Friday, June 12

The Warp Box Set Sure Looks Pretty

Ooooooooooooh! The Warp Box Set Sure Looks Pretty

Back in March, we told you that the pioneering IDM/not-IDM label Warp Records would celebrate its 20th anniversary this year with a box set and parties around the globe. Well, now we know everything about the Warp20 (Box Set) except for the exact tracklist. But hoo boy, this thing is purty.

Warp started out as the home to experimental electronic types like Aphex Twin and Autechre, and those groups' cover art used to invariably depict crazy futuristic-looking space polygons. Well, Warp has kept that proud tradition alive with the design of the Warp20 box set, which looks incredible. The set will include five CDs, five 10" records, and a 192-page book.

Check below for more photos and more details on the set's contents.

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Mount Eerie Preps "Black Metal" Album

The music Phil Elverum has made over the years hasn't been that far removed from that of, say, Xasthur. The man behind the Microphones and Mount Eerie shares a few predilections with underground black metal: creeped-out lo-fi atmospherics, otherworldly despair, the sense that we're dealing with a fragile loner desperate to keep the rest of the world out. Doesn't hurt that the man's last name sounds like some Lord of the Rings sub-species, either.

Last year, Elverum made the connection a little more concrete with his Black Wooden Ceiling Opening EP, the first release where he explicitly experimented with black metal dynamics. The result, especially the bottomlessly sad opener "Appetite", made for some one of the most hypnotically wracked music of Elverum's career.

On August 18, Elverum will blow that experiment out to album length when P.W. Elverum & Sun releases Mount Eerie's Wind's Poem, which is being touted as his "black metal album." Elverum recorded the album himself in various locations around his hometown of Anacortes, Washington. Nick Krgovich of No Kids dropped by to add some harmonies, but as with most Microphones/Mount Eerie releases, this is basically all Elverum here. That's the cover above, and the tracklist is below.

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Thursday, June 11

News in Brief: The Apples In Stereo, MoMA, PBS, stellastarr*

-- Blindworm Guitars has created a special one-of-a-kind guitar for Apples in Stereo axe-slinger Robert Schneider. The instrument in question looks and sounds like Schneider's Danelectro DC-3, but it's made of wood and elephant bone, and it includes an inlaid Elephant 6 logo made out of meteorite dust. Elephant bone! Meteorite dust! It looks pretty awesome.

-- The New York punk scene of the 70s and 80s may be one of the most celebrated musical moments of all time, and now it's getting its own Music of Modern Art exhibit. "Looking at Music: Side 2", an exhibit devoted specifically to the intersection of music and art that the era produced, will run at MoMA June 10 - November 30. It includes artwork from the likes of Patti Smith, Kim Gordon, Raymond Pettibon, and Jean-Michel Basquiat. An accompanying film series will kick off in September.

-- "Austin City Limits" and "Soundstage", two PBS shows that routinely feature live music that doesn't necessarily involve banjos or Irish step-dancing, have just announced which performers they'll feature on their coming seasons. The next season of "Soundstage" starts on June 18, and Death Cab for Cutie, Billy Idol, and Fall Out Boy will all stop by. "Austin City Limits", meanwhile, will start its season on October 3. Sonic Youth, Elvis Costello, Beastie Boys, and Pearl Jam will make appearances.

-- After all these years, New York new wavers stellastarr* still have that ridiculous asterisk in their name. On July 7, the band will release Civilized, their third album, on Bloated Wife Records, their own questionably named imprint.

Posted by Tom Breihan on June 11, 2009 at 11:55 a.m.

Tags: Album, Art, Austin City Limits, PBS, Soundstage, stellastarr*, The Apples in Stereo

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Wednesday, June 10

New Release: Flying Lotus: L.A. EP 3 X 3

New Release: Flying Lotus: <i>L.A. EP 3 X 3</i>

Artist: Flying Lotus
EP: L.A. EP 3 X 3
Release Date: July 20
Label: Warp

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Devendra Banhart Remixes Oasis

Download the sufficiently freaky redo right now. Devendra Banhart Remixes Oasis

Photo by Lauren Dukoff

After pulling off an R-rated, tropicália-style cover of Oasis's "Don't Look Back in Anger" a few years ago, Devendra Banhart is airing out his Noel and Liam fan-dom once again. This time, he offers a trippy remix of the stomping kiss-off "(Get Off Your) High Horse Lady" from the Manchester stalwarts' 2008 LP, Dig Out Your Soul. Pink Floyd-y synths ahoy.

