Hey kids, do you like the psychedelic jams?  Do you like to drone out on the goof sauce and get weird?  Of course, you do.  Well, if you’re also into the minimalist, fuzzed out, experimental space grooves of San Francisco‘s WOODEN SHJIPS, you’ll probably be pleased to discover that they have a new full-length album slated for release next month.  If you live on the West Coast, we have some additional news to keep your synapses buzzing like a mosquito zapper; the 4-piece is doing a quick 5 show run this month and it’s super easy to grab yourself a pair of tickets to peep them out live free of charge.

When guitarist/vocalist, Eric “Ripley” Johnson started WOODEN SHJIPS in 2003, he did so with the same vision that a lot of burned-out musicians have attempted to employ in the past.  His idea was to, basically, gather up a bunch of fools who had no idea what the fuck they were doing, lacked proficiency in their instruments and, in turn, wouldn’t have any other option than to create something refreshingly new and without limitation.  The problem with this idea is that, when you’re dealing with a format like that, the limitations are still clearly present; they’re just of a different nature.  It can be difficult to find capable musicians who are focused and dedicated to a project, let alone finding people that have already proven that they have no desire to master the instruments that they’ve been handed.  Then there’s always the question of, “Once they learn how to incorporate some level of rhythmic pattern, is the experiment/project over?“  Of course there’s a fine line, but the fact that certain members had no desire to play live or move forward inevitably changed the project and forced it to evolve.  Eventually, both the members and the music eroded down to something more polished, with the collective resembling something much closer to a 4-piece rock outfit and the wayward sounds mutating into more traditional song structures.  It’s true that many of the tracks still break the 10 minute mark with extended jams, dissonant vocals, spaced out delay, a haunted organ, and an overall ghost-like eeriness, coated and vivisected by Ripley‘s soaring/screeching guitar work, but there are solid grooves and evident frameworks supporting the swirling storms within.

Johnson held the romantic notion of recording material that would undoubtedly get lost in the folds of time, only to be discovered in the future as hidden gems, much like Gary Higgins‘ Red Hash or Gary Wilson‘s You Think You Really Know Me.  One major difference between Ripley‘s work and that of the Garys -aside from their clearly opposing aspirations- is that, while artist of the distant past had to work exponentially as hard to find a voice through album distribution and advertisement in a pre-MTV world, WOODEN SHJIPS was created in the internet age, where the idea of “experimental” music is much more widely embraced and quiet, independently-produced albums are much more widely accessible.  WOODEN SHJIPS released a few limited run releases without any real promotion or internet presence, but it wasn’t long before they gained a healthy buzz.  Their first official full-length was a self-titled effort released on Portland, Oregon-based, Holy Mountain records in 2007 and was followed by a compilation of the self-released/harder to find tracks called Vol, 1 the following year.  2009 saw the release of DOS, also on Holy Mountain, which had the vocals sounding a slightly less “Doorsy” and contained 2 tracks that were over 10 minutes; pluses that helped to grow my interest for the group further.  On schedule, an additional compilation of lesser known tracks, aptly titled Vol. 2, was released in 2010.

Since their last official full-length in 2009, however, Ripley Johnson has been working as part of the two-piece, keyboard/guitar space rock outfit MOON DUO and, with their album MAZES (Sacred Bones) becoming one of the most played releases for me this year, I questioned the possible future of WOODEN SHJIPS.  Clearly any doubt on my part was unwarranted, as their new album, WEST is slated for a September 13th release date, falling right in the middle of the European leg of an extensive upcoming tour.  For this new release, the SHJIPS have switched over to Chicago-based Thrill Jockey records (Tortoise, Trans Am, Mi Ami, Boredoms, etc) to make their first proper studio recordings, with the mastering being handled by Pete “Sonic Boom” Kember of Spacemen 3 and Spectrum fame.

Click here to view the embedded video.

Before heading out to Europe in September, five West Coast dates have been announced, as well as a free RSVP link to obtain free tickets to attend each of the performances.  Sponsored by Sailor Jerry Rum, the link does require you to agree to receive further emails from the company, but let’s be honest… all you have to do is give them that hotmail account that you created in 1999 and never pay any fucking attention to anymore anyway.  Simple simple…

HERE ARE THE DATES:

Aug 18 San Francisco, CA
Aug 19 Los Angeles, CA
Aug 20 San Diego, CA
Aug 26 Portland, OR
Aug 27 Seattle, WA

CLICK HERE TO RSVP NOW!

These days, MTV rarely even plays videos or music related programming at all.  Instead, the station has opted to place their focus on terrible reality shows about knocked-up underprivileged teens and self-involved over-privileged teens.  This downfall started back in 1992 with the premiere of The Real World, which, in turn, helped to spawn the reality show craze that continues to poison television programming and culture at large.  It might be easy to forget now, but 120 Minutes and Liquid Television weren’t the only MTV original programs that were not complete trash throughout the 90s.  In fact, around the same time that The Real World first aired, the music channel was also taking a stab at launching a handful of now-historic comedy programs.  The original version of The Ben Stiller Show began with MTV, but later moved to the FOX network where it grew into a full-blown sketch comedy show, featuring the writing talents of Judd Apatow and future Mr. Show creators, Bob Odenkirk and David Cross.  It ran one season before being canceled.  Jon Stewart also hosted a talk show on the network, but it was later syndicated out, replacing the old Arsenio Hall time slot.  That had an even shorter run.  Of all the shows that came out during this time period, however, my favorite was probably the sketch comedy show THE STATE.  The program starred  a comedy troupe of the same name that had found previous work recreating the details of viewer letters in MTV‘s You Wrote It, You Watch It, also hosted by Stewart.  Like the other programs, The State didn’t last very long, but the talent involved went on to create such shows as Viva Variety, Stella Comedy, Reno 911, and Michael & Michael Have Issues, as well as to be involved in Adult Swim programs like Super Jail and Childrens Hospital.  Sure, not all of those subsequent ventures by THE STATE troupe were necessarily “successful” hits either, but that doesn’t make them any less awesome.  Perhaps one of the most simultaneously unsuccessful and awesome attempts by the gang came with the 2001 film, Wet Hot American Summer.  Coincidentally, it’s also one of my favorites.

