Every now and then in that hotel room you need to sit back on the chesterfield with a ridiculously expensive bottle of red, don’t you? I call these classique moments in life ‘art for art’s sake’ and there is nothing in the world wrong with it. After a hard day of being wise, call in on some assistance and allow your mind to enter the revolving doors of inner contemplation.
You need the perfect soundtrack. You want chillwave dream pop trip hop but most of your high-school-friends-with-2-kids-married-to-a-guy-who-sells-company-insurance are listening to Burial now. It’s obvious you need greater aural reach and harder edge while not compromising the harmonious, delicate internal soiree now in play in your mind -which by this stage has concubines of the last Ottoman Harem dancing in the foyer and hibiscus flowers the size of watermelons blooming over the moonlit garden path.
You need Pittsburg’s Rivka. Their latest EP is Faded and is easy-peasy for name your price; exactly what you need after that Henschke huh? Watch their space for a physical this summer through Hoko Sounds.
Tarantula X has been a busy fella this past week. First he opened for Crystal Castles last Saturday and on Tuesday Crystal Castles “Affection (Tarantula X rmx)” came out – and they both D-E-S-T-R-O-Y-E-D-!!!
I am seriously impressed with this remix. Tarantula X’s big, big bass drums, excellent chirpy synth line and rolling hi-hats do an amazing job to compliment Alice Glass’s vocals. Give it a listen for yourself…
I went outside for a smoke when Tarantula X was done with his set on Saturday night and everyone was talking about how great his set was.
On a side note, there was a really, really frighteningly high kid in the fetal position lying on the grass surrounded by three security guards. This kid was having a nightmare kinda trip and he kept yelling “blue waffles”. Haha, that is completely irrelevant to this article but it was funny none the less. (Do yourself a favor, do NOT google “blue waffles”)
Real talk: I’ve never been to Northern California. I was born in San Diego and, thusly, I’m genetically predisposed to an attraction toward sunlight, sandy beaches, and un-ironically dropping “bro” and “dude” into every sentence. That’s just how it works. Srry-not-srry.
But that’s not to say I can’t fux with the colder, darker, deathier side of existence, though. I mean goddamn, I work at Мишка, breh; supplier of all things destruction and mayhem. And that’s why I’m telling you, not asking you, San Francisco, to gaze into the void this Saturday, where 120 Minutes & Lights Down Low are putting on a deathsquad graverave that’ll be sure to please even the iciest, most leather-claddiest, rivet-head-with-a-candy-kid-soul-iest motherfuckers.
Cold Cave, Brenmar, Boyd Rice/NON, and Jokers of The Scene will all be there to fuel your darkrave, coldwave, neo-noise experience. Wear your finest, drink your water, make a friend, kill your enemies, and make us all here at Мишка proud. Sending all ya’ll over in SF weird vibes to get the night right.
Stream some shit you’re about to get into below, and see if you can combine ball-dancing, twerking, and gothstepping into a unified theory of dance. Then send me the results. Winners get the videos shown to my friends at parties.
120 Minutes & Lights Down Low Present
Saturday, June 15th, Midnight
161 Erie Street
San Francisco, CA
Dimensional Beats. Sunken Rap. Portal-drifting Ghostkush. All appropriate genres that I just made up in the past ten seconds to describe Yung Lean‘s world of weird, Swedish trope-rapping; nobody is doing it better (if at all). Lean and Thaiboy Digital got this new cut, “Racks on Racks” to help you achieve a higher state of being.
With some amazing, DMT’d production by Keyboard Kid, you could easily rally up a crew for tripped-out Serial Experiments Lain marathon while your bodies all phase out of corporeality and float into the exosphere
Yung Lean’s Unknown Death 2002 will be out July 9th here on Мишка Records.
Tachyons+ Transmits is a weekly column on the realm of underground experimental video artists written and curated by Logan Owlbeemoth of the video art machine company Tachyons+.
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Let’s take a trip into the worlds of five current music video crafters who will be featured in this weekly column as time moves along. One thing you might notice these five video artists have in common is the unique use of analog and digital tools; video synths, circuit bent processors, VCR’s, old camcorders, etc. transferred over to maverick computer blending. A shared DNA strand of love for psychedelic visual explosions that propels us to a future time level of new time travel calculations in the video matrix stream.
