Sharon and Eleanor and The Great Escape
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I kind of wheedle away from the electroforming and I talk to the gentleman who is the technician there, an older man, Jim Cummings. And I said, "I'm very interested in this and I've been experimenting with it. Well, he started laughing when I told him what I had been doing and how. He says, "Well, that is not going to work. I'll show you how to do it. And he said "Sure, no problem. Just, come in whenever you can. I'm here every day.
I remember, he gave me, I think it was a bird claw, and a leaf or something like that, that he wanted to do a little test with, so we electroformed them and we both thought, wow, yeah, great. And the chemist said, you like that surface? We worked years to get rid of that surface and it was, you know, just knobby, and textured, and grody. But anyhow, by the fact that both were complex processes, the only way I could keep up with it was to blend them and work them simultaneously and combine them.
So with Jim Cummings, I was able to make the half-tone transparencies. I etched nickel silver, I think titanium also, at some point. I'm not sure because maybe titanium wasn't on the board then. But any of the metals that he was using for electron microscope parts and, you know, he'd make all these, really incredibly finessed units and parts for electron microscopes, and fine work, and circuitry. And then, I would bring in my own sheets of copper, thicker.
If I wanted to do silver, I had to do that on my own with nitric. And then, I think, no actually, I think that perhaps he introduced me to ferric nitrate, which is a cleaner etch than nitric acid. But anything that was copper substrate I could do there with a spray etcher, which was total efficiency. It was really good. And because, at this point, I had access to all his great equipment, I had no limitations.
But the irony, Sharon, was that I had worked so hard to bring my jewelry into the third dimension because that was difficult for me. I mean, starting with flat sheets and forming it, it didn't come naturally. And I was always really surprised and impressed by the industrial design students in the jewelry class who could. I mean, they thought in the third dimension and I wasn't there yet, so I really had to push myself and struggle [with —EM] technique and bring volume into my work. And now, I'm working with photo-etching, which is a contact printing process, which has to be flat.
So it's kind of ironic that this is the switch back. And I thought, whoa, is this fabulous. So I'm doing the photo-etching, so I began mixing patinas to color, almost like photo tinting. And I did a pendant where I colored the clothes. It was my brothers and my sister and I, and I colored our clothes with patinas, you know, like an orange shirt, a blue shirt, rust color. It was really great, you know, very selectively with a Q-tip or a brush applying the patina on copper.
And I used patina for paint. I'm going to do that.
I'd say, okay, you're going to do a hidden hinge and a box catch, and you do this setting and that. So it was a combination of learning processes. I mean, it's just, like, that didn't work. Six and a half hours gone. And I'm still doing academics because I'm at a major university, so it was a lot of work. I mean, it was just this constant, go from one class to the other. It was kind of interesting because I took printmaking and your hands—you know, so I was thinking about this the other day.
Now we know that the skin is the largest organ and you take in toxins through your skin. We would put our hands in the printmaking [tray —EM] and rub them through turpentine, aye, yi, yi. So my hands, my fingernails were all black from the ground. Then, I would go to ceramics and throw pots to clean my hands. But you know, the photo-etching thing and the patinas, and then I was using copper and because I was making so many etchings in copper, I would overlay with other colors of metal so that I'd get these really nice patina colors just by oxidation and liver of sulfur.
So I do parts of silver and I don't think I was using gold very much at all as an undergrad, maybe for casting only. But I do copper, brass, bronze, silver on my copper pieces and patina them. And I just did tons of photo etched tie tacks, which I sold, and pins, which I sold. And, you know, it really made a difference in having a little spending money to then invest in tools, hand tools and tools for my studio, and also materials. Another of the professors who really had an important impact, well, oh, Pilcher, I have to mention significant.
And he taught by example because he worked constantly and he did beautiful porcelain. And we're all gathered around to see it because, we had seen the process all the way through. We're watching him and he's working silently. And he's not saying anything to us. And he takes the pot and he turns it over. And we're going "Oh, that's so beautiful. And we're saying, "No, those are beautiful. We'll take it. Don't throw them away. We'll take them. He just kept [smashing —EM] crushing them. I think he kept, maybe, two pieces out of the entire load. No, it's not a giveaway.
