity, it is not the quantity of authors searching for an ear, and it is especially not the costs. Everything has a price, the ISBN, the copyeditor, the proofreader, the legal advice, the printing costs, consignment deals, distributors, for an independent writer these costs pile up quickly. What can a writer do to offset these costs? What can a fan or friend do to help these writers achieve their dreams and share their stories? Some writers find backers, or find friends to help publish, and some ask for blind donations. However, now Chicago writer Tim Hall feels he has created a way to defer some of the cost, while allowing the reader to becoming literally invested, as opposed to figuratively invested, in their favorite writers.
AuthorShares is an inventive new program that allows the family, friends, and fans to invest in the future potential of their favorite writer, publisher, etc. This concept was created by writer Tim Hall (author of Half Empty and Triumph of the Won't), in hopes of finding a transferable solution to help the struggle author and press. As a writer, Tim is widely published, and working on his next novel, Full Of It: The Birth, Death, and Life of an Underground Newspaper. Recently, Tim was kind enough to answer a few of my questions.
Orange Alert (OA): You recently announced a new and inventive concept that could help not only yourself but many other small press/independent writers. What can you tell us about AuthorShares? Tim Hall (TH): AuthorShares is a way for independent authors and small publishers to raise funds to finance their projects by issuing stock certificates. In my case, I'm asking people to invest one dollar to help me reduce some of the upfront costs of publishing, which can be very high even using the most conservative methods. It's like a stock market for literature, although with differences. I wanted to create something that could complement books, and not compete with them in the marketplace. The stock certificates are basically limited edition, collectible art prints that I hope people will purchase and enjoy for their own intrinsic value. My own shares are $1 each, and that's all I'm asking people to invest; anything above that is gravy, so I'm offering a few specials, like a free copy of my new book when it comes out if you purchase 20 shares.
OA: You also announced your latest project, what can you tell us about Full Of It: The Birth, Death, and Life of an Underground Newspaper? TH: Full Of It is a "non-fiction novel" about my time as writer, editor, and eventually creative director of a wild, anarchic East Village underground newspaper in the mid- to late 1990s. It's based on a true story, but I've changed the names and places to give it what I hope is a more timeless feel. It's very character-driven, lots of extreme personalities like you'd expect to find in such a venue. There's friendship, betrayal, sex, death, fights, cops, junkies--it's a madhouse. Very funny and kind of sad. All our worlds are constantly disappearing, and this is a slice of mine that is also gone, swept away by market forces, the Internet, and the like. (Check out a sneak peak video of Tim reading from Full Of It here.
OA: How far do you feel is too far in self-promotion? TH: Well, as long as you're asking the question, then I haven't gone too far yet (types "laughs"). Let me see--I don't think there are any real limits to self-promotion, per se. It's a noisy, competitive world out there, everybody is always promoting themselves all the time: as business mavens, health gurus, fitness masters, good parents, desirable sexual partners, great artists. Take your pick. Self-promotion only crosses the line when it becomes outright deception, like the fake memoirs that have been coming to light. Publishers increasingly measure the value of a story by its most lurid and exceptional details, so opportunists are taking advantage of that and giving them what they want. But other than that I don't know what the limits are.
OA: Do feel that a writer's needs a community or network to gain an audience? Writing, itself, is a solitary art, but publishing is a completely different world. TH: I think this is basically the new "what is art?" question of our day. Is a tree better than a field of wildflowers? I don't know. I'd say it all depends on the personality-manufacturing device the writer employs, and how well he or she does it. Sometimes the group concept works for a while, then it doesn't. The phrase "Brooklyn writer" has become a bone-chilling cliche now, but 5 years ago it was so glamorous. The letters "MFA" are also losing their glamor as personality-manufacturing devices, they've become the SUVs of the literary world. The overpriced "luxury goods" industry has basically run its course for now, and I think that includes the high-end consumer education racket as well.
OA: As a self publisher, what are your thoughts on the growing movement towards print-on-demand vs. traditional printing? Are we sacrificing quality for convenience and affordability? TH: Not any more, no. But it's only just recently changed. I've been following POD for more than 10 years, so I've seen the technology progress from day 1. The first POD books I bought were really expensive, and they would snap and fall apart the first time you opened the cover. Now they are virtually indistinguishable from offset books. We passed the tipping point about 2-3 years ago, in terms of it becoming affordable and good enough quality for authors to pursue seriously.
OA: What's next for Tim Hall? TH: I'm trying to sign up writers and publishers for the AuthorShares program, plus I'm recording an audio book version of Full Of It that I will be releasing on Podiobooks.com sometime over the summer. Then I will be releasing the print version of Full Of It, sometime in the late fall or early winter.
Bonus Questions: OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot? TH: Yes! My favorite place to drink coffee is at home, and I buy whatever is on sale--usually those big tubs of Folger's. It's awful but it's cheap. For mass-market coffee, Caribou. For small, indie coffeehouses, just drop me anywhere in San Francisco. Everything tastes better in San Francisco, and the coffee shops are the absolute best.
OA: What brought you to Chicago and how has your experience been thus far? TH: I attended the University of Chicago, so I already had a history with the place. But my wife, who I met in New York, is from Dundee, in the Fox River Valley, and over the years of coming out here with her I fell in love with the area. After we learned she was pregnant we decided to move out of New York for a while, because it was just too expensive and difficult for us, and we started looking for a good place to raise a child. I wanted to be near a big city, with good transportation, good airport, and so one day it hit me that this might be the perfect place for us. I called her at work and said, "Are you sitting down?" (Yes, it was actually my idea to move closer to my mother-in-law.) It's been absolutely wonderful so far. I've written three books in 18 months, I'm completely at ease and creating every day. My wife's family is amazing and a tremendous source of support and joy for us. I get wistful about city living and miss the diversity, energy, and distractions of urban life, but I've honestly never been happier. I'm shocked at how happy I am, actually.
For more information on Tim Hall please visit his website, and to invest in a share of his stock visit his Prospectus Page.
There are multiple layers of beauty contained in a portrait. On a basic level you have the beauty of the person in the picture. This is the most noticeable and quite often the first thing people see. The next layer is (as in any painting) the combinations of the colors. The process of creating the background of a portrait can be more interesting at times then the figure itself. Finally, for me the focal point of any portrait has to be the eyes. The eyes reveal an inner beauty that you would not expect to see in a painting. Many times (as in life) the eyes really tell the story of the painting and the subject.
The eyes of the subjects is Australian artist Steph Chard's paintings speak volumes. Currently, Steph is working exclusivly with portraits. I say currently because at 19 she has plenty of time and ability to concur many different styles and schools of art. She is also in the process of obtaining her degree in Art, and gained recognition last year when she painted a portrait of the Queen out of Vegemite. This month she of the featured artists over at Creep Machine, along side and Orange Alert favorite Winston Chmielinski.
Recently, Steph was kind enough to answer a few of my questions.
Orange Alert (OA): How would you describe your work? Steph Chard (SC): The majority of my work is inspired by fashion and beauty. I love creating work with the impression of glamour and style. I treat every painting I do as a personal reflection and through these portraits I am able to convey an emotion that I may not be able to otherwise.
The technique for my paintings has been particularly influenced by the French Impressionism. My greatest inspiration has come from artists such as Degas and Toulouse-Latrec.
OA: You have gained some notoriety for the painting you did using Vegemite. In an age of mixed media and various types of paints and tools, do you feel that the materials (i.e. type of paint or canvas) used in a painting have a big impact on the outcome? SC: It's easy to be lost in the crowd in this industry so experimentation with different media gives you a good chance to stand out. But saying that, working in whatever medium you choose and doing it well will give you attention whatever it is. I don't think somebody doesn't like a particular work just because the materials have been used before. I think originality with the way you use them is the key.
OA: Do you work with a set color pallet? Are you aware of the emotions that certain colors may evoke in the viewer while you are painting? SC: I don't normally work with a set pallet. I'm very flexible concerning that because I don't like to restrict myself. To be honest every colour I put down is there because it seemed like a good idea at the time. I'm aware of the emotions involved with each colour and that does influence my choices somewhat.
OA: As a relatively young artist, what do you hope to accomplish with your work (i.e. goals, visions, dreams, etc)? SC: I'd like to continue selling and exhibiting my works. I'm studying art in Australia at the moment but hope to continue overseas one day in the future. I love the sound of London or New York. I think they'd be an amazing place to be as an artist.
My ultimate goal is to be well-known enough to have an "-ism" named after me: Chardism. Hmm, has a nice ring to it doesn't it? haha.
