Tuesday, February 22, 2011

Vintage ITAV Music Trove Unearthed!

LANSING, MI -- Whitney Spotts, lead singer of 80s cover band Starfarm and former chanteuse of indie-punk shredders Bit, uncovered a rare stash of 12 original pressings of ITAV's first official release while on an expedition to clean her desk.  Spotts, realizing the rarity of these mini-LP sleeved CDs (catalog numbered ITAV 004), brought them to ITAV's world headquarters, eliciting yelps of surprise and delight from ITAV's staff.

"We haven't seen this thing in years," said ITAV founder Peter Richards, rifling through the small stack of slightly worn sleeves, "and all the discs are still pristine!"

Indeed the sleeves show some wear, like your uncle's record collection -- slight spine creases, bent corners, and a little sun-fading of some of the bright colors; yet the Kinko's-produced liner notes and the the professionally pressed CDs inside look like they're being handled for the first time.

ITAV's first release, a 20-track compilation called First-Hand Accounts, Theories, And Their Repercussions that was distributed for free in 2006, boasts an intriguing tracklist of Michigan, Illinois, Indiana, and Texas musicians, and stands as an important document of the eclectic middle-period of this past decade:

Canada - Hooray For Shipwreck
Nick Schillace - Green Green Grass (live on WCBN)
Jen Sygit - Writer's Block
Rubber Band Banjo - Winter Safety Rules
Oh My God - Funhouse Mirror Mother
Phil Avalos & The Quiet Lanes - Got
The Mnemonic Devices - Young James
That's Him! That's The Guy! - Angry. Vengeful.
Stare Into The Sun - Run
Bit - Love Song
The Casionauts - Dr. Chocula Web-MD
Animal - Art Party/Wizard Of Wor
XU - Horns And Halos
Pat Zelenka - Platypus And Dolphin
Rattling Wall Collective - Citizen
Bradford - Forget It
Freel - Ghosting
Brickburner - The Future Doesn't Need Us
The Strawberry Explosion - Baby Baby Boo!
Sam Corbin - Please Come Home

Among the gems on the comp were many previously unreleased tracks and hard-to-find rarities.  The entire collection was mastered by Scott Bozack at Thin Black Line Studios in Williamston, Michigan.  It was pressed in a limited edition of 1,000 copies which were quickly distributed, and the CD disappeared into the golden glow of local music history.  Or so everyone thought.

So, what will become of these dozen, ridiculously out-of-print copies of the original edition?

"ITAV 004 was meant to be a free document," says Richards.  "That was the original deal with the artists -- that we would get their music out to lots of people, and in return they would put their best musical foot forward, give us great material to work with.  I learned a lot putting that comp together.  It's great to see that it still exists.  It's like running into an old friend."

ITAV plans to give away these slightly worn copies of First-Hand Accounts, either with purchase of some of our other releases or to individuals who make a good case for why they should have one.  In other words, free to a good home!  But we'd rather give them to people who will genuinely enjoy them than to someone who just likes to amass free stuff.  So tell us, in the comments, if that person is you!  Let us know how it won't cost us anything extra to give you a copy, how it will make us feel good, or how it will make someone else feel good.  Offer good while supplies last.

Saturday, February 5, 2011

Lansing Event: (SCENE) Folk Fest IV - February 11 & 12

For the past few years, Earthwork Music has been teaming up with the like-minded arts promotion organization Fox On A Hill and downtown East Lansing art gallery/performance space (SCENE) Metrospace to put on a two-day mid-winter folk festival.  Organized by musician Brandon Foote (of Gifts Or Creatures), the event is centered around the prolific Michigan independent singer/songwriter community, for which "folk" is a somewhat inadequate term.  A quick glance at this year's lineup reveals what might be the best year yet, with a strong showing from the indie-folk camp as well as some of the Mitten State's more forward-thinking traditionalists.

Since opening in 2004, (SCENE) Metrospace has steadily built a reputation as the premier all-ages music venue in East Lansing.  Just steps away from the campus of Michigan State University, (SCENE) is a wide-open, contemporary space that showcases cutting edge art in all mediums.  I've witnessed everything there from motion-detecting, inflatable sculptures to experimental film.  From rock shows to modern classical performances, (SCENE)'s stage has seen a constant stream of performers -- especially since moving to their current location at 110 Charles Street, in the lower level of the colorful "Habitrail," a.k.a. the Division Street Parking Garage (next door to Georgio's Pizza).

