Not SXSW #3: Artists Respond

March 14th, 2012

I am still receiving very encouraging dispatches from all over the globe in response to my call for artists not attending SXSW. A few longtime Visitation Rites favorites with a slightly higher profile have also sent along some special videos and unreleased material. I took the time to briefly ask those artists about their thoughts on South by Southwest.

Trouble Books: “Dead Bee in a Golden Bowl” (Previously unreleased track from upcoming album Concatenating Fields)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Visitation Rites: Have you considered attending SXSW in the past?

Keith Freund, Trouble Books: Actually, I’ve already played SXSW. I was there with another band in 2007, I think? I watched a middle-aged industry dude try to get two wasted teenage girls to go back to his hotel with him while some twee band played and the next morning I saw one of those girls as a completely annihilated zombie trying to hand out flyers to people walking by who threw them on the ground. Scorched Earth, TX.

VR: Do you believe at this point in your career “showcase” or industry events can help expose your band to a wider audience?

It really takes an over-the-top gimmicky live set to grab any attention at those things, so that wouldn’t work for Linda and I when we’re staring at our ‘tronics and mumbling into the mic in an empty tent at 2 PM.

Rivulets: “I Was Once A Handsome Man”

RIVULETS – I WAS ONCE A HANDSOME MAN from SCHAPENKOPPEN. on Vimeo.

Rivulets is the recording project of Nathan Amundson who has been releasing music under that name for over a decade. His latest album, We’re Fucked, was released last year on Important Records.

Visitation Rites: Have you thought about or made plans to attend SXSW in the past?

Nathan Amundson, Rivulets: Once, in 2002. I didn’t enjoy it. I don’t have the sort of personality to schmooze people and I hate crowds. I can see how for a certain type of band or music fan it could be a pretty intense and concentrated blast, but it’s not for me.

VR: What are the options, besides CMJ or SXSW, for artists to promote their work on their own?

NA: Get on the road and in front of people who’ve never heard of you. I think that’s still the best, if not easiest, way to win new fans. Go places where no-one else bothers to go. I have a great bunch of fans deep in south-central Spain – not because I’m special, but because I care enough about them to travel all the way out there where most bands don’t. It’s rewarding to see these same faces time after time.

VR: Are there any particularly worthwhile or rewarding events that you’ve been a part of in your career – a moment where the dreamed about “breakthrough” or “connection” happens?

NA: The little personal connections– becoming friends with artists whose work you admire– that sort of stuff. Right now I’m stoked to be opening for Codeine in July. They were hugely important to me and I never thought I’d get to see them live, much less be playing shows with them.

VR: You’ve toured pretty extensively in Europe and all over the states. What are alternative networks that you have found to disperse your music and book tours, etc.?

NA: In Europe, I’ve worked with booking agents for most of this time, but I’ve been doing it long enough now that I know a lot of the promoters personally, so it’s not hard to drop them a line if I’m booking a run of shows on my own. I’ve never really had a booking agent in the US so I tend to do more one-off shows here than full tours. Much easier for me to wrangle than a US tour, which is logistical bananas to me.

For dispersal of music I dig Bandcamp, but I hope they keep it simple and don’t get too cluttered with it. It’s good to have your stuff up on iTunes and Amazon, too. People seem to like small handmade editions of things, too– and will still buy physical product if you make it unique.

Every band should have their OWN website. Not Facebook or whatever, but yourbandname.com (or .net, .org etc). All of these services come and go over time, but if you plan to stick around you should have your own home that you are 100% in charge of.

Je Suis Le Petit Chevalier – “The First Forest (Edit)” (from upcoming LP A New Age of Wonder on Shelter Press)

Je Suis Le Petit Chevalier – The First Forest (edit) from Shelter Press on Vimeo.

Visitation Rites: Have you thought about or made plans to attend South by Southwest in the past?

Félicia Atkinson, Je Suis Le Petit Chevalier: SXSW is not that famous in Belgium or in France. Frankly, I heard about it only 2 years ago and it seemed like an exciting place to go! What makes it exciting is that It seems so far away from Belgium! I mean, Texas! It would be fun to take a little van from Belgium with some friends, take the boat in Antwerp until New York and then hit the road! We would bring Belgian beers!

VR: What does South by Southwest mean to artists outside America?

