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September 30th, 2008

Recollecting Festival in the Forest

I stepped over lazy rocks and roots weaving clumsily through the redwood trees beside me. The fog followed us across the footbridge as clouds would follow. Sleepy and silent, we parked the car beside a brook, with a yawn and a smile and a stretch, upon a peninsula due-south of the stage. We pitched a tent, and the first day began with a warm sun overhead.

Too many words would empty the experience of its juice so I’ll try to stay short and sweet. There were a lot of friends and a lot of tents to house them. There were a lot of bands and a wooden stage to play them. Each morning we awoke to music and water mumbling over rocks and, for a lucky few of us, coffee sweetened by chicken eggs.

Those same few made a short trek long, but luckily a beach greeted us at the end of it all.  We ate peanut butter and jelly sandwiches, split by hand. We asked a traveling couple for a ride back to Fernwood, south, and they were more than happy to help. There was music when we returned.

Every band complimented the feel of the forest surrounding us. Many many thank you’s to the musicians I met, in the audience and at the camp, for each and every sound you made this past weekend. Matt Baldwin and Beach House floored me. Two incredible performances.


But I especially want to thank two musicians who played songs that I never expected to hear. I returned to my tent as the sun sank between bands, thirsty and hungry for a seat. A ukulele came from a nearby tent with a hand and a voice to bring it alive. Dina Rae made her small instrument sing and rose a towering voice above it, singing songs that made us all sit still. Thank you.

Sisters also sat by the water, Cass and Karina. Karina fingerpicked a nylon-string guitar; her thumb and fingers sounded circles and layed lace around intuitive melodies played in the shapes of stories.  I don’t know if I’ve ever heard a sound so beautiful in an atmosphere to match.  Thank you.

Throw in some beer and some gummy bears and you have yourself a fairly accurate picture of my time at the Festival in the Forest. I’m looking forward to the next.

Thank You FolkYEAH, Britt, the volunteers, Samuel J. Macon’s beautiful photography, and Big Sur for making it happen. Don’t miss Karina, known as Besos de Tortuga, playing at BrainWash in San Francisco on Saturday, October 18.

[ stream ]

Karina, known as Besos de Tortuga – “Hambre Besos”

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Dina Rae – “Warbling Banshee”

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=tyler=

September 25th, 2008

(((FolkYeah!))) & Indian Summer Music Present: (((Festival In The Forest))) Acoustic Cabin!

Those of you upset about tomorrows Festival in the Forest being sold out should still make the trek down to make it out its sister show TOMORROW!

Tickets are now on sale here:
http://www.myspace.com/benlomondindiansummer

(((folkYEAH!))) & Indian Summer Music Present

(((The Festival In the Forest))) Acoustic Cabin
Saturday, September 27th
At The Big Sur Grange Hall

Featuring Solo Acoustic Performances From:
6:40 Matt Bauer
5:50 Garrett Pierce
5:00 Joseph Childress
4:20 Paper Leaves
3:40 Jeffrey Manson
3:00 Enoch Emery

PLUS A RARE SOLO PERFORMANCE FROM A SPECIAL GUEST TBA!!!

150 Sliding Scale ($10 Suggested Donation) Tickets Available on the
Indian Summer Music Page

ALL PROCEEDS BENEFIT THE BIG SUR VOLUNTEER FIRE BRIGADE

Big Sur Grange Hall
(no address available)
Right turn at south end of Juan Higuerra Creek Bridge
Big Sur, CA

http://maps.google.com/maps?client=safari&ie=UTF8&oe=UTF-8&q=big+sur+grange&view=text&hl=en&latlng=36069580,-121598553,6269725050022254153&ei=naTYSNPuBI3UjQPjiLWdCg&sig2=VGPAiXbH-KZ8MjMkALwX5g&cd=1

Directions from the south (LA)
From Hwy 1 North drive the 60 windy miles of glorious coast line until
you see Nepenthe on your left. The grange hall is about 4 miles north
of Nepenthe at mile marker 48 at Juan Higara Creek, make a left hand
turn down the drive way just BEFORE crossing Juan Higara creek.

Directions from the north (SF)
From Hwy 1 south the Grange is about 26 miles from Rio Road (the last
stop light of civilization in Carmel). The first business on the
mountain side of the highway you will come across is Ripplewood and
Glenn Oaks Motel, there is also a Chevron station there. The Grange is
immediately south of the businesses across Juan Higara Creek at mile
marker 48. Turn right down the driveway.

September 25th, 2008

Anne Briggs – The Time Has Come

Anne Briggs’ 1971 album The Time Has Come is music of the road, music that embodies the singer’s own wandering predilection. It makes me restless too, like Joni Mitchell’s enchanting “Urge for Going” does. Her voice begs us to amble alongside, down a foggy dirt road marked by black-eyed susans and overgrown grass, through the kitchens of friends willing to feed. And hungry we are. And cold is the morning, gray and sad, that inspires the sun to rise at noon and light the way for roaming, for one layer less of clothing.