Earthwork Music is a collective of musicians founded by singer/songwriters Seth Bernard and May Erlewine (Daisy May).  Headquartered in Lake City, Michigan, Earthwork' s artists are scattered across the state, and in the case of a few, like Daniel Kahn and Luke Winslow-King, call New Orleans their home.  Earthwork blends social consciousness with a DIY work ethic and a passion for contemporary folk music.  The collective hosts an annual gathering, The Harvest Gathering, at the Bernard family's Lake City farmstead, which has bloomed from a simple weekend of camping held for an extended family of friends, into one of Michigan's most acclaimed mini-festivals.

Jen Sygit, Sam Corbin, and Gifts Or Creatures all appear from the Earthwork artist roster.  Brandon from Gifts Or Creatures commissioned the poster, pictured above, that I designed to promote the festival.  I've had the pleasure of designing the posters for this festival ever since its inception in 2008.

Also appearing are two artists who appeared on ITAV's most recent release, the In The Orchard Of Osiris compilation.  Steven Leaf, a Lansing-based songwriter, contributed the lush, layered instrumental "India Pale Ale" from his recent debut album We Are Ghosts.  Leaf's music belies the folk tag: although it is primarily acoustic it is also clearly informed by electronic music and indie rock.  We'd love it if Steve would consider ITAV as a home for his sophomore release!  The other artist who appears on I.T.O.o.O. is mid-Michigan musician Chris Bathgate, who contributed vocals to the Syscrusher track "Between The Breath Of Infinity."  We are big fans of Chris's music, and eagerly awaiting the follow-up album he's working on to A Cork Tale Wake, which is the album my wife and I fell in love to.

Someone I'm really looking forward to checking out is Photographers, based in Chicago.  I've just heard intriguing things about Photographers, and tantalizing scraps of music.

My label-mate on GTG Recordings, Small Houses, will also appear at the (SCENE) Folk Festival.  Small Houses is a unique blend of sparely gorgeous melodies, economic arrangements, and rich brevity.  I happen to know there's some new music coming out soon from Small Houses, because I am designing the cover art -- utilizing some breathtaking photography by Maren Hoopfer (of Photographers, the band).

Also in the old friends category is the folk duo Nervous But Excited.  Nervous But Excited is the fusion of two dynamic singer/songwriters, Kate Peterson and Sarah Cleaver.  Both powerful performers in their own rights, Nervous But Excited have been touring and performing together since 2004, evangelizing their extremely engaging brand of "pleasantly aggressive folk."

And the wild cards, for me, are Doug Mains and Ryan Anderson.  Who are these enigmas?  Everyone loves a good mystery.

A quick hopscotch through the multitude of links in this post should give you a pretty good idea of the caliber of performance you can expect at (SCENE) Metrospace next Friday and Saturday.  I would advise not showing up late, as the venue can only hold about 150 people and is known to sell out.  Tickets are $10, available at the door only, and the music starts at 8 PM each night.  Doors each night are at 7 PM.  

Perhaps I'll see you there?

I have some other exciting things to write about, like a friend who found a cache of ridiculously out-of-print ITAV CDs that I'll probably devise some sort of giveaway for; an upcoming Stargrazer show; new developments with the 3-Way Singles Club... but those will have to wait for another post, because it's time to hit "Publish."

Friday, February 4, 2011


During the process of gathering tracks and sequencing the compilation album that would become In The Orchard Of Osiris, I was acutely aware of the power of music to inspire more music.

From the start, I knew what kind of feel I wanted the album to have, and the word that keeps coming to mind is "autumnal."  I've always really loved Autumn.  It may be my favorite time of year, especially the early part when the days are still warm and the leaves are especially colorful.  Living in Michigan, there are lots of maples, and maples have a wide range of colors they can potentially turn: flaming bright red, a whole orchestra of oranges, golden, a sort of deep cabbage purple, tawny, and every combination you can imagine shot through with limpid green.  A drive north on US-127 will bring you to the birch forests -- unending white-barked trees with leaves turning golden, as vivid as the Gustav Klimt paintings, but real.

