Thursday, December 29, 2011
Chief Tizo Interviews #2: Lithium
The second installment of Chief Tizo Records Interviews! We have the lovely opportunity to talk with Lithium and discussed their origins, the music making process, the local scene, and future plans. An extremely amusing and insightful watch. Check it out above!
Tuesday, December 27, 2011
Obligatory best of 2011 list (+rant intro) [Bryan Blaster Set Edition]
Two thousand and eleven A.D. was an annoying year in terms of new music releases, the only thing I truly looked forward to was Radiohead's 'The King of Limbs' and as much as I adored and loved that record and regardless of how both certain fans and critics were pissed that RH had decided to not follow up the casual listener friendly 'In Rainbows' with just that, casual listener friendly music (I was happy with the experimental and new approach to their recording since 'Amnesiac'), I felt that I didn't give much of a shit for other releases this year.
There was simply NO energy or exciting events this year in music that really made an impact on me. Everything that mattered to me was either released many years before or was a record that was came in and out of my conscious musical attention. Everything that was supposed to be a big deal turned out to be boring, bland, cookie cutter indie rock music. Or even worse, 'indie' music.
The day I utter those words as a genre with any sense of actual relevance I will cry in shame. I mean come on, it's almost the year 2012, can we all burn in a meaningless fiery display of planetary implosion without bullshit? If the incoming year is as bad as this one, then maybe we deserve it. More than ever do I give great acknowledgement to the 'lower' bandcamp artists because the most noticeable and meaningful music came from them.
Not all is bad though, with this year I learned more of music in terms of what really makes it stand apart and what is worthwhile (to me of course). In a sad way the cliche that many artists are repeating the same ideas from the past is not so far away from the truth. We leave it to the future I suppose.
So without further rant or word, here is my list of best albums of 2011 in no meaningful order.
Boris - New Album
I enjoy j-pop/k-pop/anime openings and am a closet and unappreciative anime fan. But that really shouldn't matter here (it does in a subconscious way) and I was sad to witness another situation in which a band tries to experiment in a new approach to making their music and gets shit on for it. Boris are a very talented and experimental band that have a colossal amount of albums that are all different from one another. Not many bands that pull that off with a set standard of quality but Boris do seem to have it down to an art. 'New Album' was my favorite of their THREE recent records this year for the influences that seem to stem from k-pop/j-pop but still have their noise rock/experimental sensibilities intact. What more could I want?
Dads - Brush Your Teeth, Again ;)
I'm not too well endowed in the twinkle emo genre as I'd like to be (Starlon is helping me out though) but this year I tried my best to expand my horizons a lot and get familiar. Somewhere along the line in my quest I had been introduced to Dads. From the opening jangle of the guitars in 'Dan's Christopher Walken Impression' you know you're listening to something creative and a mix of melancholy and warmth. The entire twenty three minutes of it give off this feeling of "home sweet home!" and sounds entirely effortless. A record with true heart and hardship.
Giles Corey - Giles Corey
Even if the year was not blessed with a Have a Nice Life release (and we're all eagerly awaiting!) the year was treated to Dan Barrett's solo project Giles Corey. A self-titled record that contains songs of bleak melancholia, soul crushing hope and every little thing in between, 'Giles Corey' is a record that takes multiple listens to truly appreciate and immerse oneself into. Probably the darkest thing that I listened to and actually enjoyed this year (there were a lot of faux depressing albums...), this record is a true display of bare emotion. This isn't the sequel to 'Deathconsciousness' and it clearly wasn't meant to be that, but rather this record becomes its own rewarding and powerful experience altogether.
Iceage - New Brigade
When that calm intro 'piece' ends, this record never lets up on the energy and keeps hitting you over and over and over. In an another year of toothless and bland post-punk (I'm looking at you The Horrors) Iceage really brings back the filthy grime back to what once was a respectable genre. Maybe it's more noise to you or maybe it's more punk than the post variety to you, but to me this was a post-punk record that made me excited and made me mosh of my free will like a brainless idiot for the first time in many years. 'New Brigade' is noise ridden, filthy, loud, and most importantly, refreshing post-punk, and for that I am more than grateful. Favorite song? 'Rotting Heights' all the way, although Aaron likes 'Broken Bone' the most.
