#Martin Bisi

[doomandgloomfromthetomb]

The Glass Bead Band

It's just guitar, drums and vocals for the duration of the Glass Bead Band's self-titled debut LP, but that's more than enough — this is killer stuff, perhaps not unlike something you might've heard on Touch & Go back in the mid-90s. Matt Stadelmann's declamatory vocals and elemental (but still highly melodic) guitar, Marshall Yarbrough's rock-solid rhythms, hypnotic song forms that occasionally build into explosive moments. Recorded with a pleasingly dry and immense sound by the legendary Martin Bisi, there's a monomaniacal intensity that recalls greats like Slint and Shellac — but like those bands, an undercurrent of dark humor, too.

[blk-achillean]

The Power of Our Words:

Reflecting on Identity and Acceptance with Bisi Alimi

Language shapes our identities and perceptions, acting as a mirror to society's values and biases. It can empower, but also marginalize. Today, I'm drawn into reflection by a friend's self-description as "sapphic," a term that echoes the complexity of identity and the nuances of language's power.

This reflection led me to explore the terms we use to describe our identities, like "achillean" for male or gay identities, particularly within African cultures. My journey brought me to the story of Bisi Alimi, a figure of courage and a beacon for change. Alimi bravely became the first Nigerian gay man to come out on national television. Facing threats for his openness, Alimi's story is a testament to the struggle for acceptance and the right to be oneself.

Bisi Alimi's activism goes beyond personal courage; it challenges us to confront the power dynamics in society and the role language plays in these battles. His life reminds us that change often comes from those who refuse to silence their truths, echoing Martin Luther King's words that "a riot is the language of the unheard." Around the world, LGBT protests and movements against unjust policies highlight the ongoing fight for rights and recognition.

Yet, our use of language in discussing these issues often falls short. "Tolerance" implies a begrudging acceptance, hiding behind phrases like "I love you but not your lifestyle" or "How's your little friend?" It's a language that distances, that refuses to see the full humanity of others.

In contrast, justice speaks a different language. It says, "My fiancé is doing well, and I hope one day you get to meet my husband." It challenges prejudice with the simple but revolutionary act of living openly and lovingly. It says to those unwilling to see, "Then poke your own eyes out and be blind."

As we reflect on the power of our words, we must ask ourselves: Are we contributing to a world of tolerance, or are we paving the way for true justice? Our language can build bridges or walls. Let's choose our words with the intention to understand, to accept, and to love.

In honoring figures like Bisi Alimi, let's commit to using our language as a tool for change. Let this be a call to action, to use our words to fight for a world where love is celebrated in all its forms, and where every identity is recognized and respected. How will you use your words?

By examining our language and its impact, we can contribute to a more just and inclusive society. Let's be inspired by activists like Alimi and join in the broader movements for social justice, understanding that our fight against inequity is interconnected and global. In the end, the power of our words lies in their ability to connect us, to challenge us, and to change the world.

[kdo-three]

Sonic Youth - Hallowe'en (1984) Kim Gordon / Thurston Moore / Lee Ranaldo / Bob Bert from: “Bad Moon Rising” (CD) (CD Bonus Track)

Noise Rock | No Wave | Experimental Rock

JukeHostUK (left click = play) (320kbps)

Personnel: Kim Gordon: Vocals / Bass Guitar Thurston Moore: Guitar Lee Ranaldo: Guitar Bob Bert: Drums

Produced by Sonic Youth | Martin Bisi | John Erskine

Recorded: @ The Before Christ Studios in Brooklyn, New York USA during September - December of 1984

Released: in March of 1985 Blast First Records (UK) Homestead Records (US)

[xbsundaymatinee]

Sunday Matinee #63 is coming

Sunday April 16th from 4PM

Sunday Matinee #64

In no particular order: Kristoffer Lislegaard (Oslo, Norway)

A common thread in Lislegaard’s multidisciplinary work is the exploration of different methods of sound creation, i.e. through instrument design, programming, improvising, recording, reworking one’s own material, collaboration and incorporating other art forms. A fondness for atmospheric, layered and texture rich soundscapes is prevalent in all of his artistic work.Check out Kristoffer work here: https://www.kristofferlislegaard.com/

Teresa Riemann (Berlin)

Sprung from the dark caves of the collective german subconsciousness, forging an outlet via the Berlin Noise scene, Berlin based musician, poetess and performance-artist Teresa Riemann explores, through her creative output, the darkness and even more-so the light, which can be found in the spaces we like to keep locked up far away from where anybody can see them.

