Tag Archives: velvet elvis

[Archive 06.06.12]

1)Pauline Oliveros, “Another Big Mother” Reverberations: Tape & Electronic Music 1963-1970 (Important Records)
2) University of Toronto Electronic Music Studio, “Pinball,” Electronic Music 
3) Ghost Father, “KFW”
4) Darrin Martin, “12 Right,” Out of Nowhere: Electro-Acoustic Music from the Upstate Fringe 
5) Fear Konstruktor, “Burial Mounds” Mirror (cae-sur-a)
6) Kyle Bobby Dunn, “An Evening with Dusty” Bring Me the Head of Kyle Bobby Dunn (Low Point)
7) Todd Peck, “Lifted”
8) Le Berger, ” A Rainbow of Monisms”
9) Tante Elze, “In a Dream I Was Getting Into Your Car” (Sleeves RMX)
10) Kristachuwan, “Mind Cloud”
11) Cato Salsa Experiences, Thing, and Joe McPhee, “Our Prayer” Sounds like a Sandwich
12) Bassin, Borden, and Merritt, “Reputation Defenders” The B-1 Slee Sessions (5-25-12)
13) Steve Baczkowski-Bill Nace Duo, “Live in Buffalo,” (Northern Spy Records)
14) Velvet Elvis, “Big Game Hunt,” In Deep Time (cae-sur-a)

[Preview 06.06.12: New Oliveros, KBD, and Velvet Elvis]

Tons of great stuff to get to tonight on The Upstate Soundscape, including new Pauline Oliveros, Kyle Bobby Dunn, and Velvet Elvis (who will also be rolling through Buffalo this Saturday).

We’ll also preview the The Thing with Joe McPhee show scheduled for Tuesday at Hallwall’s. 

Show starts at 9pm. Tune in to 91.3WBNY FM or stream at WBNY.org.


[Archive 03.29.12]

Due to the host being a dipshit and forgetting to hit ‘record’ at the start of last night’s show, there is no archived version of last night’s show. Pity, because it was a good one. Kind of surprised this hasn’t happened before, actually. Anyway, you can still check out last night’s tracklist below.

1) Martin Freeman, “Beastin,” Beastin
2) All of them Witches, “Toyotal Recall,” Breathers vs. Drivers
3) Bear Flames, “Judas/Heavy Outro”
4) Velvet Elvis, “Pretty Girls in Lace,” No Rules in the Wasteland (cae-sur-a)
5) Tuurd, “I Wish My Wife Was This Dirty,” I Wish My Wife Was This Dirty (Carbon)
6) AIDS Wolf, “Very Friendly (Weasel Walter Remix)”
7) Bees////, “MONSTERFLOWERCAT,” GA/KA
8) Dustin Wong, “Diagonally Talking Echo,” Dreams, Say, View, Create, Shadow Leads (Thrill Jockey)
9) Christian Marclay, Elliot Sharp, Vernon Reid, Melvin Gibbs, Lee Ranaldo, Mary Halverson “Graffitti Composition 2” Graffiti Composition
10) Deerhunter, “Weird Era,” Wierd Era Cont. (Kranky)
11) Odonis Odonis, “Ledged Up,” Hollandaze (Fat Cat)
12) Lotus Plaza, “Remember Our Days,” Lotus Plaza/Odonis Odonis Split 12″ (Fat Cat)
13) Settlers, “Sky Kings”
14) Women, “Untogether,” Public Strain (Jagjaguwar)
15) Grasshopper & The Crickets, “Sketches of Saturn,” The Orbit of Eternal Grace (Beggar’s Banquat)
16) Sonic Youth, “Anagram,” Perspective Musicales (SYR)
17) Off the International Radar, “Critical Mass,” OTIR 003 (Voof Records)
18) Location Ensemble, “Diversion # 3,” Live in Saratoga 11.12.11(Tape Drift)
19) Colin Stetson, “The End of Your Suffering,” Those Who Didn’t Run (Constellation)


[Preview 3.28.12: Loud Avant Rock-type Shit]

Albany's Location Ensemble

Looking over the potential playlist for tonight’s show and it seems like there is a lot of experimental rock-type stuff on it. At least stuff with guitars anyway. . .