You have to register to download the remix at Oasisinet. Or, there's also this thing called Google.

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Monday, June 8

Pirate Party Gains EU Parliament Seat

Captain Morgan named President of Getthefuckouttahereistan Pirate Party Gains EU Parliament Seat

Sweden's Pirate Party-- which "wants to fundamentally reform copyright law, get rid of the patent system, and ensure that citizens' rights to privacy are respected," according to its mission statement-- has won a seat in the European Parliament, according to the BBC.

While famed torrent search site the Pirate Bay is not officially associated with the Pirate Party, both entities share many of the same core beliefs-- and interest in the Pirate Party skyrocketed when the founders of the Pirate Bay were sentenced to a year in jail back in April. (The verdict is currently being appealed.)

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Tuesday, June 2

News in Brief: The Black Heart Procession, Jack Peñate, Sax Ruins, Mother Hips

-- Witchy San Diego indie doomsters the Black Heart Procession are totally back! After the collapse of their former label, Touch and Go, they've signed with Temporary Residence. Black Heart Procession plan to release their first album for Temporary Residence in October, which they will follow with a world tour. If you're keeping track at home, the recently reunited B.H.P. precursor Three Mile Pilot have also signed with Temporary Residence, as have Pinback, the other band to spawn from Three Mile Pilot's breakup. So Temporary Residence is now officially the Cash Money of San Diego indie.

-- On August 18, XL will release Everything Is New, the sophomore album from London singer-songwriter Jack Peñate. Paul "Phones" Epworth serves as producer, as he does with seemingly every other album coming out of London these days.

-- Sax Ruins is supposedly a new band, but really it's just the Japanese noise-monster drummer Tatsuya Yoshida's long-running Ruins project. This time, though, he's teamed up with a sax player, . Logical, no? Ipecac will release Yawiquo, Sax Ruins' "debut", on July 28.

-- Cali psych weirdos Mother Hips have done what any self-respecting band of Cali psych weirdos should do: They've curated a Big Sur folk festival. The First Annual Mother Hips Family Hipnic goes down July 3-4 at Big Sur's Henry Miller Library. Little Wings, Moondoggies, Everest, and Citay, These United States, and, of course, the Mother Hips will take part.

Posted by Tom Breihan on June 2, 2009 at 10:50 a.m.

Tags: Album, Festival, Jack Penate, Mother Hips, Ruins, Sax Ruins, Signing, Temporary Residence, The Black Heart Procession

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Monday, June 1

Will Cullen Hart Talks Olivia Tremor Control, Circulatory System Renaissance

"It's exciting because it feels just like it was before, I swear to God." Will Cullen Hart Talks Olivia Tremor Control, Circulatory System Renaissance

It's been a long time since we've heard anything from onetime Elephant Six staple Will Cullen Hart. The Olivia Tremor Control, Hart's best-known band, fell dormant in 2000, only reuniting for a couple of quick tours since then. And Circulatory System, his other band, hasn't released an album since their 2001 debut. But that's about to change.

On September 8 (pushed back from August 4), Cloud Recordings will release Signal Morning, Circulatory System's long-awaited sophomore album. (The digital release date has yet to be determined.) And as Entertainment Weekly reported, Hart is now recording new material with the Olivia Tremor Control.

We recently spoke with Hart about his Olivia Tremor Control and Circulatory System projects, his battle with multiple sclerosis, and Lil Wayne.

Pitchfork: So you're recording with Olivia Tremor Control again?

WCH: Yeah, it's cool. It's exciting for us.

Pitchfork: Why did you decide to get back together?

WCH: Well, to be honest, I've got MS. I found out that I have multiple sclerosis, blah blah blah, and I was drinking heavily. And Bill [Doss] was like, "Man, you gotta stop drinking. What is the deal?" And, well, you know the deal with wine. And he was like, "Stop, man. Just stop doing that. If you will, start taking the shots." Like, I have to take a shot every other day.

That's actually why. I mean, I wish there was some other cool reason. But we love to play together. When we get together, we all agree it's really fun. Music is fun. This is fun for us.