After being taught how to play the piano in a classical way, excluding all passion from pure perfection, she started to evolve a genuine art of playing by learning the instruments by herself, starting with the electric guitar, later discovering drums. Read more and listen here: https://www.teresariemann.com/

Dept. Of Justice (Berlin) Dept. Of Justice" plays a collection of interdimensional radio hits. Founded by Capt. Trips and carrying forward. This endeavour features two Drummers, Jim Sykes (Parts and Labor, Grooms, Martin Bisi Band), Oliver Rivera Drew (SUSU, Paro, Mary Ocher and Your Government, Martin Bisi Band), on electronics: Diego Ferri (China Woman, Paro, Martin Bisi Band), and on vocals: "The Empress ".

https://soundcloud.com/oliver-rivera-drew/deptofjustice1?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

—>>> and Some DJ will show up and play music in between sets, how's that?

—>>> and delicious vegan food provided by Los Nopales Tacos!

**2G rules no longer apply in Berlin, however, we would be very glad if you test yourself before coming, and if you have cold-like symptoms we suggest you having a cup of tea and stay put! thank you**

**The Sunday Matinee is smoke free, children friendly, wheelchair accessible**

**Check out the Matinee double cassette mix tape here. Copies are still available and can be purchased at our events https://thesundaymatinee.bandcamp.com/album/the-sunday-matinee-sampler-1

[cyanidetooth]

Dirty Three! Chris Corsano! Teens! Nebel3000! Man Man! Lyckle de Jong ft. G.C. Heemskerk! Broadcast! Martin Bisi! The Fleeting Light of Love and Grief! Hyperculte! Trans Upper Egypt! Tia Rosa! Daniel Schurgin! Drop Zone! John Fekner City Squad! Federation X! Mika Miko! (Young) Pioneers! Nag! Toxitolerant! Marvelous! Dead And Gone! Lazer Bullet! D.Sablu! We March! The Brides! Real Losers! Brunsten! E.T. Explore Me! Pura Mania! Dez Dare! OOF! The Mystic Tide! Ecology:Homestones! FMF! Spanyurd!

[robmoro]

Listen | White Hills release new single 'Fiend'

New York duo White Hills have released new single ‘Fiend’, taken from their forthcoming album “Beyond This Fiction”. The track is an allegory for our relationship with social media and other current technologies that keep us “connected in another dimension” and compel us to keep up with rapidly changing trends. Recorded with Martin Bisi, renowned for his work with Sonic Youth, Swans, and Lydia…

[norteenlinea]

ON shares ‘Gator’ video, a tale of false security, filmed by Steve Fall and iconic NYC producer Martin Bisi

http://dlvr.it/SyDT9S

[longstand]

Bc studio la

#Bc studio la skin

#Bc studio la Patch

#Bc studio la tv

It may sometimes spread all over the body. The reaction may appear as small, red bumps or hives and blisters.

Drug Rash: An allergic reaction to a medication can cause a drug rash on the skin.

Red, itchy, and scaly patches develop on the body due to psoriasis ( 7).

#Bc studio la skin

Psoriasis: A psoriasis rash is an autoimmune skin disorder that gets triggered due to stress, infections, allergen, environmental factors, or injury.Lichen Planus: It is an autoimmune skin condition that causes raised red bumps on different parts of the body, such as the mouth, nails, throat, wrists, back, and ankles ( 6).It usually occurs in skin folds, like elbows, wrists, necks, knees, or ears ( 5). Atopic Dermatitis: It is a common skin condition that causes red, itchy, and scaly spots on the skin.It usually appears on the chest, abdomen, or back ( 4).

#Bc studio la Patch

Pityriasis Rosea: It is an inflammatory skin condition that starts with a big red patch on the skin, followed by small red spots with a ring-like shape.It can appear anywhere on the skin but is mainly found on the legs and arms ( 3). Ringworm: It is a fungal skin infection that causes red, itchy, circular rashes with raised edges and red spots.The reaction may show up as an itchy, red rash on the skin ( 2). Contact Dermatitis: It is a common skin condition that occurs when you come in contact with an allergen or an irritating substance.It usually occurs in skin folds where sweat accumulates, like the groin, chest, back, arms, and armpits ( 1). Heat Rash: Heat rash can cause small red, itchy, and prickly spots on the skin.Some of the common conditions that cause red spots include: Knowing what causes red spots on the skin will make treatment easier. Red spots on the skin can mean anything from an acute skin infection to a chronic condition. Natural Ways To Treat Red Spots On Skin.

