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Chosen One: Hauschka

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Interview with Volker Bertelmann (Hauschka).

“…you have to reset your mind at some point to create something different.”

—Volker Bertelmann

Words: Mark and Craig Carry, Illustration: Craig Carry

hauschka_abandonedcity

A wealth of magic emanates from the scintillating piano works of Germany’s Volker Bertelmann. Under the guise of Hauschka, the gifted composer has carved out a string of phenomenal neo-classical masterpieces from spontaneous improvisations (‘The Prepared Piano’); ‘Ferendorf’’s ode to his childhood home in Germany (which features intricate arrangements of strings and brass); the ‘acoustic techno’ of ‘Salon des Amateurs’ featuring drummers Samuli Kosminen (Múm) and Calexico’s John Convertino and Joey Burns; and ‘Silfra’’s gorgeous collaborative effort with violinist Hilary Hahn. This year marked the highly anticipated maser-work of ‘Abandoned City’; a captivating record of illuminating soundscapes that marks Hauschka’s crowning jewel and most staggering work to date.

Witnessing Hauschka’s Volker Bertelmann — whether in live setting during his renowned concert performances or in recorded contexts — a certain sense of magic fills the air. Sylvain Chomet’s 2010 animated marvel ‘The Illusionist’ comes to mind, as we are left in wonderment to observe the artist’s vast collection of skills and unlimited wells of talent. Known worldwide as one of the most recognizable 21st Century proponents of what is known as Prepared Piano, Bertelmann has amassed a considerable body of work over the last decade, ceaselessly weaving his own singular path — and on his own terms — to wondrous effect (much like fellow modern composers and restless souls Nils Frahm and Max Richter or such Twentieth Century masters as Eric Satie, John Cage and Steve Reich). Importantly, the album itself draws from research Bertelmann made (after the discovery of a series of photographic prints depicting the subject of abandoned cities) on the number of actual vacated cities in existence (each track title references a particular city). As Bertelmann has said: “I was interested in finding a metaphor for the inner tension I feel when I’m composing music, a state of mind where I’m lonely and happy at the same time.”

‘Abandoned City’ proves a certain milestone in Hauschka’s recorded output to date. An intriguing sense of both adventure and discovery seeps through every pore of the album’s ten compositions. Like all of Hauschka’s art, nothing is as it first seems. As we delve further into this abandoned city Hauschka has built for us we begin to lose all sense of what we initially thought was important in the process. We lose all traces of ourselves for that beautiful instant we are under Bertelmann’s sacred spell and that is what Hauschka’s divine art forever manages to do.

‘Abandoned City’ is available now on City Slang (EU) and Temporary Residence Ltd (USA).

http://hauschka-net.de/

http://cityslang.com/
http://temporaryresidence.com/

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Hauschka_5

Interview with Volker Bertelmann (Hauschka).

From your live shows, it’s really inspiring – to not only witness your music live but – to see the process. As a listener, you normally don’t get to obviously physically see how it happens so it’s amazing to catch a glimpse of that when you see your live show.

Volker Bertelmann: It’s something in a way that I was not intentionally in the beginning when I was working on prepared piano but in general the prepared piano is something that is mostly happening on the spot, you know. I mean it’s stuff that where you definitely have to create things while you are at the venue because the instrument is a lot of times different and the sound is different and the room – some pianos sound completely weird and others sound really beautiful – so there’s always a big difference between every evening.

I wonder too, Volker, with the new album ‘Abandoned City’– which I must say is my favourite of all the Hauschka albums – was it a case of using new approaches again on the new album? There is definitely a wonderful dub and electronic feel to the songs as well.

VB: Yes, it’s actually because in a way I was hoping to get back to a little bit to the roots without using any other instruments because I was doing a lot of electronic music beforehand and I was always interested in dance music and music as well like Aphex Twin or stuff like that and that was always music for me that I really love. And in a way when you go to the piano; suddenly it can happen that you miss everything like that because you suddenly have a different approach and the piano sounds so beautiful and clean, in a way. So for me, it was a really important to frame an angle that actually allows me to do as well like quite more experimental stuff and more dance stuff: the whole palette of sounds possible. On this record, all the sounds that are on there; there are no processed sounds by synthesizers and stuff like that; it’s all acoustic sounds used with delay and reverb.

That’s amazing in itself to think that it’s just acoustic sounds. On one level it’s not surprising because it does have that organic and very human feel. In one way, the music is quite sad but after many revisits, I must say I find it very uplifting where the pieces of music are filled with hope.

VB: Yeah, I mean to be quite honest that is something that I am very interested in, not that I am doing this intentionally. I mean maybe I am a person of hope and at the same time, I’m sad and I know that things at some point will be finished and life is just limited in a way and if you work on something all the time, you are always aware of the limitation of your life. And I think that creates a kind of interesting feeling in sadness and hope and you enjoy every day and stuff like that, and I had the impression ‘Abandoned City’ has a similar feel to it.

In a way there was something happening there: life was happening there; then all the life disappeared and then maybe new people are coming in or new animals are going into the village. So in a way, there is always this circle that represents hope – some new creation and at the same time it disappears at some point and there is death and from that something new is rising. So in a way I was hoping to find a circle like that and it’s not finished because I’m still interested in this theme. I mean ‘Abandoned City’ was much more superficial in the way that I just picked out the cities and now I’m working on a cycle of three pieces that are dealing with this circle of loss and death, and the new perspectives in a way.

Oh wow. So in a way, this could be the starting point of a series nearly?

VB: Yeah, and maybe it’s something because of my age. I mean I was always aware of it, even as a kid; you know I was aware that I have to find a way of enjoying every day so you never know when the circle is over [laughs]. I thought it would be a nice theme in the music and in a way it appeared at that time I was writing ‘Abandoned City’ my little son was born; Lucas and at that point I had the impression that I was very touched by that on one side. And on the other side I felt like I’ve experienced so much already myself and there was a lot of tension in myself and it felt like it was a nice expression of that.

When you did your research on each of the abandoned cities for each piece of music; this must have been a lovely process too, in a sense that you had the music but you wanted to put a certain city to a particular piece.

VB: Yes, I mean the music was already written so you know, for some people it may be strange that I have not visited some of those cities. For me it was like, first of all writing the music and then other times, I am trying to find an angle and what I feel when I’m writing the particular music. So I found a picture of an abandoned garage like a parking garage, in Las Vegas in a friend’s house, and I was telling them, “Man, I think this picture is exactly the stuff that fits totally to my music; can I use it as a cover?”. He replied “Yes it’s my picture, I actually took it when I was in Las Vegas” and so that’s actually the cover of the record.

I am very curious about the state of mind when you are performing music on one side but also when you are composing in particular?

VB: Composing is something you know, in a way you have to clear your mind constantly to start from scratch and create something new. This makes it sometimes very difficult because of course you know what you have done before and so you have to reset your mind at some point to create something different. I think this is also a life-circle which is a mental circle and particularly with this record, I was much freer in terms of form and I think I was much closer to the way I performed live than the albums before. On the previous albums, a lot of times it was conceptual albums in terms of I was using albums to create dance music or in a way, I always had songs in mind which I didn’t have with this album. This album was more like an endless stream of music.

That’s very interesting because the album does feel more like a performance in the way that you can imagine you are playing the piano in your living room when listening to it.

VB: Yes, I mean that is how I was working on it. I was creating music while I was in my studio I just pressed record and then I recorded it. I go into my living room and just start performing; that’s what I mostly do, I press record and what’s coming out of my hands will be recorded and I make the decision whether I like it or not.

And this is the Bechstein, the grand upright piano?

VB: Yes, it’s a grand upright. I mean for the last four records I recorded with this. Actually it’s my first piano that is like a real concert piano and the older records I recorded with quite old pianos that I was given by people as a gift because I had no money for affording the piano. The next step might be that I’m looking for a grand piano; you know in a way there is always developments [laughs].

It’s really interesting too, you know with yourself and other pianists/composers like Nils Frahm, Peter Broderick and so on, it’s amazing how each of you; you all have your own sound but there is also this thing that you are searching for new ways of generating new sounds.

VB: In a way I have the impression that each of those guys you mention are experimenting their way very much; they are not interested in borders even though I would say there’s always a difference in terms of the accessibility. For example, I think Nils’ music is quite accessible for a lot of people while Peter and I, we might be much more at the edge sometimes which I think in a way for me it’s very interesting because you can stay at the edge you can always create stuff that is at the edge for your whole life.

But if you start getting into accessible mode, it’s very hard to get back. I had this experience when I was younger; I was in this hip-hop band and I realized that once you are forced on making hits it makes you very vulnerable in terms of the next step you have to do. So, I’m very glad I’m not forced to make the next record a big-selling album because the places I play are so huge they have to fill them. There’s also some tension in there, of course you are always aiming for making a career but at the same time you can be a kind of bargain, you know. I’m very glad where I am right now because everything is big enough where I can travel all the time and on the other side, I don’t have to go into stadiums [laughs].

You must also be influenced by John Cage and all his theories and the whole prepared piano process?

VB: To be quite honest, I mean in some interviews I mentioned him already. But in the beginning when you are connected with hip-hop or pop music you never come across people like that you know, so I was completely disconnected from that guy. By working with prepared piano sounds, I was getting much closer to John Cage and I love actually the humour and the way he thinks about sound in general. It’s so liberating and he was doing that already like twenty, thirty years ago and so I’m such a big fan of his theory as well of his music. It’s for me a very uplifting artist.

I wonder for you growing up and stuff, what was the first kind of music you got into? Were you in bands first before you ended up on your piano path?

