It’s May 2014, and two years after this webzine started, we are finally completing the donation platform which was the purpose of the entire project. A year ago we were hoping to launch it during the summer of 2013, but we are obviously cursed whenever we announce an issue date while our own lives aren’t even sorted. Today, it is safe to tell you that the donation page has already been working for a few weeks — thanks to our masterly programmer — but needs a few cosmetic and editorial adjustments that the idle part of our squad are currently struggling with. You know, trying to make things handsome and understandable. So we are now entirely focused on the donation platform, which we decided to rename “Donation Conspiracy” — the webzine shall remain as “Amour&Discipline” and resume sometime soon. In short : we truly are getting there, so if you’re still interested in what we do :
1) thanks for your patience ;
2) you should be able to send donations before apocalyptic acid rain pours on us, until then just casually refresh this page once in a while to stay updated
As a way to fill the transitory void and maybe advocate some bands worthy of your support, we thought we’d share a mix we made for a top-notch French journal called Article11.
Si Article 11 vous a mené.e.s jusqu’ici, bienvenue sur Amour&Discipline. Nous ne sommes hélas ni évangélistes, ni fétichistes, mais de simples Lyonnais aux idées fumeuses qui travaillons depuis 3 ans au montage d’un site internet permettant d’envoyer directement des dons à n’importe quel groupe ou label indépendant. Notre projet a initialement pris la forme d’Amour&Discipline, webzine contributif écrit par des musiciens, membres de labels, activistes, blogueurs, etc. Il aboutira très bientôt en tant que Donation Conspiracy, plateforme de don. A&D/Donation Conspiracy est un projet DIY et non profit qui a pour unique source de financement l’argent économisé grâce à l’organisation de concerts ündergründ sept ans durant. En effet, la plupart d’entre nous sommes également impliqués dans Grrrnd Zero, lieu/collectif/association accordant une importance sans doute démesurée à l’exposition quotidienne de l’habitant rhônalpin à des musiques de qualité. Notre pragmatisme légendaire et notre soif de succès universel nous ont poussés à rédiger d’emblée tous nos textes en anglais. Vous trouverez donc notre manifeste ici.
1. robots, dogs | Tyvek 2. shittin’ with the shah | The Men 3. an impression | No Age 4. I’m a you-know-what | The Pheromoans 5. my mind is broken by the sound | Ed Schrader’s Music Beat 6. rope burn | Damaged Bug 7. schnitzel boogie | Ariel Pink’s Haunted Graffiti 8. enemy outta me | Dope Body 9. bums on a rock | The Rebel 10. spacehead | Eric Copeland 11. eyebath | Pumice 12. kamu talyat | Group Inerane 13. when the right time comes | Wet Hair 14. going to Malibu | The Mountain Goats 15. snowbank treatment | Dragging an Ox Through Water 16. I bet I can writ one more | Better Psychics 17. lonely Richard | Amen Dunes 18. the night before the last | Marisa Anderson 19. yummy yummy pizza | Tonetta 20. body on the tide | Black Pus
The refreshing and generous Andy Moor sent this transcription of a transversal discussion he had with Jace Clayton, aka DJ/rupture, conversing about possible meanings for the expression “post-colonial culture”, the uncertain substance of rastafarianism or what DJ tools you should use or not… Music always meets politics.
Shortly before summer solstice, Shawn Reed (of the impressive and prolific Iowa-based labelNight People and Wet Hair) sent us an illustrated first-rate mix of “old” music that we kind of selfishly savored during the sunny season. Hot picnic days are now gone but you can still listen to this hour and sixteen minutes of invigorating nonchalance and forget that another endless winter will soon swallow you up.