OA: I've heard you have a piece hanging in the home of Perez Hilton. How did that happen? Why did you paint a picture of Mr. Hilton? SC: I painted the picture of Perez firstly because I'm a HUGE fan of his. Secondly, to have a piece of artwork of mine in his collection I thought would be pretty cool. That was my little plan. I sent a picture of it over to Perez and he wrote back asking to buy it from me. Can't believe it worked.
OA: What's next for Steph Chard? SC: When I've finished my art degree I'm hoping to get a job in the industry somewhere or at least be involved in the arts some way or another. My goal at the moment is to continue creating and developing my art to its maximum potential. But really, who knows? I could never have predicted my journey to now.
Bonus Questions: OA: Do you drink coffee? What is the coffee like in Australia? What is your favorite beverage to drink with Vegemite? SC: I love coffee - but it has to be from Starbucks! Compliments a Vegemite sandwhich quite nicely. :)
OA: Do you listen to music while you paint? Who are some of your favorites? SC: Listening to music as I'm painting is essential. My favourite band at the moment is an awesome aussie band, Eskimo Joe.
For more information on Steph Chard or to purchase one of her pieces please visit her myspace or check out her deviantART site.
"Gumballs spark against the street with the thud of a bass drum" from "Washington, Oklahoma"
Oklahoma and New Mexico, two states I've never been to, but two states these wonderful writers bring to life in vivid fashion. From carnival life to the death of a horse, to the day before the big game, Next Exit: Eight takes the reader on a rural journey through dusty American life. Switching states with the turn of a page, the trademark of the Next Exit series is the lack of names, it is up the reader to determine who is the author of each poem. However, the absence of names removes the need know who wrote what, it allows the reader to simply enjoy the words and thoughts.
Fourteen months ago, Caleb Puckett, became only the third writer featured on Orange Alert. His use of language is incredibly fascinating. He is able to fit more on a page then most writer's fit in an entire chapbook. I won't tell you what state he is from, but I will tell you he is an incredible writer.
Hosho McCreesh is one of the founding members of the Guerilla Poetics Project, and a legend in the small press. His poems are sharp, they cut straight to the heart of whatever issue or scene he chooses to focus on. He was featured on Orange Alert back in October, and recorded a poem called "Van Gogh only sold 1 Painting" for the upcoming Orange Alert Mixtape.
As the tiniest of green sprouts begin to appear, and rain fills even the sunny days, and all of the dark and dingy mounds of solid snow finally melt away, there is a certain melody in the air. The birds have returned, they add to the melody but still it is something fuller that you hear. Something delicate but haunting, lush but sensitive and unassuming, something joyful and full of renewal. What you hear is the sweet soprano of Sarah Assbring (aka El Perro Del Mar). Her soft vocals float above your senses and radiate like the first breathe of warm spring air.
Over the last four years Sarah has released her music in various formats on various labels, but the formula remains the same. Her music comes from a completely different era, perhaps the past and quite possible the future. Organs, flutes, slightly off harmonies, love, gifts, stars and jubilee, these are the elements and beauty of El Perro Del Mar.
Jubilee/Glory to the World (mp3)/You Can't Steal a Gift/How Did We Forget?/Inside the Golden Egg/To Give Love/Inner Island/Do Not Despair/Somebody's Baby/The Sun Is an Old Friend/Happiness Won Me Over/From the Valley to the Stars/You Belong to the Sky Now/Into the Sunshine/Someday I'll Understand (Love Will Be My Mirror)/Your Name is Neverending
El Perro Del Mar will be playing in Chicago on May 12th @ Shuba's, and for all of her concert date visit her myspace.
Before we get to the recap a very heartfelt thank you has to be extended to the two girls who got me into the Mercury Lounge for the sold out show. Generally getting to cover these shows is not a problem but there are the rare instances where our requests are either not received or declined. In those cases we pay to get in like most of you. Sometimes, however, we rely on a bit of divine intervention and on Tuesday it happened in the form of two very nice concert-attendees. Their generosity is truly appreciated.
Brooklyn's French Kicks second night of a three week residency at the Mercury Lounge (the final night is tomorrow) was sold out. It's the first sold out FK show I've attended and why was I surprised? Playing in their backyard on a Tuesday night is different than playing in Dallas on a Wednesday night. Or Saturday night. Or Friday night. Yes, I saw them a few times in the Lone Star State.
Their new disc, Swimming, is out now on iTunes and in physical form on May 20. And it's excellent. And it was prominently featured during their show. Starting with "Love In Ruins" the band eased into their gig firing off several new songs before going back to Trial Of The Century for "One More Time" that elicited cheers and applause when drummer Aaron Thurston began tapping at his high hat.
Now a four piece, the French Kicks still run their offence through lead singer Nick Stumpf who bounced back and forth between guitar, piano and bass. Yet Stumpf still found moments without any instruments; able to croon, posture and survey they crowd from stage's edge as guitarist Josh Wise and bassist Lawrence Stumpf backed him with soulful ooh and ahh harmonies.
On new songs like "Abandon" and "Atlanta", the Kicks sound was fully fleshed out. It's a sound they've been working toward since their more post-punk early days and perfected on this album. Wise's alarm-sounding guitar work, Thurston's pulsing drumming and cross the slow motion delivery of Stumpf's lyrics that are pulled along like saltwater taffy in those machines on the boardwalk. The music and lyrics were in beautiful contrast to each other and it's this juxtaposition that makes their music so affecting and a must to see live.
Wise took a lead vocal turn on the song "Carried Away" but the set's highlight was always going to be an older song and it came with Stumpf's simple one key piano intro to Trial's title track. A haunting, late night, mid-tempo ballad, bounced along that simple piano tune and finished with a vocal flourish - all the band members plaintively singing the closing line "Yeah, you come to mind" over and over.
For a full list of upcoming shows by the French Kicks check out their shows page.
Next up on PTTO: Cloud Cult/The Form @ Union Hall Brooklyn, NYC (4/17)
Soltero (a.k.a. Tim Howard) plays gentle folk music that jingles and rambles through the streets of Philadelphia. Soltero will release their four album, You're No Dream on May 20th. Not only did Tim move 5 times while recording this album, he devote the album to creating a smaller sound then the previous bigger, full band sounds. According to Tim, "some bands i got into or listened to around the time of this record were bo diddley, dylan's blood on the tracks/new morning, ethiopiques, stevie wonder, and lots of romantic late 50s/early 60s doo wop singers."
Newly signed to Exponential Records, Rae Davis, plays a unique form of down tempo hip-hop. Combining jazz, soul and r&b Rae takes you on a journey and always keeps you guessing. At just 24 years old, this Texas native has a long career in music before him. He grew up on the streets of San Antonio, found much refuge in basketball, movies and music. Growing up to the sound of oldies, soul, tejano, and lots, and lots, and lots of Rap. Rae started his career as a musician in high school, learning piano and guitar, and soon after started dabbling in music production. His musical resume is vast, citing everything from indie rock bands to film scores to jazz bands to, of course, hip hop projects. Positive Thinking! will be released on May 27th (EXP-11).
Rest is the third album from this band that spans the country. On this album Gregor Samsa takes a new approach to composition, both in process and instrumentation. The result is Rest ; nine pieces composed over e-mail during the course of nine months by key members in New York, Chicago, Boston, DC and Richmond, VA. This is a beautiful journey in sound that can be previewed here. This album this perfect soundtrack for lush spring morning or quite summer stroll. It will be released four different ways in the next month, and if the name sounds familiar then you have been reading your Kafka again.
LIMITED EDITION OF 500 The Limited Edition of 500 takes a copy of the unlimited edition and encloses it within a folio with a rivet and string closure and also adds an 8 page rivet bound book of extra artwork and lyrics. All binding and riveting is done by hand at the TKR office and all pieces are hand numbered. Available for Pre Order starting right now and ships aprox. the week of the 24th.
COLLECTOR'S EDITION OF 30 The Collector's Edition of 30 is a special project undertaken by Gregor Samsa and The Kora Records to commemorate the release of Rest and our love for the album. The Collectors Edition arrive in an vintage metal Super 8 film can as Gregor Samsa has made several films which will surface as the album is released. This can will be stamped by hand with the album title and the number of the edition. This can will contain the extra print from the Limited Edition that has been die cut for this edition as well as a custom made and finished walnut disc with a steel and rubber hub on which the cd will rest . The walnut disc will also serve as film reel. One of the films Gregor Samsa has produced for this album will be printed to Super 8 film and each copy of the Collector's Edition will come with its own section of that film. Available for Pre Order first week in May.