Pitchfork: Is this something you've been thinking about doing for awhile?

WCH: No, actually. We had fun on that reunion [tour in 2005]. It was great. But, you know, you got me totally honest. It makes total sense what Eric [Harris] said. He's like, "I don't just wanna go out. I wanna do new stuff, if we're gonna do something." [Laughs] Thank you! Exactly! I mean, we felt the same way. He was like, "We'll start doing stuff every Sunday, make stuff up." So we started doing this stuff every Sunday. It was awesome. Because I hate Sundays here.

Pitchfork: How many Sundays have you been doing this now?

WCH: We've probably done it like 12 times. But we have a few songs and song ideas and stuff that's really awesome. Obviously, people have stuff stored up, like a riff or something. It's really cool.

Pitchfork: So you're just bouncing ideas off each other?

WCH: Yeah, I mean, whole songs will come, and they're on the way. They're almost whole songs, and we've kind of bundled a few together.

Pitchfork: Do you have any plans for these songs to make their way out into the world?

WCH: Oh, yeah, I hope so. I think we all hope so. But we don't know when. I think some people in the band are kind of weird about it. You know, like, "Let's don't." I mean, I like pressure in a way, and they maybe don't. Some of them don't. So yeah, I'm sure it will make its way out.

But it's exciting because it feels just like it was before, I swear to God. There's no fucking difference. Really. No fucking difference. I like that. [laughs] I like that! Of course, I would like that, you know? It's real. People, hopefully, will like that. Of course they'll fucking like that. I mean, if people like our stuff, they'll like that.

Pitchfork: Did you think it would feel the way it did before? It's been a long time.

WCH: Actually, yeah. I did, to be honest. Because of the people involved. It's like, if anybody agrees, they're in. That's so cool. They're not going to do a half-job or go and do kind of a half-thing of what they used to do. They're really not. They're like, "Let's do something new," you know? That's beautiful. That's how we started. We were old enough then to know.

Pitchfork: You said you like pressure. What kind of pressure are you putting on yourself with this stuff?

WCH: Well, I just mean that once something starts, I like to have the reason for people to get together. I'm always kind of trying to accelerate people to come and do stuff. Because it's like, sometimes the creation is between a few people or two people. You start making something up that you would never make up. Somebody does something with it, vocals or otherwise, it doesn't matter. It's nothing you would have ever done. And you record it, and something else comes. Somebody makes up lyrics, and it's almost done. And that's the magic of creating something with anybody, of people creating. And that's what I love.

Pitchfork: Is Jeff Mangum on board with these sessions?

WCH: Maybe. Mangum plays when we all get together. He's on some of the songs on the new record that Circulatory System is putting out, and it's been years since he actually did the tracks. So, the same way, I think we probably have a few tracks that he'll probably end up on. They're still sitting around, and it's like, "Oh that one doesn't really work with that one." It's kind of a situationalist kind of thing.

Pitchfork: So you're not actually recording with him right now?

WCH: No, he's in New York or Canada or something. I'm not sure where he is.

Pitchfork: Do you keep up with him on a consistent basis?

WCH: I do on, like, a bi-weekly basis. I'll get an e-mail or something. My roommate has e-mail. [laughs] I don't even check it. "Hey, Jeff wrote." He's kind of quiet in his thing. And that's cool. We always talk, and it's like, "Oh god, yeah, I'm gonna send you the tracks." And you overdub stuff, and he never does the same. It just happens. But it is happening. Because he totally sent me some cool stuff. Well, he didn't actually send it to me. He left it here. I actually don't know where it came from. There was a blank disc, and I put it in. That was clearly who it is and what it is, and it's a bunch of cool tape cut-ups. So I'm not sure where it came from.

Pitchfork: If and when you put an Olivia Tremor Control record out there, do you plan on touring together again? Is it something you've thought about?

WCH: Well, yes. A lot, actually. If it's new, I think that everybody would want to do it. That's the key. Not that we wouldn't play other stuff. A few people, including myself, don't want to be just an oldies thing in some way. I wouldn't want to just do that. But it's kind of fun to do that once in a while. I feel proud of that stuff.

Pitchfork: You're also putting out another Circulatory System album, and this is the first since 2001. How does that feel?