A few samples:
Deep Freeze Mice – minstrel radio yoghurt
English Subtitles – sweat
The Ropers – you have light
Yeah Yeah Noh – prick up your ears
1. The Sea Urchins – solace 2. The Weeds – baby don’t go 3. Los Yetis – llegaron los peluqueros 4. Disco Zombies – time will tell 5. Hansadutta Swami – helpless awe 6. The Terminals – batwing 7. The Apryl Fool – the lost mother land (part 2) 8. Graeme Jefferies – nothing’s that new 9. The Ropers – you have a light 10. Close Lobsters – foxheads 11. Deep Freeze Mice – minstrel radio yoghurt 12. Silicon Teens – memphis, tennessee 13. Ana Hausen – professionals 14. Fatal Microbes – violence grows 15. English subtitles – sweat 16. Lost Cherrees – real crimes 17. Colette Magny – répression 18. The 39 Clocks – stupid art 19. Danny and The Dressmakers – TV boredom on the dole 20. Ann Summer – gordisk knut 21. Portion Control – in pursuit of excellence 22. Yeah Yeah Noh – prick up your ears 23. Soldiers In A Field – lullaby
By the way, Night People has struck again this week with a fresh batch of TEN cassettes swinging from retro synth wave, cosmic disco prog and weirdo dance to garage psych pop, freak folk, diy reggae etc. You can buy them or at least contemplate the unfailing beauty of their artwork here. You can also download Spent Minds, a free mix compiling samples of each release (and others coming up soon). Here’s a selection from our favorite tapes so far, all reviewed by Shawn Reed on NP’s website :
Gem Jones – Exhaust
Gem Jones lives in Iowa and lays real low and outside the normal fray of the underground music scene. An outsider even in small town scene terms, Gems music has evolved a lot over a few years of weirdo pop cassette releases and even more rare live shows. Exhaust shows Gem in a new stretched out mode making serious nods to jazzy outsider rock, reggae, and DIY pop. Playing all the instruments and tracking the release to sound like a live full band make this tape sound like something truly out of its time. Not often in contemporary times is a songwriter able to create something so unique and also specific from so many influences so successfully. If you dig the sound of a wild cross section of Larry Young, Prince Buster, and Eddy Detroit you will enjoy this.
Gem Jones – Starquisha
Gem Jones – Just Broken
Happy Jawbone Family Band – The Silk Pistol
Happy Jawbone are a loose collection of Brattleboro musicians who come out of the same Vermont weirdo scene as fellow Night-People bands Blanche Blanche Blanche and Son of Salami. Happy Jawbone also have close connections with the Feeding Tube record label with two prior LP’s. Happy Jawbone ride a kaleidoscopic rainbow of influences stretching out from the loose jangly air of garage psych pop into country and freak folk with a bit of everything in between. Where as prior releases showed a bit more of a bent Beatles or Kinks vibe this one feels way more paisley underground (think early Rain Parade) meets Texas psych (think Easter Everywhere era Elevators) and maybe even a bit of 60s soundtrack style weirdness. Comparisons aside, this crew does their own thing in the saturated world of garage and psych pop revival. Something must be floating around the collective creative brain in Brattleboro to keep things unique and without pretension. Happy Jawbone seems so full of youthful sonic exuberance that there is plenty more room to grow even after three killer full lengths.
Happy Jawbone Family Band – Deep Dreamer
Happy Jawbone Family Band – Livin’ Foul
Blonde God – s/t
This is a reissue of a self-released CDR, which Carson Cox of Merchandise had on tour with him last spring. After playing a gig together and jamming choice deep records until the early morning hours a bond was made concrete after a couple years of short duration crossings on different tours and mail correspondence. A good warm up for the upcoming Merchandise LP on Night-People, Blonde God is Carson all by himself, or so it seems. Its hard keeping up with this Tampa crew with such a tight knit relationship to collaboration and backing up each others solo outlets that goes beyond Merchandise itself into all the bands surrounding and coming before or surely after. For those of you who have been paying attention to Night-People long term you know full well this is the kind of thing the label is all about: The end of the road destinations and cities without much of an outside identity where creation happens for its own sake. Blonde God plays good and loud, it is reflective of the overall output but has its own aesthetics at play. Carson’s voice hovers in and out of a wash of electronics and dreamy guitar work, in parts influenced by classic shoegaze and also harsher noise sensibilities, all in all if feels sad, heavy, distant and lost. There is a landscape to the sound. Is this what living in Tampa Bay can feel like?
Blonde God – I Don’t Want It (Anymore)
Blonde God – Diggin’
Two weeks ago, OSR tapes put out the first album of Better Psychics, twenty tracks of collaborative live mixing between Chris Weisman and Zach Phillips of Blanche Blanche Blanche, both international ambassadors of Brattleboro, Vermont. It kind of sounds like a blend of early Psychic TV albums and Sebadoh cassettes, with sprinkles of woodsy experimental folk and acousmatic bossa nova on top. (it’s outstanding). I never buy cassettes, as the closest tape player i could use is in the old family car, but I pre-ordered theirs as an inticement to finally get my driver’s licence and drive around while blissfully listening to it. You can download the album (then consider doing a donation) and/or order it here.
