Friday, June 30, 2006

New Download Series: "Helen Butte" (remastered)

(The download window expired July 7, 2006. Because we were groggy after returning from our holiday, we kept the sluice open two additional days... As always, thanks for sharing. - TS)

Here's the first of what will likely be a second raft, a flood, an eroded, lacerated beach full of TLASILA/ommyth-related albumi...

"Helen Butte" vs. Masonna Pussy Badsmell was commissioned by Michigan indie Bulb Records in 1994, shortly after the release of TLASILA's first alb, 30-minuten männercreme.

(Well, to be transparent and precise, James Marlon Magas, who in '94 was managing the label in the absence of Bulb founder Pete Larson, asked us to create the album. Larson, if memory serves, was away in Japan, and had little to do with Magas's A&R decision.)

We recorded it at Sync Studios, Rat Bastard's second (or third) of several Miami Beach studios he ran with partners Looch and Ralph C. (I also tracked parts of it at Telemundo, the Spanish-language television network where I was employed as an audio engineer. Most of the Telemundo stuff was done in '93; at their studios in that same year I also edited and EQ'd Harry Pussy's debut Siltbreeze long-player, In an Emergency You Can Shit on a Puerto Rican Whore, and assembled the first, eponymous After That It's All Gravy collection. )

(Which, like HB, sat unreleased for eons.)

"Ass God" and "Heavy Bribe" were recorded live at Churchill's, Miami, in the Spring of 1994.

[By glutenous admission I find the latter track to be almost wholly bereft of logic. The album, in either the best or worst sesnes, was genuinely irrational... It seems rather ahead of its moment, yet somehow sprung from the loins of load-bearing mammals. Were we but sumpters with overactive cerebra? Oxen with near-encyclopedic knowledge of the lives of pornographic actresses of the early 1970s? 'Tis true, a certain blogging donkey was getting a good deal of tail at the time of the album, but hubris was oh-so-fleeting, and a humbling collapse was just around the foot of the unvarnished sleigh bed. See Wigmaker for details...]

"Helen Butte" vs. Masonna Pussy Badsmell was eventually issued (or, dumped into the cutout bins, depending on the cynical depths of one's perspective) by cash-poor but tax write-off savvy DC indie Fifth Column, under their short-lived Full Contact imprint. Michael Bull, one of the label directors at Caroline Distribution, later informed me ('97-ish) that Butte had Soundscanned an astounding 72 copies.

Stardom... So delicious.

Those of us manning the bilge hydrolics at TLASILA HQ reckon few of you have heard the damned thing, so please, download! Spread it around the Usenets, burn it for easily aggrieved neighbors, bootleg it into emerging redoubts, etc.

Because our bandwidth is finite, this offer expires Wednesday, July 5, 2006. Act fast or moan later. (It was extended to Friday, July 7. Thanks for downloading!)

Remastered, remixed (most of the tracks were in some way tweaked), and otherwise reconsidered by TS between June 27 and June 30, 2006.


To Live and Shave in L.A. - "Helen Butte" vs. Masonna Pussy Badsmell

(1994; issued 1996 on Full Contact Records 9868-63235-2, CD)


01 Root of Pop Compulsion
02 Tina Russell, Free
03 Take a Lot of Ofay
04 The Ass God
05 Open City '72
06 Shit If They Hit
07 Spelvin, the Righteous Bush
08 Veinsearchin'
09 Superhype Security Probe
10 My Third Decade of Ultrafuck
11 Crypt Rocket, Tomb Rocket, Turd Rocket
12 The "Six" in The Six Wolves
13 Mizrahi Speculum
14 I Learn to Inject Morphia
15 Lady Dedlock
16 Hypecuff
17 A Low Mass Will Be Said
18 I Suppress Nothing
19 Wanna Bust Up a Virgin Ass?
20 One Navel of Decline
21 Rexroth, Cozy Cool
22 I Used to Pay a Heavy Bribe
23 Kama Sutra '71
24 Anne's Eager Bottom
25 Shivman Destroys Spoonman
26 "Godspike" Soph. Hoax
27 Theresa Soder in My Hot Hands
28 Television's Over
29 "American Car"
30 Gone and Bitched Up
31 I Slur a Name
32 Tealink
33 First Pop Novice
34 Lock of Gut Twine
35 Balling Andrea True
36 Bataille = No Stipe
37 In the Assworks


Report broken links, please - I've not yet had time to check them. Lyrics? Right here. (No longer, tho. Sorry.)

Approx. 159 MB / ripped at 320 kbps (better than CD quality) / TT: 69:10


Rat Bastard: bass guitar

Ben Wolcott: oscillators

TS: voice, tape manipulations, small electronics

Engineered by Rat and Tom; mixed and produced by TS.

Composed and performed by TS/TLASILA 1993-1994

(Except "Television's Over," composed by Tim (TV) Smith of the brilliant, ever-relevant Adverts.)

C+P TLASILA 1993-2006.