First up, we will visit the one and only video goddess mothership known as Telefantasy Studios aka Jennifer Juniper Stratford of Los Angeles. In the past you have possibly seen her vid magic for John Maus, Genevva Jacuzzi and Ariel Pink. Lately she has been revving up some beautiful analog video synth compositions, which you can bathe your brains in the above image and the vid below via her masterful cosmic eye meltings…
ESP TV based in Brooklyn are a hyper busy duo who use old video generators, broken video processors and green screen 80′s video making tech into a wonderful bright puzzle of colors and layered television disasters transported from another dimension. These things can often be found at a live freak music party or an art gallery happening in NYC. They gather up their live shows into online compilations which you can dive into below, currently numbered at #32. So prepare to fall deep…
Sam Newell is what we call an up and coming Video Synth Wizard of the highest degree. Based out of New Mexico; Sam N. (as he is known via his Vimeo channel) has been throwing up odd video pieces for a fairly short time which are far removed from a common video synth machine user. If someone was to ask what is the future of hybrid video synthesis? -this would be a good starting point. Use this video for your next DMT session…
UK based AV DAV is the man. Sorry, but if you haven’t been infected by his frequent Facebook postings of his video art stills or his maddening oldschool video technology cut-ups using obscure VHS sources, then using such a simple hip statement as ‘the man’ might be a bit confusing. Trust T+, once you have fallen into the rabbit hole of his ultra mind scorching video hypnosis color jams, there is no turning back. Trip on…
Fantastic Lands is one lady residing in the south-east of the U.S. who has been cranking out lovely minimal vid pieces in a hush-hush manner. Something about her symbiotic relation with digital cyber cult sci-fi sources and burnt vcr connection distortions has put her recent work as something not easily shake-able from my eye’s memory. Waiting patiently in a space cube, scanning the VHF frequencies for more fantastic…
For the last year or so, progressive and ever migrating artist Jono Milo aka Daytime Television has been working on two EP’s worth of material, which has become known as Youth With Skull I & II. I liked the album enough to write it up for you all to check out.
An undulating staccato of funk-tinged repetitiveness builds up in ‘Dreamstate’, the first track on the album which strays into an apex of drifting currents, a musical soup of noise.
The album continues with the robotic ‘Everyone is Famous’, which features guest Ay Gee Tee and is an amalgamation of laser fire and synaptic impulses repeatedly fired into your cybernetic braincasing.
Moving forward are the tracks ‘Hollister Honey’ and ‘Innertube’, another song with the help of cohort Ay Gee Tee, both experimenting with a kind of glitched-out trap vibe throughout. The latter however dissolving into a discordant haze of bubbling and gurgling bleeps.
The second part of this two-part album, which is by far the more noisy/experimental of the two begins with the crystalline jaggedness of ‘In’, a repetitive mantra of glowing pulses. The next track ‘Kid Tarzan’ featuring the help of Internet Club is like being in a stifling hot, darkened closet with a gurgling and rattling iron stove while someone takes random stabs at a piano.
The next three tracks are more along the lines of ‘In’ but each with their own personality. ‘Loss of Sleep’ for instance will literally keep you from sleeping as it is a straight forward harsh noise track.
Internet Club returns on the exit track ‘Sunrise HD’ which finds the crew again plodding through a mud drenched sonic palate leaving nothing but erased minds of the fallen behind them.
Jono Milo’s vision, even on his Daytime Television auto-pilot, is a bizarre and sometimes abrasive melting pot of sounds. Many of these tracks find him coasting straight into the heart of his dreams without even a buildup.
Youth With Skull I & II is an overall great listen and a thoroughly strange sonic statement for the modern age.
Stumbling into girls. Stumbling out of bars. Stumbling into trouble. Stumbling over my passed out friends at 7:00 in the morning because, no, I’m not going to wait for your drunk-ass to get up and go on an omelette quest with me.
I’m also great at stumbling onto the coolest, siezure-inducing-est, Windows-95-ified, neo-HyperCard-fueled weird rave videos that are nestled into the dusty, forgotten crevices and cracks of the World Wide Web. This cat, NEW FE∆R, was poking out from the corners of my last.fm “suggested artists” bar, and the logo was just some shitty clip art with a picture of an ethernet cable. Solid gold bait for yours truly. Completely sold already. Clicked it, found it, searched it, Vimeo’d this bitch and watched it probably five times in a row while my boss and the other intern I work with were probably thinking “what’s with this dork?”
There’s obvious time-tunneling into the early-90s, but the beat and the video accomplish this with such a distilled understanding of why that shit is so hot right now, that it makes you forget all the sorry twitter/tumblr attempts at piggybacking onto the retro-rave bandwagon. Heavily laced with middle-eastern imagery and 3D renderings produced with free trial software, “Acid Oasis in Morocco” is like the old-skool deep house answer to experimental soundscaper Muslimgauze.
