music art film review - REDEFINE magazine » psychedelic

Flying Lotus Layer 3, Thundercat Live Show Review (Roseland Theatre, Portland)

Vivian Hua — Mon, 03 Jun 2013 19:17:54 +0000

music art film review - REDEFINE magazine

Flying Lotus Layer 3, Thundercat Live Show Review (Roseland Theatre, Portland)

Watching a singular man or woman perform behind a stack of electronic equipment can sometimes really fail to really pull the heartstrings; it's easy for a showgoer to disconnect when there's a lack of connection between musical output and the actions a performer is making onstage. To combat this, electronic musicians have, in recent times, turned to innovation in the multimedia sphere to add an extra bit of oomph to their live sets. On Flying Lotus' latest tour for Until The Quiet Comes, he worked with long-time friends and animators to create Layer 3, a one-of-a-kind audio-visual experience that takes showgoers through three-dimensional worlds of tunnels, silly cartoons, metaphysical imagery, and biological forms. But more on that later, for his set with Thundercat had much more to offer than just a visual experience; it possessed a massive amount of novelty all-around.

May 24th, 2013 @ Roseland Theatre - Portland, Oregon

"I think as we get older, that idea of magic is just taken from us. There's just less of it and less of it... I really try to just kind of dabble in things that feel magical." -- Steve Ellison of Flying Lotus

Thundercat

As though seeing Flying Lotus wasn't satisfying enough, Thundercat, who have an upcoming record on Flying Lotus' Brainfeeder label in July, proved themselves to be the biggest spectacle of sheer awesomeness that I have seen in a long time. On record, Thundercat's brand of jazz stylings can be erratic and wide-flowing, but hardly ever elevate into shredriffic territory that a metal enthuiast would find compelling. It's fairly restrained, sometimes feeling sexy and sultry even when it contains more upbeat elements. In person, however, Thundercat is another fucking story. A ridiculous one. Let me start off by saying -- perhaps blasphemously to some -- that I kind of hate unstructured jazz music. Something about the way it meshes with my brain just results in the feeling of insanity, and not necessarily in a good way. Thundercat's live show is not something I would ever choose to listen to if I were doing anything other than watching them live, which might even be why their recordings sound so different from their live shows. Nonetheless: watching them live is incredible, and something I would highly recommend anyone to do. Though I usually like to embed live videos to show readers what they're in for, I'm going to pass on this occasion because I don't think a video would really do Thundercat's playful music mastery much justice. We're talking shreddy bass faces galore and a virtuoso on keys splitting his time between two synths and an organ, like a nimble Shiva with multiple arms. Together, they shred up and down every scale imaginable and in the jazzy spaces in-between, filled in by flourishing drum fills and unpredictable rhythms that would adequately satisfy any drum nerd. They create sounds for diverse settings, suitable for an intimate club smelling of sex and cigarettes; soundtracks for epic video games; bizarre intros to television shows (Thundercats, perhaps?); space exploration in a universe that ricochets from crash cymbal to crash cymbal. This trio is fucking over-the-top, dishing out extremity on all fronts, as though they intend wholly to dumbfound audiences with their impenetrable wall of pummeling funk-jazz goodness. "How intimidating to follow something like this," commented by boyfriend. "Such a spectacle." Indeed, Thundercat could easily be a headlining act, and folks would never stop blubbering about them. How was a one-person electronic act going to manage to top this?

"I can add moments that are synced up to the visuals if we want it to, and that idea is really fun for me, because I'm really into the idea of the show feeling very cinematic, but still very danceable." -- Steve Ellison of Flying Lotus

Flying Lotus

Luckily, Flying Lotus, aka Steve Ellison, has enough skills and tricks up his sleeve -- dude has a LOT of tricks -- that he's not just lying in the dark as the boring solo electronic musician closing out the night. And surely Ellison was quite aware of this fact, for no one in his right mind would bring the party after Thundercat brought the funk, unless he knew exactly the high value of what he had to offer. A bill like this is genius. It allows disparate music groups to twitch their way into your ruddy world, and somehow it's totally cool. The jazz drummer, R&B vocalist, synth master are just at home alongside the visually-evocative and tripped-out sounds of Flying Lotus. The continuity here lies in the performers' abilities, really. What I can appreciate about Flying Lotus' set, though, in contrast to Thundercat's, is his ability to entertain without much wankery at all. Despite having blown up to take over the entire sonic world comprising people of all demographics from their 20s to mid-30s, Flying Lotus has managed to stay honest. Not that Thundercat aren't -- but Flying Lotus' approach is just singularly unique. In Vancouver BC, a friend saw him boarding his tour bus with a box of action figures. He still likes cartoons, and he raps about Batman on stage. He finds it completely appropriate to joke about needing to fart, poop, pee, and puke after or during a long set. This guy is real... and real nerdy... and it seems clear that nothing is scripted from night-to-night. His realness allows for his sets to warp (pun?) and mutate according to the crowd's reaction on any given night -- and while that is the mark of any good DJ, Flying Lotus is an expert at this artform. This particular evening in Portland, the crowd was ready to party, and as a result, the set was extremely hip-hop and dance-oriented, with Ellison performing quite a few songs from his new rap project Captain Murphy. By contrast, the previous night in Vancouver was much more mellow, featuring more content from ambient worlds and Until The Quiet Comes. Add all this to the eternal mystery of how Flying Lotus is now huge, despite the fact that his music is fairly inaccessible -- and that he overtly sings about DMT all of the time, and you have a fair mystery on your hands. This evening, for example, featured "DMT Song" performed in at least three versions, two of which included the crowd chanting "D-M-T", though I would suspect most have no idea what those letters mean. And all of these experiments and fascinations just build up a Flying Lotus show as one of the most joyous and sociologically-fascinating events I have beheld in quite a while. Everyone was on the same page of good vibes, ready to dance, scream, and laugh -- hanging on not only every beat, but every word out of Ellison's mouth. A rarity. FLYING LOTUS LAYER 3 LIVE SHOW REVIEW CONTINUES BELOW But lastly, let's talk about his Layer 3 visuals, which are really and literally a sight to behold. The three-layer visual setup is comprised of two projection screens and two VJ's in the front and back, while Ellison performs in the middle and occasionally "interacts" with the visuals around him. The VJs, John King and Ellison's long-time collaborator and friend Strangeloop, work simultaneously alongside him to create dynamic and completely spontaneous, real-time imagery for his sounds. These visuals, featuring some of the subject matter I'd mentioned before, succeed in transporting viewers to hypnotic worlds without negatively influencing their desires to dance. And from a technical standpoint, they have wide implications for the future -- again, due to their lack of wankery and their honesty. The technology employed by Ellison is not as intimidating as that of those used by people like Skrillex, Deadmau5, or Amon Tobin, who have extremely large-scale three-dimensional structures that undoubtedly require huge rigs to transport. Layer 3 mimics three-dimensionality and does so via relatively accessible means. Presumably, anyone with video know-how and multiple projectors can recreate this on some level; one need not have millions of dollars and a giant projection-mapped sculpture at all. This detail is amazing, and is just another sign that, as a performer and a person, Steve Ellison just rules. Sure, the Coltrane mojo probably helps, but nonetheless... electronic solo performers, take note. Ω

music art film review - REDEFINE magazine

Flying Lotus Layer 3, Thundercat Live Show Review (Roseland Theatre, Portland)

Black Moth Super Rainbow Live Show Review (Hawthorne Theatre, Portland)

Jason Simpson — Fri, 31 May 2013 16:50:19 +0000

music art film review - REDEFINE magazine

Black Moth Super Rainbow Live Show Review (Hawthorne Theatre, Portland)

Black Moth Super Rainbow make music for maniacs; misfits that don't fit in anywhere but a Black Moth Super Rainbow show. The combination of lo-fi, surreal visuals with muscular funk rhythms and a battery of cosmic sci-fi synths transport listeners to a grainy interzone of abandoned playgrounds, rolling cemeteries, and haunted shopping malls. The music of Tobacco (vocals/vocoder), Seven Fields of Aphelion (synth), Iffernaut (drums), Ryan Graveface (guitar), and Pony Diver (bass) is both nostalgic, romantic & playful, while maintaining an air of menace and danger.