VB: Well the first thing is that I learned classical piano as a kid from nine years old. Then I was in my first band at the age of twelve where we played Rolling Stones covers and a lot of rock music. It was at the beginning of the eighties because I was born in ’66 so in 1978 I was twelve and so maybe it was the end of the Beatles era and I was totally influenced by this kind of music at the time and still think that the music and songs created at the time is incredible. So in a way I was trying to write songs at that time with my band.

From there, I went into all sorts of rock bands like keyboards and synthesizers and I wrote music for singer-songwriters and all sorts of stuff. Then suddenly after the hip-hop group and the whole hits discussion – it was a major record label – I had the feeling that I had to change something because it was not really me. You know, I’m not a really big fan of the show to be quite honest. If I want to perform, I want to perform aesthetically nice and I want to do every now and then something with video or more like an installation where people watch but in general I’m not interested in having a big live show with me being the focus of the set of the show; like I’m coming with smoke out of ground of the stage, you know that’s not my thing. But if you go into a poppy area, you have to do that because the stage size is so huge and you have to get more and more into light and big laser shows and you have to be the focus and all the fans are cheering even before you get onstage without playing a bloody note.

So I’m interested in creating music where it’s more about an experience with both of us like when the audience gives you something and I give the audience something. So we are both in a room and we share. That’s what my feeling is and then I made the decision at some point that maybe the only way to do it is by playing the instrument that I can really play good and that I have to find a way of experiencing me as a solo performer without any nets under me by performing improvisation. I think that’s the best decision that I have made for myself and I am very thankful that people give me the feedback that I should continue. Sometimes you can imagine that you are doing this and people are saying ‘Please, don’t come back’ [laughs] but they don’t and they’re really forcing me to do my next thing and I’m very happy about that.

Even looking ahead, Volker do you have other projects in mind?

VB: Right now, I have a one year residency with MDR Symphonic Orchestra in Leipzig which is the hometown of Bach and I’m working there with the symphonic orchestra now for a year and a conductor called Kristjan Järvi who is a very well-known classical conductor but also having a great experimental ensemble called the Absolute Ensemble so he is a guy with a real connection with more modern music and classical music. He invited me and asked me if I would be interested in writing music for the symphonic orchestra. I wrote my first two pieces in September and recorded them already. And the next three pieces – which is the cycle of three pieces I told you about – this will be a composition for orchestra without me, there’s no prepared piano by me in there, just the orchestra. I want to figure out now what does the orchestra sound like without me and then I can incorporate myself at some point and I can perform both; I’m expanding.

And do you hear the pieces performed by the orchestra along the way?

VB: They perform the pieces onwards and the pieces are also notated now and they are offered to all sorts of orchestras in the world. I don’t know if they want to play it; that’s one thing. And another thing I am working on new solo piano pieces because in a way when I was in Japan two weeks ago, I felt that my style of performing and incorporating electronics has changed. I think it was getting different so I had the impression that I have to record something and there’s also still an open record for that I want to record with my friend Samuli Kosminen, the drummer from the band Múm. The two of us, we have performed so many times that we really would love to work together. All these plans are in the air.

The other thing I want to continue with Hilary Hahn, the violinist, we have plans because we really love working together and we perform live every year maybe three or four times which is awesome that we still work together but I’m not in a rush. There’s so much stuff happening that I’m glad I can stretch this into the next couple of years.

One last thing Volker, I wonder are there certain albums or records you’ve been listening to lately?

VB: To be quite honest for me at the moment it is quite difficult to listen to music. The only thing I am listening to a lot of music on classical radio which is called WDR 3 because at the moment I am extremely interested in all variations of classical music that is written just to get an idea you know, what is the spectrum I have to work with when I’m working with the symphonic orchestra and that is for me at the moment very interesting.

If I could point out one composer that I really adore, it is Schoenberg, I am a big fan of his music. Whenever I have the time I try to listen to music of his.

And do you have a particular favourite?

VB: I mean there is one piece called ‘Verklate Nacht’ which means ‘clearing night’ in a way and it sounds a little serial and I think sometimes the music is for a string sextet. It’s an awesome piece, like really dark but at the same time very romantic. Schoenberg was also a twelve-tone composer where he started at some point to experiment with music by not using melodies and tonal music and I think this is at the edge where he was thinking ‘I have to change because I have done everything that I can do’ which is also an interesting development in everyone’s life, you know, in my opinion I have done everything I can do and now I have to change the city or change the style or change my living, you know all these things.

As you say, it’s that whole thing about circles and how everything comes back and forth really.

VB: Yes, yes absolutely and Schoenberg’s music at that time really encourages.

 


 

abandonedcity_web

‘Abandoned City’ is available now on City Slang (EU) and Temporary Residence Ltd (USA).

http://hauschka-net.de/

http://cityslang.com/
http://temporaryresidence.com/

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Written by markcarry

January 6, 2015 at 12:29 pm

Albums & Reissues Of The Year: 2014

with 14 comments

The following is a selection of the albums and re-issues that had the greatest impact on us for a wide range of different reasons. As difficult as it proved to settle on a final (and very concise) selection, we both turned to these special albums most often throughout the year. 2014 has been a year which has produced so many absolutely wonderful and truly special albums, here’s our personal selection of some of these (with a selection of ten albums and five re-issues).

Words: Mark & Craig Carry, All artwork: Craig Carry

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Albums of the year:

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Grouper ‘Ruins’ (Kranky)

‘Ruins’ was made while U.S. musician and artist Liz Harris was on an artist residency (set up by Galeria Zé dos Bois) during 2011 in Portugal’s Aljezur region. The location would provide a striking influence to Harris’s subsequent recordings (recorded in typically minimal fashion: a portable 4-track, Sony stereo mic and an upright piano) while the sense of both departure and a new-found freedom flow throughout ‘Ruins’ and its majestic and dreamlike eight tracks. During her Aljezur residency, Harris would embark on daily hikes to the nearest beach where she would encounter the ruins of several old estates and a small village. As Harris has said: “The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.”

‘Ruins’ is a stunning achievement which proves all the more astonishing considering the already extensive (and consistently breathtaking) recorded output of Grouper since the mid 00’s. ‘Clearing’ is arguably Harris’s most singularly beautiful song conceived to date. As Harris sings: “What has been done / Can never be undone” over a gorgeously delicate piano line we embark on yet another wholly unique and deeply personal odyssey under the stewardship of Harris’s very heart. Like a silent witness we hold our breath as we remain under Harris’s spell throughout (from the timeless ballad ‘Holding’ to the closing epic drone-heavy tour-de-force ‘Made of Air’). ‘Ruins’ is a quietly breathtaking force of nature: an album made as much by Harris’s own hands as by the moonlight’s illumination in the night sky or the evening sun’s last rays of faded half-light.

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ruins_web

‘Ruins’ is available now on Kranky.

https://www.facebook.com/pages/Grouper/
http://www.kranky.net/

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Print

Caribou ‘Our Love’ (City Slang/Merge)

One of my most memorable moments of this past year was undoubtedly witnessing Caribou’s storming live set at 2014’s Body & Soul festival. A euphoric feeling ascended into the summer evening skyline as each transcendent beat and luminous pop-laden hook flooded our senses. The majority of 2010’s glorious LP ‘Swim’ was revisited, from the tropicalia-infused ‘Odessa’ to the hypnotic ‘Sun’ and all points in between. Dan Snaith & co’s set further confirmed the legendary status of Caribou; whose innovative and utterly compelling sonic creations (where elements of krautrock, dance, jazz, soul, hip-hop, and electronic soundscapes form one irresistible, mind-blowing sound spectrum) have long served a trusted companion for the independent music collector.

This year marked the highly anticipated fifth Caribou studio album, ‘Our Love’, which, in many ways, nestles beautifully between its predecessor ‘Swim’ and Snaith’s more techno-oriented project of Daphni. Lead single ‘Can’t Do Without You’ is an instant classic with a seamless array of melodic patterns and soulful vocals that evokes the soul-stirring songbook of Al Green as much as it spans the history of the dance floor. Several of the songs were co-written by gifted Canadian composer/violinist Owen Pallett (whose own solo record ‘In Conflict’ has been one of the most original, daring and innovative records of 2014) and Pallett’s distinctive violin-led melodies coalesce effortlessly with Snaith’s visionary dance structures.

Numerous remixes have since seen the light of day (where new perspectives and insights are drawn and re-configured) with the latest example being Carl Craig’s techno mix of ‘Your Love Will Set You Free’. Much in the same way as ‘Swim’, I know (and firmly believe) ‘Our Love’ will remain as vital and significant for many more years and decades to come.

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‘Our Love’ is available now on City Slang (EU) and Merge (USA).

http://www.caribou.fm

http://cityslang.com
http://www.mergerecords.com

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Sharon Van Etten ‘Are We There’ (Jagjaguwar)

When Jersey-native and New York-based songwriter Sharon Van Etten first announced the arrival of ‘Are We There’, Van Etten’s fourth full-length and follow-up to her 2011 seminal work ‘Tramp’, she had these words to share: “I really hope that when someone puts my record on that they hear me.” Of course, Van Etten’s wishes have clearly been fulfilled. If there’s one thing we can firmly establish by now it is this: Van Etten makes music from the real world; a world of real events and real people with real feelings. Subsequently, steeped in a sometimes harsh reality, Van Etten’s songs are imbued with fears, struggles and (often) much pain. Much like Chan Marshall’s pre ‘The Greatest’ recorded output, Van Etten bravely examines her own life’s immediate surroundings and relationships to share her most innermost confessions and feelings for us all to bear witness. Through Van Etten’s songs we too can find our own deepest feelings long hidden in the shadows of some forgotten, distant dream.