Doyle was really the Renaissance man. He had established the Folk Club at the University of Illinois, and he had a folk band or a folk group called the "Philo Glee and Mandolin Society," and I have it written down so you can see that. He played the autoharp and they sang folk songs and they were amazing. I went to some of his performances and it was just like a revelation and, you know, years later Michael and his friends, who had been at Carbondale as grads, they knew Doyle Moore and the "Philo Glee and Mandolin Society. And, I had never heard the term. He was also a master in the tea ceremony.
So, when I say "Renaissance man," he was the Renaissance man. There is stuff out there that you have yet to encounter. You know, just the idea that you would take flowers and make an artful arrangement. Because, I've seen bouquets of flowers and yes, florists do this, this and this.
But, ikebana is so different, because it is a combination of a rock and a piece of bark and a piece of moss. And, even though you're an abstract artist, I could see a connection. It's like, oh, my God. Even to the point where it's little bits of crap making a texture around the top edge of the nest. It's like, oh, my God, this is so amazing. So, Doyle—I had a friendship with him throughout his life. He died only last year. And, here was a man who designed type, typefaces in graphic design. He made paper and marbleized paper and he bound—-made books, bound books.
He was a fabulous cook and baker. When he was doing his bookbinding, he'd have me make sterling silver folding bones and [scoring —EM] bones for him. There were sheep raised on his ranch in Kansas. He spun the wool and knitted sweaters and scarves from the wool from his sheep. Do you know of people like that now? You're a little bit like that, but we tend to be compartmentalized. We just—you know I would just have to think about it. But, I've known some fascinating people in that way. Doyle also had a cooking class, a radio call-in cooking program. Especially, you didn't hear of men doing some of the things that he did.
He decided he wanted to do cake decorating and learn how to make sugar roses. I mean, anything that interested him, he would just pick up. He was just so much fun to be around because stories were just so rich and continual. So, this—. You know, I love seeing other people's environments. And, I'm always like, "Whoa. Mine is always so funky by comparison. I mean mine is so all over the place. Michael is good at purging. You know, he can separate things a lot.
He does have his automaton mechanical toy collection but, otherwise, he's not a collector. I've got artifacts which I can show you in drawers that to me are fascinating. The things I bought in Japan—I just love them and enjoy looking at them. And, oh, the spirit that goes into so many of those things. So, I still have a bedspread, tablecloths, little doilies, and runners that she made—. You know, my crocheting when I was little was like big, little, big, little, big, big, big, little, little—.
She sewed our clothes, and Joyce and I learned sewing from her. And I remember, she used to make me rip out seams again and again to make them perfect. Finally, one day, I bought a pattern and fabric and I locked myself in the sewing room to make it myself. And, she kept knocking on the door, "Do you want help? I just wanted to make this piece start-to-finish without her making me to rip the seams out. So, I really worked to make it as perfect as I could. The making of it is not really crucial; it's the end result. It shouldn't have crude seams, it shouldn't have solder blobs sticking out, the filing should be perfect, the edges right.
That's really important, otherwise, it's going to come back and bite you. Like when, forty years later, the piece shows up and you still want to be proud of it. It's almost as if people want to see the marks of making so they can identify—. She said, people see her work and they say, "Oh, my God, that must have taken you hours to do. So, I don't know, perhaps the casual viewer doesn't know that it's hand-made and I don't think it—I don't think they think about, "How would one do this? They say, "I couldn't have even imagined this is the process.
I think as long as they like the end imagery, it doesn't matter to me whether or not they know it is hand-made. Having recently been in Europe, and having a show at the Munsteiner Atelier, a number of people at the opening asked me how many people work for me, because—. You don't do it yourself. And, they were astonished that I do every aspect, right down to the photography, myself. We had the lapidary [equipment —EM] in the studio and I started. I got the book out and da-da-da-da-da, you know, doing the steps, and I thought, "Six and a half hours later, my shoulders are aching and my results are pathetic.
Hire someone to do this. We didn't talk about Fred Woell in the undergraduate experience. So, he was teaching at a rural school, grade school through high school, in Wisconsin, for several years, two or three years, anyhow. And, he now came back to Champaign-Urbana to work as Frank Gallo's sculpture assistant. No problem. Just use it in your own time and you can work in our studio. He's not a student; he's older.