FA: I think it is a bit of a myth because we can’t just “go” to hang out. It is way too far! I imagine it is very crowded and there are a lot of kids there. So it might be a bit scary also: so much indie crowd! So many loners gathered, seems a bit like a paradox in a way! My friend High Wolf went to play there last year, driving with friends, and we were all very impressed, like, “How was it?!” The drive was impressive, too.

VR: Do you have a personal philosophy or plan related to your artistic work, and does something like SXSW fit into this or not? How?

FA: My philosophy in my artistic work is that I will always do what I want, never trying to fit especially to something ” a la mode”. I need to be free. I released 22 cassettes and records over the past two years. Some editions were only 18 copies, some were 500. In my artwork it’s the same, I don’t care of doing gigantic pieces that would suit perfectly for collectors. If I want to do small and complicated to understand, I will do so.

Does a festival has a philosophy? I don’t know…maybe we could just say that festivals have “tastes”. I like the ideas that they have a lot of different scenes and curators for the shows.

Also, I want my music shows to be unpredictable, not in terms of energy or seriousness but in terms of sound and type of vibes. Sometimes it is very noisy, sometimes very calm, it changes often. My concern is also the experience as a listener: do people go to SXSW just to have fun– or do they go to listen to music? I guess both? Are you allowed to do music that is not fun there? Maybe if I would go to SXSW, I would expect a feeling of positive uncertainty, a kind of thrill, from the musicians and from the audience.

Words: Max Burke

Not SXSW Round #2: From the Depths of the Internet

March 13th, 2012

Since opening up my call to artists who are not attending SXSW, I’ve been inundated with an array of great new music. As the clock ticks away at SXSW, I’ve attempting to listen to and sift through all this material as fast as possible. In the next few days I’ll have some more elaborate and well-defined features, but for this go-around I wanted to shine the spotlight on some artists who have a minimal Internet presence beyond a Bandcamp or Soundcloud page, and whose sound should have much wider appeal. Underground music has reached a critical mass of outlets and points of distribution, and day after day music pours itself out of artists and onto the Internet. The greatest and most awe-inspiring result is how excellent much of this music is, how it fulfills the promise of discovering your new favorite band out of nowhere.

Alex Tedesco: “Trust”

Alex Tedesco is an artist from Detroit who started off working in sound collage and ambient modes. With his just-released Pretty Lies album (available on Bandcamp and Soundcloud) he has gone all in on songwriting. His deep baritone is most strongly reminiscent of Magnetic Fields, but the inventive production and theatrical flourishes of his music bring to mind Xiu Xiu and a host of other nu-goth cohorts who have wedded transgressive lyrical content with the benefits of cheap and easy access to sophisticated production techniques. “Trust” is one of the more beautiful and understated tracks, but Pretty Lies is a fully formed musical statement, worthy of your time and attention.

Wapinitia: “Bed”

Wapinitia is a one-man bedroom recording project from Maryland. “Bed” is a gnarly, no-nonsense jam that dates from 2009. Most of Wapinitia’s material is acoustic, but the blown-out distortion of “Bed” is more compelling to my ears. As far as new music credibility goes, this is the first time that any Wapinitia material has been highlighted online.

Soft Parts: “Bay 12”

Soft Parts’ music came to me in the most mysterious way possible: in an email, with the subject “Submission” and  just a Soundcloud link. The Bandcamp page is no more enlightening: “just some guy,” it states in the headline. The music on offer is sound collage, a bit too dynamic to be ambient or droney, instead reminiscent of scene luminary Oneohtrix Point Never’s sample-based symphonies in miniature or a damaged take on Monster Rally’s goofy po-mo pop. “Bay 12” is a bite-size chunk of the oeuvre to date, concisely conveying the dizzy, transporting vibe and brittle atmosphere that exemplify the Soft Parts sound. The longer “Carbon Dating” is also highly recommended; a bit more space to breathe allows the compositional sophistication of Soft Parts to reveal itself.

Palmz: “Teenage Heartthrob”

Finally, Palmz from beautiful Santa Cruz, California bring us a video that some classic footage from the Florida Department of Tourism with a gorgeous, throwback doo-wop song. Palmz is led by Lexie Corfiatis, and the group’s embrace of early rock’n’roll aesthetics is refreshingly devoid of irony, avoiding the contrivances of Best Coast and often achieving the haunting catharsis of contemporary masters like The Sandwitches. All of this is on display on the mini-album X-Ray of Fun, which glides effortlessly between ethereal, shoegaze-influenced guitar jams and pitch-perfect girl group pop. It’s a miracle that the group hasn’t found a wider audience, as they seem to be hitting all the right points of influence in a highly personal and refreshing manner.