‘Are We There’ is Van Etten’s first self-produced album (The National’s Aaron Dessner produced its predecessor ‘Tramp’) and features a host of wonderful musicians, including: Torres’s Mackenzie Scott on vocals (who toured extensively supporting Van Etten); Heather Woods-Broderick (on strings and vocals); Mary Lattimore (harp) as well as Van Etten’s trusted and formidable rhythm section (Zeke Hutchins on drums and David Hartley on bass). The use of vocal harmonies (Van Etten, Scott and Woods-Broderick) is a pure joy to witness. The resultant musical arrangements are stunningly cohesive and yet genuinely innovative, providing for many moments of challenging and divine musicianship — at times wonderfully dense and strikingly tactile (‘Our Love’ or ‘Every Time The Sun Coms Up’) — other times remain starkly sparse (‘I Know’) but, importantly, such intricacies of musicianship and arrangements only ever serve the song.

“Everybody needs to feel” sings Van Etten on ‘Your Love Is Killing Me’. It’s a sentiment that best serves the phenomenal and beloved artist that is Sharon Van Etten and ‘Are We There’. It’s another step to becoming your own true self. It’s a destination no one is ever likely to realistically reach but striving for it is proving to be Van Etten (and her sacred songbook)’s true towering achievement.

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‘Are We There’ is available now on Jagjaguwar.

http://www.sharonvanetten.com/
http://www.jagjaguwar.com/

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Print

Clark ‘Clark’ (Warp)

‘I Dream Of Wires’ is a documentary based on the phenomenal resurgence of the modular synthesizer; exploring the passions and dreams of people who have dedicated part of their lives to this electronic music machine. The splendid documentary — released earlier this year — features interviews with Ghostly’s Solvent (who co-wrote the film in addition to composing the film score), Carl Craig, Jeremy Greenspan (Junior Boys) and Warp’s Clark. Reflecting on this particular film now, I feel it is precisely this exploration of passions and dreams that filters into the dazzling music of  UK’s Chris Clark. The unique blend of utterly transcendent electronic creations is forever steeped in a rare beauty, filled with endless moments of divine transcendence.

This year marked the eagerly awaited release of new self-titled full-length (and seventh for Warp), following up 2012’s magical ‘Iradelphic’. The gifted producer’s meticulous touch can be felt throughout, from the cold-cut classic ‘Unfurla’ to the blissful synth-laden ‘The Grit In The Pearl’. Dance music for the here-and-now that breathes life and meaning into music’s endless possibilities.

As Clark has said: “Music is like sculpture. It’s like trying to capture a moment of ultimate momentum, and distill it forever”.

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‘Clark’ is available now on Warp.

http://throttleclark.com/
http://warp.net/

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hauschka_abandonedcity

Hauschka ‘Abandoned City’ (City Slang/Temporary Residence Ltd)

Witnessing Hauschka’s Volker Bertelmann — whether in live setting during his renowned concert performances or in recorded contexts — a certain sense of magic fills the air. Sylvain Chomet’s 2010 animated marvel ‘The Illusionist’ comes to mind, as we are left in wonderment to observe the artist’s vast collection of skills and unlimited wells of talent. Known worldwide as one of the most recognizable 21st Century proponents of what is known as Prepared Piano, Bertelmann has amassed a considerable body of work over the last decade, ceaselessly weaving his own singular path — and on his own terms — to wondrous effect (much like fellow modern composers and restless souls Nils Frahm and Max Richter or such Twentieth Century masters as Eric Satie, John Cage and Steve Reich). Importantly, the album itself draws from research Bertelmann made (after the discovery of a series of photographic prints depicting the subject of abandoned cities) on the number of actual vacated cities in existence (each track title references a particular city). As Bertelmann has said: “I was interested in finding a metaphor for the inner tension I feel when I’m composing music, a state of mind where I’m lonely and happy at the same time.”

‘Abandoned City’ proves a certain milestone in Hauschka’s recorded output to date. An intriguing sense of both adventure and discovery seeps through every pore of the album’s ten compositions. Like all of Hauschka’s art, nothing is as it first seems. As we delve further into this abandoned city Hauschka has built for us we begin to lose all sense of what we initially thought was important in the process. We lose all traces of ourselves for that beautiful instant we are under Bertelmann’s sacred spell and that is what Hauschka’s divine art forever manages to do.

————

abandonedcity_web

‘Abandoned City’ is available now on City Slang (EU) and Temporary Residence Ltd (USA).

http://hauschka-net.de/

http://cityslang.com/
http://temporaryresidence.com/

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stevegunn_wayoutweather

Steve Gunn ‘Way Out Weather’ (Paradise Of Bachelors)

The flawless North Carolina-based independent label Paradise of Bachelors has yet again been responsible for a string of modern-day Americana masterpieces, not least the latest tour-de-force from the ever-prolific, Brooklyn-based guitar prodigy and songsmith, Steve Gunn. This year’s ‘Way Out Weather’ feels like a natural culmination where every aspect of Gunn’s deeply-affecting songs — poignant story-telling quality, immaculate instrumentation and intricate musical arrangements — is heightened as the towering eight creations hits you profoundly and stirs your soul. 2013’s ‘Time Off’ was the starting point of Gunn’s song-writing path, having collaborated closely with Kurt Vile, Michael Chapman, Mike Cooper, The Black Twig Pickers and a host of others in recent times.

A timeless feel permeates every corner of the record. The recording sessions took place at Black Dirt Studio in Westtown, New York, featuring a formidable cast of musicians (and Gunn’s long-term collaborators) further adding to the widescreen, cinematic sound to ‘Way Out Weather’s sprawling sonic canvas. Longtime musical brothers and kindred spirits Jason Meagher (bass, drones, engineering), Justin Tripp (bass, guitar, keys, production), and John Truscinski (drums), in addition to newcomers Nathan Bowles (drums, banjo, keys: Black Twig Pickers, Pelt); James Elkington (guitar, lap steel, dobro: Freakwater, Jeff Tweedy); Mary Lattimore (harp, keys: Thurston Moore, Kurt Vile); and Jimy SeiTang (synths, electronics: Stygian Stride, Rhyton.)

On the utterly transcendent album closer, ‘Tommy’s Congo’, shades of Sonny Sharrock beautifully surfaces beneath the artefacts of time. The deep groove and rhythm interwoven with this vivid catharsis is nothing short of staggering. The cosmic spirit captured on the closing cut — and each of these sublime recordings — permanently occupies a state of transcendence. As each song-cycle unfolds, the shimmering worlds of Dylan’s Rolling Thunder Revue or the Stones’ ‘Exile On Main St.’ fades into focus. ‘Way Out Weather’ is dotted with captivating moments from the ways of a true master.

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‘Way Out Weather’ is available now on Paradise Of Bachelors.

http://steve-gunn.com/
http://paradiseofbachelors.com/

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laghdu_poster

Caoimhín Ó Raghallaigh & Dan Trueman ‘Laghdú’ (Irishmusic.net)

2014 has been a remarkable year for Ireland-based composer Caoimhín Ó Raghallaigh. Firstly, January saw the release of contemporary quintet The Gloaming’s stunning self-titled debut album via Real World Records. Subsequent concerts would be performed across the globe (including Sydney’s Opera House) to mass celebration and widespread critical acclaim on both sides of the Atlantic. As well as touring with his other band, the Irish/Swedish quartet This Is How We Fly, across both Ireland and Europe, Ó Raghallaigh also performed a series of truly special solo concerts (entitled “In My Mind”, a solo fiddle and film show) across the length of Ireland for the month of October. Despite the hectic touring schedules, Ó Raghallaigh also released two stunning works: the solo album ‘Music For An Elliptical Orbit’ (via Dublin-based label Diatribe Records) and the mesmerizing ‘Laghdú’, a collaboration with U.S. fiddle player Dan Trueman.

‘Laghdú’ (an Irish word which translates as: a lessening, a decrease, a reduction) is a hugely significant work for many reasons. Most notably, it was Trueman who first introduced Ó Raghallaigh to his beloved ten-string hardanger d’amore fiddle (custom-made in Norway by Salve Håkedal) during September 2000. It is the simple dialogue and deep connection which exists between the pair (both performing identical instruments and identical baroque bows) which is a pure joy to savor. Two traditional pieces are performed by the pair (‘The Jack of Diamonds Three’ and ‘Fead an Iolair’) while the remainder of ‘Laghdú’ comprises original compositions written and arranged by Trueman and Ó Raghallaigh. The dynamic range is nothing short of staggering — from the near-silent to the nigh-on orchestral, at times exploding joyously from their hybrid 10-string fiddles, at times barely there — holding time still in the process. The resultant eleven heavenly tracks occupy both the realms populated by the most ancient forms of traditional music as well as those thrillingly in-between spaces carved out and inhabited in modern neoclassical composition of the most utterly enchanting and truly sacred kind.

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‘Laghdú’ is available now via Irishmusic.net HERE.

http://www.caoimhinoraghallaigh.com/
http://www.manyarrowsmusic.com/
http://irishmusic.net/

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Christina Vantzou ‘N°2’ (Kranky)

‘N°2’ is the second solo album by the Brussels-based artist and Kansas-born composer Christina Vantzou and, like its predecessor, ‘N°1’, was issued by the formidable Chicago-based independent label Kranky. Written over a period of four years, ‘N°2’ finds Vantzou reunited with Minna Choi — of the San Francisco-based Magik*Magik Orchestra — and regular contributor Adam Wiltzie (A Winged Victory For The Sullen, Stars Of The Lid) who Vantzou effectively began her musical career with when the duo made music as The Dead Texan (Vantzou was keyboardist as well as film-maker, illustrator and animator). A wide sonic palette is used throughout, from the gentle ripple-flow of piano notes on the album’s penultimate track, ‘Vostok’ and prominence of harp on the achingly beautiful ‘VHS’ to the rapturous crescendo of strings of ‘Going Backwards To Recover What Was Left Behind’ where an emotion-filled sadness engulfs every pore. Elsewhere, slowly shifting layers of brass and woodwind drifts majestically in ‘Brain Fog’ before brooding strings come to the fore, resulting in a cathartic release of energy. Layers of angelic voices appear and disappear throughout, forming not only a monumental symphonic movement but also an other-worldly choral work.