We both worked in the studio endless hours. I would make hot chocolate, and it was always lumpy hot chocolate because it was powdered milk, cocoa, and water. He was just kind of a mentor. And, giving me good advice and then he would also give me very frank critiques. Von Neumann wasn't much for that, especially after the beginning class, you were really on your own.
So, Fred Woell would say, "That is really a piece of crap. Then he went to New York to deliver a Gallo Show to New York, and took some of his jewelry, his cast jewelry, along, and they were just not interested. They said, "Only gold sells. Make it in gold and we can sell it for you. And, the first piece was this block of wood, and he broke a piece of mirror in the center of it, and then stapled, and then he torched it and put some varnish on it and hit it with the torch and burned it.
I called it "The Tortured Piece of Wood. I am going to make anti-jewelry. And, that was the first piece and it still had the cool little copper hinge mechanism for the cord to go through. So, that was a turning point for him and a learning experience for me, too. So, Fred is also critical but in a different way. It's not the most crucial part of how his pieces go together. But, he really expanded my horizons beyond what I got from Von Neumann. Von Neumann did not show slides and there weren't many books in the studio.
I came to him and I said, "Professor Von Neumann, do you know about this great magazine? Have you ever seen this? That's how I would put my information together, just totally serendipitously and on my own. Fred Woell came in with a little more information for me. So, he encouraged me to enter a show. I think the first show was one that Brent Kington juried, and I was rejected. I—well, I shouldn't say rejected, but my work did not get into the show.
It wasn't a lot, but it was kind of disappointing, but I didn't know what to expect. So, years later, I learned from Brent that he thought that my photo-etching was just found printing blocks. So, he just assumed, "Well, this isn't very creative. You know, she's using found blocks, she's cutting them up and soldering parts onto it. And then, I think that I was accepted into a show Olaf [Skoogfors] had juried. And, the catalogues, if there was a catalogue at that time, [they —EM] were like six pages and they were almost mimeographs and the photographs were the award winners and they were in black and white.
So, you really didn't get much visual feedback. But, what was fascinating was to come upon actual exhibitions. So, Phil was doing his Niello workshop and there was usually an exhibition connected to it, which was fabulous—to see an actual exhibition of work. Because, there was little opportunity for that prior, while I was an undergraduate.
So, those things were very important. Also, the kind of connection you had with other schools and other students when you went to those workshops—. I mean, Phil Fike, Don Reitz, are treating you like an equal. They are welcoming you, they remember your name the next time they see you, and here you are this young undergraduate. You met other students. Years later, I learned that Michael had been at the same conference.
He was a grad student at the time. Garret DeRuiter was there. So, those were memorable experiences. They were very enriching and exciting. And this is [SD] card number two. So, do you want to tell us how you finished up and then went on to study with Stanley Lechtzin at Tyler School of Art? It was so good. You know, ironic how all of that worked out, and I applied to the University of Wisconsin Madison because Fred Woell and Robert Von Neumann encouraged me to do that, both of them having studied there.
But I really was more interested in Tyler because of Stanley Lechtzin's research in electroforming. You'll get a teaching assistantship at Wisconsin. Going out of state was going to be beyond my budget. So, I got my card back from Wisconsin, and it said, "Dear Ms.
And it was circled that I had been accepted. But I was not awarded a teaching assistantship. So, if I have to find a way of taking loans to pay my own way, I really would rather go to Tyler. And, of course, he said, "Oh, my God, go where you want to go. Don't feel dictated by my thoughts. I'm amazed at your work. I'm really interested in working with you, and I want you to come here.
I understand you've also applied to Wisconsin. I did, but I didn't get the teaching assistantship. So, that was it. You know, I was going to Tyler without question. I learned years later that Fred Fenster and Art Vierthaler had [not —EM] been on the review committee for the graduate applicants. So, they never saw my portfolio. I was being reviewed by what—painters, printmakers, whatever else, and so, naturally, they're not going to be real impressed by the work to give me a T.
In any case, I end up at Tyler, and what was really ironic was that Joyce was applying. I am in the other. My mother is waving—. And I go east, and she goes west. I mean, we literally go opposite directions—. It was crazy. So, I ended up, of course, going to Tyler. Husband, Jim, is going off to Italy in the fall semester on a research grant.
