PREVIEW: Tim Doyle “Unreal Estate” Solo Exhibit @ Spoke-Art [SF]

January 30, 2012 in art, Global Destruction, Movies / Television


It’s been a good 3 years since we first heard the name Tim Doyle.  After catching a glimpse of his “Bill Murray Times Six” print, which quickly sold out through Doyle‘s own Nakatomi Inc.,  it was pretty clear that the Austin-based designer was definitely someone that we’d be hearing from again.  In September of 2010, we were contacted by the R&R Gallery in L.A. about a Bill Murray themed exhibit they had in the works and the first thing that I thought about was how I’d already seen Doyle nail the subject over a year and a half prior.  I noticed that he didn’t seem to be a part of the group exhibit and decided to hunt down what he had been up to.  To my pleasant surprise, I came across another Murray-related print, but this time it was Rushmore-inspired.  Along with the image was the information that it was created for a new Wes Anderson-themed exhibit.  The show was titled “Bad Dads” and was being curated by a fledgeling new gallery/publishing house known as Spoke-Art.

The Bad Dads show was wildly successful and the 3rd installment of the trademark exhibit is scheduled to take place later this year.  With the aid of consistently impressive themed group exhibits, such as the Quentin VS Coen series, Spoke-Art has continued to establish themselves as one of the top underground contemporary/pop-art galleries on the West Coast.  Not only has Timothy Doyle been along for the ride but, with his -typically multiple- contributions to these shows, he’s remained one of the major contributing factors to Spoke-Art‘s success.  Nakatomi has found continued success in it’s own right and Doyle‘s art has continued to pop-up in such places as Gallery 1988 and on poster work for the infamous Alamo Drafthouse.  Still, for whatever reason, we’ve yet to really see Tim shine in a full-on show of his own.  Now, as with Serge Gay Jr. before him, Spoke-Art is honoring one of the artists who’ve helped them to become what they are today, by playing host to Tim Doyle‘s very first solo art exhibit. Read the rest of this entry →

FOUR TET Releases Exclusive Track For Upcoming Japan Benefit Compilation

December 15, 2011 in Global Destruction, Music

In the world of electronic music, Kieran Hebden (aka: Four Tet) is one of the good ones.  Timeless, incredibly consistent, and impervious to trends, it’s always worth looking into anything new that is released with the Four Tet name stamped onto it.  Highly respected as an innovator in his field since the late 1990s, albums like 2001‘s PAUSE -his breakthrough sophomore release under the Four Tet moniker- showcased Hedben‘s continued reimagining of the genre through the incorporation of acoustic instrumentation and such unorthodox samples as clicking typewriter keys.  It also resulted in the media pinning Hebden as the posterboy for another catchphrase movement that was being referred to as “Folktronica.”  A decade later, he is still the one to watch.  Even when the musician/producer isn’t releasing his own solo material or working with Fridge (his pre-Four Tet post-rock outfit) he’s remixing music by everyone from Aphex Twin, Madvillain, and Battles to Beth Orton, Explosions in the Sky, and Black Sabbath, or collaborating with the likes of Burial and Thom Yorke.

His latest work, “MOMA” [posted below] is an exclusive track created for an upcoming Japan benefit compilation curated by Blonde Redhead‘s Kazu Makino. Read the rest of this entry →

[Preview] ABSOLUTE HAPPINESS: A Solo Exhibit by Serge Gay Jr.

December 1, 2011 in art, Global Destruction, Politics, With Video

Prior to October of last year, we had never even heard the name Serge Gay Jr.  Since then, we’ve conducted/published an interview (March ’11) with the artist here on the site and I’ve personally purchased 2 of his works (an original piece and a giclee print).  The last year has shown itself to be quite successful for Gay, finding him earning a Grammy nomination -shared with director/frequent collaborator, Matt Stawski- for his work on Cee Lo Green‘s “Fuck You” video.  As the Bay Area gallery/publishing house, Spoke Art was launching themselves into the art world with their breakthrough Wes Anderson-themed art show, Bad Dads, Serge was catching our attention with his standout contributions to that exhibit.  Since then, Gay and Spoke Art have proven to be mutually beneficial to each others success, as the San Francisco-based painter has continued to submit impressive piece after impressive piece to such Spoke Art events as the multiple round (NYC, SF, LA) “Quentin vs. CoenAn art show tribute to the films of Tarantino and the Brothers,” the Pangaea Seed-curated shark exhibit/benefit “Sink Or Swim,” and  “Bad Dads II.”  This Saturday, the two of them will work together yet again; this time with Serge Gay Jr‘s work finally taking center stage in a solo exhibit of his own. Read the rest of this entry →

EL-P Uses LEGITMIX to Sample RUSH for “DRONES OVER BKLYN” Remix

October 29, 2011 in Global Destruction, Music, Technology

EL-P (aka: Jaime “El Producto” Meline) is, arguably, one of the most important hip-hop producers of all time.  I use the term “arguably” because, I’m personally willing to argue that fact, if anyone really wants to get into it.  In the 90s, Meline started the highly influential rap crew Company Flow and released the doom-laden classic Funcrusher Plus (an extended version of their independently produced Funcrusher ep), the very first album ever put out by the then-upstart “underground” rap label RAWKUS Records.  Eventually, EL-P told RAWKUS to eat a dick and bounced, opting to form Definitive Jux, with the intention of maintaining an artist friendly label, helping to develop the artists’ careers while making sure that they received both the credit and monetary compensation that they were owed (something that he didn’t feel was happening with RAWKUS).  Using DEF JUX, EL-P went on to help make household names out of artists like AESOP ROCK and RJD2, while releasing 2 remarkable and highly innovative solo albums of his own.