WCH: Amazing. I'm really, really proud of it. Exciting.

Pitchfork: How did you decide to get everyone back together for that?

WCH: I mean, we were together. We were trying to finish something over a long time. And the MS thing, that was a drag for me. That was clearly what it was. I started not being able to see out of my right eye. It's shaded a lot. Went to the doctor, and: "You have MS." I mean, they did tons of tests, and I got a spinal tap. And so that was a drag.

I like to blame things on things. I'm kidding. [laughs] "That's why I didn't get it done." But it wasn't quite right, wasn't quite right, wasn't quite right.

Pitchfork: And now you've got it right?

WCH: Yeah! I'm totally happy with it. I had a couple of other friends involved with the band, Nesey Gallons and Charlie Johnston, edit it and pick the songs, in a way.

Pitchfork: And you've got Heather McIntosh on this album. She's touring with Lil Wayne right now.

WCH: Isn't that crazy? I didn't know who that was. [laughs] I swear to God. I mean, I'd heard of it. But I was like, "It could be Lil Jon." But that's a different thing? There's some "Lils." Not to be shitty to anybody, but now I've heard Lil Wayne, and they're like, "He's like the Beatles of fucking hip-hop." [laughs] I was like, "Okay, sorry." So I learned.

She got the job through Danger Mouse, which is cool. "Yeah, I know a cello player. Hey, my friend Heather. Cello and bass player, here you go." It's great. It's awesome. And she's great, too.

Pitchfork: You've got a lot going on right now, for the first time in a while. That's got to feel really good.

WCH: It does, it's exciting. And I'm healthy enough to be ready for it. [laughs] I mean, I didn't know what the hell was going on with me. It was mental, in a way. It's like, "Why don't I fucking feel like I used to? Nothing has changed." So, yeah, that's exactly what I feel. I'm excited about it.

Posted by Tom Breihan on June 1, 2009 at 3:15 p.m.

Tags: circulatory system, Interview, Reunion, The Olivia Tremor Control, Will Cullen Hart

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Thursday, May 28

News in Brief: Polyphonic Spree, Isaac Hayes, the Dandy Warhols, AthFest

-- For parents who want their infants to grow up to lead sparkly-robed chamber-pop cults: Polyphonic Spree frontman Tim DeLaughter has composed and performed all the music for the DVD art project Wee See, a sensory-stimulation project for babies. DeLaughter's music accompanies images by artist Rolyn Barthelman. Says DeLaughter: "Adults are as engaged as any baby we've shown it to." Bold prediction: Somebody, somewhere, will get stoned watching this thing.

-- Stax's recent reissues of Isaac Hayes' Black Moses and Juicy Fruit (Disco Freak) whupped serious ass, so we're happy to report that the Stax folks will soon put out another re-release of a career highlight from the late soul genius. The remastered version of the 1969 album Hot Buttered Soul is due June 23. It'll include bonus tracks, rare photos, and liner notes from My Morning Jacket frontman Jim James.

-- The version of the Dandy Warhols' 2003 album Welcome to the Monkey House that hit stores wasn't the one that the Portland drug-rockers wanted you to hear. The band had mixed another version of the album with engineer Russell Elavedo, but Capitol Records shelved it against the band's wishes. On July 14, the Dandys will release The Dandy Warhols ARE Sound, the Elavedo-mixed version of the album, on their own Beat the World label.

-- The annual AthFest goes down in clubs around Athens, Georgia June 25-28. The Black Lips, Dead Confederate, Those Darlins, Venice Is Sinking, and Patterson Hood and the Screwtopians will all play the festival's free outdoor stages.

Posted by Tom Breihan on May 28, 2009 at 2:50 p.m.

Tags: Album, Art, AthFest, DVD, Festival, Isaac Hayes, Reissue, The Dandy Warhols, The Polyphonic Spree

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Magnolia Electric Co.'s Jason Molina Spills About New Album, Josephine

"When I walked out of the studio, I knew that we had done something important." Magnolia Electric Co.'s Jason Molina Spills About New Album, <i>Josephine</i>

Magnolia Electric Co.'s Jason Molina Spills About New Album, <i>Josephine</i>

Photo by Will Claytor

It's been nearly three years since Fading Trails, the last proper album from rootsy Midwesterners Magnolia Electric Co. In the time since that album's release, frontman Jason Molina moved to London, and touring bassist Even Farrell died tragically in an Oakland apartment fire. But the band still soldiers on. On July 21, Secretly Canadian will release Josephine, Magnolia's spare song-cycle of a new album, which they recorded with engineer Steve Albini. (The cover and tracklist for Josephine, along with the band's summer tour itinerary, can be found at the end of this story.)

