VULPIANO RECORDS, Ian France – High Places (VULP-0004)

tumblr_kwdnfq8kao1qaikyto1_400Another Vulpiano Records release, VULP-0004 is here, Ian France’s High Places/Crackabow single! Ian is one of my favorite independent electronic artists out there right now (he also remixed one of my songs, “Ice Water Girl”), blending remix elements in the context of his original electronic tunes. Catchy, otherworldly, and cool – you can grab it for free here.

Download here on Internet Archive: https://archive.org/details/IanFrance-HighPlaces2009

Mirror on Mediafire: http://www.mediafire.com/?mztjmknqigj

Ian France: MySpace Music | Danish Poet Blog

—Tracklisting—

1. High Places

2. Crackabow

Source: VULPIANO RECORDS, Another Vulpiano Records release, VULP-0004 is…

VULPIANO RECORDS, Zapa – Songs 2006-2009 (VULP-0003)

Another Vulpiano Records release: VULP-0003, a compilation of tracks from Zapa (originally from Spain, now in the UK), another musician I have collaborated with that I am ~ecstatic~ to have on the label! I previously described him on AFIN as having “a lovely delivery of lyrics, and a softly psychedelic style that is a perfect chill-out soundtrack”. Go have a listen for yourself!

Download here on Internet Archivehttps://archive.org/details/Zapa-Songs2006-20092009

Mirror on Mediafirehttp://www.mediafire.com/?mlt1dacrzmn

Recommended tracks: “Amar En Silencio” and “End of the Season”

Zapa: Last.fm | MySpace

—Tracklisting—

1. Sand in the Wood

2. End of the Season

3. Amar En Silencio

4. Summer Song (Song to Don)

5. Someday

6. Little Miss Juggler

7. Trail of Your Way

8. Erase Una Vez

9. The Station

Source: VULPIANO RECORDS, Another Vulpiano Records release: VULP-0003, a…

VULPIANO RECORDS, Tiny Tide – The Smiths & The Cure (VULP-0002)

VULP-0002, the first single release from Vulpiano Records: Tiny Tide – The Smiths & The Cure, which is (you guessed it) a sort of tribute to both of those bands, with a particularly spot-on jangly guitar. You can download it here (which includes some alternate versions and a cover of Roxy Music’s “Rain Rain Rain”).

Download here on Internet Archive: https://archive.org/details/TinyTide-TheSmithsTheCure2009

Mirror on Mediafire: http://www.mediafire.com/?taybvm2vhmg

I (Marilyn Roxie) have collaborated with Tiny Tide’s Mark Zonda in the past (on the Earth EP) and contributed to his SleepWalking Mag music blog (Making a Case for the Horrors, Artist Feature: Natural Snow Buildings) – yet another very fortuitous Last.fm meeting!

Tiny Tide: Last.fm | MySpace | Blog

—Tracklisting—

1. The Smiths and The Cure

2. The Smiths and The Cure (Stars in Coma Edit)

3. The Smiths and The Cure (Acoustic First Demo)

4. The Smiths and The Cure (#9 Version)

5. Rain Rain Rain

Source: VULPIANO RECORDS, VULP-0002, the first single release from Vulpiano…

VULPIANO RECORDS, Le Fils des Trois Mousquetaires – pendant ce temps-là, en 1942 (VULP-0001)

The first official album release from Vulpiano Records, Le Fils des Trois Mousquetaires – pendant ce temps-là, en 1942, VULP-0001.

Download here on Internet Archive:

https://archive.org/details/LeFilsDesTroisMousquetaires-PendantCeTemps-lEn19422009

Mirror on Mediafire: http://www.mediafire.com/?jxkiwzcndy5

Described as “Belgian songs falling from a plane”, this fellow does lovely acoustic tunes that would be perfectly fitting for a rainy day, or should you want to imagine yourself in the midst of a somber film scene with gray, dimly-lit streets around you. Le Fils des Trois Mousquetaires was one of my favorite independent artists on Last.fm when I first heard him months ago and I am very pleased to have his beautiful music be part of this label. How he describes his music: “I’d say I make a crossing between 60’s and 90’s pop, like the Kinks mixed with Nirvana, or Robert Wyatt with Lou Barlow, or the Zombies with Elliot Smith, or Nick Drake with Frank Black…”

Particularly recommended: “Invisible” and “Black Beauty”.