#Bc studio la tv

Sound and Chaos: The Story of BC Studio includes interviews with musicians such as Lee Ranaldo of Sonic Youth, Michael Gira of Swans, Brian Viglione of the Dresden Dolls, Bob Bert, who played on Sonic Youth's Bad Moon Rising, Bill Laswell of Material, JG Thirlwell aka Foetus, Grand Mixer DXT, Jim Coleman of Cop Shoot Cop and Michael Holman of Gray (with Jean-Michel Basquiat) and creator of famed 1984 hip-hop TV pilot Graffiti Rock. A new, massive Whole Foods supermarket across the street is the latest addition to this once out-of-the-way area, that Bisi fears will increase property values to the point of pushing out long-time renters and artists like himself. However, the future of the recording studio is in question as it is squeezed in by the encroaching gentrification of the neighborhood. He has recorded across many genres, from experimental music, to hip hop and indie rock in the old factory building by the contaminated Gowanus Canal. Following that success, Bisi worked with many other influential musicians there, including Sonic Youth, Swans, Angels of Light, John Zorn, Foetus and the Dresden Dolls. This was the first mainstream, popular song to feature a DJ and a turntable, utilizing 'scratching'. Working with Bill Laswell and the band Material, Bisi recorded Herbie Hancock's hit Rockit in this underground space. After a chance New York encounter, the studio was founded with money from Brian Eno, who subsequently worked on the album On Land there. For over 30 years, Martin Bisi has recorded music from his studio in Brooklyn's Gowanus neighborhood.

[mitjalovse]

Matador Records' claim to fame does not lie in a specific musician, the period made them as the 90's confirm, the latter gave the label a big break. Then again, they did sign many prominent groups within the most triumphant genre of the time, i.e. alternative rock. Of course, they didn't settle for what the latter was during the 90's, they still housed some that were quite close to the underground at that time. One such could be Unsane, whose soundscapes continue to unnerve us. There's something quite nihilist in the band's music, you keep having a feeling you can hear their music as a soundtrack for a brutal attack. True, they're not really death metal, but their  sonic cruelty reminds of one Bill Laswell project, though Unsane are more polished.

[ghostcultmagazine]

EXCLUSIVE VIDEO PREMIERE: Solaris - “Maledetti/Marnero”

EXCLUSIVE VIDEO PREMIERE: Solaris – “Maledetti/Marnero”

Italian noise band Solaris has debuted a new music video today for the twin tracks “Maledetti/Marnero” – filmed with a combination of live performances and striking visual content. The track comes from their recent album Un Paese di Musichette Mentre Fuori c’è la Morte, out now via Bronson Recordings. The live portion of the video was filmed by Claudio Stanghellini, shot at Bronson Clubduring a…

[nofatclips]

Rockit by Herbie Hancock from the album Future Shock - Directed by Godley & Creme

[sinceileftyoublog]

Travis Duo Interview: Dreaming With My Friends

Photo by Alexey Novikov

BY JORDAN MAINZER

Jarvis Earnshaw’s leap of faith paid off. The multi-instrumentalist, artist, and constant consumer of media has collaborated with a wide variety of experimental artists throughout the New York scene and beyond. Trevor Dunn of Mr. Bungle wasn’t necessarily Earnshaw’s white whale. Though he was a big fan, Earnshaw had seen Dunn play at his various residencies throughout the city during the Aughts, even talking to him and handing him tapes and zines a few times. It was asking Dunn to play with him--first live, then on record--that was the self-perceived risk. But anyone who has talked to Dunn (myself included) will tell you that, like Earnshaw, he’s an avid collaborator and thoughtful listener. In essence, Earnshaw and Dunn, who released in December HYPNAGOGIA, their first album together as TRAVIS DUO, make sense together.