You might want headphones for this one. And maybe a bottle of water, some Tripp pants, and a ride home.
Rxidxr Klvn‘s Ethel Wulf is at the forefront of that amorphous internet movement that brought anime, video games, clip art, and everything Japanese into the realms of weird rap acceptability. 909-laden drum loops, katanas on the walls, shrooms, trees, all the content you’re probably used to by now is present.
Chris Travis raps over the latter half of the beat; rhymes about corrupting preacher’s daughters, lemonade n’ codeine, callin’ out haters, etc. Your standard scare-your-parents type shit. Filling the atmosphere of the entire track is a drugged-out haze of lean’d up defiance. These cats fuckin’ hate pussy-ass lames, and they’re completely bereft of fuck-giving. One day I’ll quit my job to a Rxidxr Klvn track. One day when I’ve come to work properly fuchxt up.
Minimal beats are always a good way to chill out and spend an overcast day trawling the net for cool shit, which is what I’ve been doing the last hour or two while listening to this new Kid A joint, “BB Bleu”.
Finally available for download after the music vid dropped in early May, the track features Kid A’s ghostly whisper-croon underlaid by a simple, time-halting, hypnagogic minimalist beat. It’s kind of like falling asleep music, chillin’ out in that space between waking life and dreamland. Except it’s more than that. Instead of where you would usually wind up (some recurring dream about going to school naked), Kid A detours your unconscious mind to the better parts of the celestial spheres; where space looks like a Windows 4K demoscene project.
Tachyons+ Transmits is a weekly column on the realm of underground experimental video artists written and curated by Logan Owlbeemoth of the video art machine company Tachyons+.
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Based out of the psychedelic crystal mine shafts of Seattle and forged with a mega dose of thundering guitars, lightning synthesizers, volcanic drums and angry angelic vox: Midday Veil have quietly slipped us a wonderful self-released VHS collection of music videos so we might trip outside the net prison in our VCR pajamas.
A true DIY band at heart, all the videos were made by Midday Veil themselves with various friends around the Space Needle city. They have even showcased works at the hall of video art wonders known as the Experimental Television Center in New York.
Currently they are prepping up a big LP/vinyl release for August. They’ve spent the past few years making it in the caves of the Master Musicians of Bukkake, cracking out some mega jams that turn rainbows into daggers for your ears. Lets drift over to some Q and A with Emily Pothast (vox and sword of flames) and David Golightly (synthist sorcerer of the M.V. dimension) about their new VHS release sweetly titled Midnight Movies.
Logan Owlbeemoth: What made you want to release a VHS tape in 2013?
Emily Pothast:We recently completed a pretty ambitious video for a song off our new album called “Great Cold of the Night.” It’s basically a mini horror film, directed by an artist named Steven Miller. At that point, we realized that we’ve been making music videos for a while now and if you string them together they sort of form this narrative of their own, so they seemed to call for their own release of some kind. We already release LPs and cassettes of our music, so why not make a VHS tape for our videos? We love analog formats because they function as art objects as well as a way to store recorded material.
Also, they imply a ritual beyond clicking a browser link. You have to own a VCR, for one thing!
As you know, there are two videos on our VHS release that were done during a residency at Experimental Television Center in New York. There are qualities to the analog feedback that are lost when you encode it digitally, but these videos look perfect on VHS. The movement is more fluid and there are no artifacts of compression. Everything looks more sculptural and infinite on tape, so it’s definitely the ideal format for certain kinds of video.
David Golightly:Like Emily said, VHS is the ideal medium for any sort of analog video work. Even though VHS resolution isn’t great, the color and luminance fidelity is what’s most important for analog art. Also, I really like that you can get a secondhand VCR at basically any thrift store for around $6 but since most people don’t use them a lot, you have to dust it off and set it up – just the act of preparing to watch these videos is a connection with the past that sets the stage for the experience of the video.
Owlbeemoth: Can you tell us about your experience at the Experimental Television Center?
EP: Our bandmate Timm Mason applied for a residency there and got it. He spent a full week there. The first few days, he familiarized himself with the gear and did some experiments. Then David and I flew out for the weekend and joined him.
All the footage for “Moon Temple” and “Anthem” were shot in night-long sessions that weekend. Timm dialed in the feedback settings and drove the gear and I was able to help steer the feedback in real time by observing my own movements in the monitors. We worked at night because there were big windows in the studio and we didn’t want outside light to stream in and change the feedback settings once they were dialed in.