Click here to view the embedded video.

Wet Hot American Summer is set at a Jewish summer camp in 1981 and, as you could probably tell by the trailer (above), it parodies such movies as Meatballs and Little Darlings, from that time period.  Starring and co-written by David Wain and Michael Showalter, the film also features other cohorts from The State like, Michael Ian Black, Ken Marino, and Joe Lo Truglio.  Further contributing their improv/sketch comedy talents are Molly Shannon (SNL), Amy Poehler (UCB, SNL), Janeane Garofalo (The Ben Stiller Show), and A.D. Miles (Dog Bites Man, Late Night w/Jimmy Fallon, ).  Rounding out the cast are future 30 Rock cast members, Judah Friedlander and Elizabeth Banks, as well as a varied selection of actors that range from Paul Rudd (Anchorman, 40yr Old Virgin) and David Hyde Pierce (Frazier) to Bradley Cooper (The Hangover) and Christopher Meloni (Law & Order: SVU).  It was an all-star cast, before they were all stars, and, while the ensemble is undeniably impressive and the film was great, it was still a critical and commercial wreck.  There was no surprise there, everything else that I ever seemed to like tanked just as hard.  The Big Lebowski was also considered a failure when it was first released but, unlike the Coen Bros‘ cult classic, I was never fully aware that so many others were so fully aware of the summer camp comedy, or had even heard of the film at all.  Now, with 2011 marking it’s 10 year anniversary, the folks behind Gallery 1988 in Los Angeles are finally giving the film the recognition that it deserves in the form of a WHAS-themed group art exhibit.

You may recognize the name Gallery 1998 from other art exhibits from them that we’ve posted about in the past.  Focusing on pop-culture-centric artwork and emerging talent, the gallery has consistently managed to curate one impressive exhibit after another, while drawing from a pool that consists of some of the finest contemporary pop artists in the game.  Along with their growth came an additional Los Angeles location, affording them the ability to run two completely separate exhibits simultaneously.  The “Camp Firewood” group show will bring together over 65 individual artists to contribute their own unique interpretations of Wain and Showalter‘s classic, Wet Hot American Summer.  The opening night will be held this Friday night, June 10th, and will take place at the Venice location.  Among the participants are names like Augie Pagan, Brandon Schaefer, Jeremy Tinder, Ian Glaubinger, Dave MacDowell, Dave Perillo, Derek Deal, Rich Pellegrino, Phantom City Creative and many others.  The show will continue to run until the 29th, but we recommend making it out for the opening night to anyone that has the ability to do so.  Director/co-writer, David Wain will be hosting the event and there should be plenty of more surprises on hand.

EVENT:

“Camp Firewood:
Celebrating the 10th anniversary of Wet Hot American Summer”
June 10 – 29, 2011
Gallery1988 (Venice)

OPENING:

Hosted by David Wain
Friday, June 10th from 7-10 PM
G1988:Venice

LOCATION:

Gallery1988: Venice
214 Pier Avenue
Santa Monica, CA  90405

Gallery 1988 graciously sent over a sample of some preview images for the event that we’ve posted below for your viewing pleasure.   We’re sure that those of you who are familiar with the film will agree that it appears to be shaping up rather nicely, with another standout piece by New York-based painter, Casey Weldon.  Still haven’t seen the film?  Well… there’s a related event being held this Thursday at the Los Angeles film school, which will include a free screening of WHAS and a Q&A with Wain and podcaster, Jeff Goldsmith.  You can find out more about that event HERE.

(click images to enlarge)
Aaron Jasinski

Adam Limbert

Andy Suriano

Casey Weldon

Justin Santora

Justin White

Rich Pellegrino

Shannon Finch

William Bensussen (aka “The Gaslamp Killer”) has been tearing up stages and DJ booths since he was 17, infiltrating and wrecking the, otherwise, fairly orthodox “dance club” scene of San Diego‘s Gaslamp district.  In 2006, he relocated to Los Angeles and helped found the Low End Theory weekly that now serves as the epicenter for U.S.-based experimental beats.  Generously borrowing from a wide range of genres, GLK blends hip-hop, dubstep, jazz, and just about anything else into high-energy, schizophrenic sets characterized by fast cuts, chest-crushing bass, and gritty top-shelf beats.   Although mostly known for his DJ sets and mixes, Bensussen has also dabbled in production, collaborating with label-mates Flying Lotus and Daedelus in the past, and, more recently, with Gonjasufi on the critically acclaimed A Sufi And A Killer.   His most recent project, the Death Gate EP, just came out on Flying Lotus’ Brainfeeder label this past month, and blends deep bass lines with dirty analog drums patterns, twisted ethnic samples, and dreamy, distorted synth lines.  The album includes guest appearances by Gonjasufi, San Francisco-based DJ/producer Mophono, and LA keyboard wiz Computer Jay.

I sat down with The Gaslamp Killer before the “Magical Properties” show at 103 Harriet in San Francisco on October 15th.  The tour featured other Brainfeeder/LA acts such as IDM pioneer Daedelus, dubstep producer/DJ 12th Planet, and Brainfeeder newcomer Teebs.  The lineup encompasses much of what is so exciting about the LA scene- off-kilter beats, powerful bass, record-crate samples, and plenty of weirdness.