UNLIMITED EDITION The Unlimited Edition is a custom die cut gate fold CD sleeve of heavy black stock with print by our friends at Stumptown Press. Release date May 13th.
DIGITAL The digital format is now available via all standard digital outlets.
Starting April 11th, The Forms will be out on the road in support of The Forms LP, which released in October 2007 on Threespheres Records.
April 11 – High Noon – Madison, WI
April 12 – Radio Radio – Indianapolis, IN
April 13 – Blind Pig – Ann Arbor, MI
April 16 – The Middle East – Boston, MA
April 17 – Union Hall – Brooklyn, NY
April 18 – Bowery Ballroom – New York, NY
April 19 – Rock And Roll Hotel – Washington DC April 21 – Local 506 – Chapel Hill, NC April 22 – Smith’s Olde Bar – Atlanta, GA
Well it's that time of year again, the tulips are sprouting, the trees are blossoming, and the summer festivals are starting shoot-up like weeds. The biggest festival here in Chicago just happens to be called Lollapalooza! This past week they announced their line-up and it included one or two bands that may have heard of before. So if you have been dying to see Hannah Montana... sorry she won't be there, but just about everyone else will!
Orange Alert favorites include Cadence Weapon, Foals, The Octopus Project, The Cool Kids, The Ting Tings, Office, Dr. Dog, Santogold, Black Kids, Grizzly Bear, Yeasayer, The Kills, The Go! Team, Girl Talk, CSS (maybe they'll show up this year!), Battles, and a little band known as Radiohead. It is by far their best line-up ever, seriously!
The Peel Back: Certain Distant Suns Happy on The Inside (Giant Records, 1994)
"So hopeless... and sad, but you're my friend" from "Whatever"
In the mid-90's Chicago's "alternative" radio station Q101 would run a program called Local 101, and it would feature the best in indie Chicago sounds. It was one of the few things they ever did right. Anyway, the would have local acts come in and play live. Bands like The Smoking Popes, Triple Fast Action, Buzz Orchard, Nicholas Tremulis, and many more. One of those bands was Certain Distant Suns.
I fell in love with the Certain Distant Suns acoustic versions of Bitter, Whatever, and Round, but when I finally bought the tape I was very surprised. Their was dancy poppy electronic rock, and nothing like the stripped down acoustic tones I had come to love. It took me a while to like this album, but as I think back to my high school years they wouldn't have been the same if I wasn't "Happy on the Inside".
Bitter (mp3)/Snowfalls at the Most Curious Times/Talk/Whatever (mp3) (video)/Round/All Green To Me/Mine All Mine/From Here Now After/Snowfall (Larry Love Mix)/Crustacean
Listening: 1. Stroik: This 21 year old from Morrisville, NC records melodies and hushed vocal in his bedroom, and he fancies Jennifer Jason Leigh (but don't we all?). Listen to: The Wrong Eulogy (mp3) 2. Orange Is In: You better believe Orange (Alert) Is In! I am also down for a little rock from Texas. Listen to: Sticky Finger (mp3) 3. Bill Shute "Spirit": from Bill, "Composer Paul Marbach's setting of my 2006 suite of poems SPIRIT, adapted for voice and piano, is now available as a free download thanks to the generosity of the composer." This recording was made in November of 2007 and features Kendra Shute on Alto vocals. SPIRIT was originally published in the Spring of 2006 as Kendra Steiner Editions #11(volume 6 in the Sound Library Series) and is now out-of-print. To access the sheet music and the composer's commentary go here. Listen to: Spirit (mp3)
Reading: 1. "In San Francisco with My Father" by Zayra Yves: A story of neglect told graveside. Wonderfully done! 2. "Ruiner" by Blake Butler: "Those women in the supermarket who offer free samples have homes where at night they sleep." I thought they slept in fields of tiny plastic cups and triangle shaped napkins! 3. "99 Cents" by Joseph Thayer: Brooklyn family life. 4. "Saturday in the Quality Save in Chorlton" by Chris Killen: There is a new issue of Lamination Colony. There is quality fresh nudity filled issue of Lamination Colony. There is a issues on the website. There are many words. There are creatively combined words. 5. "Djinn Dummy" by David Gianatasio: Have you ever had a conversation with a genie? 6. Mississippi Review April '08 Issue: This is there movie issue and feature several great short pieces of fiction. My favorite is "Godzilla" by Brandon Scott Gorrell. 7. "Without" by Joseph Veronneau: A poem of grief and loss.
Wishing:
1. A share of Tim Hall new project AuthorShares: What an idea! Buy a share (or more) in a specific project of an independent writer or publisher, and actively cheer for their stock to rise. 2. Chuck Taylor Cellphone Charms: I'm not sure what I would do with a cellphone charm, but I am life-long fan of Chuck Taylors! 3. "I Pretend to Work" Silkscreen print by Andy Smith: Don't we all!
Getting: 1. Covert Press Chapbook Contest: Just e-mail your manuscript during the month of April to cpchapbooks@gmail.com. Winner gets their chapbook published and 20 copies. Judged by Devin D'Andrea and Michael Grover 2. Proteus Mag Issue #4: This is a great art zine run by Dustin Parker. Issue 4 features work by Zach Johnson, Tony Philippou, Dolan Geiman, Jay Taylor, and many more.
Watching: 1. James Eric performing "Bruises" (Real Live Tigers cover): Show stopper delivered beautifully by Mr. Eric! 2. Foals "Cassius": You have to love meat swinging on a string. 3. Treiops Treyfid "Animals of the Future" at MJ Higgins Earth Day 2008 (Los Angeles). 4. "Lesson 3" Double Dee & Steinski live 2002: More from this hip-hop legend.
How do you define renaissance man? A creative person who has the ability to express him or herself through multiple mediums? As an artist who can paint vivid and fluid landscape and promotes the work of other artists, a musician who writes and records lush and thoughtful folk tunes, and writer of both lyrics and stories, these are the passions of Fayetteville's Sam King.
Sam King has released two full-length albums (The Baby & The Bathwater & Two) in the last three years through his website Painting Was a Dinosaur. He is currently working on a series of paintings based on the a stretch of Highway I-540. He also co-edits the website MW Capacity, an art blog that feature artists from around the midwest. Sam King is fully aware of what he needs to create, and he works in what ever medium he can to share his vision with the world.
Recently, Sam was kind enough to answer a few of my questions.
Orange Alert (OA): Your release last year, Two, is beautiful, simple, and honestly rivals any of the current folk tunes out there today. Why is Two only available for download on your website? Can a physical copy be purchased? Sam King (SK): That's quite a compliment, thank you. My approach to making this music is to do things on the cheap as much as possible. I self-record it, using one microphone, a computer, and not much else. It doesn't cost much for me to make it, and the result is essentially lo-fi. That is, I could send it to get mastered and pressed to CDs or vinyl, but the quality wouldn't improve much from the mp3 versions. So at that point, a hi-fi physical product is either for profit, added context, vanity, or some combination of the three.
I do have some physical copies of the releases. I make CD-Rs for tours and shows. Some people still like having the physical object, and also it's a way to get some gas money besides the door/donations. I'm happy to sell CD-Rs if I've got them (right now I do). Just email me or send a check to my PO Box.
Two and The baby & the bathwater are both available for free on Painting Was A Dinosaur (and also on the internet archive). I don't solicit a lot of help distributing my music because I like to feel like I have at least some control over how people can "officially" encounter it.
OA: With all of the media outlets available to musicians (i.e. blogs, youtube, myspace, etc), and the ease-of-use of services like paypal and cd baby is there a need for record labels? SK: Record Labels do serve a purpose. I feel like many established independent labels each have a kind of point of view. They're almost curatorial. They lend the gravity of context to the artists whose work they release.
They create collective energy, the buzz of lots of individual enthusiasms, for which there is no replacement.
Also, when they're labels with money--well, they have money. If I were on one, I wouldn't have to pay up front for my merch. Also, a lot of music does benefit from being hi-fi and expensive to make.
But, to answer the question, no, I don't think that labels are a necessary part of a musician's career.
The massive networking sites like MySpace are great in some ways, but unsettling in others. Many of my friends more or less gave up TV a long time ago. I hated the barrage of advertising and the censorship. Being on those networking sites eventually starts to feel like signing up for more of what we quit before.