Dirty Beaches - Badlands
No album captured places I've never been to that were probably made up in my head so vividly than 'Badlands'. This was the album that hit my imagination more than any other and made me feel sad, happy, hopeful, resentful, and, even at times, cool. For those reasons Alex Hungtai (the guy who makes all this under the moniker) represents to me the classic role of a lone wandering traveler who is just trying to make it in life, living through the past's sounds and experiences. For that I respect and cheer him on, but for his music one is able to live and breathe, and ultimately have eternal support in what he himself creates: an immersible and relatable musical journey.
Joyce Manor - Joyce Manor
The band from my birthplace of Torrance. Maybe it wasn't such a surprise that I loved the record right off the bat because it had a nostalgic and familiar quality to it. It sounded like the old beach I used to frequent and from the moment I read that they were from Torrance I knew that the stars must have aligned for me if at least once in my life for this. Joyce Manor's self-titled is the joy and despair of being a human being with flaws and other humans to deal with in record format. If Iceage were what made post-punk this year bearable, Joyce Manor forgave pop-punk and made it acceptable to listen to (but it's more punk than pop though!). Every song has this tinge of sadness and acceptance in it, from the woahs in 'Orange Julius', the cathartic final crying out in the end of 'Call Out (Laundry)', to the final chords and riffs of 'Constant Headache', this record made youth and my hometown memories eternal for me this year.
Death Grips - Exmilitary
This could be the life and death of what was/is now known as noise rap or experimental hip-hop or whatever suits your flavor. Every track hits hard and the vocal delivery is fierce, relentless, and gruesome. Each beat cuts through speakers like ripping flesh and murders your ears. I know that perhaps this is starting to read like a stereotypical black kvlt metal description but there is no better way to describe the music's excessive and harsh nature than by using the very same method in excessive descriptive metaphor. Creative aggression at its finest.
Radiohead - The King of Limbs
(it's kinda obvious this is my album of the year from 2011 number one huh?)
I will always love Radiohead, maybe not to the point of me re-buying 'The Daily Mail' and 'Staircase' when the 'From the Basement' Blu-Ray has the EXACT SAME SONGS IN THE SAME SESSION but I do have the majority of their discography legally bought and am excited to see them tour next year with hopes for more new material.
So let me get the notion out of the way that I am a Radiohead fan of at least notable order and have listened to all their b-sides, unreleased live songs and whatever. There, I said it.
So let me begin by saying that 'The King of Limbs' is indeed what I truly wanted from the band. After the release of 'These Are My Twisted Words' in 2009, I was excited for a new sound from my favorite band. I was expecting something darker, jammier, longer, and overall less accessible than 'In Rainbows'. Now it isn't a matter of thinking "Oh I'm so cool, I like inaccessible music to look like an intellectual", but rather I truly do enjoy Radiohead when they are at their most experimental. My favorite moments in their music come from when they take the unconventional and make it conventional. So to me, this was something great in the making.
I wanted to have a mix of 'Amnesiac' and 'Hail to the Thief', something moodier, something harder to understand than say 'All I Need' or 'Nude'. As much as I loved 'In Rainbows', I noticed that in the second disc of b-sides, they really dropped the ball on keeping their experimental edge with the older songs that promised such (Think of 'Up on the Ladder').
'The King of Limbs', whether I knew it at first or not, was the answer to what I wanted all along, a moodier, experimental effort by my favorite band.
From the opening loop of that distant piano that turns into a far away ambient noise in the beautiful 'Bloom' you know this is a special record for the band. Minuscule details like the chopped up hi-hat in the glitchy reinvention of 'Morning Mr. Magpie', the krautrock meets pop hybrid of 'Little by Little', the rickety instrumentation of the wandering 'Feral', the groove filled and catchy 'Lotus Flower', the underwater piano march of 'Codex', the minimal beauty of vocal looping and guitar in 'Give Up the Ghost', and the ominously pretty sounds of 'Separator' are all ingredients that help create a record that is more than the sum of its parts.