Got some Location Ensemble, some Bear Flames, some All of Them Witches, some Velvet Elvis, some Bees////, some Odonis Odonis, some Martin Freeman, some AIDS Wolf, some Bird Day….maybe some Settlers and Yoma as well.

Toronto's Odonis Odonis

And that’s just the regional stuff….

Probably get to some Krautrock and No Wave, along with other goodies as well.

In other words, it will be a great fucking show, so tune in to 91.3 FM WBNY at 10 pm for another episode of The Upstate Soundscape.

Stream at WBNY.org.

Oh…we’ll also try to squeeze in a preview of Freeform Record Party at the Bend this Friday and the Colin Stetson show at Soundlab on Sunday. If we have time.


[Label Spotlight: cae-sur-a]

This week on The Upstate Soundscape the two heads of Rochester label //cae-sur-a//–Cory E. Card and Jen Marquart–will be in studio to play some tunes from their label’s catalog, including some unreleased stuff that you won’t hear anywhere else.

As a label, //cae-sur-a// has played an important role in the development of The Upstate Soundscape radio show, not only by supplying it with killer sounds, but also by expanding the show’s focus (and then audience) beyond the city of Buffalo.

It all started way back in November of 2010 when our little radio show (then going by simply The Soundscape) had only been on the air (on a different signal, mind you) for a little over a month. While the show has been dedicated to experimental music and sound since the beginning, the regional focus of the show didn’t start to come into being until a brand new label from Rochester emailed me about some underground cassettes they were releasing.

That label was //cae-sur-a  //.

It was after hearing how great those three original tapes were (which included personal favorite Tone Arm by Buffalo’s Steve Bazckowski) did the idea to make The Soundscape an experimental radio show for the Upstate region really come into being. After finding //cae-sur-a//, I began poking around to see what other labels might be working in the region….little did I know how much I was about to stumble on to.

So it’ll be with great pleasure to welcome Jen and Cory to the studio this Wednesday night to talk about their label, which has grown up alongside The Upstate Soundscape, a radio show that they’ve had an indirect hand in building.

For now, check out this interview with Cory and Jen below, and also check out the mix Cory made for us that was posted yesterday.

What is the story behind //cae-sur-a//? How and when did it get started? What was the motivation behind the label’s creation?  

Cory and Jen: We began //cae-sur-a// mid-2010, over a conversation we were having about the idea and desire to run a label, mainly to promote the work of friends and artists that we admire.

Tell us about the //cae-sur-a// team and whoever else is involved with running the label.  

Cory and Jen: //cae-sur-a// is a two person (Jen Marquart and Cory E. Card) operation with occasional contributions from friends. Holger Adam from Phantom Limbo and Test Card has written copy for us and Mike Tarantelli is working on some artwork for an upcoming release.

Are there any labels out there that you patterned //cae-sur-a// after or strove to emulate? What labels, past or present, do you admire? 

Cory and Jen: We really admire labels that work to establish their own personal aesthetic, maintaining a commitment to putting out great music with attention to both auditory and visual details.  Some of these are also close friends whom we have looked to for advice as well as inspiration: Dais RecordsPeriod.Tapes,  Robert & LeopoldTape DriftCarbon Records,  Brave MysteriesSicSic Tapes.                                                            –

What’s your take on the current state of experimental music in general? Is this a good or bad time to be an experimental artist/fan?

Jen: I really don’t think about it much. What is meant by “experimental music” has become so vague. On the positive side of the spectrum this means that the genre is continuously morphing and changing, but it also means that “experimental music” also falls prey to taste-makers and the “anything goes” attitude of its not so experimental counterparts. Is it ever a bad time to be a fan of anything? It’s definitely easier to be a fan of experimental music these days, which is always a plus.