It helped that Earnshaw approached Dunn with a plan: to make an album of improvisations based on his line drawings and diagrams conceived during lucid dreams, each track with its own video. Earnshaw would sing and play sitar and operate tape loops; Dunn would play contrabass and percussion. Earnshaw got his friend Martin Bisi, who had a large studio they could safely space out in, to record. After banging out two hours worth of improvised experimental jazz with bits of pop and psychedelia, Earnshaw called some of his other friends to play on top of what they made. “FAQ” boasts a murderer’s row of talent, Daniel Carter on saxophone and flute, Sean McCaul on xylophone, Devin Brahja Waldman on saxophone, and Niko Wood on drums. Beginning with trills of saxophone, the song eventually reveals Dunn’s contrabass and Earnshaw’s sitar and vocals above subtle patters of percussion. Soulful, screeching, and raw, it’s one of many jaw-droppers on the record. “Fair Weather Friend / Ode to Ernie Washington” juxtaposes disintegrating noise with sharp acoustic instrumentation and Earnshaw’s layered vocals. Waldman’s skronking saxophone and Earnshaw’s atonal sitar propel “UnCanny Valley”, a perfect contrast to the gorgeous woodwinds of previous track “Hitherto”. The entire record sports a sort of harsh beauty.

I spoke to Earnshaw over the phone earlier this year about how TRAVIS DUO and HYPNAGOGIA came to be, from his first meetings with Dunn to the cover art. Read our conversation below, edited for length and clarity.

Since I Left You: How did you and Trevor first meet?

Jarvis Earnshaw: I first met Trevor 15-odd years ago. I moved to New York about 18 years ago. I was a big fan of Mr. Bungle. Trevor’s kind of a session player. He plays in a lot of different bands, and he had residencies at The Stone and stuff. I went to almost every show he played. I made little tapes and zines and gave him those. It took me a couple years to actually say hello, because I was super nervous all the time and kind of stoned from the shows, acting like an idiot. [laughs] I mustered up the courage. He’s just really down to earth and a really cool dude. Over the years, we started talking, and it all led up to the record.

SILY: Did you know you wanted to make a record together no matter what, or did you already have the lucid dreams concept in mind?

JE: I had this residency at [the now defunct] Flowers for All Occasions in Brooklyn, where I played every month and invited a different guest to perform with me. I think, for the 3rd anniversary, I was like, “Fuck it, I’m gonna ask [Trevor].” He said yes. It went really well, I had a great time, and it seemed like he did, too. That’s when I was like, “Fuck, I need to make a record with this guy.” I had a couple ideas for a couple of records, and I went to hear him perform [in] Brooklyn. The music was so unbelievably good. I was dreaming when I was listening to the music. I thought, “Oh shit, the concept I have would fit totally well with this.” After the show, I was standing by the bar, and he came and said hello. We’re talking, and I was 5 gin and tonics in and thought, “Fuck it, I’m gonna ask him.” I asked him to make the record, and he said he was down. I explained the concept behind it, and he was like, “Sick.” I sent him some graphs I had written out for songs and emailed them to him. He dug it. I cleaned up the graphs and drawings and gave him a proper book of music. That was right before all the Mr. Bungle stuff was happening, which I had no idea of--he obviously did. When we were trying to book studio time, he was just like, “Sorry, I’m booked for the next three years....just wait: We’ll do it.” Then the pandemic hit and everything went to shit. I hit him up and asked how he was doing, and he said, “I actually have time now. Let’s make that record.” I hit up Martin [Bisi], who was free. We took the necessary precautions to be safe, clean, and ventilated. Thankfully, Martin’s studio is huge; it’s a gigantic warehouse. We kept at least 10 feet apart. Originally, we went in to do a 7-inch, 2-3 songs, but it felt really good, so we kept going. We had 2 hours worth of music I started editing down. I got the idea to get more of my friends on the record, so I hit up Daniel Carter, Devin [Brahja Waldman], Sean [McCaul]. It all organically came together. I’m really happy about it.

SILY: There’s such a wide variety of folks on the record, both in terms of age and the genres they usually play. You were working with not only Trevor, but a couple other of your idols here. Did you ever get over that? Was there a point where it turned from “Oh my god!” to “Okay, I’m here to make a record.”? Or was the appreciation part of the record making?