'The King of Limbs' was the album from this year that had more than earned my excitement and expectations.
Honorable Mentions:
- Lou Reed & Metallica - Lulu
This was probably the best juxtaposition of the year, if anything we got to see people get confused and others to claim to 'get it'. Whatever side you're on or if you just don't give a shit, you most likely noticed it and that's that!
- Mark Kozelek - Live At Union Chapel And Södra Teatern
I love Red House Painters and *almost* anything by Mark Kozelek, this live album he released this year had some great reinterpretations of older Red House Painters and Sun Kil Moon material along with much of the great material from one of the best releases last year: 'Admiral Fell Promises'. Hope he tours near me next year for once.
- Odonis Odonis - Hollandaze
What if The Horrors still had talent and made an even noisier and raw version of 'Primary Colours' that was dark as fuck? It still wouldn't be as good as 'Hollandaze'. I'd probably have this up there but I sadly didn't have enough time to truly digest this record, still maybe over time I'll recognize this as one of the best things from the year 2011. 'Blood Feast' all the way.
- Panda Bear - Tomboy
I was actually looking forward to this release because I somewhat still enjoy listening to Animal Collective and wanted to know what a poppier version of them would sound like. Not a bad release by any means and even has its share of beautiful moments like in 'Drone' or 'Scheherezade'. What really hinders the record is it's ability to be completely forgettable. It's okay Panda Bear, you still seem to be the nicest guy from AnCo, also 'Slow Motion'? Chill jam to end all chill jams.
- Teenage Cool Kids - Sunset After Denton
I played 'Beg to Differ' a million times on my way and while I was at school. It captured my feelings of apathy, melancholy, and unwavering despair in the nights before school days in a single song. Perfection, just fucking perfection. Oh, the rest of the album is pretty nice too.
- ORGE YOU ASSHOLE - homely
Best use of saxophone and the best music I used to chill out to, would be up there if I had paid it closer attention. Maybe next year!
- My Little Underground - My Little Underground
The only combination of post-punk and shoegaze I heard this year that wasn't complete shit. It was fresh and the melodies are to die for. 'Civil' was quite a hit in my playlists.
- The Drums - Money (A song I know right?)
BUT I DON'T HAVE ANY MONEY BUT I DON'T HAVE ANY MONEY
There was simply NO energy or exciting events this year in music that really made an impact on me. Everything that mattered to me was either released many years before or was a record that was came in and out of my conscious musical attention. Everything that was supposed to be a big deal turned out to be boring, bland, cookie cutter indie rock music. Or even worse, 'indie' music.
The day I utter those words as a genre with any sense of actual relevance I will cry in shame. I mean come on, it's almost the year 2012, can we all burn in a meaningless fiery display of planetary implosion without bullshit? If the incoming year is as bad as this one, then maybe we deserve it. More than ever do I give great acknowledgement to the 'lower' bandcamp artists because the most noticeable and meaningful music came from them.
Not all is bad though, with this year I learned more of music in terms of what really makes it stand apart and what is worthwhile (to me of course). In a sad way the cliche that many artists are repeating the same ideas from the past is not so far away from the truth. We leave it to the future I suppose.
So without further rant or word, here is my list of best albums of 2011 in no meaningful order.
Boris - New Album
I enjoy j-pop/k-pop/anime openings and am a closet and unappreciative anime fan. But that really shouldn't matter here (it does in a subconscious way) and I was sad to witness another situation in which a band tries to experiment in a new approach to making their music and gets shit on for it. Boris are a very talented and experimental band that have a colossal amount of albums that are all different from one another. Not many bands that pull that off with a set standard of quality but Boris do seem to have it down to an art. 'New Album' was my favorite of their THREE recent records this year for the influences that seem to stem from k-pop/j-pop but still have their noise rock/experimental sensibilities intact. What more could I want?