In an insert that came with the album Dandelion Gum, there was talk of "vocoders humming amongst the flowers and synths bubbling under the leaf-strewn ground while flutes whistle in the wind and beats bounce to the soft drizzle of a warm acid rain". This sure sounds like technopagan nature worship, but then you have track names like "I Think I'm Evil" and "Psychic Love Damage", and you're just not sure what to think anymore. In a recent interview with Paste Magazine, Tobacco (real name: Tom Fec) spoke of the apparent contradiction:

"This is not a hippie band. It was never meant to be. I've always felt like, whether you can hear it in my music or not — and I'm sure you couldn't — almost like a punk asshole. People thought I was this gentle weed-smoking kid tripping out in a field somewhere. I think I'm more of like a dickhead prankster."

He then went on to describe backlash he received for the Sun Lips video from irate fans because the video "wasn't psychedelic".

"[All those expectations on what I'm supposed to like] are part of what I call the Black Moth box. You create this thing that's outside of the box, right? And the second you do that, people build a box for it. And it becomes an even smaller box than any box you were trying to not be in. And I feel like that happened to Black Moth."

May 21st, 2013 @ Hawthorne Theatre, Portland Tom Fec records almost all of the parts on BMSR's records himself, but he also records solo under the name Tobacco. For years, he's been on the verge of breaking up Black Moth Super Rainbow, out of frustration with people's boundaries and labels. He had recorded an entire album's worth of material, Psychic Love Damage, that was scrapped at the last minute for sounding too boring and expectable. But Tobacco decided to salvage what he could, to go back to doing whatever he felt like doing, to bet back to BMSR's anarchic and humorous roots, with the release of their new album Cobra Juicy. There is no reason for Tobacco and Co. to make music under the Black Moth name other than because they love doing it. This return to form was well-received at the Hawthorne Theater in Portland, where they played to a full house, despite it being a weeknight. It was a breath of fresh spring air, to be in a packed wriggling dancefloor with a bunch of BMSR freaks; there were blue wigs and sequined cloaks in full attendance, with not the vaguest whiff of cynicism or ennui anywhere. From the very first strains of the first opener, “Oscillator Bug", I de-activated my critical brain and decided to go along with the ride, to hang on for dear life. Like a seance, so much electronic music depends on your belief. You can make any gig into a Holy Temple, or just another night at the club. It's up to you. What I noticed, from the get-go, is simply this: Do you like to dance to drums and synth? If so, you will most likely have a sublime experience at a BMSR show. Tobacco might play all the parts on the record, but I was really struck by how they translated their material live. Iffernaut, Graveface, and Pony Diver proved to be a fierce rhythm section, creating a solid wall of funk for Tobacco and Seven Fields Of Aphelion to create their ambient electronic soundworlds over. Once you're hooked, you begin to notice the songwriting and musicianship. Black Moth Super Rainbow have their shit together; they know exactly what they're doing, and executed it flawlessly. The spell was never broken, and I think everyone in attendance was fully transported into BMSR's grainy '70s infomercial universe. They played against a backdrop of blurry kodachrome projections, and all in all, it was a relief to be at a fully realized, high production show, after millions of ghetto-rigged basement shows. They played most of the new songs from Cobra Juicy, as well as old favorites like "Sun Lips" and "Iron Lemonade", but the overall performance was of a whole, with Tobacco's lyrics obscured beneath his trademarked vocoder. It was like an Outer Space soap opera, full of car chases and elicit romance. The band had stripped away a lot of the masks and crazy performance art, and played a set that was still blurry and mysterious, but seemed oddly personal and heartfelt, buried beneath the grit. The audience ate it up! First of all, thank Christ for all-ages shows, and for the Hawhtorne Theater for providing the service. It was a relief to see an enthusiastic crowd, that appreciated the rare occasion to see BMSR fly beneath that banner. No one was holding back, sitting back in judgment; everybody was IN, and something wild and wonderful was able to get off the ground. Seeing these songs live, for the first time, as well as listening to the new record, to get amped up, has given me a newfound appreciation of this band, and I hope they release another five records before hanging up their ninja masks. Ω

music art film review - REDEFINE magazine

Black Moth Super Rainbow Live Show Review (Hawthorne Theatre, Portland)

Top Pops! May 2013: Royal Canoe, Empress Of, AM & Shawn Lee, Starlight Girls

Vivian Hua — Fri, 31 May 2013 08:56:22 +0000

music art film review - REDEFINE magazine

Top Pops! May 2013: Royal Canoe, Empress Of, AM & Shawn Lee, Starlight Girls

"Pop music shouldn't always get a bad rap," says Top Pops!, a recurring selection of pop highlights across a selection of styles, updated every month to keep you funkeh.

+++ FULL POST + TOP POPS! COLUMNS + ALL MUSIC COLUMNS Empress Of - Systems EP (Terrible Records) Brooklyn based Empress Of is picking up where Blonde Redhead left off. With a little Twin Sister and a dash of Beach House for good measure, Empress Of features a strong female voice backed by slittery guitar lines and tingly electro-keyboards. It's mystical and wandering, but also tightly put together. The one-woman project (the name behind the moniker is Lorely Rodriguez) has been getting quite the bit of internet buzz over the past few months. She caused a sensation with her YouTube video project “Colorminutes” (which was released on cassette tape soon after), but this EP is a proper release, and a nice introduction into her style. Systems is broken up into two sides; the first is in English (“Hat Trick” and “No Means No”) and the second is in Spanish (“Tristeza” and “Camisa Favorita”). For us single language speakers, the Spanish side is even more intriguing. A fun bonus is that even though she’s not so well-known, Empress Of has some friends in high places; there are already remixes of her song “Tristeza”, by El Guincho and Pional, and she just finished up a tour with Jamie Lidell. Definitely on the esoteric, creative end of the musical spectrum, it will be exciting to see more from Empress Of. - Judy Nelson Below are samples of "Hat Track" and "Tristeza", in its original as well as remix versions.