Cory: The one thing that I think is all at once interesting, exciting and at times detrimental to the whole genre is the ratio of participants to audience (you will even see evidence of this in some of our own answers above and below). In many cases and situations they are one in the same.  On the positive front, the dialogue that evolves can become quite complex, but it can also quickly devolve into an insular perspective, leading to potential stagnation and exclusivity.

Any releases you’ve heard from 2012 yet that stand out to you?

Cory: Tuurd – I Wish My Wife Was This Dirty (Carbon Records ,CR198). I am also am highly anticipating the new Rain Drinkers LP on Brave Mysteries.

Jen: It’s a bit early in the year for me to commit to such a question… Definitely the Tuurd-I Wish My Wife Was This Dirty LP. I’m looking forward to what else this year has to offer.

Tell us about some of cae-sur-a current and upcoming releases.

Cory and Jen: This year we are picking up the pace even more, we have a ton of great releases planned including our first two vinyl releases, the first of which will be Velvet Elvis’ debut full length, which should be out around April or May, the second is by the German trio Autistic Argonauts, which will see a release in late Autumn/Early Winter.

Last month we released our second Velvet Elvis tape No Rules in the Wasteland and our first split between Giant Claw and The Cats’ Orchestra.  These two are highly contrasting in approach, Velvet Elvis being a straight up stoner/doom rock band while the split contains two forward thinking electronic meditations.

Up next we have tapes by psych/folk duo April in the Orange, drone/folk trio Riasni Drova Consort, the minimal electronics of Lefterna as well as some amazing tapes by our good friends Rambutan and Fossils From the Sun, BLACK CHALK, Fear Konstructor and a whole lot more. You can check our forthcoming page on our website.

8) Is there a past release that you feel deserves a second look?

Cory and Jen: Thats a hard one… as I really love everything we have put out. If I had to pick one to gain more attention than it has I would say the Novoe Tsarstvo release that we did back in September.

 

Any advice for aspiring label owners?

Cory: Have patience, only release stuff you can really stand behind, and budget appropriately

Jen: I don’t think Cory emphasized patience enough! patience// patience// patience, plus realistic goals and devotion.

Any Upstate artists/labels you are really into at the moment? Any one we should look out for?

Cory and Jen: As far as labels go, the ones run by friends we have known and worked with for many years: House of Alchemy, Tape Drift, and Carbon Records are always doing great things, that respect and excitement turns into the musicians as well: Tuurd, Rambutan, Fossils from the Sun, Burnt Hills, Century Plants, April in the Orange, Velvet Elvis, Jungle Heart, Pengo, Blood and Bone Orchestra, Licker, Foot and Mouth Disease, Harold Biffen, Andy Gilmore R(ockin) Scott Oliver and our friend Jarek Miller who plays drums with our band Stone Baby sometimes.

Cory and Jen performing as Stone Baby (Image courtesy of Ithaca Times)

What’s the experimental scene like in Rochester? Where would you tell somebody to go if they came to Rochester wanting to see experimental music?

Cory and Jen: Rochester has a long history within the experimental music world, extended back, to our knowledge, to the beginning of Joe Tunis’s Carbon Records in the 90’s, but most likely way before so there are some heavy hitters such as Pengo (who have been in existence for a long time), Coffee and many of the other bands mentioned above (for a more complete history talking to Joe Tunis, John Schoen, Nuuj or Jason Finkbeiner would be of the essence).

The scene really revolves around a certain level of interconnectivity and crossover; I believe Joe Tunis alone has some 14 projects active and inactive.  As for venues since the A|V Space closed there has not really been anything stable.  Occasionally Rochester Contemporary Art Center will put something on, and there are also sporadic shows at the Bug Jar, as well as house shows that pop up here and there. To come and see something you would probably have to know the participants or someone who knows them to be able to fully experience it.