This one is short but it kills me: Better Psychics – I bet I can write one more (right click/save as)
Better Psychics - What stays
Better Psychics - With my attitude
I guess I have a thing for every band John Dwyer plays in, as they cover the entire spectrum of genres that naturally stroke my ears, from garage punk to weird doo wop and drone psych pop. However it seems that, lately, The Oh Sees have been favoring their binary rock’n'roll side (close to Dwyer’s older band, The Coachwhips), to the detriment of the numerous other facets that made the superiority of their first records. But now their new album is out on In The Red and it’s quite a gem — great name, great artwork, wicked songs. The tracklist of Putrifiers II is somehow based on a chiasmus, with rowdy garage tunes both opening and ending the record. “Cloud#1″ provides a graceful contemplative transition towards the middle of the album, which is very 60s sounding, but in a way that freshens your bronchial tubes, spruces up your hair and takes you on a fuzzy journey where Nico and John Cale (“So Nice”) are striving to deprave the Everly Brothers (“We will be scared”) while impish voices fuse with Can-like instrumentals (“Lumpine Dominus”). Makes my day.
The Oh Sees – We will be scared
The Oh Sees – Lupine Dominus
Natural Snow Buildings is an impressive French experimental duo who have released about 20 albums since 2001. They were/are mostly released on outrageously limited series, so the only way to listen to them is through culture sharing. Night Coercion Into The Company Of Witches, one of their best albums, was first issued in 2008 with 22 (yes, twenty two) copies, but people who love to manipulate cumbersome objects before listening to music can rejoice, as Ba Da Bing just made a three CD/four Lp reissue (yes, it is almost three hours long). Judd of Ba Da Bing speaks the truth: “Natural Snow Buildings make melodic, orchestrated, folk, droning compositions with layers of guitars, chants, woodwinds, percussive bells, distortion and delay. On Night Coercion, they push to extremes, producing layers of stereophonic sound both nuanced and grandiose. This record is the ideal introduction to the band’s sound, building harmonies upon noise upon harmonies, and providing a clear explanation as to why their albums (even the ones that aren’t so limited) sell out so immediately upon release”.
Right before retiring from music and going to work with chickens and goats in a farm, Sir Jason Molina recorded eight songs with just guitar, rawness and his elegant voice from Desperate Land. I have to admit I’m not a huge supporter of his whole Magnolia Electric Co. era, but Autumn Bird Songs arouses the same kind of shivers in the stomach as his majestuous Lionness album with Songs:Ohia. We will always love you Jason.
Picture by Joseph Stuefer (http://www.flickr.com/photos/josefstuefer/)
The Staircase Conspiracy is an imposingly complex, fluid and organic mixtape/collage showcasing Discrepant‘s musical randomness and embracing lots of points of collision with Cedric Stevens’/The Syncopated Elevators Legacy atmospheres (see Discrepant’s previous post on the subject here).
The Staircase Conspiracy Tape Vol. 1
Tracklist: Cédric Stevens - Between The Battle and the Sheets (Fennesz Remix) Roy Porter - Tleilax Marcel Duchamp - The Creative Act Ben Frost - Stomp Andy Moor & Anne-James Chaton - Une Histoire De L’aviation Leyland Kirby - This is the STory of Paradise Lost Liz Green - Bad Medicine Cédric Stevens - Vanda (excerpt) Oiseaux D’europe (excerpt) Tremor- Caracol Petrona Martinez - Sepitema (Thornato Remix) Burning Star Core - Hopelessly Devoted (excerpt) Third Eye Foundation – Lions Writing The Bible Benoit Poelvorde - Mer Du Nord Poem ( from Man Bites Dog) Oiseaux D’europe (excerpt) Acid Kirk - Hillary Fuzz Station (Excerpt) Werner Herzog - On the Obscenity of the Jungle Paul Cantelon - Theme For The Diving Bell And The Butterfly Nils Frahm - Familiar Robert Mitchum - Preacher Song (from Night Of The Hunter) Acid Kirk - Hillary Fuzz Station (Excerpt) Drifting Bear Collective - Cum Jack Frost (Excerpt)
This is an interview with Hayes who runs Perennial Records from Olympia Washington. They put out great records from the scene up there. I wanted to see how it was run, how the collective consciousness in OLY was going, and just catch up with a friend. Enjoy.