Words: Max Burke

Not SXSW Round #1

March 12th, 2012

Since I impulsively put out a call to artists who were not involved in SXSW this year, I’ve received an overwhelming amount of stuff, and worst of all, most of it is excellent. I’m continuing to accept submissions for now at maxfisherburke@gmail.com, so please spread the word and keep the music coming. If you have submitted and aren’t covered over the next week or so, it’s only the result of the high volume of material. I’ll be filing away all submissions for future inclusion at Vistation Rites.

Space Shuttle Oprah: “House Hunting with Osama Bin Laden”

Space Shuttle Oprah is the somewhat mysterious moniker of a solo guitar project out of Chicago. This video collage re-contextualizes footage of Osama Bin Laden and the Chinese company Next Media’s absurd computer graphic recreations of his capture with a hypnotic backing track of looping guitar. The simplicity of the artist’s approach recalls the relaxed pleasure of Mark McGuire’s earliest releases, and the noisy dénouement is a well-earned payoff. More Space Shuttle Oprah tracks can be found on SoundCloud. Follow Space Shuttle Oprah on Twitter and Tumblr.

Man-Made Objects: “Tricia with Color Bars”

Man-Made Objects is a three-piece group from Oklahoma City led by Grant Provence. The band is a throwback to slowcore and the poppier end of shoegaze, right down to their debut EP being produced by the legendary Kramer (Galaxie 500, Low). Their sound combines the swelling, reverb-soaked guitar of those groups and the naive pop sensibility of early Magnetic Fields or Beat Happening. You can download their EP on Bandcamp and check them out on Twitter.

breatherholes: “Let Me Go”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

breatherholes is Lew from Austin. Yes, breatherholes lives in Austin, and won’t be attending South By Southwest. “Let Me Go” is a previously unreleased track intended for a tape compilation that never materialized. His sound mines the rather unpromising “dude with a guitar singing pained vocals” territory, but there’s a genuinely oft-kilter– dare I say “Outsider”–  atmosphere to the recordings, spanning a continuum of influence from ur-weirdo (and fellow Texan) Jandek to the earnest songcraft of rediscovered legends like Bob Desper. Most startling is a willingness to flirt with banal singer-songwriter clichés before throwing a curveball of unexpected instrumentation or theatrically overwrought vocalizing. No small debt is owed to early lo-fi legends like Lou Barlow’s Sentridoh project and the starker moments of Guided By Voices, but breatherholes has a highly developed personal style. Previous tape release Give It To U is available on Soundlcoud, and a brand new tape is promised for this year.

Check back all this week as I add many more non-SXSW groups.

Words: Max Burke

Call For Submissions: Are You An Artist Who is Not Going to SXSW?

March 9th, 2012

As a kind of counter-programming to SXSW, Visitation Rites contributor Max Burke is putting together a series of features on artists who WILL NOT be attending the festival this year. He will be publishing the round-ups from Brooklyn over the duration of the Austin event, and is extending an open invitation to anyone who might be interested in submitting their work:

The entire music internet is about to descend on Austin for the next week. The hive mind/snowball effect of South by Southwest has become increasingly overheated in recent years, resulting in a non-stop slurry of hyperbolic tweets, “I was there!” Instagram posts and empty threats of hype, hype and more hype. As an antidote, for the next week or so I will be taking open submissions of bands and labels that are not participating in SXSW. Please send single tracks and videos with relevant background links to:maxfisherburke@gmail.com . I can’t guarantee that all submissions will be written up, but I will make a good faith effort to listen to all of them with open ears.

Sightings: Rhyton, “Stone Colored”

March 2nd, 2012

Rhyton – Stone Colored from Thrill Jockey Records on Vimeo.