So, Kit said, "Come live with me and my little daughter because it would really be helpful. You could help babysit Kimmie"—. It was a considerable drive from Bryn Mawr to Elkins Park, but at the same time, it was my salvation because Tyler was so—such a pressure cooker and so much—it was a very demanding program.
You know, it goes on because she would bring in people to [do workshops—EM]. It was pretty minimal, and undergrads and grads, alike, shared the space and the benches. So, when undergrad classes were taught, you had to surrender your bench. The difficulty was that you didn't see what your peers were doing. Otherwise, you were constantly pitching out your toolbox and moving to the shelves or countertops or leaving—you know, going home, and I came into the program with people who had studied with Skoogfors, who had studied with Stanley, who had come in from Al Pine from California, and they had a lot more technical experience than I had.
So, I was really double timing to learn process and technique by sitting in on the undergrad classes because this information was not being taught in the grad seminar. The grad seminar was theoretical and discussions. So, I really spent a lot of time at Tyler—all day long every day and then went home in the evenings to work in my studio. So, he wanted me to develop a means of putting the images on curved surfaces and getting in to dimensionality again. I had mentioned how frustrating and ironic it was that I worked so hard to bring dimension into my beginning work.
And now, Stanley is saying, "You have to bring dimension. Find some way to do that. I really do. You know, that would be limited. That would be die forming and we didn't have a hydraulic press then. We had masonite die forming which was really going to alter and rip and stretch and so on.
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So, I had to backtrack. You see when I left Illinois, I devised simple means of doing photo-etching because I was leaving Jim Cummins' engineering lab. It's interesting, I didn't have any compunction about going in as an individual, you know, like a young student to talk to them because they were curious about what I was going to do. So, yes. That is a fact, and that's what opened those doors to teach workshops because it was a viable process now. And then, at the same time, now that I'm going back to projection printing, Kodak had a very broad range of chemicals.
So, I made trips to Rochester and talked to the technicians there and found one narrow aspect of their processes that I could work with in projection printing. I also went to a company in New Jersey that [had —EM] water-base resist. So, all of this was going on. So, the pressure was on. It was real—. Um, Stanley gave us, in seminar, an assignment every month, and everybody would go off to their own little spaces in their studios and come together a month later and present whatever the solution was.
And I remember, you know, because we're all working in our own spaces, I looked at the work on that day, the first seminar the projects came in, and I was blown away. I thought, "Oh, my God. Maury Golan from Israel. Carol Phillips, Stephanie Swigget, from California. Caroline Utter from California, who later married Toza Radakovich. So, they were all very skilled, and compete against Albert Paley, who's in his third year—second or third year of grad school—. I thought, "Wow, the fact that I wasn't thrown out of the program right now [laughs.
I made some significant pieces by the projection printing. And the other is a commemorative box in the collection of Tyler. The other thing that came into the factor at Tyler was that you were encouraged to do technological research—you know, sintering, metal—powdered metallurgy. It was quite stunning. Here's the stuff that I hadn't even known about, and now it's being introduced. Stanley is introducing Europeans [with] lots of slides. I had never seen the European work. I was aware of the fibula by having been around Fike, but this was really a push at Tyler.
So, it's not just the back of a piece but it's integrated into a piece which was pretty significant and amazing. And also, those big things—and then, Arline [Fisch] with her body jewelry as well, which was happening at that time. I'm a jeweler, too, and I think she likes that click, too—. Yet, it's a real positive way of claiming your work.
It's like sculpture. It's not just a front and a back where you ignore the back. Now, when the person isn't wearing the piece, they're handling it. So, I think that the integration of the aesthetic is really part of what's special about the work, and I hate to say this, but, we were talking earlier, in passing, about the shows that—for instance, SNAG is putting on where people can bring their work out and sell it.
And I'll look at—you know, take the piece, and I'll say, "Whew, that's really beautiful. I may have to own that. I'm just. It boggles the mind that they wouldn't have the same kind of care and attention to detail to put a real—. And with that, I cannot buy the piece. I absolutely cannot encourage that. I'm just stunned the people get that far with that kind of an attitude. Would you agree with that? You know, those kinds of details were crucial, and Lechtzin did them in his own work. And then, certainly Paley—I mean, Paley was impressive—. He was a very interesting [laughs] craftsman and colleague you know, fellow student.