- Davis Memes

DM: So, you just released the ‘Death Gate’ EP this week, right?

GLK: Yeah.

DM: Is there anything you want to tell us about that?

GLK: Well, the ‘Death Gate’ EP has Gonjasufi, Computer Jay, and Mophono from San Francisco on it.  It’s kinda like ‘My Troubled Mind,’ but a little different.  It’s got a lot of my live drumming on it, and a lot of my live sounds that I’m making with some modular synths; a lot of keyboards by Computer Jay again.  It’s on Brainfeeder, you can get it on iTunes, you can get it on thegaslampkiller.com, you can get it at Amoeba…

DM: Limited edition…?

GLK: Only 2000 copies on vinyl, but digital is endless.  Never-ending digital…

DM: It seems like you often do a lot of collaborations with people on productions- how does that usually go down?   Is it sending tracks back and forth, or are you guys actually in the studio together..?

GLK: With Gonjasufi, it’s just sending stuff to him.  With Mophono, we got in the studio together.  With Computer Jay, we got in the studio together.  Daedelus and I got in the studio together- that’s on a tour-only 7” available on this tour only.   It’s called “Impulse” and it’s a Gaslamp Killer and Daedelus tune that we made together, we recorded it together- did the whole thing together.  Yeah, I love collaborating with people because I don’t really have my production formula down as much as I would like, but I’m pretty fucking good with Pro Tools, and it’s all kind-of DJ edit style- it’s cool, but it’s not- I haven’t found my voice yet.  I know what I like- I have a good ear- but I haven’t determined my own sound yet, so I’m still working on it.  And I think working with other producers can help you find out what you like and what you don’t.  People like Daedelus have been producing ten years longer than me, so…

DM: So most people know you as a DJ, but you do production as well- how would you relate the DJ’ing aspect of your career compared with the producing part- like, percentage-wise, or importance-wise…

GLK: Well, I’m a DJ first and foremost, and I don’t find the time to produce as much as I would like to because I’m on tour all of the time.   But I’m taking four months off to record my album now, and I am finding it hard. <GLK is distracted by someone across the room for a minute; an inaudible exchange occurs and we’re back to our conversation>

Alright, so I’m definitely a DJ more than a producer, but I’m trying my fucking darndest, man- that’s for damn sure.

DM: Yeah, it sounds great.  One thing I’ve noticed about you and a lot of the other LA producers or American producers in general in the whole ‘bass’ scene is that you guys are more ready to use samples; samples of real drums and breakbeats and vinyl samples and things like that than some of your European counterparts- do you agree with that?

GLK: Definitely.  I think all of us- well, I’ve been collecting records for so many years that the thought of just using whatever came with my machine or my plug-ins in Pro Tools- I mean, it’s cool that it’s there, but it’s not the raw shit.  It can be made into raw shit, but it’s just not- I think all of us are into drums, you know?  We don’t want to get all of our drums from drum machines. <Phone vibrates>
Sorry- I told people the show starts early so they’re already…
<Trails off as he writes a text>

DM: <Commenting on the the 60Hz hum that is plaguing the loudspeakers>
Listen to that hum!

GLK: It’s fucked up, right?   We can’t get rid of it either.  Not even the owner or anything…

DM: Really?

GLK: It’s in the DJ booth right now. I told everybody to get here so early, now I feel like an idiot. <Continues to text>

DM: Yeah, this place definitely starts pretty late… historically.
<Referencing the light show in the downstairs lounge>  I don’t think I’ve ever seen this light show down here.

GLK: It’s fucking dope as fuck, dude!  I wanna do a party down here just for that!

DM: Yeah, exactly- they must have redone it down here or something.  Or I haven’t been down here in a while.

GLK: <finished texting>  Alright, let’s do this!

DM: Okay, so you’re known to be a very diverse DJ, spinning a lot of different genres- hip-hop, dubstep, psychedelic, jazz- how important do you think it is for younger producers and DJ’s to listen to different types of music outside of their main or preferred genre?

GLK: I think it’s really important.  A lot of these cats are not educated in music at all- they just got a sampler and started making beats from drum machines and presets and shit like that…

DM: …sample libraries…

GLK: …it’s totally fucking bizarre in my book, and some of my favorite producers that are younger- I won’t mention any names- but they have no fucking idea about records or music at all.  And they have not been exposed to shit, but they’re still making really dope music, so that just shows how genius is what it is, you know what I mean?  It’s fuckin’ impossible to determine who’s going to be the next fuckin’ Dilla or whatever, or the next fuckin’ Beethoven- fuck, who knows who it’s gonna be?  Someone with little or no knowledge might be- they just might have the fuckin’ gift, you know?

DM: Definitely.

GLK: But I definitely think it’s important for a well-rounded sound, but…that’s just me.

DM: So I interviewed Daedelus a while back, and he sort of expressed this idea that with all of this influx of digital music and people making home recordings and everything, that there’s this lack of taste-makers now, like John Peel and people like that.  But I’ve always lumped you and, say, Mary Anne Hobbs as taste-makers…

GLK: Totally, man- that’s our job!   I’ve broken a lot of records in clubs in my communities- playing Eprom’s shit, playing FlyLo shit, and playing unreleased guys- Samiyam, 16Bit back then, and playing a lot of John Wayne stuff.  It’s our job to get this new stuff out to the kids.  I think it’s the best we can do- I don’t have a radio show- I’d love one, but I don’t have one, so…

DM: So how do you find new music and new artists?

GLK: Friends, man- we’re all just passing files, you know?

DM: Is there anything specific you listen for when you’re hearing something new?