Even when the leaves drop and the branches are bare against the sky, there's lots of beauty (although the impending sense of winter can have its emotional downside.)  Last fall, I was driving past a golf course on a fairly windless day, and a couple of the trees had dropped their leaves all at once, almost vertically straight down onto the manicured grass.  They were standing naked in perfect pools of red, shaped like their shadows.  I wanted to go home and paint it.

Autumn is an ideal expression of the interface between life and death, growth and decay.  The forest floor is a rich layering of years and years of fallen leaves, rotten logs, bugs, worms, mushrooms, ferns.  Out of all of that springs the vital and living forest.

To me, this life process, full of color and variety and the complex shapes carved by boring insects and the fervid smell of life processes has a sound, and that sound is Joe Scott's (of White Pines) voice.  That sound is the fluent, elegiac electronics manipulated by Arms And Sleepers. It's in the instrumentation, and deep within the genetics of the songwriting.  That's what I mean by autumnal.

In addition to that abstract, synesthetic definition that blurs sound and wordcraft with images of Autumn, I also had some very direct musical inspirations -- other compilations that I listened to quite a bit while I was putting together I.T.O.o.O. that, in one way or another, fueled my process.

First on that list is Dark Night Of The Soul, the collaboration between Sparklehorse and Danger Mouse that spent much of the two-year period while I was curating I.T.O.o.O. tied up in legal disputes that delayed its release -- as it turned out, until after Mark Linkous had died of a self-inflicted gunshot.  This tragic loss aside, the album is a beautiful listen, encapsulating that autumnal feeling quite well.  NPR had been streaming the entire album even while the record label was barring its release, and I spent quite a lot of time listening to it.

Besides being a collaboration, it also functions as a compilation, since each song is sung (and co-written in many cases) by a different singer.  Each singer brings their own stamp, musically, to each piece; each piece joins fluidly into the whole.  The album blends consistently strong writing with skillful production (although Danger Mouse sometimes sands the edges off things a little too skillfully for my tastes) and great performances from the likes of The Flaming Lips (who apparently appear as an entire band), Gruff Rhys (of Super Furry Animals), Jason Lytle (of Grandaddy), James Mercer (of The Shins), Iggy Pop, Frank Black, Nina Persson (of The Cardigans), Vic Chestnutt, Suzanne Vega, Julian Casablancas (of The Strokes), and filmmaker David Lynch -- who not only sings two songs, but also provides a suite of appropriately dark and surreal photography, making this not just an audio collaboration, but also a visual collaboration.  I appreciate that boundary-crossing aspect of this project.

In a lot of ways, Dark Night Of The Soul listens like a mix tape.  Each singer's contribution sounds a lot like their own band.  And while I could have asked for a slightly more fractured beat here or there, or a little dirtier texture à la one of Sparklehorse's solo albums, this was a collaboration, and one thing Danger Mouse brings to the table is a studied approach to production.  In that regard, it's an unqualified success, and a definite inspiration for my own approach to crafting a compilation.

A second compilation album which I found highly rewarding and inspiring is Lost Tribe Sound: One.  I was given this compilation at a Benoit Pioulard show, and it contains two of his tracks, including a beautiful acoustic performance of his song "Hirondelle."

Like I.T.O.o.O., Lost Tribe Sound: One is only available as a CD.  It's well over an hour of intriguing music from independent artists all over the world, including many who I've never encountered before but who made a lasting impression on me.  I got this album right as I.T.O.o.O. was getting mastered, and my first thought was, "wow, this is exactly what I'm trying to do."

It's an impressive cross-section of exploratory music, difficult to pigeonhole, but full of indie, instrumental, post-rock, electro-acoustic, and evocative sounds.  From the Lost Tribe Sound website:

"Lost Tribe Sound: One isn’t merely a selection of some of the most vital, idiosyncratic and heartfelt music around, but also a statement of intent. Brimming with earthy, woody music that creaks and rumbles, these sounds conjure up those inexplicably elusive yet intensely powerful emotions and will envelop you like a forest floor coming to life."

Hyperbolic?  Perhaps, but pretty accurate also.  I found this to be a very enriching listen, and I'm interested in digging up more from these artists and learning more about this label.  It's generally a downtempo listen, rich with subtle melodies.  Subtlety is really a good descriptor for this album: it's wonderfully recorded and even when it's experimental it's a tightly woven fabric of cellos, intricate counterpoints, sedate tempos, and dark timbral backgrounds that are never distracting, they all serve to transport the listener.