OA: What is the hardest part of touring as an independent artist? SK: Well, to really tour DIY--to do it on the absolute cheap, the way that pretty much anyone who can find a car or a greyhound ticket or whatever can do it--is alternately heartbreaking and life-affirming. One day, you'll show up and be blown away by people's enthusiasm and goodness--their ability to make something out of nothing. Other days, the nothing stays nothing, or worse. Say you decide that you're going DIY--you're going to ignore all the usual justifying factors (how much product sold, who put out your record, what the reviewers said about your record, how many bodies are at your shows, etc). Then on the good days, you're a pure, trailblazing, do-it-for-the-love bad-ass, rubbing elbows with your eclectic brethren. On the bad days, you're just one more self-deluder. The reality is somewhere in between.
OA: I love the work you are doing with MW Capacity. Even with your blog, do you feel that artists in the Midwest are being overlooked in favor of New York or San Francisco based artists? What was the original goal of MW Capacity? SK: Capacity serves a couple of purposes. One is to foster informed dialogue about art in places that don't have a natural support system for it (i.e., a major gallery and museum scene). Another is to foster a more open-minded discussion about art among people who might normally be very dismissive of it. And also, of course, to display work by midwest-based artists.
We try to be broad-eyed in our looking. Just because we're in the midwest doesn't mean we don't want to know about what's going on other places. Usually when we post coast-based artists, it's in conjunction with their work being shown somewhere near us.
OA: You are also a painter, and you're latest series pieces are focused on the I-540 Highway. What was it about that specific stretch of road that you found so fascinating? SK: It's one of the major 'because-it's-there's of my life. I drive it all the time, for work, for friends, for family, for art/music stuff. It's a relatively new road, built to make the trip from Fort Smith to Northwest Arkansas more efficient. It interests me because it's one of those things you can think about or not. It's a beautiful drive, in its way.
OA: Departure 3 follows in a similar vein, but with digital photos put to song. Is there a larger project in store combining all things I-540? SK: Actually Departure 3 is kind of a big reduction of things. Draws Departure was the first version of Two. I did two different sets of recordings for it, and was never happy with it. Two is a combination of some of those recordings and some later recordings. The music for Departure 3 was first intended for Draws Departure. One of the connecting threads between all the things I make is a sense of displacement, of in-between-ness.
OA: What's next for Sam King? SK: Painting, mostly. I'm on the way out of I-540. Some rock and roll.
Bonus questions: OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot? SK: Yes, so much so I've been trying to cut back. Most of my business goes to the local places in Fayetteville.
OA: What was the last great book you have read? SK: I just reread Masters of Atlantis by Charles Portis. Highly on-topic for question #3, incidentally.
For more information on Sam King the musician go here and for more from Sam King the Artist go here.
What is needed to write? Pen, paper, laptop, silence (hopefully) those are the bare essentials, but is there more needed to write. Through the chaos of life, time is taken by work and given to family, the writer must steal moments to focus and flush. As the pressures and responsibilities mount the need to focus and the time to focus seem to be running in different directions. One of those added responsibilities is parenthood, time to care, time to play, time to read, and always time to love, children are a treasured distraction of the writer.
Chicago's Jason Fisk is focused and writing. He is widely published (including an appearance in an Orange Alert favorite The Orange Room), and will announced some publication news in this interview. He writes about his life, but somehow always relates his thoughts to the reader in a very universal way.
Recently, Jason was kind enough to answer a few of my questions.
Orange Alert (OA): Last September you were "showcased" by Laura Hird, what was that experience like? Do you feel that sited like hers and other literary site bring about a sense of community? Do you think writers need a sense of community, while participating in such a solitary art form? Jason Fisk (JF): Being showcased by Laura Hird was an honor. I was jazzed when I opened up the e-mail saying that she was going to showcase some of my poems. It’s a great site.
I would consider myself a solitary writer. The whole “writer community” thing is something I struggle with. Part of me desperately wants to be part of some sort of artistic community, while the other part is hesitant to put myself out there. I think it would be invigorating to share ideas and get, and give, honest feedback from trusted persons.
I do realize that there are great writing communities out there in computer-land, but I hate the way I come across on blogs and message boards. It seems like every time I post something, it kills the thread. I’m sarcastic and bizarre enough that I can’t make it work on blogs and message boards. Also, I would rather read a person’s body language and hear the tone in which something was said than read their sometimes ostentatious thoughts.
As far as the poetry communities here in Chicago, there are so many that I don’t have the time, energy, or courage to find one that would work for me. I do read both the Thieves Jargon and Zygote in My Coffee message boards daily. I post much, much less frequently than I read.
OA: How long did you submit your work before you received your first publication? What kept you going? JF: I took an elective course in graduate school dealing with the history of poetry. The professor was a published poet who told us that in order to really appreciate poetry, and its history, we would have to get our hands dirty and write some ourselves. She compared it to learning about an engine, saying that we could just read about it, or actually get in there and experience it. It was an inspiring class. That’s when I caught the bug and began writing poetry. That was in 2004. I began submitting some of those poems and kept writing. I had a poem published late the next year by the now defunct Tamafyhr Mountain Poetry. The second person to publish my poetry was Brian Fugett. I also credit his publication, Zygote in My Coffee, for keeping my “poetry spark” alive. His site showed me a fascinating side of poetry that I didn’t know even existed at the time.
OA: As a fellow father, has your writing changed in anyway since the birth of your daughter. How do you plan to pass your passion for literature on to her? JF: Fatherhood is great, it has forced me to become more focused with my time and writing. I don’t even know what I did with all of the free time I had before she was born - a lot of beer and baseball I think. In general, I have become more sentimental and that has probably leaked into some of my poetry.
I have been reading to the kid before she knew what was going on. There was awhile where she wouldn’t stop crying unless she was moving and someone was talking to her, so I put her in the Baby Bjorn and walked around the house reading John Fante’s, 1933 Was a Bad Year. It tickles me now when she brings me book after book to read to her. I also read a lot while she watches TV, hoping that will make some sort of an impression on her.
OA: Has teaching English and writing to students changed the way you view your own work and writing in general? What is one thing you have learned from your students? JF: I think twice now before submitting a poem that could be viewed as controversial, racy or edgy by a parent. That hasn’t really stopped me, but it has made me pause and hold my breath.
Through teaching my students, I have learned that passion is contagious. I love tearing through a student’s misconceptions about poetry and turning them on to it. I love looking up from my desk and seeing their noses buried in a book that they were complaining about reading only a week before.
OA: You have amassed a nice body of work, is the a collection or chapbook in your future? JF: Thanks. Yes, as a matter of fact, there is. I am going to have a chapbook published later this year by Tainted Coffee Press. It will be part of the flipbook series they are producing where one poet’s work can be read on right hand facing page, then flipped and the another poet’s work can be read on the opposite page, kind of a double billing.
I did put out an early poetry collection on Lulu a few years back. I sold a miniscule number of them to friends, and then deleted the project from the database. When I look back on those poems, it makes me cringe. Many have been rewritten and re-rewritten and some have even been re-re-rewritten.
OA: What is next for Jason Fisk? JF: Next? I plan on continuing to plug away at my poetry. I’m also trying my hand at fiction. It’s something I would like to hone. That’s about it. Oh, my wife is due in June, so that’ll keep me busy and sleep deprived for awhile.
Bonus questions: OA: Coffee? If yes what is your favorite type of coffee and where is your favorite coffee spot? JF: I love my coffee; however, I’m also a cheap ass, so my favorite coffee spot has to be the McDonald’s drive through. I drink it black; the stronger, the better.
OA: What type of music do you enjoy listen to, and who are a few of your favorites? JF: In my rotation now – Wilco – Sky Blue Sky Andrew Bird – Armchair Apocrypha Iron and Wine – The Shepard’s Dog Jim White – Transnormal Skiperoo
For more information on Jason Fisk please visit his website.
Women posses many qualities, among them beauty, but with beauty comes imperfection. The unfortunate part of it all is that they try to hide these imperfections, when in fact these marks and lines, these freckles and cracks are what makes them unique. Hair wild and splitting, skin tone pale and washed out, clothes old and torn, there is beauty to be found. Beauty of innocence, of intelligence, of heart, of mystery... to capture the image of a woman is to capture beauty and all of its imperfections.
Vancouver artist Ben Tour has discovered the ability to capture the female image with all of its sporadic splotches and colorfully placed explosions. Working mostly with portraits, Ben allows his subjects to form loosely, rough edges and all, much like your first impression of a person when you met. His work has been show across the US and Canada, and this summer amidst the galleries and group shows, his life will change forever.
Recently, Ben was kind enough to answer a few of my questions.
Orange Alert (OA): How would you describe your work? Ben Tour (BT): Figurative, emotion filled, character based paintings and drawings.