Royal Canoe Dude, take it from me... this Winnipeg-based sextet of multi-instrumentalist producers is going to be one of the next big things in the indie pop world. They're shameless in their style, incorporating everything from rolling pop cadences that Justin Timberlake would approve of to whirling synth noises and lyrics about bathtubs. The question is why, and we'll answer that with an in-depth interview with the band -- one of the first substantial ones, I think; we're getting in on the ground floor -- which will be published before their record drops on June 25th on Roll Call Records. This record is incredible, and I can't wait for those of you who like innovative pop music to hear it. - Vivian Hua

AM & Shawn Lee AM & Shawn Lee are so catchy that they make me a little bit suspicious. I should be working harder to enjoy music; it almost feels like a guilty pleasure to swallow things up this easily, as though AM & Shawn Lee are the reincarnation of The Beatles in disco-funk-pop form or something. To drive home this point is "All The Love" from their latest record on Park The Van Records, entitled La Musique Numerique; the track might seriously be in the upper echelon of summer dance jams for 2013. - Vivian Hua And as an added bonus, here's "Two Times":

Starlight Girls - "7x3" The main selling point of Starlight Girls' 7" A-side, "7x3", is that it features the production work of Xiu Xiu's Jamie Stewart -- but it is fair to say that the song does just fine in selling itself. With trip-hop lethargy and light industrial sounds reverberating in the background, its percussive elements galore make it worthy of repeat listens. A fun additional fact includes their play on their name with a constellation-studded 7" design that also glows in the dark, what what! The 7" is out now on Brooklyn's Ooh La La Records. Ω

music art film review - REDEFINE magazine

Top Pops! May 2013: Royal Canoe, Empress Of, AM & Shawn Lee, Starlight Girls

Barn Owl Band Interview: A Bilateral Reflection On Meditative States

Jason Simpson — Thu, 02 May 2013 17:35:00 +0000

music art film review - REDEFINE magazine

Barn Owl Band Interview: A Bilateral Reflection On Meditative States

In Hinduism, there is a term called Shaktipat, in which a guru transmits enlightenment by their very presence. Considering the places that some of us here at REDEFINE Magazine have voyaged to while listening to the music of Jon Porras and Evan Caminiti, solo musicians who are also collectively known as Barn Owl, we decided to harangue the duo with a bunch of questions about meditation, to see how much they had seen in such altered spaces. Barn Owl's music seems custom-made for the sweat lodge or meditation hall. As you listen to an amalgam of tribal percussion, temple bells, cosmic synths, and rustic American transcendentalism, you can practically smell the sweet sage burning. Their music knows no bounds, and as such, is a ritual that everybody can take part in. As increasing amounts of people and culture make demands on our time and attention, the ability to find a quiet, sacred space becomes essential. Barn Owl's portable ashram is a precious resource -- you can strap on a pair of headphones and find some space on a crowded train or a busy street to reflect. They encourage us to slow down, and find a little peace. Barn Owl's latest full-length album, V, is out now on Thrill Jockey Records. PURCHASE BARN OWL's V ON AMAZON

PHOTOGRAPHY BY ANTHONY MASTERS; ABOVE ARTWORK BY EMILY FRASER

Jon Porras

"Into Midnight" from Black Mesa

Evan Caminiti

"Fading Dawn" from Dreamless Sleep

Barn Owl

"Void Redux" from V Barn Owl’s music has a way of slowing down attention, slowing down one's perception of time. Meditation produces a similar result. What are your intentions with putting music out into the world? Are they aligned with such qualities?

Jon Porras: Especially in the Bay Area, I feel myself trying to slow down in the wake of a fast paced, technology-based culture. Maybe this desire to slow down comes out subconsciously in our work. We’ve always gravitated toward music that builds slowly and thoughtfully, and I believe it can be powerful to feel big impact from subtle shifts in tone, volume and texture.

Evan Caminiti: I approach music less conceptually than I once did and rely more on intuition and daily practice, embracing the strong moments of improvisation rather than trying over and over again to execute an idea based on concepts that don't resonate viscerally. Having a specific vision and knowing what we want to hear is crucial; I would say we always make the kind of music we would to listen to. I think slow music, deep music that taps into something beyond just entertainment, music that engages your body and mind in an all encompassing way -- that is really valuable and crucial. Personally, it is a major part of my well-being, and I hope through releasing music that it does the same for others. I find it to have a grounding effect, both energizing and calming.

Related Concept: Pauline Oliveros' Deep Listening Philosophy

In 1991, musican Pauline Oliveros coined the term "Deep Listening" in conjunction with her musical group, The Deep Listening Band, as well as her Deep Listening program. Oliveros describes Deep Listening as "listening in every possible way to everything possible to hear no matter what one is doing." According to the Deep Listening Institute's website, it is the exploration of "the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive -- of listening. The practice includes bodywork, sonic meditations, interactive performance, listening to the sounds of daily life, nature, one’s own thoughts, imagination and dreams, and listening to listening itself. It cultivates a heightened awareness of the sonic environment, both external and internal, and promotes experimentation, improvisation, collaboration, playfulness and other creative skills vital to personal and community growth."¹ The Deep Listening Band specializes in performing and recording in resonant and reverberant spaces, such as caves and cathedrals -- most famously, underground cisterns, including the 2-million-US-gallon (7,600 m3) Fort Worden Cistern which has a 45 second reverberation time.² The Deep Listening program consists of annual listening retreats in Europe and N. America, as well as workships, certification programs, and trainings.³

Barn Owl Band Interview (cont'd)

What does meditation mean to you, and when did you first encounter the idea? Do meditative states influence the creation or consumption of your music?

Jon Porras: Over the years, we’ve developed performance habits that involve mindfulness and deep concentration. I’m not sure this could be considered meditation by definition, but we rely on deep concentration and intuition to guide our live and recorded performances. I would associate this more with Pauline Oliveros' Deep Listening philosophy. I've read that some people see a difference between deep, focused performance and the act of deliberate meditation -- so it may be important to make that distinction. Meditative states absolutely influence our music. As a performer, I try to find that balance between losing myself in the music and being completely self-aware. It’s during these moments where I can experience a deeper quality of sound. There is a cathartic release involved, but it is balanced with intense focus.

Evan Caminiti: For me, music comes first and the meditative benefits are one part of it. Long duration music really introduced me to meditation in some strange form. Raga, especially the slowly shifting styles of Dhrupad and Pandit Pran Nath, and the music of La Monte Young, Tony Conrad, Terry Riley, and Pauline Oliveros, were important in that they allowed me to literally hear musically differently. Before getting into all of these artists, I experienced the powerful live sets of Sunn O))) and Om, which primed me for the transcendental philosophies these [other] artists have explored for decades.

Meditation produces a slippery sense of self, when you cease to identify your thoughts. Can you speak about the self and how it effects your creativity?

Evan Caminiti: The ability to dissolve the ego and allow performers and audience alike to slip into a trance state is one of the most amazing and rewarding things about music. It's the moments where we're open where we can leave the self behind and become fully absorbed with the music; there we can become part of the continuum of inspiration and influence.

There are some studies about the ability to induce deep trance states (theta and delta states) by listening to tones (binaural beats). Theta states are also brought on by simple, repetitive tasks, and these states are attributed by artists and scientists as responsible for inspiration and clear insight. What are some things you do to clear your mind and allow for inspiration to occur?