How does somebody get a hold of //cae-sur-a//’s stuff?

Cory and Jen: The ideal place is our website. We sell on Discogs under CommonError. Carbon Records and Flipped Out Records run by Jackson Wingate carry all our releases and both have some of our out-of-print titles, such as Steve Baczkowski’s Tone Arm and Pine Smoke Lodge’s Season Above Lakes. I cannot recommend either of them enough for quality distribution and as stand up individuals.

We also have some releases distributed through Eclipse Records, Tomentosa, 905 Tapes and DNT Records.

If you are in Rochester and into grabbing stuff at a store, all current //cae-sur-a// titles are available at Needledrop Records.

As a cassette-only label, what’s your take on the re-emergence of the cassette as a legit medium to release music on?

Cory: I have a deep running attachment to cassettes; I think I got my first tape when I was 5 (Springsteen’s Born in the USA, still have it), made mix tapes constantly throughout my teens and into my 20’s, my Master of Fine Arts thesis was all about their physicality, so all in all I can say I am excited about cassettes in general.  Though they may not have the best sound, they have a durability and physicality that is lacking in other mediums, plus they are relatively cheap to produce.

Jen: My Sony Walkman was my best friend growing up. I could fill an entire bag with cassette tapes to get through family vacations or uncomfortable wedding receptions/ graduations/ retirement parties etc. There is a definite nostalgia: shoving paper wads in a Tiffany tape (unwanted birthday present) so i could record songs off the radio and having just enough money for cassingles. Most of our generation has some similar connection with the medium. Does that legitimize tapes? Not a clue.

Tune in Wednesday night at 10pm to 91.3 FM WBNY to hear Jen and Cory live on The Upstate Soundscape. Stream at WBNY.org. 


[Review: Velvet Elvis, ‘No Rules in the Wasteland’]

Here we have some good ol’ fashioned heavy riff-based rock. Rochester-based experimental rock group Velvet Elvis takes its cues from a number of different eras of metal music: from the earliest bad-trip blues of groups like Black Sabbath and Sir Lord Baltimore, to the fantastical imagery of power metal groups from the early ’80s like Dio and sludge metal like Saint Vitus, through the boom of ‘stoner’ metal in the early ’90s with bands like Kyuss and Monster Magnet, to the current revival of ‘doom’ rock in the form of bands like the Sword and Electric Wizard.

So, I don’t want to encourage any use of illicit substances, but when listening to this, it would certainly make sense to smoke ’em if you got ’em.

The use of the term ‘stoner’ metal is certainly not a misnomer when applied to this cassette from the cae-sur-a imprint (also from Rochester). This particular group of songs, like much of the genre, sounds like a 45 being played at 33 rpms. There isn’t really any other explanation for why it is so incredibly slow. But getting high does have an effect on the perception of time and makes the lethargy of the songs here sound completely natural. Imagine the typical image of crazy headbanging kids at a metal show with their hair whipping all over the place. Now slow the footage down and you have this kind of music.  And truly, the strength of music like this comes from the tempo; like a herd of elephants, it crushes everything in its path not because of any malicious intent but because the sheer magnitude and power behind it is incapable of gentility.

And the pace of the music tends to dictate that songs will stretch out much further than the normal three-to-four minute range. The first song here, “No Rules in the Wasteland,” is actually fifteen minutes long, managing to encompasses everything great about this genre; incredibly drawn-out song structures centered around simple power-chord grooves, shifting dynamics, and emphasis of the rhythm section over any complicated harmonization. This is a fantastic song, and for all the metal super-fans there are some nice little touches like the slow-phased guitar in the beginning, an acknowledgement of this genre’s past.