Dads - Brush Your Teeth, Again ;)
I'm not too well endowed in the twinkle emo genre as I'd like to be (Starlon is helping me out though) but this year I tried my best to expand my horizons a lot and get familiar. Somewhere along the line in my quest I had been introduced to Dads. From the opening jangle of the guitars in 'Dan's Christopher Walken Impression' you know you're listening to something creative and a mix of melancholy and warmth. The entire twenty three minutes of it give off this feeling of "home sweet home!" and sounds entirely effortless. A record with true heart and hardship.
Giles Corey - Giles Corey
Even if the year was not blessed with a Have a Nice Life release (and we're all eagerly awaiting!) the year was treated to Dan Barrett's solo project Giles Corey. A self-titled record that contains songs of bleak melancholia, soul crushing hope and every little thing in between, 'Giles Corey' is a record that takes multiple listens to truly appreciate and immerse oneself into. Probably the darkest thing that I listened to and actually enjoyed this year (there were a lot of faux depressing albums...), this record is a true display of bare emotion. This isn't the sequel to 'Deathconsciousness' and it clearly wasn't meant to be that, but rather this record becomes its own rewarding and powerful experience altogether.
Iceage - New Brigade
When that calm intro 'piece' ends, this record never lets up on the energy and keeps hitting you over and over and over. In an another year of toothless and bland post-punk (I'm looking at you The Horrors) Iceage really brings back the filthy grime back to what once was a respectable genre. Maybe it's more noise to you or maybe it's more punk than the post variety to you, but to me this was a post-punk record that made me excited and made me mosh of my free will like a brainless idiot for the first time in many years. 'New Brigade' is noise ridden, filthy, loud, and most importantly, refreshing post-punk, and for that I am more than grateful. Favorite song? 'Rotting Heights' all the way, although Aaron likes 'Broken Bone' the most.
Dirty Beaches - Badlands
No album captured places I've never been to that were probably made up in my head so vividly than 'Badlands'. This was the album that hit my imagination more than any other and made me feel sad, happy, hopeful, resentful, and, even at times, cool. For those reasons Alex Hungtai (the guy who makes all this under the moniker) represents to me the classic role of a lone wandering traveler who is just trying to make it in life, living through the past's sounds and experiences. For that I respect and cheer him on, but for his music one is able to live and breathe, and ultimately have eternal support in what he himself creates: an immersible and relatable musical journey.
Joyce Manor - Joyce Manor
The band from my birthplace of Torrance. Maybe it wasn't such a surprise that I loved the record right off the bat because it had a nostalgic and familiar quality to it. It sounded like the old beach I used to frequent and from the moment I read that they were from Torrance I knew that the stars must have aligned for me if at least once in my life for this. Joyce Manor's self-titled is the joy and despair of being a human being with flaws and other humans to deal with in record format. If Iceage were what made post-punk this year bearable, Joyce Manor forgave pop-punk and made it acceptable to listen to (but it's more punk than pop though!). Every song has this tinge of sadness and acceptance in it, from the woahs in 'Orange Julius', the cathartic final crying out in the end of 'Call Out (Laundry)', to the final chords and riffs of 'Constant Headache', this record made youth and my hometown memories eternal for me this year.
Death Grips - Exmilitary
This could be the life and death of what was/is now known as noise rap or experimental hip-hop or whatever suits your flavor. Every track hits hard and the vocal delivery is fierce, relentless, and gruesome. Each beat cuts through speakers like ripping flesh and murders your ears. I know that perhaps this is starting to read like a stereotypical black kvlt metal description but there is no better way to describe the music's excessive and harsh nature than by using the very same method in excessive descriptive metaphor. Creative aggression at its finest.
Radiohead - The King of Limbs
(it's kinda obvious this is my album of the year from 2011 number one huh?)
I will always love Radiohead, maybe not to the point of me re-buying 'The Daily Mail' and 'Staircase' when the 'From the Basement' Blu-Ray has the EXACT SAME SONGS IN THE SAME SESSION but I do have the majority of their discography legally bought and am excited to see them tour next year with hopes for more new material.