A week doesn’t seem to pass without the announcement of a new group formed from disparate members of incestuous experimental music operators, with the results running the spectrum from profound to dull. An improvisational sensibility is de rigeur and the end product suggests a glimpse at greatness, rather than a cohesive statement. It was such a delight, then, to hear the self-titled debut from Rhyton, released in January on Thrill Jockey. The trio of Dave Shuford (D. Charles Speer & The Helix, NNCK), Jimy SeiTang (Psychic Ills) and Spencer Herbst (percussionist for overlooked droners Messages) have emerged with a fully formed psych-rock manifesto. Rhyton certainly do jam, but they know when to cut their losses too; their momentum-building tunes a testimony to economy in a notoriously indulgent subgenre. Most appealingly, they never allow their instincts to result in dissonant, interminable feedback fests, sharing more in common with the wilder moments of Gustav Estjes’ beloved vintage rock project Dungen.”Stone Colored” exemplifies these qualities, and the video’s deceptively simple montage of abstract natural landscape shots recalls the easy expressiveness of Ralph Steiner‘s pioneering work.

Words: Max Burke

Rhyton’s self-titled debut is available now from Thrill Jockey. Rhyton tour the east coast, midwest and Canada this month.

Playing Out:
Mar 10, 2012 Brooklyn, NY Death By Audio
Mar 24, 2012 Baltimore, MD Golden West Cafe
Mar 25, 2012 Pittsburgh, PA The Shop
Mar 27, 2012 Chicago, IL The Burlington
Mar 28, 2012 Ypsilanti, MI Woodruffs
Mar 29, 2012 Detroit, MI Lager House
Mar 30, 2012 Toronto, ON Double Double Land
Mar 31, 2012 London, ON Sweet Magic London Festival
Apr 01, 2012 Hudson, NY Jean Deux Books

Sightings: Ssaliva, “Mental Ray” Video

February 28th, 2012

Ssaliva ‘Mental Ray’ from Mulatu Width on Vimeo.

Belgium’s Ssaliva is clearly a lover of defunct, muddy aesthetics. His music is pop that may not go pop, but that keeps your brain involved. While his Thoughts Have Wings tape had some segments that were straight out of Motown, the sound here is much more aligned with the failure pop sounds of artists like John Maus, Puro Instinct, and Ariel Pink. However, when you remove the element of the human voice, it is so much easier to zero in on the murky anti-rythm that is present in this style of music, and it is harder to fall back on experiencing the sound as traditional pop. The muddiness is echoed in Mulatu Width’s video for the track. A haze of bleary colors bleed in and out of each other, and it is hard to latch onto any particular shape. It is a mostly a concoction of fluid, painterly moments. The irony is that when we are at last able to make out human characters, they are a group of graffiti artists, who are perhaps the ultimate lo-fi painters. The ambiguous visuals fit the warped beauty of the music. Ssaliva’s passion for anti-structure makes me excited to see the ways that he’ll continue to break it down.

Words: Samantha Cornwell

Ssaliva’s Sextape Hiss will be out later this year on Surf Kill

Portrait: Jon Clark

February 24th, 2012


Jon Clark is a visual artist living and working in Los Angeles. His work has appeared on several Not Not Fun releases, including the video for Matrix Metals and LA Vampires “So Unreal” (credited to Image Masters Unlimited, his collaboration with artist Spencer Longo). Clark’s practice spans comics, graphic design and video. The culmination of his efforts to date is Spectrum Hunter, a just released thirty minute film with a striking visual style that compliments its loose narrative about a cult of drug-addled video warriors who film their exploits for sale on the black market. Spectrum Hunter captures the timeless atmosphere of youth while leaving the menace of childhood intact.  It is a vital document of the dark, nostalgia-infected vibe that colors the work of Not Not Fun artists and associated blurry-VHS style travelers like James Ferraro.

Spectrum Hunter Trailer from Jon Clark on Vimeo.

Visitation Rites: In addition to the cover art and other visual ephemera you created for  the film there is a lot of original 80s and early 90s graphic art in the opening sequence. Can you talk a little bit about how this kind of art has influenced your own design work?

John Clark: With the bedroom scene, I was referencing the type of art and graphic design that inspired the aesthetic of the movie.  In reality, that is my real bedroom and I own everything on the walls.  The products, symbols, and advertising of the 80s/90s era are interesting to me because I first experienced them as a child.  When you are young, everything is mysterious and new – there is a permanent suspension of disbelief.  Encountering aesthetics in this mindset is profound. Browsing video stores as a child had a huge effect on my subconscious. Since I was not allowed to rent an R-rated movie, I would imagine what might be on them based solely on the cover art.  I did my best to illustrate this idea with the video store scene in Spectrum Hunter. As a kid, I wanted to interact with the mysterious characters and artwork represented on VHS boxes.  As an artist, I’ve found a way to create a world in which that is possible.