Indeed, the most appropriate analogy to imagine while attempting to surmise the sheer magic of ‘N°2’ is the act of making those frame-by-frame animations Vantzou has so patiently and laboriously created in the past: while they are meticulously worked on, over such a long and painfully slow process, the results yielded are both stunningly imperfect and remarkably pure. It’s a characteristic which runs through all of Vantzou’s breathtaking art (from her drawings and sleeve artwork to her dreamlike slow motion film works) which truly heightens all that surrounds you.

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‘N°2’ is available now on Kranky.

http://www.christinavantzou.com/
http://www.kranky.net/

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Birds Of Passage ‘This Kindly Slumber’ (Denovali)

New Zealand-based composer Alicia Merz has been quietly amassing a soul-stirring collection of albums under her Birds Of Passage moniker over the past five years or so. ‘This Kindly Slumber’ — released by German independent label Denovali Records — is Merz’s third solo full-length album and features Merz’s spellbinding lyricism (at times recalling Mark Linkous or Daniel Johnston in their open honesty and raw emotion). Like Grouper’s Liz Harris, Birds Of Passage’s power emanates from minimal musical arrangements (vocal takes are often first takes) where a sense of both purity and intimacy is conjured by Merz throughout, providing for an unforgettable listening experience. As we delve into the innermost caverns of ‘This Kindly Slumber’s mysterious and complex maze of real and imagined landscapes; the sensation one feels is akin to the finest of Murakami’s fictional prose or the most ancient of children’s nursery rhymes and folklore tales. Interestingly, Merz holds a deep fascination with nursery rhymes since a very young age and ‘Ladybird, Ladybird’ is combined with ‘And All Of Your Dreams’ to powerful effect. Elsewhere, the deeply personal ‘Yesterday’s Stains’ contains an openness and honesty rare in music.

‘This Kindly Slumber’ is a life-affirming journey which finds Merz navigating the darkest of nights while facing her gravest of fears. On the other side of this kindly slumber we realize that even the darkest of shadows lie closest to light: through the sacred and secret songs of Birds Of Passage we learn that in every moment of hopelessness exists hope. For that, we can be eternally grateful.

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‘This Kindly Slumber’ is available now on Denovali.

http://birdsofpassagemusic.com/
http://www.denovali.com/

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Marissa Nadler ‘July’ (Bella Union/Sacred Bones)

‘July’ (which documents Nadler’s life events from one July to the next) is the ever-prolific U.S. songwriter’s latest opus of longing and hope. The album can be read and interpreted autobiographically but, crucially, like all of Nadler’s songbook, songs are masterfully left open to the listener’s interpretation. Interestingly, Randall Dunn (Earth, Sunn O))), is at the helm of production duties on ‘July’; providing a first-time collaboration for the pair. Accompanying Nadler is Eyvind Kang (strings), Steve Moore (synths) and Phil Wandscher (Jesse Sykes, Whiskeytown) on lead guitar. However, as is always the case with such a truly unique songwriter, it is Nadler’s breathtaking voice and impeccable lyricism which quietly dominate proceedings. Like such kindred spirits as Missourri songwriter Angel Olsen or British folk legends Vashti Bunyan and Bridget St. John, Nadler’s music captivates the mind (and heart) of each and every listener fortunate enough to cross paths with her. From album opener ‘Drive’ to the forlorn closing piano ballad ‘Nothing In my Heart’, immediacy and directness prevails throughout ‘July’. Transcendental moments abound, from the poetic lyricism to ‘We Are Coming Back’ (“Still I live many miles away / So I can miss you a little everyday”) to the brooding tour-de-force ‘Dead City Emily’ which combines both gut-wrenching honesty (“I was coming apart those days”) and heart-stopping beauty as, ultimately, the prevailing sense of hope outlasts all struggle and inner-conflict (“Oh I saw the light today / Opened up the door”).

As the lyrics of ‘Drive’ return to my mind: “Still remember all the words to every song you ever heard”; I feel those very words reflect the empowering feeling in which the cherished songbook of Marissa Nadler ceaselessly awakens (and continues to re-awaken) in me.

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‘July’ is available now on Bella Union (EU) and Sacred Bones (USA).

http://www.marissanadler.com/

http://bellaunion.com/
http://www.sacredbonesrecords.com/

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Reissues of the year:

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The Moles ‘Flashbacks And Dream Sequences: The Story Of The Moles’ (Fire)

Looking back on 2014, the first sounds which come to my mind is Australian band The Moles and the magical first-time discovery of their music in the form of their first retrospective ‘Flashbacks And Dream Sequences: The Story Of The Moles’, released via Fire Records. The double-album is packed to the brim with impeccably constructed pop songs, heart-breaking love songs and just about every shade and nuance in between (spanning punk, shoe gaze and indie rock). ‘Flashbacks and Dream Sequences: The Story of The Moles’ contains the band’s two studio albums; debut full-length ‘Untune The Sky’ (originally released in 1991) and follow-up ‘Instinct’ (the latter was heralded by The Sea And Cake’s Archer Prewitt as being “as close to perfection as any Beatles or Beach Boys record and it stands on its own as a classic in my book”) and a whole plethora of b-sides and rarities, culled from various EP’s and singles. Led by Richard Davies (who later would join Eric Mathews and form Cardinal), The Moles were formed in Sydney in the late 80’s and unleashed a resolutely unique songbook which would prove hugely influential on a whole host of diverse bands (The Flaming Lips, The Sea And Cake). The original band line-up consisted of Glenn Fredericks, Richard Davies, Warren Armstrong and Carl Zadra, friends from law school who were fans of Flying Nun, The Fall and The Go Betweens, drawing their name from a reference to ‘Wind In The Willows’ and spy novels (John Le Carré and Graham Greene).

What’s most apparent on this defining release is that the truly unique vision (in both Davies’s songwriting and The Moles’ music) deserves to be known — and embraced — the world over. “It’s always an adventure. There’s an element of a well that never runs dry,” Richard Davies told us earlier in the year, on discussing The Moles. It’s a sentiment which could not be more true for The Moles and their utterly visionary and absolutely essential music.

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‘Flashbacks And Dream Sequences: The Story Of The Moles’ is available now on Fire Records.

[Richard Davies Facebook Page]
http://www.firerecords.com/

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Lewis ‘L’Amour’ (Light In The Attic)

When Light In The Attic Records reissued the much-fabled, timeless cult-classic ‘L’Amour’ by Lewis (originally released in 1983 on the unknown label R.A.W.) not much was known about the whereabouts of its esteemed author, not least the actual identity of “Lewis”, for that matter. The sense of mystery only deepened when consulting the album’s liner notes: Was Lewis still alive? What has he been doing in the intervening years? What other musical treasures are lying around only awaiting to be discovered written by this elusive figure? Crucially, without even beginning to dig any further into biographical detail (or absence thereof), it’s clear that, on listening to ‘L’Amour’, Lewis created nothing short of a bona-fide masterpiece. Heartbreak is immediately evident from Lewis’s lonesome, brooding, ghostly baritone from album opener ‘Things Just Happen That Way’ (“I took her hand / She took my heart”) while a sparse set-up of whispered voice together with only piano, synthesizer (or an occasional plucked guitar) remains throughout — recalling Waits or Springsteen at their most hushed and introspective best — creating a defining album of heartbreak — and love — in the process.

And what about the biographical gaps? Indeed Lewis was, as it turned out, a pseudonym. Lewis’s true identity has proved to be that of Randall Wulff (as confirmed by famed L.A. photographer Ed Colver, who had shot the über-cool cover-shoot for L’Amour’s album sleeve). However, for the purposes of the Light In The Attic liner notes, the mystery remained unsolved (after a long two-and-a-half year search). That is, until August 2014, when the real-life Randall Wulff was found (read Light In The Attic’s amazing article HERE) — alive and well and still quietly making his own masterful music — in what must have been the year’s most enchanting and heart-warming of stories.

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L’Amour’ is available now on Light In The Attic.

http://lightintheattic.net/artists/691-lewis
http://lightintheattic.net/

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One Of You ‘One Of You’ (Little Axe)

One of the most stunning re-issues of recent times came this year via the Portland, Oregon-based label Little Axe Records (a label founded when Mississippi Records split into two labels in 2011), with it’s issuing of a self-titled LP by One Of You. The author’s name and identity remains anonymous but we do know this startling collection was made by a Czech immigrant to Canada who set up her own Scarab label in the early ‘80’s, releasing music under the pseudonyms One of You and The Triffids. Having fled her homeland in the late sixties to emigrate to Canada for hopes of a better future and life there, One Of You’s music would be imbued with a prevailing sense of loss, regret and much hardships. The music itself, written in both Czech and English, and arranged in typically minimal fashion (synthesizer, guitar, organ) touches upon outsider folk, folk-psych, Eastern European folk and minimalist music traditions. One Of You’s deeply affecting, timeless music yields moments of powerful intensity while a whole spectrum of emotions, images and textures are unleashed beautifully upon the listener all at once.