While this song is fifteen minutes long, it never gets boring. In fact, it only gets more interesting when, halfway through, it breaks down and reformulates into an even slower groove for much of the remaining time. There are only a very few examples that would serve as a better introduction to this genre, and since the other one that comes to mind (Sleep’s “Dopesmoker”) is quite ridiculously long, this song has a bit of an edge.

The next two songs are much shorter but no less interesting. “Pretty Girls In Lace” uses the same kind of curious, swing-like rhythm that has popped up in metal ever since Sabbath’s “Fairies Wear Boots.” This kind of jazz rhythm has always somehow fit in well with the half-time feel of this slower music. In particular, the beginning of the song barrels forward, finally settling into a groove that is slow enough before revealing that it was a complete fake-out; the song goes into half-time and begins in earnest about a minute in.

“Stop and Think” employs riffs and chord progression that deviate from the standard pentatonic scale and use several chromatic notes. Combined with the jittery, nervous drums, the song has a very unsettling texture.  The final section of this song, another slow jam with bits of vocals coming out of every corner, sounds like the soundtrack to a human sacrifice at a black mass. The final track is similarly unnerving; “Where’s Your Marlboro Man Now?” is an odd piece of musique concrete with spoken word over guitar feedback and what sounds like cars driving down a dark, rainy highway at night.

There are a few things that make this cassette a standout among works of this genre. The first is the production; the entire album sounds as though it is covered in a muddy veneer, making it very authentically ‘sludge’ rock.

The second is the presence of a female vocalist. The lack of women in rock, and heavy metal specifically, is a trend that has thankfully been changing over the past few decades. The singer here, Karrah Teague, is a little frightening in parts, especially when belting out long, sustained notes in the background of “Stop and Think.” For whatever reason, female vocals in a metal context are far more disconcerting (in a good way) than male vocals. Perhaps because of their rarity, perhaps because of the social mores that girls are ‘nicer’ than boys, whatever. It works.

The third reason that this album is superior is because of the rhythm section. Too many bands, especially metal bands, put way too much of the spotlight on the singer and the guitars. They forget that what made Black Sabbath truly great is that they possessed perhaps the greatest rhythm section in rock history. Velvet Elvis, likewise, has an incredible rhythm section. Since this music relies so heavily on rhythm and groove, this is an absolute necessity and the band measures up to the standard much better than most.

I would suggest laying down with your headphones on, turning off all of your lights (except for your lava lamp) and zoning out to Velvet Elvis, a great, heavy experimental rock band with lots of potential. That’s exactly what I did.

__________________________________________________________

Review by Liam McManus


[Archive 02.22.12]

1) Velvet Elvis, “Where’s Your Marlboro Man Now?” No Rules in the Wasteland (cae-sur-a)
2) SlowPitch, “Teary-Eyed Bird Watcher”
3) Orphx, “Signal to Noise,” Circuitbreaking (Hymen)
4) Katastrophic, “Refigure (Mark Kloud Remix)”
5) Kristachuwan, “Rurricane Helics”
6) Kid on Purpose, “Saul Solemnly Searching his Soul on the Surface of the Sun,” Diffusion Tensor (Level 4 Activated)
7) Skeleton Zoo, “Broken Sky Welder”
8) Sink/Sink, “Astronavt,” The Darkest Dark Goes (Feedback Loop Label)
9) Occult Modem Setting, “Submit (Directly to Chef),” Compression Artifacts 
10) Todd Peck, “Daze Away” Adirondack Ocean  
11) Kevin Hume, “Love is a Feeling,” Out of Nowhere – Electro-Acoustic Music from the Upstate Fringe
12) University of Toronto Electronic Music Studio, “Inferno” Electronic Music
13) Bent Spoon Duo, “B,” Price of Darkness (House of Alchemy)
14) KG Price with T. Andrew Trump, “Pulmonary Import”
15) Off the International Radar, “Critical Mass,” OTIR 003
16) Women, “Eye Sore,” Public Strain (Jagjaguwar)