Jon Porras: I completely agree with these theories, but connect with them on an intuitive level. The ability for music and tones to influence perception is a major factor in what keeps me interested in exploring sound. Repetition and extended tones have an elevating effect, a lulling quality that can induce trace-like states. Some people call it "zoning out" but I feel that when you’re in this state, there is a pathway to the subconscious that isn’t normally open. Some would argue that it is not the subconscious you become aware of; it’s a higher conscious. It certainly feels that way sometimes. As far as work habits, I try to spend time in my home studio everyday -- I guess this is also a repetitive task. It’s grounding for me to spend a few hours plugging away, experimenting with sounds, filters, effect chains. Not always, but there are those moments of clarity when things seem to align perfectly and you come away with a new sound.

Evan Caminiti: Having a comfortable environment at home is really helpful in creating the right environment for inspiration and insight. Surrounding myself with positive influences and creating an altar-like space in my home studio is essential.

BARN OWL INTERVIEW CONTINUES BELOW

Listening Station: Barn Owl Through The Years

Meditation emphasizes letting things arise, and letting thing go, without clutching or attachment. I have always found improvised music very similar to this. How do you compare the process of recording, versus just playing music in the moment?

Jon Porras: Recording involves a balance between letting go while being focused in the moment. These seem like opposite modes, but it’s possible to be fluid and intuitive in your playing while following a distinct trajectory. It’s about finding that flow when technical skill and deep focus facilitate that potential for discovery.

Evan Caminiti: Improvisation and recording are inseparable. I was talking to a friend the other night. He brought up a quote; I think it was something Mark Hollis said. It went something like, "The first time you play something it is at its peak." That philosophy makes a lot of sense to me because I've found over the years that improvisations and first takes can possess this vital essence driven by pure expression which is impossible to attain when something that is contrived. The catch is knowing how to improvise without wanking or noodling and knowing how to edit improvised recordings down to the essential parts. Furthermore, not being afraid to edit the recordings and shape them into something new. This approach where improvisation, composition, and production are equal is really exciting to me.

Hardcore practitioners of meditation often advocate material renunciation. What is your take on creature comforts versus ascetic living? Materialism is to a degree necessary in the music industry; how, if at all, does that dialogue affect your creative process?

Jon Porras: It’s tough because I find myself constantly seeking that creative spark. Sometimes it can come from hearing a piece of music, but it can also come from getting a new piece of gear. Music can operate without material completely -- just open your mouth and sing a note -- but machines are great tools and some would argue are extensions of the creative process. So I find myself oscillating between feeling strange about how much money I spend on gear, and feeling confident in accumulating these tools. It's important to remind myself that high-end, sophisticated gear will not make better music. It comes down to how you implement the gear. At times, it can be more interesting to carve new directions using old tools in different ways.

Evan Caminiti: I've been spending a lot of time lately with my modular synthesizer. I get endless hours of joy and inspiration out of the synth; it's also essential in a practical way as a working musician, so yeah materialism is necessary. Like collecting records, there is no substitute for vinyl, but they take up a lot of space. We all have our creature comforts but I keep things really minimal; my small apartment certainly helps with that. As far as effecting the creative process, I look at the limitations of a small space and the fact that I can't afford a really elaborate setup as a good thing. There was an interesting piece by Mark Fell in a recent issue of the Wire that discusses how limitations lead to innovation. The less you have, the more you'll get out of what you're working with and it can produce unique and personal results.

You recently played at the SF Zen Center. Can you describe how this came about and what the experience was like? Have you and do you wish to do more things like this in the future?

Jon Porras: This was a very memorable show. I'd love to do more like it in the future.

Evan Caminiti: This experience was thanks to Jennifer Mearz, a writer for the Bold Italic here in SF. The experience was great, totally unique. One of the most amazing things was reading the blog of one of the Zen Center's residents, who happens to be deaf. In detail, this individual described the physical sensations of our set, the way vibrations moved from the heart to the belly, all over. It sounded like a very multi-dimensional experience. The physical aspects of our music is a key element, something people may miss out on if only listening at home and not coming out to shows. That being said, the PA we used that night was actually very small so we weren't half as loud as we like to be. So yes, doing more things like this in the future would be great, but we would want to make sure the PA is powerful enough so we can give everyone the best experience possible. Good sound systems are becoming increasingly important to us now that we're playing so many electronics live; we've really wreaked havoc on some inadequate systems.

Your latest record is much more electronic than your previous outputs. How did this shift come about? Do you think that the shift between analog versus digital changes the meditative atmosphere at all?

Jon Porras: We’ve always pushed ourselves to find new sounds and new ways of expanding the project. After touring Europe, I was fascinated to see how embedded electronic music was into pop culture. I’m not sure if it has anything to do with being from the west coast, but I grew up with an ambivalent perspective on electronic music. Being exposed to it later in life was revelatory; I guess I wasn’t ready for it before. It helped to have a friend deep into electronics; I think his sensibilities sort of rubbed off. Also, synthesizers can occupy a larger frequency range, so our live sets have been more dense since incorporating electronics. Synthesis allows for optimal sound design. You start with an oscillator and build from there, making artistic judgments along the way until you reach that perfect sound.

Evan Caminiti: We've always used both analog and digital instruments. There are more digital elements on this record, but you know, almost all the synths were analog, we used a bunch of tube amps; there is just no substitute for these things. This shift came about because of the desire to expand our techniques and try new things. We just weren't inspired to create a record structured around the guitar as the primary instrument. We've made a lot of albums that took that approach already. We have always been drawn to a hands on approach so we gravitated towards synthesizers that allow the user to sculpt the sound from the ground up. Your options open exponentially when you move from the setup of guitar, pedals, amplifier, on to synthesizers -- massive octave range, full control over the stereo field, a vast array of timbres... it goes on. I love guitars, but it's refreshing and inspiring to work with something so open; it's like a blank slate.

Do you have particular records that you use as a tool for getting into a meditative zone? Are there any positive or negative experiences of note stemming from meditative states in your life?

Jon Porras: Pandit Pran Nath’s Earth Groove is a great album to help cleanse the palate.

Evan Caminiti: I listen to Alice Coltrane's devotional tapes pretty often, and in situations like being a plane, where I'm feeling on edge, those songs have an amazing calming and empowering effect. On the opposite side of things, I've certainly been in situations where I get on the bus after a long improv session or a deep listening [session] and I'm just not ready to deal with all the chaos of the day-to-day BS after been in such a deep zone. It's like crossing a barrier and you then have to re-acclimate to the outside world.