Le Fils des Trois Mousquetaires: Last.fm | MySpace

– See more at: http://vulpianorecords.com/post/338249893#sthash.fuXdrtto.dpuf

Source: VULPIANO RECORDS, The first official album release from Vulpiano…

A Future in Noise ♪♫♪: E.K. Wimmer – The Invisible Audience + Interview

afutureinnoise:

E.K. Wimmer is one of my top favorite artists to be featured here at AFIN, and also an all-around nice, cool, multi-talented fellow. His last album, What Was Once Veduta is Now Found was reviewed favorably here in January, as well as the single from this album “Puppets and Ninjas”. His incredible new album The Invisible Audience was just released and I got a chance to interview E.K. about it – read on below!

A Future in Noise: What were the musical and non-musical inspirations behind the making of The Invisible Audience? 

E.K: Musical: The usual suspects (The Cure, Bowie and Siouxsie). The real influences on this record were T-Rex – Electric Warrior, Brian Eno – Taking Tiger Mountain (by Strategy), Sparks – Angst In My Pants, John Frusciante –Curtains, Neko Case – Middle Cyclone, Christian Death – All the Love All the Hate Part 1, The Glove – Blue Sunshine, Kylie Minogue – X, Alice Cooper –Billion Dollar Babies, P.J. Harvey – White Chalk and a trillion more. I love discussing influences because I have a ton and any musician that says otherwise is full of it!
Non-Musical: Nature, the past, my wife, the Oregon coast, depression, phony people, playing shows, my daughter and more nature.

AFIN: Since you had done soundtrack music previously, do you use the same creative process for your recent solo albums? (keeping specific scenes in mind, etc.)
E.K.: Definitely. I tend to always write songs that are self-contained, but are somehow connected like scenes in a film. The actual creative process is very similar between film scores and my albums. I sit down with a guitar or piano and write the structure of the song. I then take that demo and decide how I want to record it. The first track on the album, All These Things, for example, was originally a rock opera demo with strings and whatnot that I was working on for a feature-length film. I decided to completely change the sound, add new vocals and make it into more of a radio-friendly pop song (at least it’s pop in my mind, ha!) I once read that Wes Anderson makes a mix tape of songs he wants on the soundtracks to his films and then sometimes writes scenes around them. I feel the same way. I’m a director at heart so all my songs usually have a video in my mind to accompany them.

AFIN: There seems to me to be a distinct difference in the vibe of The Invisible Audience as compared toWhat was once Veduta is now found, like a lighter, airier almost nostalgic feeling in the new album. Was this intentional? How did this come about?

E.K.: Well the most obvious thing between the two is how they came about. What was once Veduta was a collection of songs recorded over several years. The Invisible Audience was written within a year. I releasedWhat was once Veduta in 2008, but the most recent song on the album was recorded around 2004-2005.The Invisible Audience is really four to five years removed from the sound of my last record. It’s also the first solo album I’ve ever released (including Veduta) that is not electronic. No drum machines or programming at all on the new record. It’s the first time I’ve released an album that has live drums throughout. It’s also the first album with someone other than me contributing and I think this gives it a dramatically different vibe. Each song is it’s own thing. I just wrote songs how I wanted, when I wanted rather than trying to fit into a genre like I had in the past. As far as the airier, more nostalgic vibe, I think it’s just not so depressing! My music usually makes people want to jump off a bridge; it’s so depressing, but this album is lighter (apart from the last track I guess). The production quality was very intentional. I’m influenced by people like John Frusciante. I think his solo work is insanely overlooked. He strips everything down and just presents a great song. You hear the shuffling of instruments, breathing, etc. I’ve always liked the lo-fi sound because it takes on a life of it’s own.
AFIN: I enjoy the album as a whole, but I think the most interesting track isThe Drawers of Nature – what’s the story behind this song and it’s meaning?