JE: I have mad respect for all of them. I don’t really idolize them. I respect them as humans and for all of the inspiration they’ve given me throughout the years. Martin I’ve known for years and would see at shows. I consider him a friend. Daniel Carter, I’ve played a bunch of shows with him, and we’re homies. Devin is a brother from another mother. Sean McCaul is a really interesting dude. I heard him play on the subway on 14th street. I was catching the F train and had somewhere to go, but his playing was so good, I stopped and said hello and introduced myself. We had always talked about making a record together, and this just seemed like the one to do. His xylophone playing is so good.

This came after all of the mixing and mastering. The music comes first. I was thinking about the music the whole time. It kind of takes over your life. I’d be thinking about it all day, dream about it, wake up thinking about it. It was a year, year and a half of that. Then the mixing and the mastering and all that technical stuff. Once I got a test press, that’s when it hit me, like, “Whoa, I just fucking did this.” [laughs] It’s a real dream come true. 

SILY: Did you always know there would be some sort of audiovisual element to the record?

JE: Yeah. Before we went into the studio, I hit up three of my favorite video people and told them the concept even before the music was made so they had an idea of what I was trying to do. I’ve been working with them for a couple years now. When I was younger, I used to babysit this kid for a job. No matter how many books I brought to her, it never really struck her fancy, but when I put on a video, she’d be fully engaged and take it all in. That always hit me. There should always be a visual aspect to music to get people engaged.

SILY: How did you come up with the track titles?

JE: Those are just words. [laughs] I always thought they sounded funny. I thought “FAQ” sounded funny, like an Irishman on the Internet screaming, “What the FAQ?!?” I always have trouble writing lyrics. I always have a notebook by me in case there’s a funny-sounding word or phrase, [and] I’ll write it down. Some of the songs, like “Hitherto”, that came after I wrote the song and had written out the diagram. It just kind of had that feel to it. But I always thought [the word] was [pronounced] “hit-hair-toe.” [laughs] It was either Martin or Trevor [who] said, “No, it’s pronounced ‘hitherto.’” I’d been saying it wrong the whole time.

SILY: Is “Ode To Ernie Washington” named after Thelonious Monk’s pseudonym?

JE: Yes, it totally is.

SILY: The type of jazz that this album resembles, and what Trevor does, is a different world than Monk, but to what extent are you influenced by some of the more classic jazz players?

JE: I listen to a lot of jazz, but I listen to a lot of music [in general]. I was actually just reading your blog and was listening to Cattle Decapitation. I really like that band. They’re so good and so tight. Their ethos, everything about them is great. I like bands like Man Is the Bastard and Bastard Noise. Eric [Woods] is a big hero of mine.

[Anyway,] we didn’t go into the studio thinking, “We’re gonna make a jazz record.” We just wanted to make good music. Genre is just something for the record stores and record labels to sell. I don’t really believe in that. There’s good music and bad music. [For instance,] I really liked your review [of] Taylor Swift’s [Red (Taylor’s Version)]. I really like her. She’s a great musician.

Ernie Washington was a bit [of a] tongue-in-cheek [reference to] what was going on at the moment, which was Black Lives Matter. It’s interesting [Monk] had a fake ID had to pose as a white person [with a white name] to play gigs.

SILY: Was the sequencing of this record constructed specifically for vinyl?

JE: Absolutely. Even going in, we were thinking that the end product was gonna be a record. I didn’t even want to put it on Bandcamp or anything, but you kind of have to. I just really wanted to make vinyl. To be super honest, I didn’t really make this for everybody. I made this record for myself. I really wanted a record with me and Trevor and my friends on it, for me, so I can listen to it and be like, “Yeah! This fucking happened.” I pressed a bunch, about 500, so we can share what we did, but this record is just for me.

SILY: Is the bonus track, “Lolloping Theta Broom Horse”, not on the vinyl version?

JE: It’s not. [But it] just seemed like a waste to keep it in the closet.

SILY: Why didn’t it make it on the LP?

JE: It didn’t fit!

SILY: I was thinking that was probably the case. But it’s also probably the prettiest track on the record; even though it has some of the same elements, like the hissy tape, the xylophone and saxophone are really gorgeous. Maybe it wasn’t atonal enough to fit.

JE: The first track on the album [“Uchouten / Sab Kuch Milega”] I felt encapsulated everything I wanted to do with Trevor. That one is just me and him. The bonus track, we had fun making it. The saxophones and xylophones were overdubbed later. But I treated it like we were in a session: I told them, “You guys have one take.” I think it’s really special [the] way that it came out; it encapsulates the joy of playing music. It was really tough for me not to put it on the record, but I felt like all of the other tracks represented the different kind of aspects we captured at the session, so I didn’t put it on the record. I wish I could have.