Pitchfork spoke with Molina about the process of recording Josephine and about the tidal wave of new material he's already recorded. (Update: Secretly Candadian shared the title track from the record, mp3 and stream after the jump.)

Pitchfork: You're on tour right now, playing songs from Josephine for the first time in front of an audience. How does that feel?

JM: I guess it's been... you would call it harrowing. The writing of that record was extremely difficult for me. In typical fashion, when I finish a record, I walk out of the studio and want to start on the very next record, which is what I did. I started writing, and now I'm revisiting things that are only a few months old. It seems like ancient history but something we needed to play live. It does feel good; it's a challenge.

Pitchfork: The press material describes Josephine as sort of a concept album about the death of Evan Farrell.

JM: That's how we loosely have been describing it, mostly because people need a reference point. It's not really a tribute record. A lot of the ideas in that record were things that I had worked with Evan on a lot, and he was going to be of course a major part of the new record. I really wanted to gravitate away from the sort of Crazy Horse references because none of that was really intentional; it was just a product of being from the Midwest. I don't listen to a lot of music; I write more music than I listen to, for sure. I just wanted to try something sonically more on the minimalist side, and I think that we succeeded. And lyrically it's definitely a song cycle where I revisit over and over and over again certain themes much more than I have in other records.

Pitchfork: So it's not just about Evan? What else went into it?

JM: It's a big record about dislocation. I've moved in the last dozen years or so at least 30-some times. Now I live overseas, and the band is still in Indiana. All of this sort of happened within a few months, with Evan, with me moving from Indiana back to Chicago again for the third time, and then from there moving to London. From a guy that still doesn't have his foot in the world, I feel pretty grounded as long as I have music.

Pitchfork: This will be your first album in three years. Have you ever taken this long between records before?

JM: Actually, I recorded about six records since I finished the box set. It's just that we have to stagger the releases, or else you'll have a Bob Pollard situation where I can't even afford to keep up with the guy. So there's a complete solo record I have finished. There's an eight-song 10'' that I did that's going to be in a coffee table book of the art of Will Schaff, and I have finished another record of just me and acoustic guitar. On the one solo record that's finished, there's side musicians on it; it's not the Magnolia crew. And so I've finished dozens and dozens of songs and several projects. It's just that they have to sit on the shelf because Josephine takes precedence, and then all this other stuff can come out. I also just finished a collaboration with Will Johnson [of Centro-Matic], and that's also a full-length record. I haven't taken any time off; it's just that you don't see the stuff for sale yet.

Pitchfork: So Josephine didn't take a long time to write?

JM: No, it didn't. Regardless of what's happening in my life or recording situations or events surrounding recording, I know when to just call it quits. If it's taking me a couple months to get a solid idea of what I want the song cycles to really be about, then rather than go and fix what I think is the weakness in it, I just scrap the whole thing and start again. I don't lose any sleep over it.

Pitchfork: I just heard Josephine for the first time this morning, and musically it's a gorgeous record. It's almost a traditional country record in a lot of ways, especially the way your voice works with the arrangements. Was that something you were interested in going for?

JM: Honestly, no. Sonically, like I said, I wanted it to be minimal and I guess that's maybe one version of what I would define as minimalism: Taking out guitar solos and, if the song is only going to be 45 seconds long and it's a good song, I leave it at that. If it's going to be six-and-a-half minutes long and that's what it takes, I leave it at that. But I structured the record. We cut 22 songs for the record, and they just don't all fit. None of the tracks that didn't made it to Josephine are outtakes; it's all one big piece. But since our last release was a box set, I wanted to pare it down to what I thought was a fantastic side A and side B, and then I can figure out what to do with the rest of the tunes.