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‘One Of You’ is available now on Little Axe.

http://littleaxerecords.bandcamp.com/album/one-of-you-s-t
http://www.littleaxerecords.com/

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K. Leimer ‘A Period of Review (Original Recordings: 1975-1983)’ (RVNG Intl)

RVNG Intl. is a Brooklyn-based music institution that operates on few but heavily fortified principles, dealing with forward-reaching artists that ceaselessly push the sonic envelope. From visionary luminaries such as Julia Holter, Holly Herndon, Blondes, Maxmillion Dunbar et al, RVNG Intl. has consistently delivered some of the most adventurous, enthralling and breathtaking records this past decade. One of the label’s cornerstones has become the awe-inspiring archival series which has featured (and celebrated) musical pioneers Craig Leon, Ariel Kalma and K. Leimer. The third installment of the archival series — released earlier this year — was Seattle-based sound sculptor, K. Leimer and a vast treasure of ambient voyages entitled ‘A Period of Review (Original Recordings: 1975-1983)’. I simply cannot think of a more special musical document to have graced my life this past year than Kerry Leimer’s resolutely unique and deeply human canon of pioneering ambient music.

A glimpse into Leimer’s creative process is touched upon on the compilation’s liner notes: “The loop provided an instant structure – a sort of fatalism – the participation of the tape machine in shaping and extending the music was a key to setting self-deterministic systems in motion and held clear relationship to my interests in fine art.”

‘A Period of Review (Original Recordings: 1975-1983)’ offers the perfect entry point (across an exhaustive double-album and thirty spellbinding tracks) into the beautifully enthralling and ever-revolving world inhabited by the special soul of Mr. Kerry Leimer.

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‘A Period of Review (Original Recordings: 1975-1983)’  is available now on RVNG Intl.

http://www.palaceoflights.com/
http://igetrvng.com/

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Fikret Kızılok ‘Anadolu’yum’ (Pharaway Sounds)

Although technically issued at the tail end of 2013, legendary Turkish folk singer Fikret Kızılok (1947-2001)’s exquisite collection of singles from 1971-75 (compiled into a 14-track set entitled ‘Anadolu’yum’ and issued by Pharaway Sounds, a subsidiary label of Light In The Attic Records) proved — like the many equally formidable Pharaway Sounds releases — a true haven for music lovers. Merging genres and fuzing styles almost at will (as evidenced by the immense musical arrangements drawing from such diverse sources as Western influences, India and his own native Turkey), Kızılok’s diverse appetite and deep appreciation for music shines through in every one of this magical compilation’s fourteen tracks. From the heavenly and beautifully forlorn Anatolian folk masterpiece ‘Anadolu’yum (1972&1975)’ to the irresistible sitar-aided ‘Gün Ola Devran Döne’ (1971), Kızılok’s musical path would be dictated by numerous external obstacles of the day (namely, the political unrest of his native Turkey throughout the 1970’s) while a pressure to conform to audience’s expectations (Kızılok was a pop phenomenon in Turkey, regularly charting instant hits) proved immense in the intervening years, while he would become most often associated with his best known love ballads from his considerable 1970’s output.

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‘Anadolu’yum’  is available now on Pharaway Sounds.

http://lightintheattic.net/

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All designs and artwork by Craig Carry: http://craigcarry.net

With very special thanks to all the wonderful musicians and labels for the true gift of their music. And a special thank you to all our readers for reading during the year.

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Web: http://fracturedair.com

Facebook: https://www.facebook.com/FracturedAir
Twitter: https://twitter.com/Fractured_Air
Mixcloud: http://www.mixcloud.com/Fractured_Air/

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Mixtape: I Used To Dream [A Fractured Air Mix]

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I Used To Dream [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-used-to-dream-a-fractured-air-mix/

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Tracklisting:

01. Nicolas Jaar ‘Être’ [Circus Company]
02. Kiasmos ‘Looped’ [Erased Tapes]
03. Jon Hopkins ‘Abandon Window’ (Moderat Remix) [Domino]
04. Rival Consoles ‘Recovery’ [Erased Tapes]
05. Clark ‘There’s A Distance In You’ [Warp]
06. Junior Boys ‘You’ll Improve Me’ (Caribou Remix) [Domino]
07. Caribou ‘Mars’ [City Slang / Merge]
08. Sun Ra ‘Angels And Demons At Play’ [Strut]
09. Alfonso Lovo ‘Sinfonia Del Espacio De Do Menor’ [Numero Group]
10. Les Sins ‘Why’ (feat. Nate Salman) [Company]
11. Andy Stott ‘Faith In Strangers’ [Modern Love]
12. Glissandro 70 ‘Portugal Rua Rua’ [Constellation]
13. Ariel Pink ‘Dayzed Inn Daydreams’ [4AD]

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The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

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Fractured Air. The universe is making music all the time.

Mixcloud / Facebook / Twitter

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Mixtape: I Set My Face To The Hillside [A Fractured Air Mix]

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I Set My Face To The Hillside [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-set-my-face-to-the-hillside-a-fractured-air-mix/

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Tracklisting:

01. Alexandre Desplat ‘The Heroic Weather-Conditions of the Universe, Pt. 1: A Veiled Mist’ [‘Moonrise Kingdom’ OST / ABKCO]
02. Calexico ‘Frontera /Trigger’ (Live) [City Slang / Anti-]
03. Tortoise ‘I Set My Face To The Hillside’ [Thrill Jockey]
04. Igor Stravinsky ‘L’Oiseau de feu (The Firebird Suite): Rondo (Corovod)’ [Revised 1945 Version] [CBS]
05. Lambchop ‘The Distance From Her To There’ [City Slang / Merge]
06. Karen Dalton ‘Take Me’ [Light In The Attic]
07. Emahoy Tsegué-Maryam Guèbrou ‘Evening Breeze’ [Buda Musique]
08. Grouper ‘Clearing’ [Kranky]
09. Choir of Downside School, Purley, Emanuel School Wandsworth, Boys’ Choir & London Symphony Orchestra ‘A Midsummer Night’s Dream, Op. 64: On the Ground, Sleep Sound’ [‘Moonrise Kingdom’ OST / ABKCO]
10. Oneohtrix Point Never ‘Still Life’ [Warp]
11. PASSAGE ‘Poem To The Hospital’ [Anticon]
12. The Notwist ‘Neon Golden’ (Console Remix) [City Slang]
13. Kiasmos ‘Swayed’ [Erased Tapes]
14. A Winged Victory for the Sullen ‘ATOMOS II’ [Erased Tapes / Kranky]
15. Jack Hardy ‘The Tailor’ [Numero Group]

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The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

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Fractured Air. The universe is making music all the time.

Mixcloud / Facebook / Twitter

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Younger Than Yesterday: “Kind Of Blue” by Miles Davis, selected by John Convertino

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John Convertino is best known as drummer and co-founder of Tucson Arizona-based Americana outfit Calexico. Since their inception in 1996, Calexico have fused a myriad of styles and genres including: jazz, electronica, punk, indie, film scores, mariachi, Portuguese Fado, Latin, folk and country. The band — lead by the core duo of Convertino and Joey Burns (who had both previously formed the rhythm section for Howe Gelb’s Giant Sand) — have over the last two decades created a vast body of work, to date comprising: seven studio albums; numerous tour albums (collated in the archived vinyl boxset ‘Road Atlas 1998—2011’); soundtrack scores (‘Circo’, ‘The Guard’, ‘I’m Not There’) and a multitude of collaborative works (Iron & Wine, Depedro, Amparo Sanchez) across numerous formats and releases. Convertino has also contributed his wholly unique and visionary drum playing style to a host of various musicians over the years (Neko Case, Amos Lee, Laura Cantrell, Vinicio Capossela) and has been a member of the following groups: OP8; Friends Of Dean Martinez; The Band Of Blacky Ranchette; ABBC. In 2005 Convertino released his debut solo album of jazz improvisations, ‘Ragland’, via German independent label Sommerweg. Calexico are currently in the final stages of recording their eagerly anticipated eighth studio album (written in Mexico City earlier this year and recorded at Tucson’s Wavelab Studios by Craig Schumacher and Chris Schultz) and follow-up to 2012’s ‘Algiers’.

Words: John Convertino, Illustration: Craig Carry

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Miles Davis ‘Kind Of Blue’, by John Convertino.

I wish that I could have a more obscure favorite record to share with people, but I have to be honest with myself that there is not a moment on ‘Kind of Blue’ that I don’t love.

The simplicity, spontaneity, and tone of that record is perfection, I can listen to it over and over again and still find something new in it.

Because of that record, I branched off and explored the music of Bill Evans, John Coltrane and Cannonball Adderley. Coltrane’s ‘A Love Supreme’ is right up there, and I will listen to Bill Evans any day. Cannonball does a version of ‘Autumn Leaves’ with Miles Davis that kills me every time I hear it. From there you will find Gil Evans and all the amazing work he did with Miles and his own compositions, ‘Sketches of Spain’ is an all time favorite. Then Thelonious Monk and Art Blakey and the Jazz Messengers. ‘Monk Alone in San Francisco’ is up there as an all time favorite. It’s the music I love.

I was also going to pick ‘The Rite of Spring’ by Igor Stravinsky. The pulse all through that composition, and where it puts my head, are things I love about being alive.

—John Convertino

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Album: Kind Of Blue
Artist: Miles Davis
Label: Columbia
Year: 1959

Tracklist: So What; Freddie Freeloader; Blue In Green; All Blues; Flamenco Sketches.

Personell: Julian Adderley (Alto Saxophone); Paul Chambers (Bass); Jimmy Cobb (Drums); John Coltrane (Tenor Saxophone); Miles Davis (Trumpet); Bill Evans (Piano); Wynton Kelly (Piano).