The ETC was an incredible resource for a really long time, since the early 70s. A lot of their gear was handmade and one of a kind. Unfortunately they ended their residency program not too long after we were there and I think they have sold off a lot of their gear. I feel very fortunate that we got to work there when we did.
Owlbeemoth:What other video artists are you currently inspired by?
DG:I’m really inspired by the resurgence of general interest in hardware and analog gear, even when combined with computer editing and production. LZX Systems has been doing amazing work by tapping into the exploding modular synth world and making available an expansive system opening up new possibilities. Montreal artist Sabrina Ratté is doing amazing hybrid work – part digital, part analog, it really stands out as a more deeply refined, patient and masterful use of the technology. Portland artist Brenna Murphy mostly works in digital but is creating some really bizarre video sculpture by using organic shapes and textures in unusual ways that messes with your ability to figure out what you’re looking at. Los Angeles artists Brock Fansler and Eva Aguila ran an amazing public-access cable/vimeo series called Experimental ½ Hour, where they let musicians and performance artists play a half hour set while manipulating the live video feed. They brought together some amazing collaborations with musicians like Grouper, Eternal Tapestry, Matt Carlson, Swahili and many others. In Seattle, we have quite a prolific local scene brewing – including artists like Christian Petersen, Ben Van Citters, Nick Bartoletti and others who have been creating live performance environments and art installations that merge digital, analog, and interactive tools.
Owlbeemoth:How did you dub the VHS tapes, what gear did you use?
DG: Interesting story. Before our March tour, I tried to hire a company to duplicate them for us but it was nearly impossible to find a company that duplicates VHS (unlike cassettes). Eventually I found a company outside Chicago who promised to do them and they did a run for us but when we got them, a day before we left for tour, the quality was just terrible -particularly the audio had an unbearably loud hum in it, almost drowning out the music. So I tried to get the company to redo them, even sent them A/B samples showing how awful the sound quality was but they refused to admit to the problem. So I ended up picking up a couple of VCRs at a Goodwill in Denton, Texas and dubbed a lot of them from hotel rooms on the road. I just ran through an off-the-shelf VGA-to-composite converter and direct audio from a hi-res master on my laptop.
At home I’m able to run through a distribution amp out to 6 VCRs simultaneously so I can do runs much quicker. It’s still kind of crazy to me that there isn’t a single business today that can do these, but that just makes it all the more DIY.
Owlbeemoth:Do you have any profound memories as a youth going to the VHS rental store?
DG: More than going to the rental store, I remember taping absolutely everything onto our VCR. Any time a movie came on TV, we’d tape it. We had tons of episodes of Star Trek and always Back to the Future. I was really interested in the little accidental edits that happened when you tried to skip commercials, then 2 seconds of something random would show up in the middle of your movie. When I got to high school, I took media class and was able to mess around in the media lab, where I did a lot of VHS editing and was able to shoot my first music video, adding a bunch of wacky effects. It really opened my eyes. I guess I was in the last generation that really grew up with VHS. EP:Me too. I grew up in a really rural part of Iowa, so I would take VHS tapes with me when I went to visit my aunt who had cable. I would just put a tape in the VCR and let it record MTV all night, then go home and see what I got. As a result, I became the only kid in my tiny farming town that would rat my hair and wear a bunch of beaded necklaces and crucifixes like Madonna and Cyndi Lauper.
Owlbeemoth:Can you tell us a bit about the videos on the Midnight Movies VHS Tape?
Midday Veil:Our first video was for a song off our first album called Asymptote II. It was directed by a local artist named Christian J. Petersen, who used to have a company called Dumb Eyes and currently publishes I Want You Magazine. Ours was the first video that Christian directed; he has since gone on to direct videos for a bunch of other bands. In the case of Christian, we knew he had done a lot of really interesting video projections for a local DJ night called Penetration, and we were curious to see how his style would translate to a music video.
As I mentioned, the videos for “Anthem” and “Moon Temple” were shot at the Experimental Television Center. We edited the video for “Anthem” and got it up fairly quickly, but I spent a pretty long time editing “Moon Temple”. It’s very long (almost 24 minutes!) and the edits are pretty intense. The result is a piece of video art that provides a really synchronized, synaesthetic visual component to the music.
As I also mentioned, the newest video is “Great Cold of the Night“. We had a basic idea of an elaborate story involving a human sacrifice and a cake orgy and we brought Steven Miller on board to direct the video because even though Steven is primarily a still photographer, we knew he could do something amazing with our idea. So just like with Asymptote II, we commissioned that video from an artist who had never made a music video before. I guess that’s sort of a recurring theme for us…picking visual artists to work with whose style we like and getting them to try their hand at making music videos.