Anne Briggs’ legendary story is better left for someone else, as I surely couldn’t do it justice myself.  As I leave Los Angeles at 3am tonight, rolling north to the Festival in the Forest in Big Sur, this will most certainly be the album playing as the sun steps over the redwoods.

[ stream ] Anne Briggs – “The Time Has Come”

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=tyler=

September 24th, 2008

Castanets to release City of Refuge

After last year’s In the Vines, I’ve been dying to hear new Castanets material…thankfully Asthmatic Kitty Records is releasing Ray Raposa’s next record City of Refuge on October 7th. Two weeks!

From Asthmatic Kitty:

The result of three weeks alone in a Nevada desert motel room, City of Refuge, Castanets’ fourth full-length for Asthmatic Kitty (September, 2008), blazed into Ray Raposa’s mind with the rising sun. The idea came the morning after an overnight drive with tour companions from Oakland, CA, to Las Vegas, NV; waking in the back seat to a Nevada gas station dawn, Raposa said “here,” and as the drive progressed, so did his conviction that this was where he would record the next Castanets album.

He sought and found solitude in a mom and pop motel in Overton Nevada- unincorporated, two bars, no stoplight, home of The Lost City Museum – on the edge of Valley of Fire State Park (Moapa Valley to the indigenous peoples), an hour northeast of the surreal derangement of Vegas. Far from distractions and infused with the sense of isolation explored by the songs he’d written for the album, it proved the optimal backdrop. Minimal overdubs by friends Jana Hunter, Sufjan Stevens, Dawn Smithson (Jessamine, Sunn O))))), Scott Tuma (Souled American, Boxhead Ensemble), and co-producer Ero Gray were added later, but the silence of the sparsely populated region underscores the sounds of Raposa’s voice and instruments

[ stream ] Castanets – “Prettiest Chain”

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=tyler=

September 23rd, 2008

Antony to release Another World

On October 7th, Antony and the Johnsons will release “Another World” EP on cd and vinyl. Below is the press release:

“Antony and the Johnsons emerged onto the international stage in 2005 with their breakthrough I Am A Bird Now. The group were awarded the Mercury Prize in the UK and toured the world. Since then Antony has participated on tracks with Bjork on her latest album “Volta”, appeared in the Leonard Cohen documentary “I’m Your Man”, featured as vocalist with disco act Hercules and Love Affair, recorded for the Todd Haynes bio epic of Bob Dylan “I’m Not There”, and collaborated with Charles Atlas on a European tour of their stage spectacle “TURNING”.

Now Antony and the Johnsons have emerged with a new album, ‘The Crying Light’ which will be released January 21st 2009. “Another World” is the first single, and it will be released as part of the five-song Another World EP which is being released on October 7th.

On “Another World”, Antony sings of a disappearing world. The EP also includes “Shake That Devil”. Part exorcism and part Shangri La, Antony calls out shape-shifting perpetrators and banishes them one by one. Two other songs, “Crackagen” and “Sing For Me” are pastoral and surreal. Finally the epic “Hope Mountain” closes the EP, an episodic narrative set after a flood; people gather on a mountain to witness the emergence of a luminous girl.

The cover features a portrait of Japanese Butoh co-founder Kazuo Ohno, taken by Pierre-Olivier Deschamps in 1984.”

Thanks Kevin!

=tyler=

September 23rd, 2008

Lesser Gonzalez Alvarez: Why Is Bear Billowing?

Summer’s over but it doesn’t seem like it in Los Angeles.  It’s all the same, always, anyways.  It’s a place where time stands still, rapidly encroaching on infinity. A smoggy Neverland.  A sedated scene.  We grow older, but the insouciant attitude afforded by persistent sunshine is comfort food to keep going.  Chicken-fried life with curly fries and biscuits.  Yum.

Through the lens of my current address, Lesser Gonzalez Alvarez is a self-aware stillborn childhood itching to grow — and grow it will. A Cuban native haunting the burgeoning Baltimore music scene alongside luminaries Jana Hunter and Dan Deacon, Gonzalez has been a presence in the Wham City Art Collective as both musician and visual artist. According to CarPark Records, his goal is to “write songs that combine his appreciation of magical realism with his respect for honest simplicity.” Here, the words “magical” and “honest” carry connotations of implausibility; they’re seemingly synonymous and thoroughly hopeful modifiers bound to be overtaken by the persistence of “realism” and “simplicity”: two nouns that beg ornamentation.

We’re a generation longing for magical realism, for a life populated with critters we love and feelings we fondly, though foggily, remember. But as the summer turns to fall, changeless, these songs project autumn on the wall for me to enjoy, at least for 34 minutes.