You can listen to a preview and purchase the album here  -- although Lost Tribe Sound prefers the term "barter."  This one has my whole-hearted endorsement, if you're looking for something new, interesting, varied, and versatile.

Finally, the third CD I found inspiring was an older compilation called The Machines 1990-1993, a compilation gathering the groundbreaking 7" releases put out by Simple Machines Records.  Simple Machines was founded by Kristin Thomson and Jenny Toomey, both of whom are very active in independent music, both as musicians and as arts activists.

Toomey is perhaps best known as a member of the bands Tsunami, Geek, and Grenadine.  She founded Simple Machines initially to put out a series of 4-song 7" releases, respectively called Wedge, Wheel, Pulley, Screw, Lever, and Inclined Plane.  The records featured their own songs plus their peers in the indie-rock community such as Lungfish, Bricks, Nation Of Ulysses, Jawbox, Velocity Girl, Scrawl, Unrest, Rodan, and Superchunk.  The label later released a jaw-droppingly good tribute album to Beat Happening.  If you know me, you know that this is all musically right up my alley.

Toomey has gone on to be appointed Program Officer for Media and Cultural Policy in the Media, Arts and Culture Unit at the Ford Foundation.  So for those of you who regard participating in art and music with a baleful eye and a muttered "get a real job," she did!  And she now works to make it possible for other artists to make a living at what they do.

In 1990 I was an awkward high school sophomore, and only vaguely aware of indie rock.  Though my tastes have always been fairly catholic, I think I was listening to a blend of Robert Johnson, fIREHOSE, The Cult, Quicksilver Messenger Service and Iron Maiden at the time.  It would be a few more years before I knew what a Superchunk was.  If I saw The Machines at the mall music shop (which I think I did, actually),  I probably regarded it with curiosity but passed it over.  After all, the sleeve was embellished with silver ink and the song titles were arranged around an exploded diagram of some sort of gear-laden machinery -- my type of visual nerdery.  Had I taken a chance on it, my fledgling mind would no doubt have been melted by its punky blend of murky guitars, impassioned singing, spoken word performance, and cover versions of Simon & Garfunkle's "I Am A Rock" and Wire's "Reuters." 

It would be many, many years later that I would stumble on it for four bucks at a resale shop.  Actually it was this past fall when I had stopped in to put up a flier for the previously mentioned Benoit Pioulard show.

And there, ensconced in the liner notes, was the label's philosophy: 

  • put out music we love and sell it for a fair price;
  • make everything we do beautiful, interesting and friendly;
  • pass on skills and information (to avoid reinventing the wheel);
  • use our record packaging to educate, not just to decorate;
  • see personal pleasure and fun as measures of success;
  • endorse a measured application of caffeine (within reason) to humans who have the drive to do something creative and often exhausting with their spare time, so they can still get up and go to their dehumanizing jobs so they can make enough money to buy more caffeine;
  • support our peers' efforts by working with other small labels, bands and local businesses to sustain a productive, self-sufficient punk/la la network and;
  • answer our mail and return phone calls.

Simple Machines Records really epitomized the DIY mentality:  most of their releases included an extensive booklet detailing exactly how to put out your own records.  I'm adopting many of their principals, and I've definitely benefited from their openness about the joys and frustrations of putting out independent music.  You can read the Simple Machines story here.

Honestly, nothing happens in a vacuum.  I don't feel that acknowledging my influences diminishes ITAV's output in any way at all -- I think it enriches and elevates the experience.  When I was going to college for my studio art degree, I remember there always being a student or two in every class who denied having any influences, and resisted studying the work of other artists.  They were fiercely protective of what they saw as their artistic purity.  I think I understand that stance -- we all pass through it at some point as creative individuals -- but I also find it patently ridiculous.  It seems more like an indicator of artistic insecurity; something that stunts your growth and, more often than not, accompanies work that is either highly derivative or revolves around a "bag of tricks" that ultimately goes stale.

I think it's impossible not to be influenced by nearly everything; and perhaps most of all by the experiences -- the great records, the stunning paintings, the beautifully-written novels -- we revisit over and over because we find aesthetic resonance in them.