GLK: Yeah, it has to have a certain energy, a certain umph!  I’m listening to a lot of music for listening purposes, you know, a lot of African, Peruvian, Indian- all kinds of Turkish and shit like that- Rock ‘n Roll and stuff…

DM: So if you can’t enjoy it…

GLK: It needs to be powerful.  It needs to be heavy and as intense as the last song I played in my set and keep moving forward, you know?  I’m trying to find songs that- each song I want it to be that dope- as dope as the last or better, you know?

DM: So LA has sort of become a capital of this future sound, or bass sound, or whatever you want to call it.

GLK: Beats!

DM: Yeah, at least in the United States (LA) is.   Why do you think its LA specifically?

GLK: I have a different idea than most, but I honestly think that it’s because nobody gives a shit, or nobody gave a shit for so long, that we were just able to do our own thing, and ANYTHING goes.  Dilla was doing ANYTHING, and when he moved to LA, and him and Madlib started teaming up, and Dilla’s sound changed 360 degrees, man.  And he was influenced by the people around him, and LA has that kind of vibe.  Like, I play dubstep, and I play beats, but I listen to fuckin’ cumbia and I listen to jazz, and I’m driving around listening to fuckin’ female folk, and fuckin’ soft-ass shit, like string shit.  We’re all listening to different stuff, and I think that it all- it helps us.   Like, all of us are just super spoiled and nurtured in LA with music and culture all around us all of the time.  And everybody’s doing whatever the fuck they feel like.   And that’s why it’s so dope and so original- cuz anything fuckin’ goes in LA.  And it’s always been that way, and nobody’s given a shit.  We’ve never had our own fuckin’ sound, so now it’s time- it’s like, “Yeah, we have our own sound. It’s the sound of dope-as-fuck, because we do it all!’  We have fuckin’ cumbia crunk producers, Latino guys that are killin’ the game down in LA, to electronics in TJ and shit.   Like, in Tijuana, Mexico they have crazy electronic parties, and this amazing crew called the Nortec Collective that are fuckin’ huge.  Mexico City is poppin’ off, so we have this whole Latino culture, we have this thick strong black gang-banger repertoire- the violent South Central stuff, and Highland Park, and East LA- all of these places are just thick and rich with culture and diversity and awesome people making awesome shit.   And it’s still like that.

DM: Yeah, different people coming from different places with different music, and blending those together…

GLK: Yeah, exactly.

DM: So, what’s next on the horizon for you?

GLK: My album, more Low End Theory podcasts, <looks at ceiling> staring at this fucking light show!  This Magical Properties tour is going to lead into a short European/UK run, and that’s going to lead into New Years in Australia and New Zealand…

DM: “The Gathering?“  Is that what that’s called?

GLK: There’s a bunch of shit.  I don’t know if that’s the one I’ll be playing, but it’s going to be gnarly as fuck, and then I’m going to come home and work for four months on music and not go anywhere or do any parties.  I’m going to play my friend’s wedding…

DM: More of your own music?

GLK: Yup, I’m going to make my album…

DM: Full length album?

GLK: Yup, 40 minutes.   I have an official newsletter coming up- you can sign it at thegaslampkiller.com.  I’m going to revamp the website and make it really poppin’, just so you can find my merch and my schedules and you can read my shit all in one place.  See the videos, the photos- everything integrated.  It just fuckin’ takes forever, man, and I’m so not a web person.

DM: So you’re doing this (website) all yourself?

GLK: Pretty much, yeah.

DM: Wow…

GLK: I have a little help- I have an agent.  Well, I have two agents- one in the UK and one in America, and I have an administrative guy, an assistant, whatever…

DM: Nice…

GLK: I can’t let go of this shit- it’s my life.   It has to be perfect.  Well, it’s never perfect, but it has to be on fucking point, and nobody gives a fuck the way you give a fuck about your business.   And that’s just the way it always will be, it’s the way it always has been.  If you leave it to an intern that doesn’t have any stake, they’ll just drop the fuckin’ ball.  Some will work and be diligent, but I haven’t found one I can really trust yet.   I hired a guy recently, just to do a few things, and five customers complained that they only got one of their two records.

DM: Oh, man…

GLK: Shit happens.  It’s all good. <to manager> You guy’s ready?!  Alright, then.
<pointing at the questions in my notebook> I saw that was your last one.

DM: No worries- thanks for taking the time.

………………………………………………………………………………………………………………………………………………………………

TOUR DATES:

Catch The Gaslamp Killer with Daedelus on the following Magical Property tour dates…

10/29 – Double Door, Chicago, IL w/ 12th Planet & Teebs
10/30 – Sound Academy, Toronto, ON w/ 12th Planet & Teebs
10/31 – Grog Shop, Cleveland, OH w/ 12th Planet & Teebs
11/2 – Le Belmont, Montreal, QC w/ Samiyam & Teebs
11/3 – Harpers Ferry, Allston, MA w/ Samiyam & Teebs
11/4 – Le Poisson Rogue, NYC, w/ Free the Robots & Samiyam
11/6 – Bourbon Street, Baltimore, MD w/ Free the Robots & Samiyam
11/7 – DC9, Washington, DC w/ Free the Robots & Samiyam
11/9- Club 828, Asheville, NC w/ Free the Robots & Samiyam
11/12 – The Masquerade, Atlanta, GA w/ Free the Robots & Samiyam
11/13 – The Howlin’ Wolf, New Orleans, LA w/ Free the Robots & Samiyam
11/14 – Barcelona, Austin, TX w/ Free the Robots & Samiyam
11/16 – Trees, Dallas, TX w/ Free the Robots & Samiyam
11/17 – Ground Hall, Houston, TX w/ Free the Robots & Samiyam
11/18 – Club 101, El Paso, TX w/ Free the Robots & Samiyam
11/19 – Club Red, Tempe, AZ w/ Free the Robots & Samiyam
11/20 – House Of Blues, Los Angeles, CA
w/ Free the Robots, Samiyam & Teebs