Perennial MP3s selected by Jub of the french punk printed zine Freak Out!
Chris Corsano is touring now over Europe with Rangda (his cowboy psych trio with Ben Chasny and Sir Richard Bishop). Check dates here, and learn more about their excellent new record, Formerly Extinct, there.
Many people wound up on this post through various sources (Death Grips Twitter account, Brooklyn Vegan, Tiny Mixtapes, CorruptFork…). If you’re into weird hip hop, you should also listen to the amazing band Clipping. They are not this week’s epicentre of the Hype, but they do mindblowing music.
Don’t let machiavelian PR schemes fool you, the bear is the actual album cover.
Last february, I was disappointed to learn that Death Grips, a wonderful trio making angry fractured hip hop (with The Magnificent Zach Hill on drums, Andy Morin on keyboards and Stefan Burnett on vocals), had signed a major label deal with Epic/Sony.
Ex-Military Mixtape, their first album, was released under a Creative Commons non commercial licence, allowing people to copy, distribute, display, and build derivative works based on their music, as long as it was for non-commercial purposes. Consequence ? Ex-Military was shared hundreds of thousands of times. It turned Death Grips into one of the most famous indie band taking a real alternative stance on the actual copyright system, acknowledging people’s right to share. AND it is an awesome record.
Then they signed with a Major. Obviously, it wasn’t just a greedy move (anyone who knows the bands members will agree on this), but rather a “we’ll have big distribution and total control over creativity” blah blah thing. Death Grips stated they would release two albums this year via Epic: The Money Store (last april), and No Love Deep Web (planned this October).
When the Money Store came out, Epic/Sony predictably barred them from using a Creative Commons licence. The band then decided to act naughty: they leaked the album on Youtube anyway, allowed people to download a bunch of tracks, leaked the instrumentals after an incredible hide-and-seek game in the deep internet. Death Grips also are the most legally-downloaded band on BitTorrent in the first half of 2012 (oh my god, 34,151,432 downloads of weirdo hip hop noise music). The Money Store truly is an amazing piece of music, but the whole album wasn’t released under a Creative Commons licence, so legally people weren’t allowed to share all the tracks, remix it, etc.
However, it seems the honeymoon between Death Grips and Epic is officially over. Death Grips tweeted today “The label wouldn’t confirm a release date for NO LOVE DEEP WEB ’till next year sometime. The label will be hearing the album for the first time with you”.
Ten hours later, they released their new album for free. Tons of websites have already reported it, but it seems only a few (i say “a few” because i’m polite, i actually read nothing about it – edit: Death Grips and others have spread the A&D post you’re reading, thanks to them, and Consequence of Sound wrote a piece about it) noticed they didn’t just “release it for free”: they allow anyone to make money with it.
According to the Archive.org download link they’ve posted themselves, this album is indeed released under a Creative Commons Attribution 3.0 licence, a veeery open one. Of course, it lets people share and remix the music, but contrary to the previous licence they chose for Ex-Military, it also authorizes commercial uses without asking permission, as long as the music is still credited to the band. Yes, you can use Death Grips’ music in a TV ad (for an energy drink maybe?), or in a big commercial movie. You don’t have to wait for a physical release date, you can start a record label instead, press and sell 10,000 copies of this album without even asking the band NOR Epic/Sony if they are okay with that. Well, if you’re not an asshole, I hope you’ll send Death Grips some money.
Some people (Hi Sean!) are wondering if the whole operation is a PR stunt. But the licence chosen debunks such hypotheses because it implies that Epic/Sony don’t have exclusive commercial rights on Death Grips’ music anymore (while a Creative Commons Non Commercial licence would have allowed Epic/Sony to retain exclusive rights on commercial uses). There’s no way a major compagny would accept such a licence as part of a PR scheme. Actually I think it is the first time a band signed on a major label releases an album on a CC Attribution 3.0 licence.