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Calexico are currently completing the follow-up to their 2012 LP ‘Algiers’ and have this week unveiled their 2015 European Tour dates which are as follows:

14 Apr – COPENHAGEN Amager Bio
15 Apr – HAMBURG Grosse Freiheit 36
16 Apr – AMSTERDAM Paradiso Amsterdam
17 Apr – EINDHOVEN De Effenaar
18 Apr – BERLIN Heimathafen Neukoelln
20 Apr – COLOGNE E-Werk & Palladium Köln
21 Apr – MUNICH Muffathalle
22 Apr – ZURICH Volkshaus
23 Apr – MILAN Fabrique Milano
25 Apr – LUXEMBOURG Atelier Luxembourg
26 Apr – PARIS Le Trianon
27 Apr – BRUSSELS Ancienne Belgique
28 Apr – LONDON O2 Shepherds Bush Empire
30 Apr – MANCHESTER The Albert Hall
01 May – LIVERPOOL Royal Liverpool Philharmonic
02 May – BELFAST Limelight Belfast
03 May – KILKENNY Set Theatre
04 May – DUBLIN Olympia Theatre

Tickets are on sale this Friday 14 November.

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To read the other Calexico contributions in this series:

Joey Burns (R.E.M. “Reckoning” & Minutemen “Double Nickels On The Dime”); Sergio Mendoza (Pablo Milanés, “La Vida no Vale Nada”); Martin Wenk (Clifford Brown’s “With Strings”); Jairo Zavala (Lole y Manuel “Nuevo Día”).

http://www.casadecalexico.com/
http://www.cityslang.com/

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Fractured Air 12: Pick A Wonder (A Mixtape by Pick A Piper & knoWonder)

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To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/fractured-air-12-pick-a-wonder-a-mixtape-by-pick-a-piper-amp-knowonder/

Tracklisting:

01. Kollektiv Turmstrasse – Tristesse
02. Ame – Den Ratta
03. Shawn Snell – Fast Mover
04. Kaan Duzarat – Piece For Bass (Trus’me Remix)
05. Kaiserdisco – Amalfino
06. Soundstream – Makin’ Love
07. Soundstream – Good Soul
08. Curtis Mayfield – Little Bit Of Love (FOC Edits)
09. Shelby Grey – Stateless
10. Nico Stojan – Damm It
11. Acid Pauli – iBang
12. Petter – Some Polyphony
13. Nebraska – This Is The Way
14. Letherette – No Point
15. Tale of Us – Discochord
16. Head High – It’s A Love Thing (Piano Invasion)
17. Jacques Greene – Ready
18. Gary Beck – Before The Crash
19. Mount Kimbie – You Took Your Time (Kyle Hall Remix)
20. Grown Folk – Halfway House
21. Dam Mantle – Brothers Fowl
22. Dauwd – What’s There
23. Pick a Piper – Hour Hands (Carrot Green Remix)

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“Pick a Wonder” is a special mix made by Toronto-based Pick A Piper’s Brad Weber with KnoWonder (Robin Johnston) as part of a live performance for the Archi-Textures weekly series. Each week has a different curator (who each put on one show a month for the weekly series). The curator that did our night was ‘Knotibel’ and “Bonding Agents” was the name of his night in January.

Personnel:
Brad Weber: selector, decks, effects, roland SPDS
Robin Johnston: kaos pads, effects, loops

Brad Weber — as well as being the leader of collaborative project Pick A Piper — is also the drummer for Caribou. April 2013 saw the release of Pick A Piper’s self-titled debut album on Mint Records, while City Slang issued ‘Pick A Piper’ for European audiences. As Weber told us, “Pick a Piper was originally formed to channel my impression of dance music using organic instrumentation…I’m really interested blurring the lines and leaving the sound source up to the interpretation of the listener.”

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‘Pick A Piper’ is available now from Mint Records (North America), AbandonBuilding (USA/Japan) and City Slang (Europe).

http://archi-textures.info
https://www.facebook.com/pickapiper

http://www.mintrecs.com
http://www.cityslang.com

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Written by admin

March 3, 2014 at 3:03 pm

The Story Of An Artist: Victor Gastelum

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Interview with Victor Gastelum.

“Victor is the fifth Beatle, he is the silent one that no one really ever sees.”

—Joey Burns, Calexico

Words: Craig Carry, Artwork: Victor Gastelum

calexico_carriedtodust

“Love the run but not the race
All alone in a silent way
World drifts in and the world’s a stranger”

—‘Quattro (World Drifts In)’, Calexico

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In an attempt to write the story of the Long Beach California-based artist Victor Gastelum, it is tempting to simultaneously write the story of Tucson Arizona’s beloved sons Calexico. For, across the band’s vast body of sprawling, timeless work — encompassing a string of studio albums, tour records, a plethora of EP’s, soundtrack scores and a multitude of collaborative works — the artwork of Gastelum’s adorn some of the most precious of Calexico’s records since their inception in 1996, following core-duo Joey Burns and John Convertino’s previous spell as rhythm-section to Howe Gelb’s Giant Sand; another one of Tucson’s most revered bands. Victor Gastelum, a native of Southern California, would provide the artwork for one of the band’s earliest releases, “Spark/The Ride”, a single put out in 1996, prior to the band’s full-length debut “Spoke” (released by Quarterstick Records in the following year). The music (both written by Burns) can be perfectly summed up by the description found inside, set in all-lowercase, on a black-and-white postcard-sized insert:

“two western gems from two southwestern gents. joey and john from giant sand moonlighting in the tucson sun.”

The stencil artwork on “Spark/The Ride” is vintage Gastelum, featuring a young man and his low-ride car in a striking 2-color blue and gold combination. The image — like his later work — is isolated on a white background like a flash-aided Richard Avedon portrait, highlighting the iconic feel of the image in its minimal setting. The artwork would be the first of many in a near-symbiotic journey between Gastelum and Calexico over the next couple of decades when Gastelum would go on to produce the artwork for the band’s studio albums “The Black Light” (1998), “Hot Rail” (2000), “Feast Of Wire” (2003), the tour record “Tool Box” (2007), “Carried To Dust” (2008), the limited edition box-set — comprising the band’s tour-only releases — “Road Atlas 1998-2011” (2011) as well as a host of various singles and EP’s (including “Stray”, “The Ride (Pt. 2)”, “Ballad Of Cable Hogue”, “Crystal Frontier”, “Service & Repair”, “Even My Sure Things Fall Through”, “Alone Again Or”, “Quattro (World Drifts In)”, “Black Heart” and “Convict Pool”).

Gastelum’s first meeting with Californian-born Burns came during his spell working as a designer for SST Records (home to such bands as Black Flag and The Minutemen) at the turn of the nineties. This period would also prove crucial in Gastelum’s artistic development through the meeting of another influential artist — the Tucson-born graphic artist Raymond Pettibon — whose iconic, hugely distinctive and influential drawings would be widely seen during the vibrant punk music scene of the late 1970’s and early 1980’s. Pettibon’s unique and sophisticated combination of image with text would also prove influential to Gastelum’s own artwork. Since the mid 1990’s, Gastelum has had numerous solo and group shows, as well as collaborating with Pettibon — amongst others — for the publications “Faster, Jim” (a special limited edition artist book published by Hamilton Press in 2002, the aluminum book cover is by Gastelum and the slipcase — featuring the artwork “Good Year” — is a collaboration between Gastelum and Pettibon) and “Line Drive”, a portfolio of 12 lithographs featuring 12 artists’ response to the subject of Baseball (Gastelum’s 6-color lithograph, entitled “LA Fury”, features alongside artworks by such artists as Pettibon, Ed Ruscha and Dani Tull).

Born in Torrance, California, Victor Gastelum’s distinctive artistic vision was much influenced by the punk and “DIY” ethos (characterized by the hand-assembled rough-and-ready made collages, photocopies and the often-coined “artless” approach as advocated by the Punk movement) of the period during the eighties when he graduated L.A. Trade Tech. The fact that Gastelum’s own training provided a grounding for commercial — as opposed to fine — art would prove significant. Gastelum would quickly appreciate the art of craftsmanship while learning techniques (stenciling, spray paint, overspray, creating halftones) which he would soon finely harness and adopt in his own personal work.

Growing up as a Latino in Southern California would shape much of Gastelum’s outlook on the world, and his near-outsider status would be similarly shared by his friends in Calexico. As Joey Burns recounted during an interview at Austin Town Hall in 2008:

“He didn’t fit in and like our music, he went a separate route, but benefited from strong influences and character.” 

Gastelum’s work (whether commissioned or personal artwork) has always been characterized by a deep love and respect for craft where each individual artwork holds a powerful individuality and resonance on the viewer. Since beginning his spray paint stencil multiples in the late eighties and early nineties, the lasting resonance of Gastelum’s work can also be attributed to the fact that the works are left open to interpretation for the viewer. As the Overtones Gallery director and curator Elizabeta Betinski has said, Gastelum’s art “leaves room for his audiences to imagine and create stories of their own.”

Herein lies the everlasting spark in Gastelum’s work, on looking at any one of his artworks a whole world of rich narratives begin to drift in. Like the girl in Gastelum’s “girl with 88mm camera”, we can project our own past experiences and feelings onto the lens of Gastelum’s treasured art. The world drifts in. And the world’s a stranger.

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“Checked my eyes to see if they had spokes
See if they are moving
See if they had spokes
See if there is somewhere else to ride”

—‘Spokes’, Calexico

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spark_theride_web

Artwork for Calexico’s “Spark/The Ride” (7″ vinyl)

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2481_CDR.indd

Album art for Calexico’s “Road Atlas” box set, 2011

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Interview with Victor Gastelum.