OA: I've read that most of your pieces begin as ball-point pen sketches. Do you use a picture as a reference point, or do you use live models, or do these images just appear to you? Where do you draw inspiration from? BT: I use pictures, live models, whatever i can get to fill in the blanks of drawing a pose. If i need a knee or a nose i have to hunt for it if my natural drawing ability is needing some help.
OA: What I like most about your paintings are the imperfections, the splatters and spots, the pieces are defined and controlled but there are also unpredictable moments. Is this technique used because your subjects are human and by definition imperfect? Do you feel there is a connection between style and subject? BT: That's interesting. Little happy accidents i suppose. I just enjoy making all the detail with subtle colors. The drips and splatters definitely help set a somber mood i try to achieve with my work so yest their is a connection with the way i lay down the paint and the characters mood.
OA: What is the significance of the number and letters in your pieces? BT: Just the bells and whistles at the end- a finishing touch to add interest. No real hidden meaning. Its become a trademark of mine now and I've stuck with it.
OA: Do you have a set color pallet that you work with? Do you feel there is a connect between color and emotion in the viewer, and do you ever consciously try use this connection? BT: Absolutely. Now more than ever I'm becoming a little more adventurous with colour and expressing mood with it. I definitely have colours i feel comfortable with and try to work within them. I want to make some ambitious colourful work in the future.
OA: What's next for Ben Tour? BT: Group shows with the Galleries I'll be doing solo shows with next year. I'm expecting my first child in June so everything is gearing up for that. Check my site out to see where I'll be showing.
Bonus Questions: OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot? BT: Yes! definitely coffee, cant live without it. Right now I'm drinking a lot Milano coffee at home and at my favourite coffee shop here in Vancouver- Napoli on Commercial Drive.
OA: I've heard you are a fan of hip-hop and instrumental hip-hop in particular, who are a few of your favorites and do you listen to music while you paint? BT: Ahhh. I've been listening to Burial. Lots of clubby new electronic whatever music. Some old Theo Parrish House stuff, James Holden. My wife and i have our own club night in our living room.
For more information on Ben Tour please visit his website.
"I'm just a bullet/resenting/its purpose." from "To My Coworkers"
Purpose is tricky thing, the path that we may think we are one, the purpose we may feeling we are being forced to serve may in fact not actually be our true purpose. To find purpose we must travel through dark alleys, through trailer parks, through the war torn village, through fear and panic and helplessness of the working poor, to find purpose we must live. We have passions or interests that we toy with from time to time, but never intend to develope. However, to fulfill a purpose that you do not resent you must act on those passion, you must do what love and love what you do.
Every time I read a Justin Hyde bio, it lists a different job he has held in his life. He has artificially inseminated pigs, has also been a bicycle mechanic, day laborer, pscyh ward patient, bank examiner, claim's adjuster, and so on. Today, however, above all else Justin Hyde can call himself a writer. His words cut straight to the center of American life, telling tales of shelters and trailer parks, suicide and store clerks, he puts a certain clear and vivid order to the chaos and pain of life.
Down Where the Humminbird Goes to Die is Justin Hyde's first chapbook, and the winner of the Jack Micheline Memorial Poetry Contest. It is has one of the best chapbook covers I have seen in a long time, and contains some of the purest poems you may ever read.
SinkaneColor Voice(Emergency Umbrella Records, May 6th, 2008)
Last week a cd arrived in the mail, and I pull it out of the enevolope. Looking at the back of the album I notice their are only four songs, the case is black with rainbow writing. An ep, I turn the album over and there is a note on a pink heart-shaped post-it, "Thanks Jason! This will blow your mind". Knowing nothing about the artist or the sound I press play and wait to be blown away. The album starts out slow and fragile, delicatly floating in and out of focus, ambient and builting. Gradually, reverse guitar loops begin to whail and echo and the sounds continue to evolve. Soon it becomes clear that this is one continious piece of music split into four fluent pieces. As the drums build and the tension mixed with freedom begins to bleed through my speakers, the lone but powerful vocals decend, "I'm sitting all alone/Sitting in my bed/Singing in my bed/Singing all alone". Simple words cutting through the complex soundscape that the Sudan native known as Sinkane has now stirred into a frenzy.
Ahmed Gailab (a.k.a Sinkane) is the son of a freedom fighter journalist/Politican who at age six fled to the United States with his family. This multi-instrumentalist learned the ropes from the basement (literarly) on up. He has created a masterpiece filled with modern rythms mixed with elements of jazz, rock, and cascading ambient music.
Screaming down Route 88 towards Chicago with a small idea as to the location of our destination, Jason and myself are barreling down the shaft of the lost. We had left around 5 and it's now reaching upon 7 (we had planned on being at the show well before). The maps are now useless as we have missed two exists and have no idea where we are. Ripping off the highway we start into a corporate center. I honk my horn at some guy in a bad shirt and a worse tie. He appears to be startled at the sight of us. Jason thinks he has the new directions via the internet phone and I ignore the man. We (very irresponsibly) make a hard turn about and get back on the highway with a trophy that I'll not share the details of.
After many more wrong turns we finally get into a nice subdivision and start looking at addresses. We pass a church and I make a joke about how we are supposed to be at the Church of Rock and thats probably it. After another block we realize I was somehow correct. Lovely. I finally get to park. It's been a blast so far, but I really was not expecting this.
The car is parked and we walk into a church basement, interesting....music? Let's see what the night has for us.
The basement has a stockpile of water, punch, Doritos's (I don't think I've had any in about 2 years) & a selection of vegan friendly nature bars. Very cool set up.
Oh, yeah...music, that's why we are here.
We have a lot of video of the show, but it's going to take another day or two too process it all.
Mr. James Eric started off the night with his guitar and vocal skills that are so powerful that he has to stand 5 feet away from the mic to be heard without destroying us all with his vision of triumph through adversity. Mr. James has a voice that you will listen to because you have no other choice. Btw, apparently James is really bad at keeping time, so when you see him, clap along in time.
The next band was "This Forest" and they were good, but not great (sorry guys, just give it another year). I don't want to sound like a jerk, but it just didn't really do anything for me. What I heard was noise punk that needs another year to mature, the crowd dug it, but I just was not feeling it. (Please keep in mind this was their first live show.)
The Pharmacy is an explosion of sound that hits you with something you have never heard before. They are a band not to be missed, I will go so far as to assume that they may have the hook of the next alt rock movement, they are at least on the cusp. Intensity does not do them justice. They sold the show. They are based out of Washington and are a lot of fun to hang out with.
Slutbarf is the one band that I don't know much about, but what I can tell you is that the band following the Pharmacy is the new PigFace lineup. They came on, with masks made of socks and dead rabbits? It was an onslaugt of drums and bass driven rock. Hi-hates set to high, coupled with an attack of "we don't care about your ears" music. I loved every minute of it.
The night was intense & I don't think Jason is going to let me drive anymore to shows.
Keep up on the OA for some video action from this show and future shows.
C.W. STONEKING USA TOUR…… BE THERE !!!!! The amazing C.W. stoneking from Melbourne Australia is on tour in the USA. You have to see that.. it’s hobo Blues, Delta pre 2nd world war blues.. and he’s simply AMAZING !!!! Go please go and see this man and he gonna change your life forever.
If the name sound familiar that is because Mr. Stoneking was featured on Orange Alert back in August. This is his first tour of the states.
APRIL 6th LOS ANGELES, Hotel Café 7th LOS ANGELES, Hotel Cafe 8th AUSTIN, Scoot Inn 9th LAFAYETTE, Blue Moon Café 10th NEW ORLEANS, DBA’s 18th NEW YORK, Banjo Jim’s 19th ROSENDALE, Rosendale Cafe 20th NEW YORK, Rockwood Music Hall 21st PHILADELPHIA, Johnny Brendas 22nd, NEW YORK, Pete’s Candy Store 26th, TORONTO, Drake Hotel TBC
Formed in 2005 by singer/songwriter Shawn Jones (Something Happened, Larks & Owls) and a revolving cast of several longtime friends, The Lovely Sparrows is the culmination of over a decade of musical growth and collaboration.
With The Lovely Sparrows' debut LP, Bury The Cynics, Jones has penned his most accomplished and ambitious songs to date. Meticulously written and recorded over the last year, Bury The Cynics marries lyrical pop sensibilities with Jones' formal composition training. Bury The Cynics is set for release on July 8th, 2008 by Abandoned Love Records and The Rebel Group.
The Lovely Sparrows will be performing April 10th at the Tractor Tavern in Seattle.