A close friend said she thinks the best modern example of Black Magic lies within the advertising industry.  There is something very seductive and powerful about package artwork and design.  When making props for Spectrum Hunter, though we referenced the graphic art of the 80s and 90s, I think the pieces that worked best went beyond that aesthetic.  Those pieces in particular had a haunted feel, familiar, yet dark and ambiguous.  Since completing Spectrum Hunter, I have continued to make cover artwork for a series of imagined media called the Night School Collection. With these pieces, I want to move beyond the 80s/90s aesthetic and put more emphasis on creating work that evokes the haunted feeling I mentioned earlier.  You can view them here.

VR: Can you talk about the names of characters in the games and the videos shown in Spectrum Hunter. Were these created specifically for the movie or were they a result of ideas and design concepts you’d been thinking about for a long time in different contexts?

JC: Both.  Text and language are a big part of my artistic practice.  I’m as much of a writer as I am a visual artist.  I have a ton of aliases and names for projects that don’t even exist yet.  When I used to play in bands I would always make up fake band names and include them on our fliers.  A lot of times, the impetus for a piece comes from a name or phrase I’ve come up with that is interesting or evocative to me.  Names can carry a lot of weight, especially when juxtaposed with imagery.  Rotten Robbie is the name of a gas station on the way to San Francisco.  Their sign has a cool font.  Poison House is something I saw written on a Pog.  To me, a Poison House is a futuristic version of a haunted house.  If Spectrum Hunters are inhabiting a building or mall, it’s a Poison House.  Night School is the name of the production company that puts out the Spectrum Hunter videos.  Mizuno is the name of an athletic company.  Heather, who played Mizuno, actually wears a Mizuno batting glove on her left hand in real life.  I like the name Shuttlecock because it sounds very regal but also funny and homoerotic.

VR: Can you tell me how actor Dian Bachar got involved?

JC: I love living in L.A. and being close to celebrities.  I also think the idea of a cameo is a symbolic gesture within the context of the film.  Celebrities carry the same sort of weight that logos and graphics do.  They are recognizable symbols of our culture.  Dian was roommates with a close friend of mine.  I am a big fan of Dian’s work and as we got to know each other, he became a fan of my work too.  I knew I wanted him to be in Spectrum Hunter before I even wrote it.  The other potential actor to play our Store Clerk was Jason Narvy, the guy who played Skull on Power Rangers.

VR: The mythology behind the Spectrum Hunter  isn’t gone into much detail in the film. Could you give a little background on your own idea/concept for the Spectrum Hunter universe?

JC: The Spectrum Hunters are a cult that inhabit deserted malls.  They use drugs (represented by Pogs) in order to gain tangible magic powers.  They build mazes and then kidnap people, forcing them to fight their way through the gauntlets they’ve constructed.  Surveillance cameras document these affairs and the subsequent videos are sold in clandestine locations.  They sell for astronomical sums of money since they are rare and illegal.  We made the Spectrum Hunters mysterious intentionally, but I still think their core motivations are apparent: the Spectrum Hunters inhabit deserted malls, they have real magic powers that most normal people don’t have access to, and they have a subculture with its own rituals and hierarchy.  Those are the things that motivate them to do what they do.

VR: Can you speak briefly about the music in the film – what your initial ideas for the score were and how you collaborated on the project?

JC: I wanted the score to mostly be comprised of early synthesis type music.  Music and sound cues similar to the BBC Radiophonic Workshop, A Clockwork Orange, 70s/80s TV bumpers, pinball machines, and video games.  I initially wanted natural noises to be represented with synth noises in order to abstract the imagery another level (sonically).  There are some instances of this in the film, but not as many as I originally planned.  One example is when Robbie spins the flower on the honeycomb prop and it bleeps out an atonal synth arpeggiation.