Your own background training stems from attending a school for commercial art. It’s really interesting because when you graduated computers were only in their infancy as such. This almost “DIY”, handmade approach can be seen throughout your work to date, where a deep love and appreciation for craft and technique can be closely observed.
What did your educational training consist of, and what techniques did you learn and later adopt for your own work when you began your spray paint stencil multiples in the late eighties and early nineties?

VG: I attended a two-year commercial art program at L.A. Trade Tech. College where I learned about design, typography and commercial art production. Specifically, I also learned how to use an Xacto knife, spray mount, technical drawing pens, acetate and the different printing processes. I learned how to use photostat cameras, spec type, line screens and a ton of things that the computer would pretty much replace or eliminate. At LATTC, you were taught things that could help you get an entry-level job doing production art, basically the stuff kids, who came from art schools did not want to do. Probably the most important thing I learned there was using an Xacto knife, spray mount and acetate. With those things I taught myself how to make stencil art. I use whatever methods possible to get my images done whether hand tools or computer.

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I imagine Pop Art, music (both punk and a diverse independent music scene) and much underground publications — including comic art — must have played a key role in your development as an artist. What were your formative influences on you as a young artist?

VG: Art was always important to me because it was the only thing I was any good at. But I never imagined it would develop into anything other than something personal. Mad Magazine was a big influence on my drawing skills and also provided a cynical view of pop culture and society. I started seriously liking music while I was in middle school. My younger brother started buying records and together we started to go to rock concerts. Then punk rock and hard core started happening and we started buying that stuff and going to gigs. I always loved rock album and poster art, and we read things like Creem Magazine. Punk rock and hard core created the possibility for me to participate with my art. The music, fanzines, record covers, fliers and comics spoke to me. I understood it, and what I didn’t understand did not scare me.

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vg_impala

“Convertible Impala No.2” 1993 spray paint on paper stamped and signed on front

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vg_worker_looking_up

“Worker Looking Up” 1992 spray paint on paper stamped and on front [in the notes: “We Got Pressure”]

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I found it really interesting reading a quote that Joey Burns has said about your work: “he didn’t fit in, and, like our music, he went a separate route, but benefited from strong influences and character.” As the curator and gallery director Elizabeta Betinski has also stated before, “growing up with Chicano roots in a culturally diverse community” became a key influence on your choice of subject-matter. Would this be an accurate assessment on your work?

VG: I’ve never read the quote from Joey but my spray paint art definitely did not fit in at the time I was first doing it. I wasn’t aware of anybody making stencils as their primary medium. You just didn’t see stencils in galleries or museums. That was a good thing for me because when you are a young artist trying to develop a style you are wishing for something with a little originality and you don’t know what that’s going to be.

I think where you come from shows through in your art. Being exposed to different cultures, foods, languages, music, clothes, graphics, whatever put what I saw on TV and was taught in school into perspective.

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In terms of your choice of subject-matter, your work has various recurring images, for example; cars, guns and various “Cholo iconography”, as it has been described before. They remind me of Robert Frank’s “The Americans” insofar as a similar recurring use of distinct subject-matter runs throughout (the highway, automobile, jukeboxes, and so on). Like Frank’s book, your work — as well as drawing on a particular culture and time — equally strikes me as deeply personal. How would you describe your subject-matter and what it represents for you?

VG: My subject matter consists of things I am interested in or know about. Using my subject matter, I’m trying to cause an emotional response. I’m not cataloging cool cars or every masked wrestler I can find, viscerally I’m trying to create a narrative. When I repeat an image I think of it as running it over again and seeing what comes of it or what more I can get from it. I’ll stop drawing them when I get bored. Having as many as possible of a group is like building on the idea. To me, they start making sense more when there are groups. I’ve started on groups and have not been able to keep going and they just seem strange and out-of-place. Even though they individually turned out as good as I expected because there aren’t more I feel like they fail.

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Your unique work has been used — as well as for many iconic Calexico sleeves — by Culture Clash, Hamilton Press, Greg Ginn as well as collaborations with other artists including Raymond Pettibon for the artist bound book “Faster, Jim” and has also appeared in numerous publications including The New York Times Magazine and “F*cked Up + Photocopied”. Since the nineties you have also had numerous exhibitions — both solo and group shows — across California. How do commissions and editorial work differ for you as opposed to making work principally for yourself and subsequently for exhibition and galleries?

VG: Mostly, it’s not very different. In regards to the things mentioned, people have asked me to be involved because of the work I do. The biggest difference would be maybe a deadline and possibly some preference in subject matter. Also, if something is commissioned for a record cover or a play it is a collaboration because I want the client to get what they think is best for their purpose. Even if it’s a commission it might still end up in a gallery. The other way is true, too. A gallery piece could end up on a record cover. All this work is part of the same thing it is all part of the same body. It’s always work.

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1992_victor_chavez

“Julio Chavez” 1992 spray paint and stencil on cardstock 30″x20″

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1995_victor_welder_calexico

“Untitled (welder)” 1995 spray paint and stencil on paper 17″x14″ reproduced as album cover art for Calexico’s “Hot Rail”

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If we could now talk next about Tucson Arizona’s beloved band Calexico. Of course you have shared a very close friendship with the band since the very beginning, your artwork provides the perfect visual accompaniment to the band’s distinctive blend of diverse sounds, styles and musical traditions. Your imagery is also so highly evocative — albeit loosely — of Burns’ own writing where inspiration has often stemmed from the Mexico and US border.
I would love if you could recount your first time hearing the sounds of Calexico and the impact and impression the music had on you?

VG: I knew Joey and John were listening to movie soundtracks, and they were buying instruments that were new to them at the time and experimenting. But when I first heard what they were up to, I was very surprised. Mainly because they weren’t following anything else that was going on at the time. Right from the start, they were doing something very original that had no category. One of the first times I saw them play here in Long Beach, they were touring with a bunch of instruments including a vibraphone. These were instruments you didn’t see rock bands playing. Plus I think it was just the two of them alone. They had been playing with Howe Gelb in Giant Sand for a few years already, and they were so talented and had their chops honed. It seemed like they had this confidence and followed through on their vision. It was very much like jazz and atmospheric. In the beginning it was very raw too. Joey was just starting to sing. So, it was just a whisper then and a lot of instrumentals. What they were doing in context of the time was almost shocking and I think took a lot of courage.

Joey and I used to work at SST Records, and we would go to lunch. Joey was just like he is now, very positive, full of optimism and enthusiastic. He would say to me, “I’m going to start a band and you’re going to do all the art work.”  I would answer: “Yeah, that’s a good idea”. Then he went and did it.

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Your artwork adorns the sleeves for “The Black Light”, “Hot Rail”, “Feast Of Wire” and “Carried To Dust” (as well as a whole host of other records, for example “Toolbox”, and, of course the many EP’s and singles from this period also).
Can you describe the process for creating a specific sleeve for Calexico? Does it vary across album?

VG: Sometimes, Joey would pick through stuff I had already finished. At one point, I had copies of all my comics and I gave half to my friend the late Chris Takino and the other half to him. So, sometimes he would use from there. Other times we would talk on the phone and come up with ideas, and later he would run them by John. John would come up with ideas too. Everything would be over the phone because we live in different states. He would mail me cassettes back then of rough mixes, and we would talk about what was going on in the world and with us personally. Sometimes, we discussed movies we’ve seen lately, books we were reading. We would talk about friends and family. Out of these talks, things would make some sense to us. We would start making connections. Song titles might come out of it as we chose the images. This is while they are recording. And as they built the songs the images would start coming together. I would also mess around with the typography. Once the title was chosen I might take some fonts, chop them up and see what looked right.

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Hot-Rail-cover

Album art for Calexico’s “Hot Rail”

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callight

Album art for Calexico’s “The Black Light”

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I must say, one of my all-time favorite artworks of yours is the magnificent art found on the reverse of “Feast Of Wire”. It really draws on — for me — the characters across the album and the often-doomed journeys they are going on (“Not Even Stevie Nicks…” or “Quattro (World Drifts In)”, for example). The image itself seems to echo Hitchcock’s “The Trouble With Harry” or Mantegna’s experimentation with foreshortening during the Renaissance period. What was the thinking behind the use of this image?
Incidentally, is it true you were behind the choice for the album title of “Feast Of Wire”?

VG: That’s really observant of you to notice the Mantegna influence. I did have that image in mind when I made my piece. I knew the Mantegna painting from the inside gate fold of David Bowie’s ‘Lodger’ album art. I learned from art history books I bought in thrift stores and swap meets. I didn’t read them much, but from going through them, I saw that all the masters works were reinterpretations of master works from previous generations. I was trying to make sense of my subject matter. The Hitchcock movie you mentioned I was not aware of. It’s amazing that image looks exactly like mine. My image came from an old science book from the 60s and it’s actually a man standing on a plexi or glass floor. The photo is shot from the below and only appears as if the guy is on his back. I was not a big Hitchcock fan until I saw a documentary film on him and I learned about how he made movies with images and really didn’t care much about actors other than how they looked. Even when I didn’t care for him, I couldn’t deny how pretty his movies were especially in color. The cars, clothes, furniture, architecture, landscapes – everything looks so slick. The “Feast of Wire” title Joey and I came up with together. He was liking “Feast of Snakes” from the Harry Crews book title, and he was also thinking about the idea of communications telephone wires. We just started going back and forth saying feast of this and that and at one point I think I said: “How about Feast of Wire?”