Listen to: Department of Forseeable Outcomes (mp3)
With a name like Morrissey, this Maryland native has some big vocals chords to fill. However, name is really the only thing Sean and Steven have in common. Sean Morrissey sings beautifully breathy folk music that is sure charm even the most mopey Smith's fan.
In the fall of 2007, Sean teamed up with long time friend and former high school band mate, Myles Vlachos, to create his solo debut EP Lolita’s Last Slow Dance. Sean Morrissey’s debut EP features guest appearances from other musical friends; and with production help from Vlachos, created an album that is a true display of his creativity and talent.
I stumbled across this duo from Sao Paulo back in September, and mentioned them here. Now they have already toured in Europe, and now the duo are poised to bring their groove-based blend of electro-pop, rock, house, and baile funk to the U.S. with their new Love & Lust EP, out now on Control Group.
This Brazilian electro-rock band is made up of a singer (Mylene) and DJ/producer/drummer (DJ Periferico), who has remixed songs featured on the "City Of God" remix soundtrack album, and has produced such Brazilian acts as Otto, Trio Mocoto, BiD, and Sidney Magal.
On stage they are like a hip hop duo with one dj and singer, always connecting with the audience and transmitting tremendous energy. Mylene is not a MC but sings the Funk Carioca (the favela´s Funk) like one; Periférico plays the turntables like a punk drummer and the drums like a techno DJ. Mixing in their sound the flavour of jungle music as well as house music, Telepathique's first successful European tour proved them to be an entertaining group with roots on the dance floor and the horizon on the future soundsystem, never forgetting the present, with their electro and breakbeat. All of these ingredients make a terrific recipe and that is Telepathique.
De Pere, WI... that's right De Pere, this is the home to Peter Rosewall (keys), Peter Pisano (guitar, vocals), Bobby Maher (drums), and Mei-Ling Anderson (bass) better known as The Wars of 1812. They released their debut album, Status Quo Ante Bellum, month on Amble Down Records and Afternoon Records.
Hello Tokyo, the female fronted, power-pop experience from Brooklyn, NY, is releasing their debut LP Sell The Stars on April 22, 2008.
From the beginning, Hello Tokyo has steadily garnered continuous success. Hello Tokyo won the 2006 performance slot on the Ernie Ball Stage at the Vans Warped Tour, they have had music placed on MTV's The Real World and Road Rules consecutively for the past 3 years, and their single "Radio" was chosen out of thousands as the theme song for the Animal Planet series Horse Power.
The Peel Back: Moby Ambient(Instinct Records, 1993)
The release of Moby's latest album Last Night finds me revisiting everything that I enjoyed about Moby back in the day. I mean way back, pre-Play Moby, in fact tonight I am going back to 1993. Ambient was Moby's second album, and it title was fitting in some aspect, but in others it was slightly deceiving. Ambient music is typically filled with drone and repetition, to slowly fills the room and floats for hours. Moby's version of Ambient is music more rhythmic and danceable. He is really creating a form of techno light, techno for the chill-out after party. If you picked this album up in 1996, expecting to hear something similar to what Aphex Twin had achieved with his ambient album, you may have been pleasantly surprised. You may have been dancing instead of dreaming. Moby is consistently changes his sound, but as he progressed and delves into new sounds and forms, Ambient remains a hidden gem in his early collection.
My Beautiful Blue Sky/Heaven (mp3)/Tongues/J Breas/Myopia/House of Blue Leaves/Bad Days/Piano & Strings/Sound Dog/80/Lean on Me
Listening: 1. The Salteens: This Vancouver band formed back in 1997, and released two albums in the early part of this decade. Now after a four year lay off they are back together and releasing two songs a month for free on their website. Listen to: Everything They Know about us (mp3) 2. The Selmanaires: Atlanta band containing twin brothers who have been rocking hard since 2003. Listen to: The Air Salesmen (mp3) 3. The Come n' Go: From Biel Switzerland this group plays loud dirty blue's and play it well. They recently released their latest album, Somethings Gotta Give, on Voodoo Rhythm Records. Listen to: It's Ok (mp3) 4. How to Speak Hip by Del Close & John Brent: One of the greatest recordings of the Beat Generation
Reading: 1. "Power-Jogging" by Noah Cicero: I like this. It is good. 2. "The Deciding Game" by Randy Lowens: The opening section of this great high school story contains some of the most descriptive basketball language I've ever heard. 3. Kendra Steiner Editions Review by Paul Corman-Roberts: Even though Paul credits Michele McDannold with running Orange Alert, this is a great write-up for KSE. 4. "I Once Knew a Man, or Everybody's Got Their Kafka Story" by Michael Jauchen: A story of the tortured artist. 5. "Leroy Can Tell You When" by A.S. King: This is from Frigg Magazine, and I really like their presentation. This story is about a 10 year old genius. 6. "Teacher As ___" by Jason Jordan: Classified as non-fiction and filled with interesting references. 7. "Like Green Fireworks" by Tom Watts: "The sun is laying warm clean towels on my face as I sit there on the step thinking of nothing but the seconds dripping by." Oh man, that's good!
Wishing: 1. "Down Where the Hummingbird goes to Die" by Justin Hyde: It was almost a year ago that Justin stopped by Orange Alert, and really left a mark. His debut chapbook completely blew me away. (full review coming this week) $6 2. Muxtape: Not a product, but very cool concept and very user friendly.
Getting: 1. Blanket Issue #9 "The Music Issue": Typically an Art Zine, this months Blanket delves into the world of Music in the Blanket way. They talk with band photographers, the talk music videos, and digital mixtapes. 2. Long awaited details on the Pilcrow Panels: Leader of The Pilcrowites, Amy Guth, addressed the masses this week, unveiling the panal discussions for Pilcrow Lit Fest (May 22nd to 25th). Hmmm, I wonder what panel I will be sitting on... 3. Infidelity of the Orange
Watching:
1. Rock is Back! On April 15, there will be a huge announcement in rock. It will take place in LA and you can win a chance to hear the news first-hand. Check out this video for clues and if you think you know what’s up, enter your guesses at THEROCKVINE.COM for a chance to win.
2. Steinski: This is part one of a four part interview from SXSW. We will hear more from this hip hop legend in the coming weeks!
3. Tomatoes & Radiowire: This is an collective video tribute to one of the greatest albums of all-time, Neutral Milk Hotel's In An Aeroplane Over The Sea. 4. Chic-A-Go-Go: It strange at first, but now I can't stop watching... here is Sleep Out. 5. Amy Guth at Tennessee Williams/New Orleans Literary Festival talking about her novel Three Fallen Women.
A main part of life is friendship. When at work, at home, on tour, setting out on an adventure, or simply watching the day pass, friends are a necessity. Scott Yoder and Brendhan Bowers of Seattle's The Pharmacy, have been friends for a long time, and together they have built a reputation through their consistent touring and fun releases. A non-stop adventure, a journey of their choosing, and on this adventure their friendship has grown and expanded to include group of talented and ambitious individuals. One such ambitious soul is Megan Birdsall, Scott's roommate and long-time friend, who has single-handily created one of my favorite labels, Don't Stop Believin'. They release well designed and well packaged album and ep's abound, complete trading cards and beautiful vinyl releases.
Choose Yr Own Adventure (DSBR 011) is The Pharmacy second full-length album, and it roars and rocks and rhythmically rolls through twelve tracks. They are of course on tour right now, and are playing two shows in the area this weekend (4/5 8:00P Church of Rock Western Springs, Illinois / 4/6 8:00P Worloft Chicago, Illinois), and for a full list of shows visit their new myspace page.
Recently, Scott of The Pharmacy took some time out from touring to answer a few of my questions.
Orange Alert (OA): The new album, Choose Yr Own Adventure, is fantastic, and well worth the wait. Did your read Choose Your Own Adventure books when you were kids? What was your favorite CYOA book? Scott Yoder (SY): I was more into Goose Bumps and Jurassic Park, actually. But recently I've really gotten into the Cave of Time
OA: You guys seem to consistently be on tour, what has been your favorite city to play, and what is your strangest tour story? SY: Our favorite city to play is probably NYC. There's just such a huge concentration of awesome overwhelming things happening all at the same time. We have dozens of weird stories i guess. Our friend had her purse stolen in NYC last summer and while talking to this completely stereotypical bulldog-looking cop with a shaved head and moustache he determined that our band was "Grunge-Punk-Psychadelic." Pretty intuitive of him, I'd say...
OA: Having been both Kimya Dawson's opening band and backing band (on the same night no less) what is she like to play with? What are your thoughts on her long over due success? SY: We're really happy for her. I feel like she'll always have the same core kids that come to her shows regardless.