It was during the time that I was at Tyler, too, that Stanley became interested in the cast resin and the cast acrylic. I want to see it. I want to work with it. He did pick up on it and use some photo imagery with cast resin. Etching the plate and casting resin into it—. He just felt that I was a good fit for what his intentions were at Tyler with—. When I had been an undergrad and people were going to see exhibitions in the east, we would say, "Please bring us a catalogue"—.
So now I'm in Philadelphia, the heart of the art history that I was studying. We don't have to order supplies. You know, they didn't want to go to New York. It was too much trouble, and I'm going, "Oh, I can't believe it. The show is there. I want to see the show. And I'm thinking, "How is that possible? This is a contemporary piece. This is done right now. And she would often, I understand, make the pieces in Plexiglas and he would replicate them.
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And she would insert—uh, let's see, a tourmaline or a dark material so that it was [a focal point —EM]. It was just so far beyond the time of what anyone was doing. I just thought it was so beautiful and the way that she pulled together essentially found objects—beach tumbled glass and high karat gold and Japanese coins, and oh, my gosh, I just thought it was beautiful. And I thought, "Whoa, very cool. And I can't remember what it was that Mary Ann was doing at that time.
But it was obviously something I hadn't ever seen before. So, I remembered those two early on.
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Stanley's early work had that clean line influence. Fike doing the Niello. John Paul Miller doing—. And then, later in the '70s, you get the Pijanowskis coming in with Japanese techniques—. Mokume-gane and all the inlays that they did. And of course, it greatly influenced the students at Southern Illinois— Mokume-gane and all of the research that they had done there.
And then, all of smithing, people started picking up on that. So, it was a very fertile time, but what was also interesting was that the pieces got kind of, careless. It was—remember when I talked about how I would set up problems for myself to learn a lot of techniques and the same piece?
Well, a lot of people are doing that, now, and you had everything including the kitchen sink in one piece. And I was certainly seeing it in other people's work. Howard Kottler, whom I had gotten to know through Joyce, went through the show. And he saw me, and he said, "Well, Eleanor, I see you all have the technique down. Now, what are you going to do with it? It was just like gobbledygook. That was a real turning point for me. We should probably stop, yeah?
Um, Eleanor is talking about her graduate education, and I am interested in how she developed her form language. Is that a good place to start? Yet, Stanley expected us to take responsibility for seeking out our own research projects, and for me, it was a natural because it was a continuum of what I had been doing in photo-etching but now projection printing. For some of the other grads, they were not terribly thrilled about that because it was not their bent. However, just the city itself offered so much. There were a limited number of books available at this time in the late '60s, early '70s, not the libraries that we have now, especially the international influences—.
So, there were a few books coming out of Europe, and Stanley, of course, had them.
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They're in the library for us. Uh, I believe we had a studio library, and little by little, books began coming out. Oppi's first book, Metal Techniques for the Craftsman —. So, I met them in the studio, and from that, I believe it was, that Oppi invited me to send images for his next book, Jewelry Concepts and Technology , wasn't it and send photographs of my photo-etching process and, of course, my work, as well.
I think a lot of it had to do with what part of the country you lived in how you were acknowledged and noticed. However, the exhibition was on display in Washington, D. It was so fantastic because it was all the areas of crafts, and I remember, in particular, the work that stood out for me was Jack Prip's pewter volumes—his vessels.
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Not long ago, Wauters released La Onda de Juan Pablo, an album that allowed him to reinvent himself and start writing a separate chapter in his exciting career.
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It is at once familiar and completely distinct; effortlessly absorbing multiple genres into a sparkly and cohesive landscape. Originating from the dark winters and light summer nights of Scandinavia, his music captures heavy emotions and intense energies of something painfully beautiful. In his thought through albums he explores the concept of music itself — through making, releasing and performing. Casually he engineers an entire concert alone, playing sounds with his feet while juggling a bass drum and still being very much present in that moment.
Perfection mixed with vibrating flaws makes his music easy to take in and hard to let go. Luke De-Sciscio is a UK singer-songwriter whose music comes from a different era of songwriting. In a similar world to Nick Drake, Jeff Buckley and John Martyn, his music is poetically intense and sonically intimate. Luke's thirst for authenticity draws from the age old adage; 'the truth will set you free'. A mantra which underpins his artistic approach. This October, Madeline Kenney will release her sophomore album, Perfect Shapes -- a wholly unexpected leap forward in both composition and musicality.