LINKS:

GLK’s official site
GLK’s official blog
GLK on Myspace
GLK on Facebook

Image Credits:

The header image was created by Augustine Kolfie (aka: “Kolfie One”/”The Draftsmen”)
It was based on a photo by Theo Jemison
They both have crazy portfolios, worth checking out

The amazing “Octa-Killa” photo was used with permission from Tina “T-Fail” St. Claire.
Check out more of her work at TinaStClaire.com

At the beginning of last year, artist Tim Doyle released his 6″ x 36″ print entitled “Murray Times Six” through his Natomi Inc website.  The 6 panel silk screen, which depicted various eras of Bill Murray‘s acting career, was decidedly fairly awesome.  The piece garnered a decent amount of attention and sold out quickly; spreading from art sites to film sites and prompting Doyle to print multiple additions.  As surprising as it may have been to come across a Bill Murray print at first, it still beckoned the question of why the subject hadn’t been explored more before.  Not only did the popularity of the work add a little spark to Doyle‘s career, but it was also a clear testament to the popularity of Murray himself.  This week, Los Angeles‘ R&R gallery is stepping up to the plate with an entire gallery exhibit dedicated to one of the world’s most beloved actors and, with 50-plus pieces of new original work and an open bar, it sets out to be one art opening that is not to be missed.

Who doesn’t appreciate Bill Murray?  The man has transcended Hollywood, going from Chevy Chase‘s replacement as one of the “not ready for primetime players” on SNL to the highly respected actor that he is today.  Along the way he’s ingrained himself into our popular culture through comedy classics like Ghostbusters and CaddyShack and has even become a sought after “indie” film star by celebrated directors such as Wes Anderson, Sofia Coppola, and Jim Jarmusch.  Even the WU-Tang is down with “Bill Mother Fucking Murray“.  Now adding their names to the long list of official Murray fans is a shitload of fine artists.  When the R&R Gallery announced their intention for a Bill Murray-themed group exhibit, over 40 different artists eagerly responded with heartfelt contributions, referencing the various contributions that Murray has made to their own lives.

The R&R Gallery was gracious enough to accommodate our request to have them send over some sample images of work for this preview.  These images can be viewed below after the show/opening details.  Please keep in mind that, although R&R has forwarded us the available images that they have at this time, this is only a small percentage of what will be featured at the full exhibit this weekend.  In fact, with over 40 artists contributing a total of 50 plus pieces, these images can only represent about 25% of the full exhibit, at best.

SHOW DETAILS

Mr. Bill Murray
A tribute to the legend.

Opening reception
Friday Sept. 17th, 2010 7p – Midnight
Ongoing from the 18th – 30th by appointment

Featured Artists:
Aiyana Udesen, Austen Stanton, Ayami Kawashima, Bill Sneed, Brett Manning, Bryce Takara, Candace Jean, Carrie Cottini, Chelsea Manson, Chico Munson, Cody Comrie, CW, Daphne Yap, Dave Frey, David Ra, Erin Campbell, Evan Rossell, Evan Yarbrough, Emily Hart Wood, Guy Hayden, Heather McMillen, Jared Snow, Jeben Berg, Jess Sluder, Josh Hart, Josh McClure, Kube, Madsteez, Maggie West, Mariah Montgomery, Miguel Cervantes, Michael Piazza Easton, Mike Mcquade, Nil Ultra, Patch Davis, Patrick Hruby, Paul O’Sullivan (Dro), Robert Bowen, Sean P Costello, Skinner, Spencer Tiscareno, Steve Saiz, Tee Collins, Tuna Bora, Wendy Teague & Vic Back

Open bar sponsored by iamOMNI.com

R&R Gallery
929 East 2nd Street Suite 106 Los Angeles CA 90012
TheRandR.org | 213- 626-2261 | info@therandr.org

< click thumbnail to enlarge flyer

SAMPLE IMAGES

(click images to enlarge)

Put  A Little Love in Your Heart

Paul O’Sullivan – (http://www.drout750.com/)

8 x 10.5

pen and ink and paint

That’s It, I’m Retired

Candace Jean – (http://www.candacejean.com/)

16.5 x 10.5

Watercolors

Untitled Photo

Sean P. Costello

15.75 x 11

Photograph

Untitled-Life

Kube – Mark J Yamamoto – (http://thekube.me/)

18 x 24

Acrylic & Spray paint on wood

Streams Have Been Crossed the Universe Undone

Skinner – (http://www.theartofskinner.com/)

8.25 x 11

Acrylic

Untitled Yellow

Spencer Tiscareno

40 x 16

Acrylic on Canvas

Untitled Blue Skateboard

Spencer Tiscareno

32 x 8.25

Acrylic on Skateboard

Untitled Green Skateboard

Spencer Tiscareno

32 x 8.25

Acrylic on Skateboard

Young Mr. Murray

Brett Manning – (http://brettisagirl.com/)

5 x 7 (matted 8×10)

Ink & Gouache

The Sailor

Emily Heart Wood

15 x 30

Mixed Media on Wood

Untitled Groundhog Day

David Ra – (http://www.draspace.blogspot.com/)