E.K.: It’s funny that you singled out that track over the others because it probably has the most involved story, so brace yourself! It was written in 2004 when I was living in Missoula, MT. It’s the only song on the album that wasn’t written in this past year, but I knew it would fit. I was in a band called Binocular with Paul and Sarah Copoc of the band Two Year Touqe. I was also doing my solo stuff (under the name Veduta) at the time. I played bass and shared the lead vocal role in Binocular. We did really fun indie-rock songs that covered topics like financial aid vampires, my van named Grandpa Whiscuit and the actor Jack Nance. I wrote this one demo and showed it to the band. It was way too dark for Binocular, but we practiced it anyway. It became known as The Bass Song because our cello player switched to bass for the track. We recorded the song, which never had any vocals, and that was pretty much it for the next five years. We never used it because it was more Veduta than Binocuar; it didn’t fit. So five years later I was in Denver working on my new album and I came across the instrumental Bass Song on my computer. I decided to record live drums, re-record my guitar part and finally write some lyrics. Back when we practiced as Binocular the drummer and I used to hum vocal parts, but never wrote anything so I went off that. The lyrics are a story in and of themselves. They are based on a poem I wrote about a short film I did, ha ha, how pretentious! It’s about a stop-motion film depicting items from nature (leaves, rocks, etc.) appearing in each drawer of a triangle dresser (the same dresser that appears in many of my paintings). Anyway, I recorded my parts and then asked my wife Maria to do the back up vocals in the chorus. The end result was a collaboration with Paul Copoc on electric guitar, Sarah Copoc on Bass, Maria Rose doing back ups and myself performing acoustic guitar, drums and lead/back up vocals. I’m very pleased with the end result. I feel the song finally found it’s home and we can all move on. Wow, sorry for that long-winded answer!

AFIN: A new decade is coming: how do you feel the climate of the music industry might change in the 2010s? Any tips for independent musicians/artists out there?

E.K.: I like the constant strain on big record companies to keep up with independent music. I love seeing strange new acts poping up on their own minor label and then watching the big guns try to copy it. It keeps things fresh. I don’t see that changing anytime soon. As far as tips, I always say just do what you feel you should be doing. Don’t let trends in sound or style dictate your direction. If you try and mimic what’s hot right now it’ll be cold by the time your stuff gets heard or seen. Be influenced, but use that inspiration to do your own thing. Don’t get caught up in record sales, painting sales, etc. Just create and let your artistic projects do the rest. Money might follow and it might not, but you can’t let that gauge your relevance in the artistic community.
AFIN: Are there any new directions or plans you have in mind for taking your music in the future? How about art-wise?

E.K.: Well the plan with this new record from the beginning was for it to be the last for a while. I’ve been releasing albums for almost a decade. I’ve reached the Brian Eno phase in my career where I record what I want with no intention of touring, selling merchandise and boosting album sales. Just because I made the album doesn’t mean I have to play shows to support it. Maybe people will hear it, maybe they won’t. It’s just another project I finished, but I put everything I have into it. I’m ready to really focus in on film scores and other collaborations. I’m working on my first feature film as a director and I’ve also been directing a lot of music videos (yours included). I’ve been laying low art wise. I’ve been doing some photography, but not a lot of painting. I haven’t had any shows recently; I should get on that! I guess I consider film to be art so I maybe I haven’t been laying low. I’ve got a lot of stuff lined up and I’m really excited to see where it takes me.

Planet Wimmer | E.K. Wimmer on MySpace Music | YouTube Channel 

A Future in Noise ♪♫♪: E.K. Wimmer – The Invisible Audience + Interview

A Future in Noise ♪♫♪: Gig Review: Manic Street Preachers w/ Nico Vega, 9/24/09 at the Fillmore SF

Originally posted on A Future in Noise

Well, this is the first gig I’ve been to since starting A Future in Noise, making this is the very first gig review as well! This is the most biased piece of music journalism you are likely to read here because I do deeply love the Manic Street Preachers and all.

at the Fillmore in San Francisco yesterday…seeing as they haven’t been here in 10 years! That and being encouraged by the recent setlists (archived at Forever Delayed) being wonderful, with an eclectic mix from past and present releases, I knew it would be a show I could not afford to miss. Also, I had my heart set on meeting Nicky Wire – I bought him a bouquet of pink roses beforehand and attached a little note.
It wasn’t that crowded when I got there, so I was able to sidle up right to the front ahead of time. I hadn’t been too familiar with the opening act, Nico Vega, but after watching their live show – wow! Aja has such a powerful, raw presentation in her voice (and near-tribal dancing!), while Rich (the guitarist) and Dan (the drummer) madly tear away through instrumentation. One never knows what to expect from an opening act, and I thought I would be in the position of just waiting for it to end, but I really enjoyed them and will have to check out their studio / EP releases now!
It felt like such a long haul before the Manics came out, with the instruments and sound being tested, the Journal For Plague Lovers banner slowly rising up and replacing Nico Vega’s glowing insignia on the back of the stage wall, and the expected accoutrements appeared; the Welsh flag, a row of tiger plushies, and Nicky’s feather-boa-ed mic stand. Needless to say, I felt very, very nervous indeed! And then they came out.