Listening Station: Meditative Inspiration

music art film review - REDEFINE magazine

Barn Owl Band Interview: A Bilateral Reflection On Meditative States

Debacle Fest 2013, Seattle (#27) Mixtape Download & Stream

Samuel Melancon — Wed, 24 Apr 2013 13:40:16 +0000

music art film review - REDEFINE magazine

Debacle Fest 2013, Seattle (#27) Mixtape Download & Stream

Seattle-based label Debacle Records celebrates its sixth annual Debacle Festival taking place May, 3rd, 4th, and 5th. The three-day event showcases national and local electronic, drone, noise, techno, improvised, metal and synth musicians. This year, the label is proud to partner with community instigator Hollow Earth Radio as non-profit beneficiary. Debacle Fest will be held at our partner venues the FRED Wildlife Refuge, The Highline, and Lo-Fi Performance Gallery. Curated by Samuel Melancon of Debacle Records

www.debaclefest.com

Complete Schedule & Lineup

Friday, May 3rd @ FRED Wildlife Refuge (127 Boylston Ave. E) 8:00pm - $20 door/$15 adv Expo '70 Swahili Plankton Wat Monopoly Child Star Searchers Brain Fruit Panabrite Total Life LA Lungs Secret Colors Saturday May 4th @ Highline (210 Broadway Ave. E) Matinee show at 3:00pm SHARP - $7 Sissy Spacek MTNS BLSPHM WaMu Stan Reed Saturday, May 4th @ FRED Wildlife Refuge (127 Boylston Ave. E) 7:00pm - $20/$15 adv. Date Palms John Wiese Nate Young Golden Retriever Mind Over Mirrors Marielle Jakobsons Gabriel Saloman Morae (Emuul & Hemosis) Biosexual Sunday, May 5th - MOTOR Night @ Lo Fi Performance Gallery (429 Eastlake Ave.) 8:00pm - $20/$15 adv Hieroglyphic Being Moon Pool & Dead Band Strategy GOODWIN Prostitutes Black Hat TJ Max Patternmaster

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Plankton Wat - "Metamorphosis" I have been a big fan of Dewey Mahood for a good while now. A while back, I read an interview where he said somebody he really admires is Justin Wright AKA Expo '70. I had recently released a CD-R of some live jams from Expo '70, and decided to connect those guys. The result is a forthcoming split LP out soon on Debacle. In the meantime, Dewey also has a good history of playing the fest both as Plankton Wat and as a member of Eternal Tapestry.
Biosexual - "Silent Cuts" I have released two albums with Zac Nelson. Biosexual is his new full band project with the equally talented Jocelyn Noir and Michael R. J. Saalman. It is full on electronic psych pop, which makes me think of Dave Fridmann and mid-‘90s Bjork having sex on Trent Reznor's coffee table. Their debut will also be out shortly on Debacle.
Mind Over Mirrors - "You Ain't Reeling" Jamie Fennely actually lived out in the PacNW for a while there, and I had no idea. In fact, he snuck on to Debacle Fest 2010 by jamming with Debacle heavies Dull Knife mere days before he left for Chicago. Ever since, we have been chatting about a way to get him back here for an honest to goodness Mind Over Mirrors set.
Prostitutes - "Dial Tone Degradation" This year is the first year of the fest since we have started MOTOR -- our psychedelic dance series of shows and releases. May 5th, the last night of the fest, is dedicated to joining the MOTOR crew up with national level artist on similar wavelengths for a big night of whacked out jams. Prostitutes is a rising name in the empty expanse between minimal techno and industrial noise. He recently released a new album on Digitalis, Crushed Interior.
Black Hat - "Singing Point" Black Hat is one Nelson Bean, a local Seattle head who has releases coming up from Further Records and Field Hymns. He is one of the most talented and exciting voices coming out of Seattle right now and I am very stoked to be able to work with him time and time again. Don't sleep on this kid.
Moon Pool & Dead Band - "Human Fly" Moon Pool & The Dead Band features Nate Young of Wolf Eyes jamming with his bud Dave Shettler, making freaked out Detroit techno and skunked up electro. Very stoked to be bringing these dudes out for our MOTOR night; their Human Fly album on Not Not Fun is a steady source of inspiration and ideas for the whole MOTOR crew.
GOODWIN - "Ramparts" Scott Goodwin was once a founding member of super drone heads Bonus, and has since been exploring various forms of analog dance and noise with Operative, Polonaise and Vepa. His newly minted solo project is still evolving, but it seems to fit in well next to Polonaise and the now defunct Operative. It is fitting to have Scott be a featured element of the MOTOR evening, as the Operative performance from last year was a key influence in the formation of the whole MOTOR project.
Swahili - "Soma" Swahili should be well known to REDEFINE readers; they seem to have an amazing back story and working relationship with each other. Their amazing album was released on fellow Seattle label Translingustic Other, and their pounding psychedelic whirlwinds will be the perfect cathartic end to the first night of Debacle Fest.
Expo '70 - "Subtle Afterthoughts" Finally: a preview from Expo '70's meditative side, from his split LP with Plankton Wat.

music art film review - REDEFINE magazine

Debacle Fest 2013, Seattle (#27) Mixtape Download & Stream

Saya Woolfalk Artist Interview: The Possibility Of All Kinds Of Mixing

Rachel Hays — Tue, 23 Apr 2013 16:57:25 +0000

music art film review - REDEFINE magazine

Saya Woolfalk Artist Interview: The Possibility Of All Kinds Of Mixing

To experience Saya Woolfalk's work is to become immersed in a scientific folklore where biology and anthropology inform fables of utopia. In Greek, "utopia" translates literally as "no" (ou) and "place" (topos), and in a collaborative series with anthropologist Rachel Lears, entitled No Place, Woolfalk posits ways in which "no placeians" can more readily become a part of a utopian society. In her most recent development upon this theme, Woolfalk has incorporated a new element -- that of dual consciousness and foreign beings, via the narrative of a fictional species called Empathics. Through the use of psychedelically-colored exhibits, scientific slide shows, dance performances, and a very multi-disciplinary artistic practice, Woolfalk is learning how to use art shows to create utopian worlds in and of themselves.

When one enters 3rd Streaming in New York City to witness Woolfalk's current show, Chimera, one is immediately drawn to mannequins wearing felted costumes and floating on brightly-painted, patterned murals. These are Empathics, a new and fictional species in Woolfalk's work, who contain genetic elements of both plants and humans. Their existence is a sci-fi-inspired commentary that speaks to many things -- including the transformation of identities through biological hybridization -- but the more important underlying vision is that of increased unity across all forms of existence. To express this singular vision through craft, Woolfalk utilizes an impressive array of mediums; murals and installations are supplemented by huge, full-color lithographs of Empathics in their costumes, as well as paintings created "by them" and displays of objects used in their fictional rituals. Folkloric and scientific, fable-driven and meticulously chronicled, Woolfalk's exhibits also show her as both participant and narrator. In her videos, Woolfalk narrates as a scientist, with the resolute calm found in any biology film. But her work deviates from the usual script in that the scientists describe a transformation they themselves undergo. Woolfalk and "other scientists" find evidence of Empathics in the wilderness of Upstate New York, and through exposure to their bones and spores, decide to undergo a series of changes that will lead them towards becoming chimeras themselves. Over the twinkle of atmospheric music, animations break down the ways in which spores enter the human body -- but one soon finds that this is not only a biological transformation; it is also mystical. The scientists enter a ritual of guided dream therapy to learn how to embody their new state of plant-human consciousness, and through the introduction of a performance art element, the transformed beings emerge from behind the wall where the video is being projected, donning costumes that are on display. The merging of a complete physical and digital reality is what Woolfalk says makes her utopian-driven work "real". "When you come in[to the gallery], I want you to be in a world -- but it's our world," she explains. The world within the exhibit also reacts to the world outside the exhibit. Mythology dictates that Empathics create beautiful headdresses to disguise a second head which sprouts as part of their shift to dual consciousness, and such guises helps keep things from getting awkward in public or at their jobs. They also literally sell their skins; magical costumes they shed during the process help bring in extra income for their research. Regarding this very intentional detail, Woolfalk laughs and describes living in Brazil and studying folkloric performance, where "people are engaging in fantastic stories about struggle... and simultaneously selling trinkets because they need them... they actually help pay the bills."