So let me get the notion out of the way that I am a Radiohead fan of at least notable order and have listened to all their b-sides, unreleased live songs and whatever. There, I said it.
So let me begin by saying that 'The King of Limbs' is indeed what I truly wanted from the band. After the release of 'These Are My Twisted Words' in 2009, I was excited for a new sound from my favorite band. I was expecting something darker, jammier, longer, and overall less accessible than 'In Rainbows'. Now it isn't a matter of thinking "Oh I'm so cool, I like inaccessible music to look like an intellectual", but rather I truly do enjoy Radiohead when they are at their most experimental. My favorite moments in their music come from when they take the unconventional and make it conventional. So to me, this was something great in the making.
I wanted to have a mix of 'Amnesiac' and 'Hail to the Thief', something moodier, something harder to understand than say 'All I Need' or 'Nude'. As much as I loved 'In Rainbows', I noticed that in the second disc of b-sides, they really dropped the ball on keeping their experimental edge with the older songs that promised such (Think of 'Up on the Ladder').
'The King of Limbs', whether I knew it at first or not, was the answer to what I wanted all along, a moodier, experimental effort by my favorite band.
From the opening loop of that distant piano that turns into a far away ambient noise in the beautiful 'Bloom' you know this is a special record for the band. Minuscule details like the chopped up hi-hat in the glitchy reinvention of 'Morning Mr. Magpie', the krautrock meets pop hybrid of 'Little by Little', the rickety instrumentation of the wandering 'Feral', the groove filled and catchy 'Lotus Flower', the underwater piano march of 'Codex', the minimal beauty of vocal looping and guitar in 'Give Up the Ghost', and the ominously pretty sounds of 'Separator' are all ingredients that help create a record that is more than the sum of its parts.
'The King of Limbs' was the album from this year that had more than earned my excitement and expectations.
Honorable Mentions:
- Lou Reed & Metallica - Lulu
This was probably the best juxtaposition of the year, if anything we got to see people get confused and others to claim to 'get it'. Whatever side you're on or if you just don't give a shit, you most likely noticed it and that's that!
- Mark Kozelek - Live At Union Chapel And Södra Teatern
I love Red House Painters and *almost* anything by Mark Kozelek, this live album he released this year had some great reinterpretations of older Red House Painters and Sun Kil Moon material along with much of the great material from one of the best releases last year: 'Admiral Fell Promises'. Hope he tours near me next year for once.
- Odonis Odonis - Hollandaze
What if The Horrors still had talent and made an even noisier and raw version of 'Primary Colours' that was dark as fuck? It still wouldn't be as good as 'Hollandaze'. I'd probably have this up there but I sadly didn't have enough time to truly digest this record, still maybe over time I'll recognize this as one of the best things from the year 2011. 'Blood Feast' all the way.
- Panda Bear - Tomboy
I was actually looking forward to this release because I somewhat still enjoy listening to Animal Collective and wanted to know what a poppier version of them would sound like. Not a bad release by any means and even has its share of beautiful moments like in 'Drone' or 'Scheherezade'. What really hinders the record is it's ability to be completely forgettable. It's okay Panda Bear, you still seem to be the nicest guy from AnCo, also 'Slow Motion'? Chill jam to end all chill jams.
- Teenage Cool Kids - Sunset After Denton
I played 'Beg to Differ' a million times on my way and while I was at school. It captured my feelings of apathy, melancholy, and unwavering despair in the nights before school days in a single song. Perfection, just fucking perfection. Oh, the rest of the album is pretty nice too.
- ORGE YOU ASSHOLE - homely
Best use of saxophone and the best music I used to chill out to, would be up there if I had paid it closer attention. Maybe next year!
- My Little Underground - My Little Underground
The only combination of post-punk and shoegaze I heard this year that wasn't complete shit. It was fresh and the melodies are to die for. 'Civil' was quite a hit in my playlists.
- The Drums - Money (A song I know right?)