[ stream ] Lesser Gonzalez Alvarez -- Pinecone Eyes from Why Is Bear Billowing?

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=tyler=


September 18th, 2008

Video Naturalismo: Little Joy premiere of "Keep Me in Mind"

Festival in the Forest is only ONE week away and you’ll get a chance to see this new Little Joy song “Keep Me In Mind” performed live at it if you’re attending. The song kind of rekindles what the Strokes were better at on the outset with Is This It? Noah Georgeson’s production lends it’s warm intonations and reverb to the track that seems to finish just before you get the chance to get the chorus stuck in your head, forcing multiple repeat listens. I just listened to it about 5 times while writing this and I think I will continue with 5 more. There’s something that’s incredibly addicting about 60′s influenced garage pop. Love that album cover too… looks like a nice place to be- perhaps at Festival in the Forest? Yes.

September 18th, 2008

Alela Diane lends voice to Headless Heroes

Admittedly, I have no idea who or what Headless Heroes is. A new band with a cryptically sparse website? Perhaps. Names Records has just released a new song from the mystery band featuring a great contribution from one of my favorite contemporary female singer-songwriters, Alela Diane. It’s a cover of the Linda Perhacs classic “(Hey Now) Who Really Cares?”, I know that for darn sure. Aside from that, well, we’ll just have to wait and see. For now, enjoy the tune. And don’t miss Alela performing with Will Oldham at the Big Sur Benefit in two weeks!

UPDATE from HEADLESS HEROES (mystery solved…)

“Alela actually lent her vocal talents to a studio project under the name of Headless Heroes which consists of several musicians (Josh Klinghoffer, Joey Waronker, Woodrow Jackson III, Gus Seyffert, and Leo Abrahams) that recorded an album of covers together. The album was produced by Hugo Nicolson.

The Album titled ‘The Silence of Love’ will be released in November ’08 on Names Records (UK) and Fargo Records (for the rest of Europe). In the states the album will be released in May ’09 via the Headless Heroes record label.”

[ stream ] Headless Heroes feat. Alela Diane – “(Hey Now) Who Really Cares?”

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=tyler=

September 17th, 2008

Forest Fire – Survival

Forest Fire are friends, but often they are not in the same city. When they are together, they record at The Apartment. “Survival” is the result of a long process of the potential energy of apartness building to the point of kinetic connection, of togetherness. Some tracks thump and wail. Some softly crash in waves until the bubbles on shore have built up and up and can’t help but to burst into riffs of thick sonic bubbling sand. Others just seem like home. Familiar and intentional and warm.

The group’s offered a free copy of “Survival” here for your listening pleasure. Or grab the album’s bookends below.

[download] I Make Windows and Slow Motion from “Survival”

-Josh

September 16th, 2008

NEW Sibylle Baier song, photos

It has been some time since I last checked in on Sibylle Baier’s music,  mostly because the 2006 reissue of her perfect album Colour Green seemed definitive and final. I listened to it for the better part of that year and have returned to from time to time since. I still think that “Remember the Day” stands as one of the finest folk songs I’ve heard period. After getting the temptation to put on her record today I stumbled across a new song that she’s laid down for family friend and director Wim Wenders for his recent film “The Palermo Shooting.” Also just added to her website by her son are some great photos of her.

Listen to the new song here:

Sibylle Baier – Let Us Know

New photos, click for more:

Edvard

September 15th, 2008

Larkin Grimm

I want to live inside Michael Gira’s ear. Wondrous frequencies live there. Sounds that, it seems, only he has the prescience to trust.  I want to build a rope ladder and shimmy up and over his shoulder blades until I reach that hallowed lobe, stopping for a minute to catch my breath and behold it all. Ah. The hiss of Devendra’s first recordings have a happy hut inside this cavernous, if discerning, unknown. Akron/Family is making flapjacks. Mi & L’au are sipping tea. Fire on Fire are making a blaze of their own, casting shadow puppets on the wall. Warmth. Familiar friends, ones that I’ve come to know and trust, are here to stay.

Larkin Grimm is the newest here. I love her already.

Michael Gira says, “Larkin is a magic woman. She lives in the mountains in north Georgia. She collects bones, smooth stones, and she casts spells. She worships the moon. She is very beautiful, and her voice is like the passionate cry of a beast heard echoing across the mountains just after a tremendous thunder storm, when the air is alive with electricity. I don’t consider her folk though -- she is pre folk, even pre- music. She is the sound of the eternal mother and the wrath of all women. She goes barefoot everywhere, and her feet are leathery and filthy. She wears jewels, glitter, and glistening insects in her hair.”

[ stream ] Larkin Grimm -- “How to Catch a Lizard” from Parplar, out NOVEMBER 20 on Young God Records.

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=tyler=

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