A little over a year and a half ago, we posted an article which included a statement from EL-P announcing his intention to officially and indefinitely place Def Jux on hiatus.  Part of his main reasoning behind the decision was to focus on becoming an artist again, because all of the time and effort put into producing albums for others and running a label was beginning to interfere with his abilities to do so effectively.  The silver lining for Def Jux fans is that EL-P has been making good on that promise.  Since the announcement, Company Flow has reunited to perform Funcrusher Plus in it’s entirely for ATP in London (plus, a few other select dates),  Producto has released another mixtape, and even produced and/or appeared on tracks for artists like Killer Mike and Das Racist.  Seeing as the rapper/producer hadn’t released a proper solo album since 2007‘s I’ll Sleep When You’re Dead, the main question for a lot of us was when that was gonna happen.  That answer came back in August with the news that EL-P had signed to Fat Possum records for a 2012 full-length titled Cancer for Cure, and the free download of the sample track, “Drones Over Bklyn.“  Now a remix of Drones has arrived with an extremely well-known and recognizable sample; one that Meline never bothered to disguise in the slightest.  What’s more is that he’s actually openly selling it -albeit for for charity (Mr. Dibbs hopital fees)- without ever getting the sample cleared and, thanks to a new service known as LEGITMIX, he may not even have to. Read the rest of this entry →

PangeaSeed & SPOKE ART Present “SINK OR SWIM” [Art Exhibit/Fundraiser]

September 22, 2011 in art, Global Destruction, Politics, PSA

When I was growing up in the 1980s, it was nearly impossible to think about sharks without thinking of the movie JAWS.  Although the original film was actually released in 1975 -the first 80s sequel wasn’t until JAWS 3D (1983)- it was such a groundbreaking cinematic accomplishment and it permeated our culture to such a degree that it was difficult to see imagery of a shark swimming without instantly hearing that infamous John Williams tune doom-thumping through your skull.  JAWS helped launch Spielberg‘s career and has even been credited as the father of the summer blockbuster.  The film transcended the horror movie genre in such a way that the idea of a killer monster shark not only felt like a plausible storyline, but it also felt as it were a real life inevitability.  Those of us who were not marine biologists -especially, those of us that were incredibly young- accepted the idea of JAWS as the quintessential interpretation for the cartilaginous fish and often internalized it as a reality.  What it taught us was that, completely unprovoked, a shark will eat your ass whole.  Even more, they just might jump up onto your boat or simply bite the goddamn thing in half.  In 1987, the Discovery Channel began airing their annual shark week series to help us regular folk gain a wider respect and understanding for these majestic animals of the deep, which had been striking unwarranted fear into the hearts of so many for so long.  It’s fair to say that, over these last 2.5 decades, leaps and bounds have been made in the way of remedying the PR disaster which began for shark kind in the mid-70s, but logic and fear can not always co-exist on the same plane and it can still be difficult to shake off the impact made with those original negative impressions (not unlike with the HYUNDAI EXCEL).  In reality, humans are a great deal more of a threat to sharks than they have ever been to us and many species of the animal have become increasingly endangered.  According  to NOAA Fisheries, “over 100 million sharks are killed each year” by humans, both accidentally, as well as intentionally.  Fortunately, organizations like PangeaSeed have been erected to help reverse this trend and, in association with San Francisco‘s SPOKE ART, they are presenting a new group art exhibit with the hopes of raising some money to help aid in that endeavor even further. Read the rest of this entry →

KRAMPING STYLES – THE BLAB! SHOW Group Exhibit @ Roq La Rue [PREVIEW]

August 8, 2011 in art, Global Destruction

Roq La Rue is an internationally renowned pop-surrealist/contemporary art gallery located here in Seattle.  Along with her work compiling and editing the “first comprehensive survey of the Pop Surrealism/Lowbrow art movement”, Pop Surrealism (Last Gasp, 2004) Roq La Rue owner/curator, Kirsten Anderson has made a name for herself as the editor at large for Hi-Fructose Magazine and for the consistently awe-inspiring and high quality exhibits presented at her gallery.  This week, the venue launches their latest show, which not only places it’s focus on an outside publication, but also features an outside curator: Monte Beauchamp, founder of BLAB! Magazine.

Since it’s humble beginnings as a self published zine in the 80s, BLAB! has gone through a handful of changes and risen into a highly respected annual anthology of comics, as well as a vehicle of exposure for talents in the contemporary graphic design, illustration, printmaking, and associated art worlds.  This year’s BLAB! SHOW will showcase works by many of the artists who have been featured in both Beauchamp‘s publication and Anderson‘s gallery in the past, respectively.  Among the 26 contributing artists are such Monster Fresh favorites as Travis Louie (previously featured here) and past interviewee, Brian Despain.  More than just a simple assemblage of some of the “underground” art world’s elite, the BLAB! exhibit will actually be a themed group show, with the mythical European Christmas figure of the demonic KRAMPUS operating as the muse for those crafting and providing pieces. Read the rest of this entry →