SAYA WOOLFALK ARTIST INTERVIEW CONTINUES BELOW

Woolfalk's work is "becoming more of a fable" as it progresses, acting as a fantastical other reality that reflects the artist's real-life external influences. The creation of Empathics, for example, was first inspired by the works of feminist science fiction author Octavia Butler, who discussed the idea of plant-human utopia. "Originally, it was about physical action and ritual that would make [a] new place," explains Woolfalk. But when conceptualizing what this transformation process would look like, Woolfalk began speaking to biologists at Tufts. Through discussions of the natural world, she began to "rethink physical adaptation and metamorphosis". "It's not just that humans can just act on their environment and become whatever they chose to; the places that they are, the things that they encounter cause micro-transformations," Woolfalk continues. Such a statement is more than just environmental or a comment on slow changes through intuitive guidance. Woolfalk seeks to "break down categorization -- not just human, animal, or interracial, but also intercultural or interbiological." She welcomes "the possibility of all kinds of mixing", and notes that her next iteration upon this theme "is the idea of consciousness between humans and technology." As Woolfalk continues to develop as an artist, she is not only incorporating the influence of anthropologists and science fiction writers, or folklore and biology. She is also growing to incorporate her audience as part of the exhibits. For her, "Audience has become part of the structure and circuit. I consider how their experiencing what I'm doing in order to feed it back more clearly." Woolfalk's multi-faceted works all shrink down to a very natural process of evolution -- one that welcomes the inclusive mixture of many ideas and techniques. Though each of Woolfalk's works is fully-conceptualized prior to its creation, its final product is ultimately unpredictable, subject to flux as her ideas morph through what she consumes and how her mind processes. Each piece is "changing and emerging as it's restructured by the logics I've been thinking about," she explains. "[It is natural] to work in two dimensions -- then three dimensions, then four dimensions... There's a porous relationship between the pieces. It's an organic process between logic and intuition."

Come catch the last days of Woolfalk's exhibits and your chance to feedback into collective consciousnesses. Chimera at 3rd Streaming in NYC Chimera runs through April 25th, 2013. A talk entitled "Brave New Land: Science Fiction in Contemporary Art" will take place on Wednesday, April 24th, 2013, featuring Saya Woolfalk, Chitra Ganesh, and Simone Leigh. Doors at 6:00; Discussion promptly at 6:30. Space Is The Place @ Disjecta in Portland, Oregon The group show, featuring works by Saya Woolfalk, Wendy Red Star, Guillermo Gómez-Peña, and David Huffman, will end on April 27th, 2013. Admission is free, and Disjecta is open Fridays, Saturdays, and Sundays.

music art film review - REDEFINE magazine

Saya Woolfalk Artist Interview: The Possibility Of All Kinds Of Mixing

Fat White Family – Champagne Holocaust Album Review & Artistic Philosophy Q&A

Stuart Aisbitt — Tue, 02 Apr 2013 15:37:42 +0000

music art film review - REDEFINE magazine

Fat White Family – Champagne Holocaust Album Review & Artistic Philosophy Q&A

Fat White Family Champagne Holocaust Trashmouth Records My first listen of Fat White Family's debut, Champagne Holocaust, left me thinking of notorious criminal Charles Manson. No sense emerged from this until my thoughts turned to the stark contrast, chasm even, between the monstrousness of Manson and the majesty of his music: deranged yet lucid, at once pretty yet horrific. A subsequent visit to Fat White Family's Tumblr page displayed the visage of Manson whose own Family, it turns out, partly inspired this British band's name. Like Manson's, their odd charm is seductive, and among the accolades they've accrued is The Quietus' Tomorrow's Cult Star Today award at BBC 6 Music Blog Awards. Some have attributed this popularity to their live show antics. Duly noted, but it's the aforementioned contrasts in their songs that might account for this, for therein lies the captivating appeal of this debut.

Fat White Family Interview: Artistic Philosophy Q&A The violence in some of your lyrics contrasts with, at times, quite lovely music. Are there certain people, or aspects of culture, which have particularly angered you? We believe culture to be a dialogue from which we have long since been politely asked to leave, less those with the bottomless pockets and the thalidomide arms should end up with rotten egg on their faces. As for the noted contrast between lyric and music on some of the record, that has something to do with subtlety, a dying craft for which we alone seem to harbor sympathy.

Does the band have a mission, or rather a philosophical outlook which informs your song-writing process, or that leads you to such visceral lyricism? Do you hope to accomplish anything with making your mission known? Our mission is clear and singular, there is nothing but the struggle. The struggle is the process and the product. The law knows no struggle, and in turn the struggle recognizes no law. What might appear visceral on this record to some we know in fact to be the sweet ringing of the harmonious bells of truth; a terrifying sound to those heavily immersed in a world of total fiction, total servitude, and base exploitation.

Has Charles Manson inspired aspects of your music (in any sense)? If so, how/when did you first become interested in him? Charles Manson has some questionable politics; of that, there is no doubt. As an artist however he is an incredibly deft, insightful, sweet, sensitive genius. We became interested in Manson listening to the family jams record back in 2011. The cult aspect we found fascinating, especially given how long this man has been in a cage, but principally it was the unpredictability of his sound, his words, and his message that switched us on.

Do you think your lyrical content or output is considered controversial by others? If so, what is your reaction? Is stirring such controversy intentional or the result of simply following your artistic vision? Just as the cool breeze comes to comb the sweet spring grass, our lyrics come to us. There is no intent, they are akin to air mostly, but also like water, earth, fire, all of the fundamental elements. If these spark controversy then nature itself is corrupt and must be brought to question. We have neither the time nor the intelligence to go out and shock this feral world, all we can hope to do is channel what is pure, what is true, what is actually there.