The record was produced by Jenn Wasner Wye Oak, Flock of Dimes and reflects a deeply collaborative and introspective process, apparent both in arrangements and lyricism. Dealing with subjects of femininity, societal pressures, expectation, value and self-worth, Kenney stands tall in a moment of musical bravery and personal clarity. A discovery of records long stashed away at various dilapidated thrift stores in Alabama lead the entities of Man or Astro-Man?
An oriental ambience fuses with the warm silhouettes of experimental pop and unpolished soul in a way that nourishes both body and mind. Written and recorded at home over four months during the winter of , it's a stunning reminder of not just Heroux's own remarkable talents as a singer and songwriter, but how unbridled creativity can both sound and feel as well. Matteo Vallicelli is an Italian drummer and composer, best known as the live drummer of The Soft Moon, Death Index, and as a founding member of many renowned Italian punk bands. This winter he debuts his first solo project, 'Primo', on Captured Tracks.
Heavily influenced by the pulsating techno scene of the German capital, Vallicelli began experimenting with synthesizers and drum machines. Merchandise is a band fighting against the easy categorization reserved for abbreviated biographies. Formed as a trio in Tampa, Florida in , the band has undergone ceaseless revision and reinvention. The project is equal parts punk misanthropy, maudlin balladeering, fine art, low humor, classical study, psychedelic spacecasing, mad science and pop genius. Produced in the same manner as her previous releases, she combines dark realism with humour in smoky and intimate ballads delivered with cutting and fatalistic lyrics.
Indeed, Krol has gone somewhere new; yes, he bludgeoned himself with over-analysis and self-loathing, but along the way he stumbled upon a trove of intricate guitar lines and artfully mutating melodies. And then saved it. In chronicling that process, Krol has made his best record—painful, voyeuristic, and angry, but ultimately transcendent and timeless. It is the sound of Krol giving in to a force greater than himself, as though the chords are playing him rather than the other way around.
Having impressed the online tastemakers with their early releases that continuously entered the top of the Hype Machine chart, Mt. Wolf are set for their debut album release in May Now grouped as a formidable 3 piece, with singer and guitarist Sebastian Fox, guitarist Stevie McMinn and drummer Alex Mitchell, the band's hallmark splicing of electronic and acoustic elements and layered sounds has not been lost in their new EP recordings, earning them comparisons to the likes of London Grammar, Mogwai, Explosions in the Sky and Sigur Ros.
Murray A. Lightburn is a composer, musician, performer and music producer. Formed in , their orchestral, dark pop sound and dramatic live shows cemented The Dears at the foundation of the then-emerging Canadian indie rock renaissance. The Dears released their two volume epic Times Infinity in and The project kept M. Ninos Du Brasil is a project whose origins and background have remained shrouded in mystery.
Dedicated to a bold and unlikely mixture of noise, batucada, samba and electronic, their sporadic live appearances have already become legendary and mythological. Be it a punk squat in Belgium or the famous Venice Biennale of Architecture, Ninos Du Brasil, without fail, rally the troops, from every walk of life, and create some of the biggest festival style parties on the dance floor.
The Swedish artist and songwriter is about to follow up her Grammy nominated debut album from She is the sought after chart-topping, award-winning writer for some of the biggest artists in the world, but she also writes her own songs that are closer to her heart. For the first time, she is ready to share those songs with the world. As such, Chung sees Parallels represents a kind of redemptive rebirth. What really matters is her ability to drive the songs with only her voice and her guitar electric together with the meticulous coproduction by Joan Pons El Petit de Cal Eril , who makes the songs almost ethereal allowing them to reveal all their magic at leisure.
Born and raised on the west coast of Norway, Othalie started collaborating with her boyfriend and now hubby Tyler, who was based out of Vancouver. Visionary London-based producer patten is renowned for hi-tech immersive AV shows and cross-platform projects, tracing a path through design, installation, film, programming, music, live performance, and publishing. Their new album unlocks a portal into an ultramodern potent strain of shape shifting, prismatic club music.