SILY: One of the standout tracks on the album to me is “Folie à Duex”. I feel like on the rest of the record, the sitar is very recognizable while the contrabass is not as recognizable. But on this one, your sitar playing is so wiry, I didn’t know what it was at first. On the contrary, I thought Trevor was pretty clear. Then it switches back. Was that intentional at all?

JE: “Folie à Duex” is a cover, the only one we did, of “Lonely Woman” by Ornette Coleman. Trevor has a group called Proof Readers that’s basically an Ornette Coleman cover band. In his 20s, Trevor spent a lot of time transcribing a lot of Ornette Coleman tunes. He plays out once in a while with Nate Wooley and Ryan Sawyer on drums. They’re really great. I’ve always wanted to play an Ornette song with Trevor since I’ve been seeing Proof Readers. That’s how this came about. We had a few minutes of break in the session, and I asked him to do an Ornette tune. 

I appreciate what you said about the sitar. I’m not Indian. I’ve been to India a bunch and have spent two years there, but I don’t really want to play the sitar to make it sound like a sitar. I just approach it as an instrument, so it makes me happy you thought that way when you heard it.

SILY: I was interested in the concept of “UnCanny Valley”. That song is the most alien sounding track on the album, even though its namesake concept refers to something non-human resembling something human. 

JE: When I was in Nepal about 20 years ago or so, I saw the Himalayas for the first time with my own eyes. I saw it at sunrise. It was so weird because it looked so real that it looked fake. It was like someone cut out a magazine and pasted it into the sky. I couldn’t believe what I was looking at. I knew it was there, but it didn’t seem real. That’s what’s behind that tune for me. It’s the opposite of the uncanny valley. Things that we see in real life are sometimes so real they seem fake. The times we’re in right now are so, so real, they almost seem fake. 

SILY: What’s the story behind the album art?

JE: We did the cover art after the mixing and we heard all the songs. I asked Trevor to make a collage; he makes a lot of really cool collages. He finished it, and my original idea was to fuck with it. I think it was Jasper Johns who did this piece where he acquired a drawing from a hero of his and spent a week erasing it. [Editor’s note: It was Robert Rauschenberg who erased the Willem de Kooning drawing, but Johns framed and captioned the erased work.] I always felt that was interesting. So he sent me a scan of the collage, and I wanted to tear it up and dismantle it. That was going to be the cover. Kind of like a “kill your idols” sonic death. But when I got it, I couldn’t bring myself to do it. I did start doing it, which is where all the tears and rips and stuff come in. The original collage is cleaner and nicer. I changed the colors around, tore it up, and reconfigured it. Pigeons are in it because I really like pigeons, so I asked him to put one in there. 

SILY: What else is next for you?

JE: I put together a band here [in Seattle] and am working on a hip hop record. It’s gonna be loop-heavy. I play sitar and guitar. There’s a bassist and a drummer...I’ve been thinking of hitting up Kool Keith from Ultramagnetic MCs. He’s a prolific man, he’s amazing. I love him. He’s super sexy. He’s a lot of fun, which people forget. People get serious about music sometimes. He’s a hero of mine. Either Kool Keith or Ishmael Butler, who is in Seattle.

I have a podcast I’ve been doing since the beginning of the pandemic, a monthly live show recorded that I just kind of put up every month, with guests. I’m gonna keep doing that. It’s called SYRINX-RADIO. I have a tape label I started two years ago called SYRINX-CASSETTE. That’s me and different guests. I have two releases scheduled for that coming up.

I have a noise music project--and I don’t really like the term “noise music”--I’m working on right now that we’re hopefully recording in the spring with Steve Albini.

My main focus right now is to write songs. I’ve been doing a lot of improvised music for 20-odd years. It’s fun, and it’s great, but I really like cheesy pop, 3-minute, to-the-point, catchy love songs. That’s been my focus for the past two years. The hip hop and noise projectS tie into that. It’s not just, “Let’s get all my favorite musicians into a room and masturbate into a microphone.” It’s, “I have these compositions, let’s polish it up, tighten the screws, and make it the catchiest motherfucker on the planet.” Like a Paul McCartney approach. He said in an interview at one point that he aims to write songs that are like lullabies, whereas John Lennon was more about the ideas. I’m more of a Paul McCartney fan. I want a catchy, simple, beautiful melody that people can relate to. Melodies you can hum when you’re in the shower.