OA: About a year ago a little known here is Chicago, Tic Tac Totally, released a 7" of yours containing one of my favorite songs, Tropical Yeti. How did you come to release that single through them? What has your experience with Don't Stop Believin' been like? SY: They just approached us to do a one-off limited edition single. We had those two songs recorded already. We actually got to record them at Bear Creek where Lionell Richie recorded a bunch of stuff with Eric Clapton in the '80s. Don't Stop Believin' is essentially my roommate, Megan and we've been best friends for 6 years or so, so its super comfortable.
OA: Follow the release of your new album, Don't Stop Believin' released an ep of Pharmacy covers performed by The Terrordactyls. What is your connect to the terrordactyls? What are your thoughts on the Mike Bowers Ep? SY: I think Ty and Michael did an awesome job. We all went to school together. Brendhan and I were actually in an early incarnation of the band where we dressed up like sock puppets and broke mic stands while screaming the "Happy Birthday" song. Stefan had a quick stint as their temporary keyboard player when he was 14 or so...
OA: What's next for The Pharmacy? SY: Another US tour with our favorite band, Japanther in May. We've also started confirming shoiws for a European trip early this fall. I think we all might spend a lot of time in LA recording this summer as well.
Choose Yr Own Adventure (DSBR 011) Choose Yr Own Adventure/Black Ice Cream/Mirror (mp3)/Tropical Yeti (mp3)/Warm and Untorn/My Friends/Little Toys on a Shelf/Try To Explain/Five Five Five/Turned to Granite/Old Man and The Sea/Adieu Adieu (mp3)
For more information of The Pharmacy please visit their website and to order your copy of Choose Yr Own Adventure visit Don't Stop Believin' Records.
"A complex man he is not. Stew lives his life in patterns, one for each block of time and obligation he must exist in the world for." from What Follows
There are always different layers to life, and there is always something below the surface. What most people see is what they choose to see, a country day on a porch doing chores, the morning routines, an innocent greeting on a sunny side street. Yet, the turmoil, the temptations, the anger that burns and bubbles just below the surface lies waiting to be exposed. Waiting for the perceptive and creative writer to dig in and break it down. There are stories inside the lives you come across every day of your life. The farmer, the banker, the guy stocking Snapple in the Supermarket, the homeless man of the corner, and CEO in the corner office, they all have a story. It is the writers job to dig a little deeper, crack open a few wounds, create a few new ones and find the complexities in life's simple moments.
Rusty Barnes tells tales of everyday life, delving deep into the subconscious of the most unlikely subjects. His new collection of short stories is entitled Breaking it Down (sunnyoutside press), and is a shining example of his work and the depths that flash fiction can reach. Rusty is also the co-founder of Night Train Magazine.
Recently, Rusty was kind enough to answer a few of my questions.
Orange Alert (OA): The nature of your fiction work leads me to believe that you might use writing as a form of release? There are so many problems and tragedies in society, is it your responsibility to filter these issues through the writer's pen? Rusty Barnes (RB): Writing isn't a release for me, at least in the sense you mean (I think). It's not cathartic, really. I suppose it can be, but that's not and never has been my primary concern. I want to put people (my characters) in situations where I can see what they'll do. Sometimes I'm disappointed, sometimes I'm disgusted, but I'm always trying to see how human behavior leads to inevitable actions. I don't know if I believe in Fate entirely, but it certainly seems a likely possibility.
OA: In an interview last year you talked about you current interest in poetry. What does poetry provide for you as a writer that fiction might not? RB: In fiction I'm interested more in story and rhythm and less in language. In my poetry, that's reversed. I'm more interested in bald terrible/terrifying language that falls trippingly on the tongue. Many of my poems are narrative, for instance, but I don't feel constrained by narrative the way I might when writing a story. That's an answer of sorts. I also admit I began writing poems before anything else, before I really knew what a poem was, and when my well is dry I'll nearly always turn to poetry first to fill it, then gradually work my way back into fiction.
OA: I read that your new fiction collection, Breaking it Down, was spawned initially from a desire to sell something at readings, which have increased in the last few years. Do you feel that reading your stories to an audience adds anything to your stories? Have you been pleased with your experience with Sunnyoutside press? RB: I love readings. I love to hear how the story affects the audience, how they react to certain lines and images. I like making them uncomfortable, honestly. I think discomfort is a good honest reaction to existence. Reading aloud puts a voice in people's heads, which helps some people and disappoints others, but I've generally been received really well.
Sunnyoutside, which is David McNamara, has been absolutely great. I had input into every facet of the book, we came up with a cover I love, and the support of and belief in my writing has been incredibly sustaining.
OA: How are things going with Night Train? Six years in, do you feel the journal has been all that you imagined it might be? RB: It’s done better than I could have imagined. Our print journal 'made the news' many times, and we published stories that other publishers would not, in many cases, stories that I loved. What could be better? If we had tons of money, that'd be great—we could do more, and prettier!—but since we don't, we'll continue to do what we do as well as we can. I love the idea of publishing something new every week, and I hope to branch out soon into chapbooks and full-length books using P-O-D technology, but that's some time off, right now.
OA: There has been some debate in regards to the legitimacy of on-line journal publication vs print journal publication. Do you feel one holds more importance? RB: I think writers will want to be published in print journals so long as they command the attention of agents and book editors. Failing that, I think they'll want to be read, or at least browsed once in a while, and available on Google for their friends and enemies to peruse. There are differences, but at this point I don't really care about them. I'm interested in writing something good, and getting it before the widest audience possible. Very often, that means internet publication.
OA: What's next for Rusty Barnes? RB: I'm working on a novel which I hope to have 2/3 complete by April 1st, so I can take a month off for National Poetry Writing Month and write poems exclusively, then finish the novel in May, edit and rewrite in June and July, and have it ready to send out at the same time my wife is giving birth to our third child, in late July/early August. I'm saying this in public to hold myself accountable.
Bonus Questions:
OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot? RB: I don't drink much coffee, and when I do, it's usually a simple iced latte. What I drink, by the two-liter bottle, daily, is a lot of Diet Pepsi. My favorite spot is on our old sprung sofa with my particular ass-marks in the east side, where I write on my laptop in the midst of the TV and my family, between 9:30 PM and midnight every night.
OA: What type of music do you enjoy listening to, and who are a few of your favorites? RB: I generally listen to single voices with acoustic guitars, and variants thereof: a lot of alt-country, cowpunk, folkie sorts. There's no way to answer this in short. Currently, I'm listening to a ton of Steve Earle and Dwight Yoakam while I'm writing, and otherwise I'll just give you my top artist listings from iTunes: Damien Jurado, Steve Earle, Old 97s, Simon Joyner, Peaches, Nashville Pussy, Tom Waits, Hezekiah Jones, Richmond Fontaine, PJ Harvey, ZZ Top, Louisiana Red, Liz Phair, Outkast, Songs: Ohia
For more information on Rusty Barnes please visit his website, and to order your copy of Breaking it Down go through Sunnyoutside (it's faster).
What draws you to a specific painting? What attracts you to one piece over another? I have toyed with the idea of color, and I still believe that colors and color combinations can draw you in and evoke emotion. However, what you may be feeling, what may be drawing you in, is actually the artist's emotion or intention connecting with you through the simple collection of media, paint, canvas, pen, paper, etc. What you feel may be the energy and the motion of the artist creating that circle, or drawing that line, an energy that lasts and endures for ages.
Chicago's Man Bartlett creates work with intention. He works with four basic colors, and focuses on the completeness of the circle. His work has been shown exclusively around Chicago, and he is currently participating in a group show at FLATFILEgalleries that runs through April 11th.
Recently, Man was kind enough to answer a few of my questions.
Orange Alert (OA): How would you describe your work?
Man Bartlett (MB): I'm fascinated by simple forms that tell complex stories. Lately I've been referring to my work as a sort of Emotive Minimalism. Compacting as much information in as little means as possible. Over the past few years I've been inspired by equal parts Duchamp, Basquiat, Wabi Sabi, and most recently Wolfgang Laib, which I think can inform an approach to understanding my aesthetic.