BUT I DON'T HAVE ANY MONEY BUT I DON'T HAVE ANY MONEY
Monday, December 26, 2011
New Release: 14 Charisma - No, Not Yet EP
Great news! Chief Tizo Records is putting our their latest release 'No, Not Yet' EP by 14 Charisma! It's a mix of noise-y and wondrous 8-bit chiptune made straight from the Game Boy of our very own Cameron! It's some crazy and fun stuff to enjoy while you're relaxing or fucking shit up with rainbows. We can't wait to see what else Cameron will release under the 14 Charisma moniker in the future for us. PLAY THIS SHIT AT MAX VOLUME. (This was written by Bryan, so no it's not complete self-worship or anything egotistical like that).
Listen to and download it for free on the widget below!
Saturday, December 17, 2011
Music Documentaries Part 1
Fugazi- Instrument
I have never been a huge Fugazi fan ,but this film convinced me that there is a reason why this band is widely considered the end all and be all of post-hardcore. Collectively there is times in this film where they play off each other like they are more like jazz players, layering on sound after sound making beautiful music. My only problem about the documentary is that it is more like a collage of live shows ,though there is some interviews cut in here and there it is more like going to the best shows Fugazi ever played. Highly recommended.
GG Allin: Hated
There isn't much that can be said about GG Allin that hasn't either been said by his fans or his critics. GG Allin is the most vile and wretched of people ,but every second in this film you always want to question why these things happened. I can't forget the poo slinging, penis dangling and split heads in this film , Oh and music and stuff..... The whole film is linked above for your twisted pleasure.
Minutemen: We Jam Econo
The Minutemen far exceeded the title of hardcore punk they received during the 80s. I believe Bryan even said they were "Modest Mouse before Modest Mouse ever existed", which totally makes sense some how. This band made eccentric and politically relevant music which I can only describe as possibly being post-punk. The Minutemen band constantly were drawing in multiple influences from old bands and new bands through out their career. This documentary brought me love Double Nickels on the Dime and mourn the death of their guitarist, D.Boone. This documentary brings you into the relationship of the entire band using clips from old shows , the last interview they ever had together as a band and new interviews with Mike Watt, the bassist, and George Hurley, the drummer. Great doc.
The Flaming Lips- The Fearless Freaks
This documentary shows the career of the most progressive bands out there. They are constantly changing their sound and just recently made a 24 hour song called 7 Skies H3. I was never a Flaming Lips fan ,but after watching this I just can't stop listening to "Yoshimi Battles the Pink Robots". This documentary is less focused on the music and more focused on the lives of its members Wayne Coyne ,Steven Drozd and Michael Ivins. Good doc, click the poster to watch it on Hulu.
I will add a few more concerning music scenes and also have my top albums of this year so watch out for those.
-Starlon Hithe
Sunday, December 11, 2011
Chief Tizo Interviews #1: 14 Charisma
I had the pleasure to spend the afteroon/evening with 14 Charisma, he's releasing his debut chiptune EP entitled "No, Not Yet" on Chief Tizo Records sometime soon and I was able to interview him! Very fun and laid back, enjoy!
Tuesday, December 6, 2011
Chief Tizo Interviews: Dan Barrett (of Have a Nice Life)
So if you aren't familiar with Have a Nice Life by now I strongly suggest obtaining 'Deathconsciousness' (and listening to it a million times) before reading this. But of course if you're even on this blog then you should have a vague idea of who Have a Nice Life is and who Dan Barrett is (co-owner of Enemies List Records).
I had the opportunity to interview Mr. Barrett for one of my music classes' final papers, in which I ask questions about the beginnings of Enemies List and how it all works. Very inspirational! Check it out!
1. What caused you to begin your own record label? Did you have any previous experience to start with to make it work?
We started the label simply because we didn't really have another choice - we didn't know anyone, or have any hope of getting on a "real" label. We were just messing around, recording music we assumed our friends, and no one else, would hear. We started it up just to release our own stuff.
I didn't have any label experience. I'd been the 'merch guy' in most of the bands I'd been in growing up, so I knew a bit about printing shirts and CDs, stuff like that. Nothing very in-depth. We just made it up as we went along.