6 x 9

Acrylic on Wood

Gosling‘s identity wasn’t necessarily kept a “secret” but it wasn’t shoved out into the forefront for the marketing campaign either (a-la Juliette and the Licks or when the sub-mediocre actor Keanu Reeves became the unimpressive bass player for the incredibly shitty Dogstar.)  It didn’t matter either way; this time the music was good.  The real test is that whenever I’ve played Dead Man’s Bones around people, without first informing them of who’s behind it , they seem to take an immediate interest.  The reverse is definitely not the case.  I’ve, somewhat recently, gone back to taking on work as a barista and have thrown it on a few times in the cafe.  I’d almost completely forgotten about the album, until a customer mentioned seeing their show in Seattle last year.  I understand the stigma surrounding a Ryan Gosling-fueled musical effort and I have to admit that, although I had a positive view of the album, I believe that some level of superficiality may have played a part with me not throwing it into more of a rotation since it’s release last October.  Just as I was starting to rediscover the work for myself again and wondering about the current state of the project, two new updates/announcements were released.  The first was a slot performing as part of a solid lineup at this weekend’s FYF FEST in Los Angeles.  The second was a nearly 13 minute video for one of the album’s standout tracks, “Pa Pa Power“.

The way that I see it, Dead Man’s Bones made quite a few power moves on their way to earning my support.  With each update that I received, I became more convinced about the legitimacy of the project and of the earnestness of the intention behind it.  The story goes that the project actually began back in 2005, when Gosling first met his partner Zach Shields and they decided to create “a play about a monster-ghost-love-story“.  After the stage show was abandoned due to budget restriction, the duo still had the collection of songs that they had created for the soundtrack.  This is the point in which they recruited the Silverlake Conservatory Children’s Choir to help them fill out their sound.  That original video for “In the Room Where You Sleep” also features the children all dressed up as Halloween style ghouls, such as mummies and werewolves.  The following video that we were sent was in black & white and was shot in a cemetery.  Dead Man’s Bones included the children again but, this time, they also enlisted the voices of L.A. Inner City Mass Choir on the doo wop track, “Name in Stone“; a song never featured on the official album release.  Another interesting note is that both of the videos were filmed live, providing a stripped down and “honest” feel to them.  This aesthetic meshed well with the album, which had the duo performing all of the instruments themselves (even those they had no previous experience with) and restricting themselves to a limit of three takes on each recording.  When they finally ventured out in support of the release, they not only traveled with 3 additional musicians, but also performed with a different children’s choir local to each corresponding city that they stopped in.  To further add to their productions and to their element of community inclusion, the group also put out a call for submissions of local talent (ie. “sword swallowers”, “tap dancers”, “magicians” etc) to fill 5-8 spots for a talent show before each night.  By this point, I was already fairly intrigued by their efforts but the clincher was when they announced a month long residency of performances at L.A.‘s legendary Bob Baker marrionette theater.  As with their videos, the unique puppet integrated performances featured both the Silverlake choir and were directed by Dead Man’s Bones themselves.

Maybe the fact that I worked at a day care when I was in high school and drove around with a “Spooky Halloween Sounds” tape in my car played a role in me noticing a feeling of connection to the project early on.  I’m sure that the fact that I took a puppetry class and crafted the little animated creatures in college for a while didn’t hurt either.  The ironic thing is that, while the idea of Gosling as a “Disney kid” was the most off-putting aspect of Dead Man’s Bones, I believe that it may have been that very factor which ultimately worked in its favor.  While there’s been somewhat of a bullshit resurgence of vampires and zombies, those subjects have been heavily poisoned by various levels of geek culture irony and/or Twilight tween Hot Topic cool.  Dead Man’s Bones taps into a simpler time of spider rings, blood capsules, and fake plastic fangs.  They embody the feeling of the Disney Haunted Mansion and films like Watcher in the Woods, when there was a lighthearted spookiness instead of asymmetrical haircuts and Crow makeup.  The fact that Gosling was a child performer can only work in his favor and the children come across as enthusiastic contributors, as opposed to patronized work ponies.  This project could have been a real disaster if it had taken itself too seriously, in the wrong ways.  In some ways, Dead Man’s Bones is really easy to hate on paper, but they are very difficult to dislike in reality.

The last time we saw a video from the group it was for the incredibly haunting lead off track “Dead Hearts“.  Overshadowed by being released the same day as the album, the strikingly beautiful imagery didn’t feature any live performers.  Instead it centered around “Machine with Wishbone“, a kinetic sculpture by Arthur Ganson, as it traveled through a miniature city, enduring fire and even an encounter with a horse ghost.   The new video for “Pa Pa Power” samples a little bit from everything that the group has showcased with their work up until now.  Shields and Gosling have continued to direct their own visions and have chosen to bring back the children; this time visiting a nursing home and merging age with youth.  The 12 minute and 46 second video appears to be another live recording, but it takes a sharp and drastic turn, at one point, turning it into much more of a “mini-movie” than anything else.  Borrowing from their approach with “Dead Hearts“, DMB has again opted to incorporate the work of another awesome visual artist.  For those of us familiar with the plastic bag sculptures of street artist Joshua Allen Harris, they are instantly recognizable.  Harris gained recognition for affixing his work to the vents on sidewalks of NYC and, as wind gusts would blow through them, what once appeared to be discarded trash would instantly inflate into majestically swaying polar bears and towering minotaurs.  You’ll know it when you see them; they’re inclusion is obvious.

Enjoy the video below.

Keep in mind that some of the more sensitive types have been known to shed a little tear.
Still, the song has a great message…

“Burn the street
Burn the cars…”

Click here to view the embedded video.

And here is the original album version of “Pa Pa Power” for comparison

FYF FEST

Dead Man’s Bones will perform at FYF Fest in L.A. this Saturday Sept. 4th.  They go on at 7pm on the Redwood Stage, which means that, if you want to see them, you have about 10 minutes to get there from the Ariel Pink set over at the Oak Stage.  It also means that you will already be at the Redwood Stage for the following set by fellow Anti- Records label mates/werewolf enthusiasts MAN MAN.