Splicing together arrays of mutated sonics, rhythms and bassweight into hallucinogenic hybrids of footwork, trap, UK garage, grime, hip-hop and techno, their alchemical productions vibrate with sonics to make soundsystems weep. A brand new mind-melting dancefloor-focused FLEX live AV show, features a custom system of LED strobes, lasers, HD video projections and dense smoke, creating an immersive environment where intense hyperprogrammed lighting and video meets the liquid metal sonic constructions of vocal microsamples, HD synth patches, scuffed textures, body-tuned rhythms and fx as building blocks for an alchemical, propulsive future vision.
After a three year break - during which Slade and Young have been performing with all-female singing group Deep Throat Choir - new single 'Slow Fade' is an apt comeback — a melancholy celebration of patience. Upcoming fourth album sees the band borrowing from the perfectly-constructed pop songs of the s and the understated, noisey guitar experiments of 90s indie bands such as The Breeders and Blur.
Like breaking open a rock to discover a crystal inside. Shimmering, intimate and beautifully destructive. Siblings Jack and Lily Wolter make music that reveals a curiosity and sensitivity to the world around them. The four-piece band from Brighton via the Isle of Man have a sound that unfolds both dramatically and softly. For the lovers of early Arcade Fire, Grandaddy and Mogwai. On Cast, Perfect Son steps boldly into the light without sloughing off emotional weight or depth.
With powerful, sweeping production that recalls the best pop beats of Matthew Dear and arcing melodies that conjure the majesty of Jonathan Meiburg, Perfect Son animates sensations of lust, belonging, and newfound trust with tumescent electronic arrangements that threaten the safety of any sound system.
Peter Bjorn and John return with their eighth full-length studio album this fall when they release Darker Days in October. Petite's signature blush and hand bandage represents the purpose of her music - to heal and overcome. Phoria start to make sense with this strong backbone and incredible bond in place. At one point, they stopped trying to be a conventional band and started to be something else; they decided to be applied technicians in a self-created sonic laboratory named Phoria.
Over the course of two EPs and a self-titled album, the project has combined dance-music structures, a palette evocative of the natural world, and an increasingly heavy focus on electronics and production technique to create a sound poised between the organic and the synthetic. Pick a Piper continue to work on their follow-up to their self-titled album. Piroshka is the Hungarian for Little Red Riding Hood, and gives a subtle nod to a certain red hairdo that stood out in the s Brit-guitar-pop scene. The band will be making their live debut in November Plants and Animals are a Montreal-based trio that began playing together as kids, emerged on the international scene in and have developed a varied cult following ever since.
Emerging on the international scene in , the band have developed a varied cult following ever since, built this on the shoulders of their self-produced records, their intense live show, or both — depending on who you ask. It is Plants and Animals' most soulful and inventive collection of music yet.
Eleven soundtracks for leaps taken, ships sailed, dark water and pink skies. Half-Swedish and half-Greek, and raised between the two countries, he has a rich background to draw on in his work. After releasing his debut album Peoplein , to critical acclaim, he caught the attention of the label Nettwerk, which promptly signed him to their worldwide roster.
Musically, Mystery is a record of delicate, moving compositions, folk music elevated to something warmer, with a fuller and more fulfilling sound. Proper Ornaments germinated slowly from friendship, an epicurean riot of luminous highs and cold, dismal crashes that conversely produced music that was very well ordered and faintly angelic, they hold the attraction of seeming to not try very hard at all and achieve something outstanding nonetheless.
Having escaped deep, twisting tunnels of illness, divorce and drug abuse to release their second record in January , it's unsurprising they sound sunnier this time around. Her real strength lies in pop and she realized this sooner than her parents agreed. When they stopped supporting her financially, she started dancing at a strip club. Now, she lets her experiences push her music.
A surrealist poet, talented guitarist, cult artist and musician's musician, Hitchcock is among alternative rock's father figures and is the closest thing the genre has to a Bob Dylan not coincidentally his biggest musical inspiration. For the past two decades Roddy has also been the frontman of much loved Scottish alternative rock band Idlewild, releasing eight studio albums, and touring worldwide as a headline act, but also in support to R.
It asks that we all find the right way to see the world around us. Rozi Plain has been making music since her brother taught her a few chords on the guitar aged Raised in Winchester, she spent a few years studying art and painting boats in Bristol, where she began collaborating with long-term friends Kate Stables This Is The Kit and Rachael Dadd among many others on a thriving local scene. The visionary project of Brooklyn-based composer and songwriter Ellis Ludwig-Leone, San Fermin has earned worldwide praise for its pairing of pop-minded melodies with lushly avant-garde arrangements.