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feastofwire_sleeve_web

Album art for Calexico’s “Feast Of Wire”

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2005_victor_alfreh

“Alfred H.” 2005 spray paint and stencil on drawing paper 52″ x 36″

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Also, I really love the use of stamping on your artwork which you have done at various times over the years. It serves to add another layer of meaning (and subsequently another layer to be left open to interpretation for the viewer). The “Notes” section often contain really memorable passages or quotes (my favorites being found on both “Man On His Back” and “Young Man From Waste Up”). When did you begin stamping your artwork like this? Where do you get the inspiration for the words?

VG: The rubber stamp was my attempt at humility because originally, I would not sign the pieces. I got the idea from Andy Warhol and Mark Mothersbaugh who both sometimes used rubber stamps to sign their art. The stamp was supposed to say “Description” instead of “Title” but I forgot when I had it made. I started doing this before I showed the stencil pieces anywhere as art. It was mostly for my benefit and just trying to figure out what I was doing. I was trying to give them titles and like you said to give a little extra information. Sometimes when you give a little text like that, it gives the image more life and creates more questions than answers. I also made single panel comics using my stencil pieces by copying them with a black and white copier and putting them inside a border with a title at the top and a quote. I would write down quotes as I came across them by overhearing people or making them up myself. Sometimes they came from something I read or heard on TV or in a movie. When I started to show my art I thought it was better to make things a little simpler so I never really showed them with the stamp. I used to also put things inside the mats of my framed pieces like lapel pins, belt buckles, and coins.

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Another personal favorite is an earlier work of yours entitled “Man Looking At Watch”. This would later be reproduced on the reverse of the “Crystal Frontier” vinyl. It feels like a scene in a Raymond Chandler novel or a 1950’s film noir.
The cover artwork for 1996’s Calexico 7” “Spark/The Ride” was later cropped and reproduced as the cover image for the truly special “Road Atlas 1998-2011”, limited to 1,100 copies and comprising the band’s extensive tour records from over the years. Could you perhaps talk about these pieces?

VG: The guy looking at his watch was typical of the stencils I made early on. It’s just one stencil, and I took the image from somewhere and it originally appeared pretty small. I used to try and get images from pictures where the image I was taking was not usually the central image or seemed like it was lost to time. I tried to find anonymous images, and I thought this made it easier to make them mine and fit in with what I was doing. I had all these rules that I made up for myself about where I would not take an image from. But in time, I dropped these rules little by little to where I let myself draw whatever I want. The guy hopping the low rider Cadillac is a good example. It came from a car magazine and it was the main photo in the spread. A friend of mine later told me he recognized it from a calendar that was put out too. I had designed an announcement card for a lecture at the Getty Center and Joey liked the image on there and wanted to use it. I made this one for him instead. Nowadays if I feel like drawing something I draw it.

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vg_man_looking_at_watch

“Man Looking At Watch” 1992 spray paint on paper 2nd print stamped and signed on front

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Your work must draw from such a diverse range of sources. I love, for example, the reference to Henri Cartier Bresson’s photography in the black-and-white stencil artwork you made for the “Black Heart” single which is found on the disc itself. How do you collate reference images for your artwork?

VG: I had a collection of year books from the 20s through the 70s, and I made a lot of pieces from there. It used to be easy to get really old books and magazines at swap meets. New and old Mexican and American tabloids were good. Some of my favorite photographers include Larry Clark, Bill Owens, Richard Kern, Weegee and Joel P. Witkin. I wouldn’t use their photos because those pictures are finished. THEY ARE those images. I try and find photos from more obscure sources. So, to me at least, they are starting a new life. I mostly try and take my own photos these days. But when I do use an image, it might be from an ad, catalog or maybe editorial where I’m taking it away and putting the image in a new context.

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Where did the artwork for “Toolbox” originate from, Victor? I love also how the new logo for Calexico as it appeared here (and subsequently on “Carried To Dust”) conveys “Calexico” in it’s new context. Since I first saw this image I’ve thought of it as a reference to the song “Gilbert” and it’s main character. I love also how “work” and “identity” itself has been a recurring theme for you (“Untitled (worker on sidewalk)” or “F.B.I. Girl” for example).

VG: Well, the Tool Box guy is a bomb squad cop from the 60s, maybe 50s. I drew him because, even as a photo, it was so strange. It was like a modern-day armored suit. Some friends asked for an image for a 7” sleeve they were hand pulling silk screen, and I guess they weren’t happy with it because they used it really small on the label instead of the front. Years later, Joey saw it laying around my studio and I was happy to let him use it. The FBI girl was from a newspaper story where there was a raid made on the home. She was one of a bunch of other FBI standing around the front yard. I like drawing people from behind so I pinned the picture to my wall at work. I thought she was attractive even though you couldn’t see her face, and to me, she appeared to be Latina. I made her stockings yellow just to make her kind of new wave and more fun. If a person has a uniform on or some kind of work clothes it’s saying a little more about what’s going on. The very clothes create an action.

I enjoy experimenting with typography, and, like with drawings, you never know what will come out. I remember reading something the artist Gilbert ‘Magu’ Lujan said about low rider cars and how taking an American machine — like the car — and transforming it into this work of art was a political act. I thought I could do something similar with typography where I would merge something very modern and minimal like Helvetica with it’s opposite: a very ornate antique gothic script. The type on the “Carried to Dust” cover was inspired by traditional American tattoo lettering. The kind of lettering people would do with a pin, some thread and India ink. I love to draw letters and chop up fonts, but I never know if I will be able to get anywhere. It takes hours, and I know some of them are very hard to read.

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calexico-toolbox

Album art for Calexico’s “Toolbox” album

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2005_victor_FBIgirl

“F.B.I. Girl” 2005 spray paint on aluminium 24″ x 18″

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vg_novaimpala_red_calexico

“Nova And The Impala” 2008 A/P 1/2 spray paint on paper 19″x24″ Created for Calexico’s album “Carried To Dust”

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Onto “Carried To Dust”, the extensive artwork you created for this special album is truly breathtaking. The cover itself of a woman driving reminded me originally of a Hitchcock film still (Tippi Hedren’s “The Birds” character or Janet Leigh’s “Psycho” character perhaps), and later I thought of Minutemen’s “Double Nickels On The Dime” album (which would have influenced Calexico). It wasn’t until much later I found out it was in fact Joey’s wife, Nova. I also love the addition of the religious icon hanging from the rear view mirror, it ties back to your earliest work with Calexico. I would love if you could talk about both the front and back covers for “Carried To Dust” (including the wonderful “Blow Up Guy”) and the process involved in their realization?

VG: The cover idea I remember came from Joey and he was wanting something kind of very “Double Nickels”. John owns a 60s VW bug like the one Mike Watt was driving so Joey took some pictures of Jairo Zavala in the car. Jairo was recording and playing with them at the time. I think Joey wanted something “Double Nickels” but different because he sent me some pictures from outside the car and it’s side view. The car was parked, and they looked very posed and not very interesting and not working out. We went back and forth a few times and finally I told him let’s do it all the way but with Nova driving his Impala down the main street, straight up “Double Nickels”. He took a lot of pictures, and the idea was so good, and Nova looked so cool driving that car that it just worked out. It was an homage to the minutemen and Mike Watt who we both know and admire. The Virgin Mary air deodorizer was just there and worked out perfect. Sometimes things just work out naturally; everything being organic. When you do an homage like that, it’s like when you do a portrait. A portrait is not the real thing, so I think it has to be super deluxe to make up for that fact.

When I started working on that project, Joey and John wanted the feel of my earlier stencils. So I tried to make them simple with each image only requiring a couple of stencils. Joey had seen the movie “Blow Up” which I had not seen until just recently, and he was wanting that kind of mood. I made sketches and e-mailed them to him, and he and John would be like, “yes, no, how about this?” and I started making those images. The Blow Up guy came about from images I have done where people’s heads are missing or cut off. If you take a simple image and change something like taking a person’s head off it becomes more interesting. That’s the thinking behind the guy with a pin in his teeth because it makes you think, what is that, what’s going on? The girl with the angel wings is Mexican actress Silvia Pinal in a photo still from “The Exterminating Angel” by Luis Buñuel. Years ago, I bought a video of the movie at a swap meet. I bought the video for a couple of bucks purely for the picture of her on the box. I didn’t realize I had seen the movie when I was a kid. Anyway, I would normally not mention all that because it’s not important for my purposes. I’m not making a portrait of an actress in a famous movie, I’m using the image for the visceral feeling I can get out of it. But I do not mind the association and connection, I like that too. It also becomes part of the work. I added the wings behind her. I made a lot more images that did not get used. Joey kept pushing for more images and I did the best I could.

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vg_angel-calexico

“Avenging Angel” 2008  A/P 1/2 spray paint on paper 24″x19″ Created for Calexico’s album “Carried To Dust”

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vg_blowup-calexico

“Blow Up Guy 1” 2008 A/P 1/2 spray paint on paper 24″x19″ Created for Calexico’s album “Carried To Dust”

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The very last question, if every sleeve in music was a blank canvas, which album (from any period in time) would you love most to illustrate and why?

VG: That’s a really funny question and I have known of art shows with that as a theme. I have never been asked to be in one but I am pretty sure I would choose not to participate. I have designed dozens of album covers most of which were just putting stuff together for other artists at SST. In that time, I realized that a great looking album cover could never save the bad music inside. But any art style will be legitimized by a great album, in fact if the record is really big it will create a trend in that style. When I think of my favorite albums, to me the covers are what they look like and that’s it. I think of the music and the cover as together and that’s the way it is. It’s like asking someone if you could change the face of the first person you ever kissed what would you do? I just feel like what’s the point.

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All images © Victor Gastelum. 

http://www.overtonesgallery.com
http://www.casadecalexico.com

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Very special thanks to: Victor, Elizabeta Betinski, Joey Burns and all the Calexico family.

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