Full schedule and lineup at the official FYF FEST website.

Joshua Allen Harris

Check out more of Harris’ work on his youtube page “HARRIS DANGER“.

VIDEO LINKS:

Since I have already described all of these fucking videos, I figured that I should provide some links to check out these previous works.

[Remember: by simply placing the cursor over the video links, you can watch them in the pop-up box without ever leaving the site]

“In the Room Where You Sleep“

“Name In Stone“

“Dead Hearts“

Whether you knew him as Jay Dee, Jay Dilla, or simply James Dewitt Yancey, when the Detroit native, super-producer/MC died from from the rare blood disorder TTP,  he had already managed to make an incredible impact during his mere 32 years (February 7, 1974 – February 10, 2006).  Among his family and friends, Dilla left behind an allegiance of fans, admiring colleagues, and an irreplaceable gap in the music industry.  He also left behind endless new fans, imitators who were forced to discover their own sound, and a posthumously ominous swan song entitled DONUTS, which he perfected on his death bed.

On Feb. 13, STUSSY paid tribute to Dilla through collaborations with Yancey‘s estate and Stones Throw records.  Stage one involved the clothing company’s release of a limited edition T-shirt, featuring a classic image of the producer take from Raph Rashid‘s photography book “Behind the Beat: Hip Hop Home Studios“.  From there, Stones Throw embarked on multi-city in-store release parties for this shirt.  The main project that was birthed through this collaboration, however, was a 3-part documentary, offering insight into Jay Dee‘s character and time on this planet.  Each piece has been being released one at a time and, now that the final installment has finally arrived, we’re pleased to provide the documentary to you now with it’s pieces back to back and in it’s entirety.

Enjoy

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Click here to view the embedded video.

Created and run by Gio Tonineli from Pondpatrol.com, GI JOE FEST has provided a forum for enthusiasts of both stop motion animation and the classic Hasbro action figures, since 2007.  What the festival entails is fairly simple: each year open-submissions are accepted for anyone (internationally) who has created a stop-motion film, which includes at least one character represented by a GI JOE action figure.  The submissions close around July, when a pre-selection screening for the festival takes place.  In October, the films are judged and screened at the infamous, Alamo Draft House in Austin, TX.  Beginning early the following year, the final selection of films begin their limited city tour as a festival.

Tonight (Feb. 10, 2010) marks the kick off of the 3rd annual GI JOE Stop-Motion Film Festival, and takes place at the Echo Park Film Center in Los Angeles, CA.  In addition to tonight’s showing, the creators of the festival have also offered a stop-motion workshop, which will take place tomorrow, Sunday, Feb. 21st at 11am.  To instruct the workshop, the festival will be employing the skills of,  2007 GI JOE FEST winner, Jeff Gurwood.

Description of workshop:

The Stop Motion Workshop will offer the opportunity to develop both the theoretical knowledge and practical skills needed to create a piece of stop-motion animation. The course aims to stimulate students’ abilities to generate an overall perspective of a project – from concept to final product. Tuition is $20 dollars.

Here is a sample of Gurdwood’s work: “LAST RANDY STANDING“

Click here to view the embedded video.

Submission deadlines are on July 20th so, if you’re interested in entering a film for next year’s festival, there is still 150 days left to do it.  Go to gijoefilmfestival.com for information.

First Ever Live Show – TONIGHT 2/19!

Broken Bells has confirmed the details of its first ever live date. The band will perform TONIGHT (February 19) at the Fold In Bootleg Theater in Los Angeles located at 2220 Beverly Boulevard just west of Alvarado (Across the street from Brooklyn Bagel).

Doors are at 8 pm. Free parking available on Roselake Ave. directly behind The Praise Christian Church. A LIMITED number of tickets are available now via http://www.inticketing.com/evlist.php?events=search&v=6117

2 ticket limit.

For anyone who is unaware of the project, Broken Bells is the new collaborative effort between DJ/super-producer, Brian “Dangermouse“ Burton and James Mercer of The Shins.  If you live in the Los Angeles area and act fast, tonight could be your opportunity to see if it it lives up to all of the hype.

Here’s the first video to come out of the project:  “High Road”

Click here to view the embedded video.

Additional Dates:

March 1 -  Nouveau Casino (Paris, France)
March 3 – ICA (London, England)
March 17 – Stubb’s (Austin, TX)*

*Part of NPR MUSIC SHOWCASE
(also feat. Spoon, Sharon Jones and the Dap-Kings, the Walkmen, & Visqueen)

BROKEN BELLS The debut album featuring “The High Road” Free download of the single with every preorder of the Deluxe at Brokenbells.com More Details »

Sam Flores

We at Monster Fresh love The Upper Playground and the crew of incredibly talented artists that regularly collaborate with them.  After the tragedy in Haiti last month, UP stepped up with a 50% Off sale to benefit the disaster victims.  The sale applied to everything, even the fine art prints were 1/2 off, and for every shirt purchased, another shirt was also donated for the cause.  As if that wasn’t enough, now the the folks at UP have teamed up with the likes of Quentin Tarantino, SA Studios Global, and The Weinstein Company in an effort to raise even more money for the Nation in turmoil.  Using Tarantino‘s latest Oscar-nominated film, Inglourious Basterds, as their muse, 13 of today’s biggest artists contributed their own rendition of poster art from the film.  Included among the artists are such talents as Munk One, David Choe, Alex Pardee, and Jeremy Fish; each of which brings their own trademark styles and unique approach to their pieces.  However, while some artists’ works are more instantly recognizable, like N8 Van Dyke‘s, others display a completely different aspect to their work, (see: Sam Flores‘ print, pictured above).  Each of the 13 prints will run in an extremely limited series only 6 each.  Each print will also be signed by Tarantino himself and will go on sale tonight (Feb. 18)  from 6-9 at the Upper Playground location in Los Angeles.  All profits will be donated to the American Red Cross to aid in the Haiti Earthquake relief effort.  Here’s a great opportunity to contribute to a noble cause, while investing in something that is guaranteed to multiply in value, almost immediately.