As long as you're on the topic of what it sounds like, we recorded it with [Steve] Albini again at Electrical [Audio, Albini's studio]. We've worked many times with him. We were in a big studio, and we planned a lot of days to be in there to get it right. On the first night, we finished our last show in Chicago and we went to the studio. We were just itching to play music. We weren't supposed to record until the next day, and into the wee, wee hours of our first night there we had already set up the studio and were ready to go by probably eight in the morning the next day. We recorded it all live as much as humanly possible. We all played live in the same room. The drums were there, no separation, and the vocals are all live. I'm just singing into a guitar amp, sort of 1950s-style, and I'm really proud of the way it turned out. We're so comfortable working with Steve now that we know exactly how to articulate what we want it to sound like. Although we've been making records for years, my job is just to write the songs, and sometimes it's like getting on board a ship and telling the captain what to do when you don't know jack shit about how to steer a ship. This way, I think we succeeded because the songs took reign.

I actually think sonically it's a heavier record. Where there's not more instrumentation, I just think there was a gravity in the playing. There are some extremely rocky and even what I consider sad lyrical passes in there, and I think they're fortified by the arrangements. I wouldn't call it simply your acoustic-guitar-and-voice record, which I've done dozens of, but I do think that there's something so naked about this record. It's one that I don't know if I'll ever listen to it. When I walked out of the studio, I knew that we had done something important.

Pitchfork: Was it tough cutting out all those songs?

JM: I believe in doing vinyl. As long as vinyl can still be made into a high-quality standard, I'm going to still make all my records as a side A and a side B because that's how I grew up listening to music. It came down to the fact that if you want it to sound great, you can't throw everything on there. I didn't want to belittle any of the material, since it's a solid song cycle, by saying that we have all these outtakes so let's throw them on a bonus CD; I don't want to make them orphans. I'm really excited, and I think the fans are going to be able to get ahold of that stuff.

Right now, we have so many irons in the fire with getting Josephine out and making sure that the press doesn't turn it into this maudlin thing. It's hard. The laziest writers in the world just read other people's articles, and then the lazier writers just crimp from the one-sheet. We threw things in there sometimes in the past just to prove people aren't listening to the record. You say, "This record sounds a lot like Lou Reed," when it doesn't sound anything like Lou Reed. The first week of the reviews: "This sounds a lot like Lou Reed." So what we did with this is keep all that press as honest and straightforward as I believe Magnolia is.

MP3:> Magnolia Electric Co.: "Josephine"

Josephine:

01 O! Grace
02 The Rock of Ages
03 Josephine
04 Shenandoah
05 Whip-poor-will
06 Song for Willie
07 Hope Dies Last
08 The Handing Down
09 Map of the Falling Sky
10 Little Sad Eyes
11 Heartbreak at Ten Paces
12 Little Knoxville Girl
13 Shiloh
14 An Arrow in the Gale

Magnolia Electric Co.:

07-10 Bloomington, IN - Russian Recording *
07-11 Chicago, IL - Schubas *
07-12 Chicago, IL - The Hideout *
07-14 Newport, KY - Southgate House *
07-15 Pittsburgh, PA - Andy Warhol Museum *
07-16 Buffalo, NY - Mohawk *
07-17 Cambridge, MA - Middle East *
07-18 Northampton, MA - Iron Horse *
07-19 Brooklyn, NY - Pool Party *
07-20 Washington, DC - Black Cat *
07-21 Chapel Hill, NC - Local 506 *
07-22 Athens, GA - 40 Watt Club *
07-23 Memphis, TN - Hi Tone *
07-24 Denton, TX - Rubber Gloves *
07-25 Austin, TX - Mohawk *
07-27 Tucson, AZ - Solar Culture *
07-28 Los Angeles, CA - Echo *
07-29 San Francisco, CA - Bottom of the Hill *
07-31 Portland, OR - Doug Fir *
08-01 Seattle, WA - Crocodile *
08-0 Salt Lake City, UT - Urban Lounge *
08-04 Denver, CO - Hi-Dive *
08-05 Kansas City, MO - Record Bar *
08-06 Omaha, NE - Waiting Room *
08-07 Minneapolis, MN - 7th Street Entry *
08-08 Dubuque, IA - Busted Lift *

* with the Donkeys

Posted by Tom Breihan on May 28, 2009 at 7 a.m.

Tags: Album, Art, Interview, Jason Molina, Magnolia Electric Co.

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