Just what had sailed in, and back out, they couldn’t recall…
The dissonant, blues-pop fog of Night Sides, the self-titled debut from Vancouver-based visual artist Zoe Kirk-Gushowaty, first swept us at the start of this year. It also found Fixture Records, who has since released it on 50 clear grey cassettes. Meanwhile, Kirk-Gushowaty herself captured a piece of it on 16mm film. Both excellent moves.
Everything okay; young forever.
Regal Treats | Don’t Worry, Babe
Shot by and starring frontman Gordon Byrd and his girlfriend Emily, the video for Regal Treats‘ “Don’t Worry, Babe” pulls off some Super 8 nostalgia quite endearingly. The Minneapolis band have a debut cassette out now through Cat People Records. Hang with the rest at bandcamp.
Windows rendered obsolete, opaque in frost; the neighborhood, barren…
Mark Webber worked on Plenti during the winter of 2012, each session taking place in the early hours of the AM. He arranged the set—naming both tracks after streets in Toronto—for The Cold Show, an interdisciplinary art exhibit held in an unheated space, centered around the feeling of being cold, both physically and emotionally.
Plenti is available at bandcamp.
Exactly six months ago today, M. Sage performed his set at CMJ, hunched over a midi and guitar, Nathaniel‘s visual horizon spinning behind him. The rest of us were on the floor.
We are quite proud of this memory, that night, and have decided to re-enact it digitally—audio newly performed, motion collage reconstructed—for drifters everywhere.
00:00 – 03:24 Your Picture
03:25 – 10:56 Tracts of Land i & ii
10:57 – 15:54 Compass (live guitar improvisation)
15:55 – 25:29 Dynamo i – iii
25:30 – 35:37 Stratum Light i – iii (exit demo)
35:38 – 39:01 Into the World (brash edit)
Cruisin’…
Irvine, California: a planned city, a snow-globe of modern pleasantry, “a community where people can live, work, and play in an environment that is safe, vibrant, and aesthetically pleasing,” they maintain. A good stretch of it is taken up by the business grid—rows of vanilla buildings pristinely landscaped, palm trees and all. While monotonous and at times disorienting, this streamlined metropolis does possess a certain magic, once you’re free of whatever agenda it is that brought you there. For me it would appear on drives back home—mountains far off behind wide open desert, hints of a coastline nearing, and a rare kind of night-silence only possible in a place so loyal to the nine-to-five routine; commute turned cruise.
Edmund Xavier must see it as well, to have chosen this particular exit off the 405 for such an expansive sequence—its first half locked in a groove, its second cooling down to dusk. The track covers about a third of Any Exit, his latest release with Moon Glyph and further proof that no name sonically suggests the art of driving quite like FWY!. Only a handful of tapes remain.