San Fermin recently announced their signing to Sony Music Masterworks and released their new single "The Hunger," indicating the arrival of the next chapter and more new music to come. The sixth studio album by the Ivor Novello Award-winning singer-songwriter is the one that many have craved: it is a masterclass in honesty, instinct and reflection. His ten-song cycle is the sound of a man comfortable in his own skin, putting his neck on the line with a collection of otherworldly songs.
Formed in Stockholm by childhood friends Adam Olenius vocals , Ted Malmros bass , and Carl von Arbin guitars , Shout Out Louds found an international audience during the early s with their peppy Swedish pop. The lineup began taking shape in , with drummer Eric Edman and keyboardist Bebban Stenborg climbing aboard shortly thereafter. Shout Out Louds wasted little time writing songs, the first three of which formed the basis of their first demo tape.
Sinkane is the project of the Sudanese-born musician Ahmed Gallab. He has emerged from it all as Sinkane, a project that identifies a renaissance within the space and spirit of the outposts of contemporary music. With an aesthetic range seamlessly shifting from soul to rock, and from jazz to pop, Sinkane's vibe is timeless and the sound is now. If dreams can be realised then they can, in turn, become something tangible, something that can be built upon and altered, something that can be held on to.
Now settled in fertile east London, Snapped Ankles maintain the feral energy of the forest. Fight or flight. Primal motorik rhythms, the rush of white noise and post-punk angles; an aural onslaught played out on homemade log synths, electrified guitars and sticks beating hell on taut animal skin. Snapped Ankles have flourished in the sub-tropical climes of warehouse and squat parties, moving onto performance art collaborations with filmmakers and shows in unlikely locations such as barber shops, games arcades and the forests they once called home.
They plough a singular furrow at improbable angles. Each is a writer, producer, and performer with omnivorous taste and a penchant for wild improvisation—a band whose mix of electronic pop, unusual soul, and outright experimentalism feels more inviting than ever on the project's fifth album, 'Brighter Wounds'. The songs therein leave behind Son Lux's typically universal themes for deeply personal fare.
While making 'Brighter Wounds,' Lott became a father to a baby boy and lost a best friend to cancer. Days of "firsts" were also days of "lasts," and the normal fears that accompany parenthood were compounded by a frightening new reality—Lott's son arrived shortly after Election Day. These songs draw on all of that: warm reflections of a fading past, pain wrenched from a still-present loss, and a mix of anxiety and hope for a future that is promised to no one.
After fifteen years of writing and performing with projects like Wolf Parade, Sunset Rubdown, Moonface, Swan Lake, and Frog eyes, this prolific songwriter has now decided to release and tour the music he makes under his own name - Spencer Krug. And while he still writes and sings for the recently reactivated Wolf Parade, there remains in him a need to express something less rock-oriented, something more quiet and strange and introverted.
So, returning to his first and favorite instrument, the piano, Krug has ventured back into his own fantastic world of pseudo-classical balladeering; poetic lyricism laced with twisted pop sensibility and jazz mimicry. Using this template, he now releases his solo work, and tours a variety of new songs as well as those from older projects, as Spencer Krug.
But after a few years apart, those bad feelings disappeared. Raised in the City of Falls Church, Virginia, Nguyen took up the guitar and songwriting as a pre-teen, and was part of a country-pop duo in high school. In , she released a solo album, Like the Linen, which revealed her somewhat raspy, punky voice and folky indie pop style. In many ways the album's sound and atmosphere encapsulates the band's ongoing fascination with testing and sometimes disrupting the balance between tranquility and chaos.
Formed in by the husband and wife team of Jace Lasek and Olga Goreas, two of their four albums have been nominated for the Polaris Music Prize. Their sound pays homage to influences ranging from Robert Johnson to Jack White, but its smothered in greasy, gritty soul, and punched with funk. Early on in their career, Hall and Rogers made the choice to limit their sound to whatever they could play between them, using only their mouths, hands and feet, and eventually the sound became larger than the band itself.
The Radio Dept. The name was stolen from an art pop band Johan had had with a couple of highschool friends during the later part of the 90s.