The band's single, "Cream of the Young", is driven by a creeping guitar and bass which make for an uneasy but captivating listen; like the call of sirens, you're drawn into trouble, to be left enthralled and appalled. The video is a buffet of disarticulated body parts, the inside on the outside. After viewing it, you almost reproach yourself for enjoying something so vile, so hideously compelling. If, as it did for me, the album evokes in listeners' minds images of psychopaths and murderers, they might be unsurprised, considering that thematically, the album is replete with allusions to macabre instances of physical harm. The album's title itself, Champagne Holocaust, connotes mass murder and destruction. But the murder of what? Well it seems they want to destroy what could be dubbed "yuppie" culture. Oh, and Disneyland is a target, too. "Bomb Disneyland", like the rest of the record, comprises the dreamy surreality of psychedelic jams with the rawness of a garage band. On "Who Shot Lee Oswald", the title becomes a drawling lyric which might have you convinced that Fat White Family are on the lookout for someone other than Jack Ruby. The closing song, "Garden of the Numb", encapsulates the band's defining sentiment in a contemptuous ode to someone despised beneath a suitably lethargic beat and belaboured guitar: "In this cold inbred excuse for a world/ I'm lost in the garden of the numb." After further deploring the song's subject ("You would sell your mother's cunt to open doors" and, "I'd like to watch you burning while you dance"), listeners are once again left to reconcile the visceral lyrics with the lament they simultaneously convey. Let's overlook the mission statement, however, because what might sound like a rather misanthropic social disposition cannot obscure the striking duality in these songs, and their ability to subvert your sonic expectations. Buried beneath the dirt lie well-crafted songs which, stripped of their disheveled exterior, would actually sound tranquil. "Auto Neutron", for example, becomes a mantra that evokes the eerie, frantic calm of Modest Mouse's "Dramamine". A listen to Fat White Family is an oxymoronic experience, and one of the most enjoyable moments occurs at 3:56, when the guitar effects become indistinguishable from a scathing vocal roar. The mixture of rage atop a meditative track is beguiling. I'm sure that soon enough they will be compared to Butthole Surfers or The Cramps, perhaps even Nick Cave and the Bad Seeds' der Ballads. Fine, but I could just as well imagine some of their tracks, if written twenty-two years ago, fitting in as accompaniment to Agent Cooper's surreal dream sequences in Twin Peaks. Evocations of psychopathic criminals, discordant music, and lyrical violence make this album a thoroughly enjoyable monstrosity. Indeed, the monstrous is the horribly evocative pulse of this album. Thankfully, we'll be unable to incarcerate Fat White Family's debut and, upon its release, Champagne Holocaust will be free to roam, in all its mischievous and maniacal revelry.

music art film review - REDEFINE magazine

Fat White Family – Champagne Holocaust Album Review & Artistic Philosophy Q&A

Cyclopean – Cyclopean EP Album Review & Band Name Analysis

Vivian Hua — Mon, 01 Apr 2013 18:23:25 +0000

music art film review - REDEFINE magazine

Cyclopean – Cyclopean EP Album Review & Band Name Analysis

Cyclopean Cyclopean Mute Records / Spoon Records (2013) Named after an ancient construction style involving stacks of irregularly-shaped rocks, Cyclopean is an instrumental quartet comprised of Burnt Friedman, Jono Podmore, and two founding members of Can, Jaki Liebezeit and Irmin Schmidt. In line with their namesake, Cyclopean piece together disjointed building blocks to form sonic megaliths, as if to stress not just the importance of an impressive final form, but of minute attention to detail as well. Repetition and minimalism go hand-in-hand on Cyclopean; finely-tuned percussive components and well-placed electronic drones, noises, and theremin textures comprise the foundation of the record. Though the EP initially weighs heavy, it grows increasingly airy as it progresses. By its end, it has been loosened from its restrictive ground tethers, ready to float off like a castle in the sky.

Cyclopean Masonry

The Mycenaean period in Greek history spanned from around 1600 BC to 1100 BC, named after Mycenae, one of the major centres of Greek civilization at that time. Mycenae and Tiryns were two sites that utilized the Cyclopean masonry technique, which involves the piecing together of massive limestone boulders without mortar, all of its gaps filled in by smaller pieces of limestone. Because of the size of the boulders at Mycenae and Tiryns, such constructions were originally credited to the mythological Cyclopes, giants with single eyes in the center of their foreheads. They were said to be the only parties strong enough to move such massive boulders. Though "Cyclopean" was originally coined to describe these Mycenaean fortifications, the term is now used to describe similar styles of stonework found around the world. __ WIKIPEDIA

"Apostles", the first of the four-track EP, finds Cyclopean very much bound to earth in a carnal sense. With its heavy reliance on simple rhythms and drum sounds, it seems to soundtrack a fire dance in the Australian outback or around an aboriginal cave dwelling. Move forward onto "Fingers", and the same dark dancers remain -- though here, much more ghostly, the affected parties already beginning to pass on from the solid earth into a more etheric world of washy textures. The track's tangled instrumentation encourages introspection, its complexities functioning in the same way that the variable licks of a roaring fire might maze one's mind. Something deliciously primitive sparks with Cyclopean, yet they maintain futuristic qualities at the same time, forming a contradictory new universe of "futureprimitive" soundscapes. These lands are in disarray but the wreckage can be beautiful, one soon finds; "Knuckles" opens with tinny drums scraping up against alien groans, but classic piano keys offer the first clear gleams of calm beneath a blanket of chaos. Cyclopean is propelled forward by percussive momentum from its very beginning, but with "Knuckles", the direction seems to shift noticeably. Whereas "Apostles" and "Fingers" seemed to champion the growth of a sprawling human construction, "Knuckles" marks the beginning of an upwards trajectory. The band's wandering spirit now feels bound for the skies, with loftier goals than simply dancing around a fire or even staring blissfully into it. Here are moments of complete light and radiance with the twinkling of bells and keys; one is standing at heavenly gates, catching glimpses of eternity -- though remnants of the underworld still creep in via dark sputtering and ghostly siren sounds. By the last track, "Weeks", nearly all earth-bound heaviness has been shed, giving way to a nearly monastic symphony of chimes; wayward and mundane pleasures are now straightened into joys, full-on celebrations which leave one in the twinkling heavens. Twenty-two-and-a-half minutes from when the record first began, one ends the journey, wondering how much further there is to rise after already floating so far up from the fire. Ω

music art film review - REDEFINE magazine

Cyclopean – Cyclopean EP Album Review & Band Name Analysis

Amanda Charchian Artist Interview: Saying YES To Raw Honesty

Maria Schettino — Thu, 28 Mar 2013 20:25:26 +0000

music art film review - REDEFINE magazine

Amanda Charchian Artist Interview: Saying YES To Raw Honesty

Whether it's a symptom of repressive cultural conditions or a question of derivative creativity, nudity in art causes a ruckus. Rashly criticized as an easy way to draw attention to one's art or an exhibitionist ploy for attention, bare bodies are often a point of contention for both critics and viewers alike. The fine line between artistry and exploitative eroticism is often a blurry one. Ultimately, the intentions of the artist and the emotional subtleties communicated by the work itself determine its merit or lack there of. In the case of 23-year old Amanda Charchian's photography, revelation is the goal. It is a desire to construct timelessness that inspires her to photograph nudes. She favors skin over clothes because of its raw honesty, the removal of clothing a path to seeing ourselves in our purest most vulnerable forms.