Complete details and images of each print, after video:

Click here to view the embedded video.

BENEFIT ART PROGRAM TO HELP RAISE MONEY
FOR THE VICTIMS OF THE HAITI EARTHQUAKE

SA Studios Global’s Film Marketing Division has teamed up with Quentin Tarantino, Upper Playground and The Weinstein Company to present, THE LOST ART OF INGLOURIOUS BASTERDS.
On February 18th, 2010 from 6p – 9p the world will get to preview and purchase the “Lost Art of Inglorious Basterds” at The Upper Playground Art Gallery in Downtown Los Angeles. All proceeds from this program will be donated to The American Red Cross to help the victims of the Haiti Earthquake.

This creative team has assembled the following select group of accomplished artists, David Choe, Sam Flores, Estevan Oriol, Grotesk, Jeremy Fish, Patrick Martinez, Alex Pardee, Dora Drimalas, Munk One, N8 Van Dyke, Rene Alamanza, Morning Breath and Skinner Davis, to create their own poster art based off their interpretation of the Oscar Nominated film, “Inglourious Basterds” artwork.

Each print will be numbered and signed by Quentin Tarantino. Only six (6) of each amount will be made.

The gallery will open will be open to the general public from 6p – 9p on Thursday February 18th, 2010 at Upper Playground Los Angeles located at 125 East 6th Street in Downtown LA. Attendees will have the opportunity to purchase the limited edition prints for $300. The prints are giclée print and are only available for purchase at Upper Playground, Los Angeles. Phone orders and web orders will not be accepted. Prints will be sold on a first come, first serve basis. The purchase of prints will be limited to one per buyer.

Alex Pardee

David Choe

Skinner

Rene Almanza

N8 Van Dyke

Munk One

Morning Breath

Patrick Martinez

Jeremy Fish

Grotesk

Estevan Oriol

Dora Drimalas

{David Lynch. Untitled [Grim Augury #1], 2009. Digital print mounted on aluminum.
Edition 1 of 7. Courtesy Michael Kohn Gallery, Los Angeles.}

DARK NIGHT OF THE SOUL

Premiere collaboration between groundbreaking music
artist Danger Mouse and luminary filmmaker David Lynch
On view at the Michael Kohn Gallery in Los Angeles
May 30–July 11, 2009

Along with the CD-R and the book release, Lynch‘s original photographic artwork from Dark Night Of The Soul can currently be viewed up close and personal at Los Angeles‘ Michael Kohn Gallery.  The show runs from May 30-July 11, 2009, so it will still be up for about another month for those fortunate enough to be able to catch it.

Here’s a description of the event taken from the official press release:

“Fifty of Lynch’s photographs are mounted on aluminum panels that seem to float on the gallery walls, reinforcing the moody rhythms of the music from Dark Night of the Soul that will play throughout the gallery. The installation encourages a fully enveloping experience that surpasses the individual visual or auditory elements.”

The 50 photographs referenced in the press release are the same images that grace the pages of the hardcover, limited edition book containing the blank DNOTS “artifact” CD-R.  The photos, which embody the same dark and emotional imagery as Lynch‘s cinematography, are all untitled.  Each one, however, contains a caption with a song title and a number from 1-3 or, in most cases, 1-4, which denotes the image number and track that inspired it.  All of the gallery pieces also contain the following specs.

Artist: David Lynch
Medium: Digital film, inkjet print on glossy paper
Mounted: Aluminum panel
Dimensions: 24 inches (height) x 26 inches (width)
CreationYear: 2009

{David Lynch. Untitled [Pain #3], 2009. Digital print mounted on aluminum.
Edition 1 of 7. Courtesy Michael Kohn Gallery, Los Angeles.}

The opening reception took place on Saturday May, 30th and ran from 5–7pm.  The turnout was outstanding and featured a number of big name celebrities.  Along with DNOTS producers Danger Mouse and Mark Linkous, David Lynch, and gallery owner Michael Kohn, the guest list included the following:

Actor/comedian, Ben Stiller
Musician, FLEA
Actress, Heather Graham
Producer, Rick Rubin
Actor, Crispin Glover
and
Pop-surrealist, Mark Ryden

For a full set of images from the event, please check out For Your Art‘s Flicker set by clicking HERE.

{David Lynch. Untitled [Insane Lullaby #1], 2009. Digital print mounted on aluminum.
Edition 1 of 7. Courtesy Michael Kohn Gallery, Los Angeles.}

To attend the exhibit, purchase one of the pieces, and/or find out the individual prices of the work, please contact the gallery at:

Michael Kohn Gallery
8071 Beverly Blvd
Los Angeles, CA 90048
(323)-658-8088
www.kohngallery.com

Below, we have supplied all of the images, from both the Dark Night Of The Soul exhibit and the book, except for one.  The only image missing is the untitled photo of a drinking glass on a green carpet, known only by “The Man Who Played God #3“.  We have also located the following video on Youtube, which contains someone sifting through the DNOTS book while the corresponding tracks play over the individual images.  The missing image can be viewed briefly in the video at 3 minutes 47 seconds.

Click here to view the embedded video.

(Click thumbnails to enlarge images)