OA: In your video artist statement you make a connection between your emotion and intention as an artist making a circle and the viewer viewing your circle. Why circles? Can this connection of intention formed in any brush stroke or movement? Are there different emotions attached to each circle? MB: That's a great question. I believe intention can be placed in any object of creation. In fact it always is, just not always consciously. I remember the first time I saw Duchamp's "Fountain," in Philadelphia. Somehow (and not because it's in a museum or it's been exhaustingly written about), it retains a massive amount of energy and power. This led me to thinking that the intention behind the work is a majority of what we experience in art. "Not what, but how." And by reducing the means of the expression of the intention I'm pushing the limits of our ability to experience it. Circles are the simplest form I have found to explore that. There is an inherent beauty in a circle, a completeness or totality. There is a meditative quality in drawing or painting them which continually attracts me. Also they exert expression in their attempt, or refusal to be "perfect." We know intellectually that perfection is a fallacy, but we spend so much of our time, or I should say I spend so much of my time, trying to reach that state. The circles provide me the opportunity to investigate that. And to varying degrees, each circle I draw has its own specific intention which culminates in the experience of the piece on the whole.
OA: You use oilbar on your pieces, is that a different approach than most artists, I don't see it referenced often. Do you feel that the materials (i.e. type of paint or canvas) used in a painting have a big impact on the outcome? MB: Another great question. To a degree, yes. If Basquiat's "Gravestone" had been painted on canvas it would have been a very different piece. The fact that it was painted on found (door, wall?) panels lends itself to a resignation and a feeling of utter despair that directly relates to the subject matter. On the other hand I've seen great paintings on Dick Blick pre-stretched canvas (no offense, Mr. Blick). I prefer to find and use the materials that feel right to me and are best suited for the work. Usually of a relatively high quality (Arches paper, Windsor & Newton Oilbars etc.). This is particularly important while working minimally as the devil truly is in the details. I pay attention to everything. Much to the chagrin of framers and others! But to me the entire process is important. From purchasing the materials to the preparation through the completion of the work, to the framing to how it is lit and hung in space, it is all part of the art, and nothing should be overlooked.
OA: You have a very selective pallet, how did you come to settle on those four colors? Has there been any thought of expanding your pallet? MB: I came to my current pallet by reduction. Those colors speak to me on an organic and spiritual level. And as long as they continue to inspire me I don't see a need to add any more. I've been able to get quite a range with just those four (antique white, titanium buff, raw umber and cadmium red). Although for a different body of work I've been thinking a lot about pure white, purple and gold leaf. I also have a thing for IKB, but don't tell anyone.
OA: I know you have a good relationship with FLATFILEgalleries, but what is you impression of the art scene in Chicago in general?
MB: I love this city. Chicago has been great to me. From my experiences in the theatre through working with FLATFILE I have been fortunate enough to work with professionals who are both amazing at what they do and incredibly kind and supportive. I'm very grateful for that. You don't find that everywhere. And there are a lot of opportunities for people at various stages of their career. To use the word "vibrant" is definitely a faux pas, but I find it to be just that.
OA: What's next for Man Bartlett? MB: I'm building a studio in my new place that will allow me to work on much larger works on paper, so I'm excited about that. I'm also getting increasingly more interested in three dimensional sculptural/installation work and am experimenting there. I've got a few tentative things lined up for 2008/2009 but mostly it's work work work. The work drives me and the rest follows.
Bonus Questions:
OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot? MB: Kona. But I enjoy Folgers too. And I'll switch between black, cream, or cream with Splenda. I recently moved to Pilsen from Logan Square and I haven't found my local spot yet. I'm accepting suggestions...
OA: Do you listen to music while paint? Who are some of your favorite musicians while painting and in general? MB: Music is a huge part of my life. If I'm not painting or at the 9-5 I'm probably at a concert. I'm almost always listening to something. If I'm working on a circle or line drawing it's headphones and usually Beethoven. For the past year I've been particularly engrossed in his 9th Symphony. Oilbar works run the gamut over speakers: Andrew Bird, Joanna Newsom, Talking Heads, Mia Doi Todd, Of Montreal, Neko Case, Bryan Scary and The Shredding Tears, Philip Glass, Okkervil River...and a host of others.
For more information on Man Bartlett please visit his website and don't forget to visit FLATFILESgalleries before April 11th.
March 29th, 2008 - Blitzen Trapper w/ Fleet Foxes and Ola Podrida at The Bowery Ballroom, NYC Reveiws and Images by Dominick Mastrangelo
The Bowery Ballroom was an all-out mutual appreciation society on Saturday night. Both Blitzen Trapper and opener, Fleet Foxes were on the receiving end of a gracious and appreciative New York City audience. Fleet Foxes, from Seattle, took the stage first with lead-singer Robin Pecknold, carrying a cup of tea and offering the disclaimer that he was under the weather. His bandmates then chimed in that it was Pecknold's birthday. But by the sound of the harmonies that texture many of the Fleet Foxes songs, you wouldn't know that Pecknold was anything but full strength. Songs like "English House" and "Drops in the River" (from their Sun Giant EP) were excellent (equal parts Shins and Midlake) but the real showpiece was "White Winter Hymnal."
Pecknold stopped two lines in, shaking his head as members of the audience clapped their approval to the song selection. Pecknold, truly touched the crowd already knew their songs, said, "You guys are so sweet." The back and forth continued; someone in the front row handed Pecknold a packet of Emergen-C for his cold. Then keyboardist Casey Wescott, bassist Christian Wargo and guitarist Skyler Skjelset combined, relay-hand off-style, to give away a beautiful but no-longer-functioning mandolin. Skjelest, the anchor, deftly tossing it into a sea of arms and hands. The band closed with the slow-fast-slow "Blue Ridge Mountains" (which will appear, along with "Hymnal", on the band's full-length release due June 3) featuring Crosby Stills & Nash harmonies as well as the new mandolin.
Blitzen Trapper, a six-piece band from Portland, Oregon, followed with their brand of energetic rock-folk-Americana songs. Hard-charging numbers like "Devil's A-Go-Go" and jangly "Country Caravan" evoked Pavement, Big Star and the Grateful Dead. "Wild Mountain Nation", the title track from last year's full-length was full-on Skynard. But the band changes genres as much as they change instruments - which occurred between songs and multiple times during songs. (Their record reviews reference everyone from the aforementioned bands to early Beck, the Beatles, and Elephant Six Collective bands.)
Lead singer Eric Earley's voice floated close to Dylanesque to open the bluesy, foot-stomping "Miss Spiritual Tramp" getting the B. Trapp set off to a raucous start. Toward the end of the concert they stopped down for the lo-fi, front-porch hymn "Badger's Black Brigade" which closes Nation before ratcheting up the tempo once more with the noisy rocker "Woof & Warp of the Quiet Giant's Hem." Fresh on the heels of last year's record, the band also played the title track off their upcoming record Furr, a beautiful alt-country number furthering the band's inability to be pinned to any one genre.
Upcoming Tour Dates: 4/02 Toronto, ON El Mocambo* 4/03 Buffalo, NY Mohawk Place* 4/04 Cleveland, OH The Grog Shop* 4/05 Detroit, MI The Magic Stick* 4/06 Chicago, IL Schubas* 4/08 Madison, WI High Noon Saloon* 4/09 Minneapolis, MN 7th Street Entry* 4/10 Grinnell, IA Grinnell College* 4/11 Omaha, NE The Slowdown* 4/12 Lawrence, KS Jackpot* 4/14 Denver, CO Hi-Dive* 4/15 Salt Lake City, UT Urban Lounge* 4/17 Vancouver, BC Media Club* 4/18 Seattle, WA Neumo's* 4/19 Portland, OR Holocene* 4/26 Salem, OR Wulapalooza
If you are a musician, writer, or artist and would like to see your work presented or reviewed here, we would love to hear from you. You can send submissions to P.O. Box 3897, St. Charles, IL 60174 or contact us at orangealert31 [AT] gmail.com. Thanks!
My Week in Pictures
We talk with local artist Kari Karus about her work and her involvment with Water Street Studio.
We discuss Quickies! (her monthly reading series) and Theodore Huxtable with Mary Hamilton
We explore the layers of sound contained in the work of Benoit Pioulard.
Click the pic to download!
The Orange Alert Reading Series @ The Whistler Jan 18th: Chris Bower, Jill Summers, Nick Ostdick, and Scott Stealey
John Updike (March 18, 1932 - January 27, 2009) Remembered Here
Orange Alert named one of the best web sites in Chicago by Chicago Magazine! Check it out
The material (pictures, mp3's, opinions, etc.) posted on this site are for the sole purpose of promoting the work of the artists that created them. They will only be posted for a short period of time, but if anyone would like them removed please contact us at orangealert31@gmail.com.
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The Peel Back: Anarchy 6 Hardcore Live! (1988, Giant/Gasatanka Records)
Soltero
The Peel Back: Certain Distant Suns Happy on The Inside (Giant Records, 1994)
Hello Tokyo
Blitzen Trapper