(18 IMAGES AND 1 VIDEO IN FULL POST)

"I appear defiant because I have something to rebel against, something to be resistant to. Every artist I admire has something to say, to instigate, a passion to ignite." -- Amanda Charchian

To Charchian, those who criticize the use of nudity in art for its overused "shock" factor are failing in their analysis. "People have the inability to appreciate the subtle differences between artistic nuances," she says. "How could anyone pass our purist physical state- something you can't pretend doesn't exist - as 'unnecessary' or 'overdone'?" Intentionally or not, stripping the human body often presents it as something exclusively erotic, limiting it as an object of desire and a vehicle for pleasure. Nudity and eroticism are commonly joined conceptually, but Charchian cleverly asserts that clothing is often the culprit in over-sexed societies. "If clothing truly controlled lust and other 'sinful' inclinations surrounding nudity," shequestions, "would we be such a sex-crazed society? In my travels to countries like Egypt and India where women are the MOST covered, the men are also the most hostile and aggressive with their eyes. It is pretty basic psychology that restriction creates desire." Repression has long been considered a catalyst for desire. The inability to separate nudity from eroticism is symptomatic of societal brainwashing and forced out of likely arbitrary, social, or religious mores. "When you specifically are told you can't have something, you want it more," Charchian explains. "In a culturally conditioned and ultimately stunted state, one cannot separate eroticism and nudity. But in my perception of nudity through the lens of a naturist, there doesn't always have to be a sexual tension." "To say that these [nudity and eroticism] always go hand-in-hand would be to ignore individual sexual idiosyncrasies or fetishes," Charchian continues. "Some people find a lot of eroticism in the fully-clothed. Sexuality is a complicated part of our existence, and that is why it is fascinating to me." As stated on her website, Charchian is an investigator of "the state of alienation through realms of the physical, psycho-social, and spiritual human condition." Although it is not her specific intent to be provocative, Charchian is a rebellious insurgent within a constrictive culture, battling for openness in an otherwise restrictive society. She says "'YES' in a world of No." With art as her agent, she is, by default, a kind of creative hellion. "I appear defiant because I have something to rebel against, something to be resistant to. Every artist I admire has something to say, to instigate, a passion to ignite." Charchian, does not, however, take her freedom of expression for granted. Her parents escaped an oppressive Islamic regime in Iran, which affected her massively. It is perhaps the reason for the amount of "deep celebration of female freedom and sensuality" she conveys within her work. "That wouldn't be possible if I lived in Iran," she says.

Amanda Charchian Artist Interview Continues Below

"YES" has become more than just a word for Charchian; it is a way of life. Appearing in her work both physically and symbolically, these three letters represent an ideology that fosters positive energy and the overwhelming power that comes with it. "'YES' is a mantra," she states. "It is a word, but somehow it is beyond a word. It transcends its own meaning. For example, when our brain hears the word 'NO', our survival instincts, stress responses and heart rate increase immediately. But when the brain hears the word 'YES', absolutely nothing happens. It is a very spiritual word." Her piece eYES, for example, is a meticulously-assembled sculpture of the letters Y-E-S made, from Swarovski Spectra crystals and nickel-plated steel. The healing nature of the materials and the profundity of the message are a testament to Charchian's affection for nature and her interest in mysticism. Citing the "historical and philosophical interplay between surrealism and occultism" as one of her influences, Charchian composes imaginative images that are undeniably mythical. A photograph from the series entitled Sworn In Swarkestone depicts a woman wearing a glorious black cape that spreads like the wings of bat; she stands with her eyes closed towards the heavens, in front of a mysterious faded stone building. The scene is ethereal and preternatural and indeed evokes a kind of pagan charm reminiscent of the occult.

AMANDA CHARCHIAN ARTIST INTERVIEW CONTINUES BELOW

Utilizing almost exclusively analog cameras, she believes that "film captures the energy that is emitted from organic matter better than digital does." There is something about those lustrous silver oxide bits that is pure magic. Film is tangible and therefore more natural. "Perhaps it is because it is a physical object that takes up space," she hypothesizes. "It can record another physical object better." Taking this idea even further, Charchian also keeps a number of "magical items" inside of her camera bag. It is an ephemeral collection of creative aids that are ever-present and always evolving. Some items she keeps handy include prisms, crystals, glitter sticks, expired film, fresh flowers, and vintage track filters. "It is always changing depending on what I have found along the way," she explains. Creative tools in hand, her process as an artist involves translating pervading ideas into concrete projects. Channeling this spiritual inspiration, she is more of an instrument than an architect: "My strongest works were ones that appeared to me as a fully formed vision that seemed impossible. The planning part comes from trying to manifest that otherworldly flash on the psychical plane without losing the divine nature of the original inspiration. Sometimes an idea haunts me literally every five minutes until I make it happen. It's like being on the verge of orgasm for a very prolonged amount of time." Harnessing ideas and following them through to actualization is a means of transferring what comes from the subconscious realm into objects as works of art. Where photography is concerned, it is a way to capture a very distinct moment and cement it in time. However, Charchian does not shoot photos to remember things; she shoots to create an entirely independent event -- a new memory. The shutter of a camera captures only an instant revealing what is not cognitively perceivable by the human eye. "When you freeze time for an image, it extends beyond time, thus making it timeless," she says. Within a circular time perspective, this frozen moment is a way to make that moment last forever. It creates a sort of temporal infinity. It does, indeed, become timeless.

www.amandacharchian.com

Ω THE ENTIRETY OF AMANDA CHARCHIAN'S I IMAGINE YES IS THE ONLY LIVING THING SERIES

music art film review - REDEFINE magazine

Amanda Charchian Artist Interview: Saying YES To Raw Honesty

Django Django, Night Moves Live Show Review

Peter Woodburn — Fri, 22 Mar 2013 21:17:38 +0000

music art film review - REDEFINE magazine

Django Django, Night Moves Live Show Review

This might come off as a bit fanboyish -- but Django Django is the best band you probably haven't seen live yet.I've made no secret about my love for the quartet from the English isles, and a cancellation on their performance at Iceland Airwaves only furthered my anticipation. Like everyone else in the Neptune Theater on a rainy Tuesday evening in Seattle, I eagerly waited and waited for Django Django's jangly take on psych-electronic influenced rock -- a wait which first began since KEXP started blasting "Default" nearly 15 months ago.

March 19th, 2013 @ Neptune Theatre, Seattle, WA

Night Moves

Django Django chose Minneapolis-based Night Moves, fresh off of a whole lot of good press for the brand new band. The quartet, using a little bit of odd samples and pre-recorded instrumentation, looked like veterans for the crowd, channeling their inner-Portugal. The Man as they delivered a psych-rock set that would make any Deadhead proud. The band, however, isn't prone to senseless noodling; they kept their set nice and tight for an opener, and sounded much more polished than you would expect. DJANGO DJANGO / NIGHT MOVES LIVE SHOW REVIEW CONTINUES BELOW

Django Django

Django Django is a band that has released only one full-length album, but it has come to garner much critical acclaim. Featuring a member whose brother is in the much loved Beta Band, Django Django's live show was in an odd spot for me, and a lot of people around me. Everything about their self-titled debut is so good, so hyped, that all they had to do was play the songs well and it would've been a good night. The band did that, and then just blew it out of the water. Every one of their songs got a little bit of an extension, partly to fill the time considering their limited catalog, and partly because, well, they almost sound better that way. Guitarist and vocalist Vincent Neff was absolutely genuine in his thanks to everyone, showing off a level of sincerity that sometimes seems lost in musicians. The band rifled through the entire album and didn't really leave too much up to the imagination as they closed out with "Wor" -- but they were met to a roar of approval because that was the only song left to play. If there was one takeaway from the show, it was the chatter stemming from the crowd as they slowly filed back out into the miserable Seattle cold: Django Django wasn't just good; they were great. And even beyond great, for some people. DJANGO DJANGO / NIGHT MOVES LIVE SHOW REVIEW CONTINUES BELOW Ω

music art film review - REDEFINE magazine

Django Django, Night Moves Live Show Review