Anyway, i wanted to say a big THANK YOU to Epic/Sony for pissing off Death Grips and pushing them back to the arms of Creative Commons. Sharing is Caring, blah blah blah, Amen.
EDIT 10.4.12:Death Grips have now changed the Creative Commons Attribution licence into an Attribution-Non Commercial one. It means you can share or remix the work, but NOT use it commercially without permission. Several explanations are possible: - They didn’t know what kind of licence they took in the first place (I doubt it, as it wasn’t their first Creative Commons release and Death Grips themselves shared this A&D post via Twitter). - They changed their mind. - Epic/Sony made them change the licence, so the Major Company can still have exclusive commercial rights on Death Grips music. As the Major Company has paid for the recording of No Love Deep Web, this scenario is quite likely.
I suppose you have noticed it, more and more blogs/webzines/old medias have developped the quite peculiar habit of getting carried away by bands that have recorded only one or two mp3s, and/or to write about records which won’t be released until several months. These cultural phenomena have deep and multiple causes, although today we will briefly touch upon a few of them:
On the media side If you want to get some attention among the thousands of billions of posts cracking everyday on the interweb, you have three options: 1) To be the first 2) To be interesting 3) To be funny
To be interesting is difficult and takes a lot of time without any certainty of any achievement. To be funny is a gift from the gods and, as an unfair but logical consequence, is not accessible to everyone. To be the first thus is the easiest. And writing about something months prior its release, or about someone still in his foetal state, is a good way to be the first.
On the band/producer side The goal is to create artificial buzz with tiny bits of a piece of work. You can’t verify and judge by yourself, you have to believe the teaser. Without even acknowledging it, a lot of small indie labels use the same marketing methods as the movie and video game industries. Sometimes their teasers reach unexpected heights of vacuity : “Hey, a-band-you-don’t-care-about has just released the TRACKLIST of its new EP! Let’s all talk about it!”
On the “everyone” side We’re all addicts to the Novelty Orgasm. We want to be connected to the Flux of Now, to listen to new music as soon as it has been recorded. As if music obeyed to a darwinian process, as if The New was, in itself, superior to The Old.
These are troublesome facts because they are largely scattered, almost systematic. When we’ll write the Tablets of Stone of A&D, we shall include these two commandments : Don’t write about a band until he has released at least one full album. And Don’t write about it until you have actually listened to it.
But of course, a few bands would lead anyone to bend these rules. For instance, Clipping:
Clipping make hip-hop. They are a weird, noisy, radical hip hop trio. Two guys twiddle bleep bloop machines producing krrrrrrrr and ssshhhh and sometimes jkl<dy!!_*hfsd sounds, while a third one declaims demented lyrics in fast forward mode. We had some very good deviant hip hop recently (Death Grips, Shabazz Palaces), and one can expect the same kind of febrile excitation here.
It just drilled my ears. Actually I needed it to accompany me in the bus, at the supermarket, or at the golf club. Clipping didn’t care about me and didn’t include a download button so I bravely ripped it from Soundcloud and listened to it 321 times. But it was only one song, so I had to curb my enthusiasm.
Then I saw this video:
Ok Gwendolyne, they seem to not suck live (I have a slight tendancy to speak to myself when i’m moved emotionnally). Their show at Enter The Interweb confirmed this assumption:
My expert detective skills a basic internet search coupled with a few questions to Brian Miller taught me more about the identities of Clipping’s members. One of them already is an undergound star : Jonathan Snipes of electro dance punk metal joyous pop hardcore band Captain Ahab. Jonathan makes all his music available digitally on a free donation basis (go listen to the last Captain Ahab album, The End of Irony). Another Clipping dude has been involved for a long time in the let’s-release-crazy-experimental-modular-synth-music-limited-to-30-copies scene: William Hutson of Rale. He releases limited cassettes on numerous labels and runs Accidie Records. And then there is Daveed Dibbs, rapper, actor, educator with a lot of messy hair and an insane flow. Dave released his first solo album for free last January (grab it here).
And now the time of the first Clipping release has come: A tape just came out on Deathbomb. It only is a three songs/ten minutes tape, but it will make a rain dance happen in your panties. At least, it finished to wow me and to get through all my ethical principles. Listen below to Face (an hysterical swoop), a studio freestyle, and Broke (dark, slow track). Hail Clipping.