2. How would you classify yourself and your company as functioning musical world? What do you feel is the purpose?
We don't really function in the "music world," in the sense that we operate outside the traditional supply chain (manufacturer to label, to distribution company to record store, etc). We make our own stuff, we sell it all ourselves directly to our customers. In that way we exist outside the traditional means of producing music for sale. We're also fairly cut off from the live music world, since we almost never play live (most of our projects are recording-only).
3. What is your driving philosophy in order to make it all work, and in greater specificity, what inspires you to work for it?
I'm inspired by music because I love making it. I just love hearing new things, and that rush of putting out something really great, or writing something that connects. That's what makes me sink so much time into it. As far as philosophies, we keep our costs very low, so we're free to fail. Being free to fail means putting out anything we like, regardless of whether it'll sell well. That makes the label a very personal thing, a thing very aligned with our personal tastes, and music fans gravitate towards that.
4. Did you have any idea this is what you'd be doing now? If so, what did you think differently about it then? If not, then what were you planning to do?
I had no idea the label would ever be a thing, no. I didn't start out wanting to run a record label, and it isn't my full-time job, or anything. I just knew I liked making music. I can't really stop making music; it's part of who I am. The label helps me do that.
5. In relation to the last question, what did you learn now that you wish you knew before starting?
Never bet too heavy on anything, even something you think is a sure-thing. Be conservative, and order more if you need it. People will wait. Don't be afraid of people wanting to give you money. Make what they want, within reason.
6. Where do you plan to go from here? Where would you like to be in the next five or so years? Do you have a set plan to pursue in the future?
The label doesn't really plan, in the sense that a normal business might. In general, I try to do something - a new shirt, a record, whatever - every few months. Keeping it in the moment lets it be more than a business - turns it into a more personal thing, something that reflects where we are at whatever moment in our lives.
I'd love to do the label full time. Don't know if it'll ever happen, and don't really need it to. I want to grow it slowly, naturally, by bringing more people into the fold. That's all.
7. What do you attribute to your current successes? Do you feel there is anything that you could call a 'secret ingredient' to your success?
Really, it was people connecting with our music on a personal level. Being truly honest, and raw, about what we do connects to people in a way that you wouldn't normally see with a more polished product. That kind of connection spurs people to go out and tell other people about the record - they have an intimate experience, and want to share it. That's what grew our label, and grows it today: word of mouth. We don't advertise, we did promo once and stopped. Nothing is more powerful than word of mouth...and the only way you get that is by just sitting down, doing your best, and trying to be as honest as possible.
Thanks Bryan!
Monday, December 5, 2011
Michael Gira is a Genius
Swans are maybe the greatest bands to ever exist. They have basically changed all of No Wave with their first release, "Filth" and single-handedly influenced post-rock with their perfect album "Soundtracks for the Blind" and they are even going to continue their deeply disturbing art next year with the album "The Seer" , which I am eager to listen to ,but Swans' front-man and songwriter, Michael Gira is as much as a enigma as art.
Recently I bought his very rare compilation of short stories called the Consumer. The cover shows a tunnel leading to a mysterious darkness , which basically describes the few stories I have read perfectly. There is no light at the end of the tunnel in any of their songs or projects. Gira seems to be devoid of any emotion except extreme sadness and extreme anger. But ,boy was I wrong. Here is a good interview that shows the artist that is Michael Gira.
To plug Michael Gira more as the genius he truly is here is a great song from his Experimental Folk side project, The Angels of Light.
Recently I bought his very rare compilation of short stories called the Consumer. The cover shows a tunnel leading to a mysterious darkness , which basically describes the few stories I have read perfectly. There is no light at the end of the tunnel in any of their songs or projects. Gira seems to be devoid of any emotion except extreme sadness and extreme anger. But ,boy was I wrong. Here is a good interview that shows the artist that is Michael Gira.
To plug Michael Gira more as the genius he truly is here is a great song from his Experimental Folk side project, The Angels of Light.
Friday, December 2, 2011
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