SILY: Anything else you’ve been listening to, watching, or reading?

JE: Laurie Anderson had these Norton Lectures she’d been doing at Harvard. Incredible stuff. I’ve been a fan of Laurie Anderson for a long time. This 6-part series is an hour and a half each. It’s incredible. Full-on Laurie. I really like how her brain works. She’s got such a beautiful mind, [and] her approach to life is so beautiful. I enjoyed those very much. You can watch them for free on YouTube right now. They’re visual and poetic.

I’ve been listening to a lot of comedians’ podcasts as well. Tim Dillon is fucking hilarious. He taps into conspiracy theories, which I like, too. It’s a beautiful way of thinking. It seems like it’s a funny dude ranting, but the way he constructs his jokes and his podcasts, it’s kind of like verse-chorus-verse-refrain-chorus at the end. It’s very musical to me. I’ve never been into comedy. I actually kind of hated it. It made me feel weird go into a room looking at "mister funnyman.” I always thought the drunk at my local bar was way funnier. But during this pandemic I’ve been turned onto comedians.

I just got a Bastard Noise tape today I’m excited to hear.

There’s a cellist named Lori Goldston I heard play who was incredible. She plays with an amplifier but at a really low volume. She played at this huge chapel in Seattle. Feedback, beautiful melodies. She’s got it, man.

[martinbisi]

tour dates June-July + BC35 album

tour dates below - ALSO, if you haven’t looked at/bought the BC35 -35yr anniversary of BC Studio record. it’s here: https://bit.ly/2rOTIXZ 

June 6 - DC at Rhizome w/ Jason Mullinax, Kamyar Arsani June 7 - Raleigh NC at Neptune's w/ Gown June 8 - Atlanta at The EARL w/ X A M B U C A, Duet for Theremin and Lap Steel, U.S. Prisms June 9 - Knoxville TN at The Pilot Light   June 10 - Richmond VA at Strange Matter w/ Haybaby and Among The Rocks And Roots June 29 - Montreal, Canada at L'Escogriffe w/ Red Mass June 30 - Toronto ON at The Baby G July 1 - Detroit at El Club w/ CRAZY Doberman, CJS July 2 - Chicago at The Hideout w/ ONO , Invisible Things July 3 - Cleveland at Happy Dog w/ HIRAM-MAXIM

July 15 - L.A. at The Echoplex for PART TIME PUNKS

July 17 - Berkeley CA at The Dildo Factory

July 20 - Seattle at LoFi Seattle July 21 - Portland OR at Mississippi Studios w/ Vice Device, Vibrissae

[odk-2]

Sonic Youth - Hallowe'en (1984) Kim Gordon / Thurston Moore / Lee Ranaldo / Bob Bert from: "Bad Moon Rising" (CD) (CD Bonus Track)

Noise Rock | No Wave | Experimental Rock

JukehostUK (left click = play) (320kbps)

Personnel: Kim Gordon: Vocals / Bass Guitar Thurston Moore: Guitar Lee Ranaldo: Guitar Bob Bert: Drums

Produced by Sonic Youth | Martin Bisi | John Erskine

Recorded: @ The Before Christ Studios in Brooklyn, New York USA during September - December of 1984

Released: in March of 1985

Blast First Records (UK) Homestead Records (US)

[bubblesandgutz]

Fuck marry kill: Steve Albini, Rick Rubin, Martin Bisi

Marry Steve Albini for the friends/family hook-up at Electrical Audio. Fuck Rick Rubin if I can get him to cut his hair and trim up the beard cuz I have a hunch there’s a handsome dude underneath all that dander. And sorry Martin Bisi, you’ve made some great albums, but yr at the bottom of the totem pole. 

[weneverlearn]

While Sister is probably my personal favorite, Bad Moon Rising is where Sonic Youth really slithered up into their sound that they’d explore for the next couple decades. Check out my thought on the 35th anniversary of that spooky classic, including interviews with members Bob Bert and Lee Ranaldo, and engineer Martin Bisi!

Also, here are some circa-85 pix Bob and Lee sent me that didn’t make the article.

1985 photo by James Welling