I felt like my heart was going to leap out of me since not only was Nicky wearing that lovely sailor hat (as has been his custom lately), but a black suit as well. Genius! Oh, the music? Right then – they opened with “Motorcycle Emptiness”, their usual opener lately, which was simply surreal to hear and see being played so close to me, as I suppose is always the case with any song you’ve listened to over and over again in your own time. James Dean Bradfield’s voice sounded even more powerful in person, and seeing and hearing him up-close confirms that he truly is one of the unsung guitar greats – his hopping around stage, kicking out like a bit of a madman is fun to watch too! Sean Moore was hiding behind his drumkit (as usual), so I didn’t get that great of a look at what he was up to. Nearly every poignant musical moment was punctuated by synchronized leaps and steps from Nicky!
They played twenty one songs (setlist at the bottom of the article), with my personal highlights of note being the tracks they played from Journal For Plague Lovers (“Peeled Apples” – the bassline is even more scrumptious live! – “Jackie Collins Existential Question Time”, “This Joke Sport Severed”, and “Me and Stephen Hawking”), opener (“Motorcycle Emptiness”) and closer (“A Design For Life” – not really a favorite track before, but everything sounded better live), an unexpected acoustic “The Masses Against the Classes”, and “You Love Us” (the track the audience seemed the most excited about). The crowd sung along to most of the songs, particularly as the night went on, and the band looked like they were having a lot of fun up there, sharing occasional anecdotes before songs, happy to be in the States after so long!

After it was over, I had to track down Nicky…their tour bus was right outside the front of the venue, so I waited there with my cousin (who was patient enough to come along with me and deal with my temporary insanity!). After awhile, my cousin said, “The guy in the sailor hat is over there.”, but I didn’t hear her. Then she had to say it again, and I stammered, “…WHAT?!”, plowing through the crowd until there wasn’t any more room to do so. I waited as others got their picture with him and had him sign items they’d brought along. I had my pink rose bouquet with me, and when I was right in front of him said, “These are for you, Nicky!”. I think he said, and my cousin will back me up on this, “Oh those are lovely! Thanks – cheers, babe.” After that I have no idea what I said or did, getting my picture I’d brought along signed, and my photo taken with him (he put his hand on my back and shoulders – I thought I would tear apart into shreds!), and just saying, “Thank you so much!”. I certainly hung around until he was gone, just looking at him in that sailor hat, be-jeweled eyes, and hearing him talk so close by was addling my head to a great extent. JDB and Sean had disappeared by this point, so I’d missed my chance with them, but Nicky was my top priority so – mission accomplished!
The Manics are a band that have so much history attached to them, and to feel like you’re part of it just for a little while is a special thing indeed. It was a truly fantastic gig experience – if they pop up in your area, you must see them!

—-Setlist—-
1. Motorcycle Emptiness
2. No Surface All Feeling
3. Peeled Apples
4. Your Love Alone Is Not Enough
5. La Tristessa Durera
6. Jackie Collins Existential Question Time
7. Let Robeson Sing
8. Faster
9. Everything Must Go
10. This Joke Sport Severed
11. From Despair To Where
12. If You Tolerate This Your Children Will Be Next
13. This Is Yesterday (acoustic)
14. The Masses Against the Classes (acoustic)
15. Send Away The Tigers
16. You Stole The Sun
17. All Or Nothing (Small Faces cover) / Motown Junk
18. Me And Stephen Hawking
19. Little Baby Nothing
20. You Love Us
21. A Design For Life

A Future in Noise ♪♫♪: Gig Review: Manic Street Preachers w/ Nico Vega, 9/24/09 at the Fillmore SF