When I hear music that inspires me, I automatically attach imagery to it in my head.  This often compels me to illustrate music through video.  I am a huge fan of house and techno.  The scenes in Spectrum Hunter that incorporate dance music were conceived of with that type of music in mind.  I wanted to illustrate techno in a way that is based on my personal relationship with it, that would resonate with people in a different way.  Even if one isn’t a fan of that type of music, I wanted to work with it in a more conceptual manner that would transcend taste and deal with this music as an idea.  When the Spectrum Hunters baptize Tyler in the opening scene, it was important that techno be playing in the background.  Techno is hypnotic, ritualistic future music and it fits in with the vibe of the Spectrum Hunter cult.  I grew up going to raves, DJing, and making techno.  The synaesthesic experiences I had at raves, where images, sound, and humanity combine to create an alternate reality, have had an immense effect on my artwork.  In many ways, Spectrum Hunter is a heavily abstracted movie about rave culture, or subcultures in general.  Before I knew what raves were, I’d often pick up rave flyers at the mall because they looked cool.  On the back side, they listed all the DJs who were performing.  The names lists blew me away.  Adam X, Frankie Bones, Stryfe, Shredder, Tin Man, The Hacker.  “Who are these Demi-gods?” I wondered.  It would be years before I would find out.  That experience inspired the Spectrum Hunter flier that keeps reappearing in the movie: Apple Knocker, China Doll, Body Bag, Puss in Boots, Double Dude, Confetti Skeleton…Hugh Know?

Words: Max Burke

Spectrum Hunter is now available on DVD

Sightings: Thought Broadcast, Up-Maker 7″

February 20th, 2012

It’s hard to create truly confounding and mysterious music in the age of information, and yet here we have Thought Broadcast. Inspired by “bands whose atonality and libidinal force were free from any purpose” and currently based in San Francisco, Thought Broadcast is defined by recordings as paranoid as they are restrained. Instrumentation slides in and out of time, mistake becomes intention, things are being said, but anything discernable is just out of earshot.

The recently released Up-Maker 7″ on Phaserprone acts as a perfect introduction to the project’s music and philosophy – one which values confusion and personal connection over accessibility and passive consumption. The record was released in an edition of 175, computers were avoided, clues were planted with the past in mind, you will not find mp3s on Mediafire, you will be rewarded with music and thoughtful design if you put in the effort to track down the object. However, there don’t seem to be many left, so don’t dawdle. Living in a landscape where exhausting promotion has become the norm, it’s easy to forget that some of the most interesting music will still wait quietly to be discovered.

Thought Broadcast: “Noted Guerrillas”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Words: Sam Franklin

Up-Maker was released late last year by Phaserprone in an edition of 175 copies and can be purchased from Fusetron or Volcanic Tongue.

Sightings: Angel Eyes, “Flicked Bottle Tops”

February 15th, 2012

I often hear people say that slow-drone ambient tunes — such as those created by artists like Melbourne’s Andrew Cowie — are supposed to be transportive. I mostly agree, but I’ve always used these muddled slow burners as a type of brain bleach, or rapid, memory loss enhancer. Cowie’s latest effort under the Angel Eyes moniker sums this idea up beautifully. What’s got ya down tonight? Were you cold and lonely this Valentine’s Day? Did your mundane job jab and frustrate you more than usual? Don’t worry: “Flicked Bottle Tops” drowns and drones out your troubles with a healthy mixture of echoing percussion, thick walls of reverb, and gentle synths that sine and cosine their way through your grey matter. By the time Cowie’s voice slowly moans over it all you may find yourself unable to tell if the singer is real or imagined, but again, don’t fret–by that time it won’t even matter.

Angel Eyes, “Flicked Bottle Tops” (Vice to Vice, Moon Glyph)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Words: Marc Picciolo

Vice to Vice is out now on Moon Glyph.

Sightings: Ectoplasm, “Rob Walmart x White Rainbow”

February 14th, 2012

What has always impressed me about much of Adam Forkner’s output as White Rainbow is his ability to incorporate a white range of percussive sounds in a relatively seamless manner. While much adherence is given to structure, there is a lot of playful innovation when it comes to texture. This particular track is credited to Rob Walmart, as well as White Rainbow. Although there is only spotty information available regarding Rob Walmart, from what I understand it is a rag tag electronic music collective that Forkner belongs to. Lionel Richie is allegedly a follower of Rob Walmart, or at least that is what the tee shirt that Forkner is wearing in the image above would suggest. While it is unclear how many hands were on deck for this track, it has the aesthetic unity of many of Forkner’s live recordings under the White Rainbow moniker. Give it a whirl if you are looking for a steady pulse, office machine exclamations, and primitive vocal utterances.

UPDATE: I’m eating humble pie. Apparently this is a mash up of Rob Walmart and White Rainbow by Ectoplasm

Ectoplasm, “Rob Walmart x White Rainbow”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Words: Samantha Cornwell