Heavy, Heavy Motherfucking Rotation...

Grim FM... Holy shit!

I've been blasting this outstanding Werk Disks dubstep compilation for the last six hours... Don't sleep on it, lil' droogz. Throw everything else out the goddamned window and live in the now!

DJ OM, over-compensated spokesmodel

Wednesday, June 28, 2006

TLASILA Tour Update, Pt. 99,992

Hello... Still elated over France's gut-pummelling victory over Spain. ZIDANE!!!!! One hopes the odious Luis Aragones will have time to formulate at least one apology in the off-season...

(If you don't know what I'm burbling on about, check the New York Times' formidable World Cup '06 blog bullpen. Threads galore...)


Okay, on to the tour blag. Mark Morgan is back - he'll be traveling with us to Canada in Aug/September and probably be along for the deathride in November/December. His schedule cleared, and the gods who watch over his damp, pungent half-socks smiled. Don Fleming, however, will likely miss the Canadian leg of the autumn pageant. Why? Family and professional obligations. He can only take so much time off (that is, until Universal coughs up that $3 billion signing bonus we've been negotiating). We're weeping copiusly over this one... Alas, our collective loss.

Silver lining department: Don will definitely be on board for the Nov-Dec swing through the Northeast, Southern, and (lower) Mid-Western States. Unfortunately, our no-frost policy dictates we skirt winter dates in the less forgiving domestic climes, so Chicago, Cleveland, Minneapolis, Fargo, perhaps we'll see you in 2007.

The band (Canadian swing, August 31-September 3):

Rat Bastard, Ben Wolcott, Mark Morgan, Andrew Wilkes-Krier, Chris Grier, Rich Russo, and me (TS), with Don Fleming most likely joining us for the final NYC date (September 5).

Horoscopo will be available for purchase and general ogling.

The band: (American tour, November-December):

Don, Rich, AWK, CG, MM, Ben, Rattus, and little ol' moi.

Where's Thurston Moore? Hell, we'd love to have him full-time, but he's just a tad busy at the moment (and probably making more kimchee per date with S-Oldth than he would in a decade with the Shave)... My biases are documented, but if you're of a charitable mind, escuche y aprender -- loosed from formal (SY-ish) bonds, T-Bird delivered. He played brilliantly on Noon. But, who knows? If he manages to catch one of our dates, maybe we'll be able to convince him to don a straightjacket and hit the waterboards with us.

Noon and Eternity should be on release by late September (or mid-October), and thus will be on sale at the shows. 'Twas the artwork tweaking that made us late, and we apologize in advance for caring...

West coast dates (including a dip into Mexico) will likely be booked for January, February at the latest. We hit Europe in the Spring of 2007...

That's all for now.



György Ligeti: 1923-2006

Today we at TLASILA HQ bid a belated adieu to one of the titans, György Ligeti.

Although not quite as cool as James Blunt, Widespread Panic, Take That, Slipknot, or the Murder Junkies, he came awfully close...

(For Artikulation alone, Cripes, he's near the tip-tippy-top of all time, right behind the Crazy Frog remix of Cecil Taylor's It Is in the Brewing Luminous... More reason to salivate over Will.I.Am's forthcoming adaptation of Le Grande Macabre!)

Big hugs from all of us, Györg. You are already missed.

(By Rat especially, who can't stop bawlin'. Frank! Get a fucking grip!)



(The maestro...)

The official obituary, from the Ligeti estate's web domain:

György Ligeti was born in Dicsőszentmárton (today Tîrnăveni) on 28 May 1923 as son of Hungarian-Jewish parents. He studied at the Klausenburg conservatory with Ferenc Farkas from 1941 to 1943, later (1945-49) at the Franz Liszt Academy in Budapest with Ferenc Farkas, Sándor Veress, Pál Járdányi and Lajos Bárdos. Very soon he developed the micropolyphony which later was to become one of the most significant features of his music. In his early pieces such as the a-cappella choral work Éjszaka - Reggel and his first successful work in the West, Apparitions, this style is already extremely distinctive.

In December 1956, after the Hungarian revolution, he left his home country for artistic and political reasons. During his work as a free-lancer at the West German Radio electronic studios in Cologne (1957-58) he thoroughly studied the music of Karlheinz Stockhausen, Mauricio Kagel and Pierre Boulez which found its musical expression in his work Artikulation (1958). Artikulation as well as the work Atmosphères for large orchestra (created in 1961) brought György Ligeti immediate recognition in the western musical scene. Long international teaching activities finally led him to the Hamburg Musikhochschule as a professor of composition (1973 to 1989).

Realising an idea that had been preoccupying his mind for quite some time, Ligeti created a first full-length stage work Le Grand Macabre (1974-77) after a fable by Michel de Ghelderode. Ligeti's complex polyrhythmic compositional technique forms the basis of the works written in the 1980s and 1990s (for example the Etudes pour piano which he began to compose in 1985, the Concerto for piano and orchestra created between 1985 and 1988, the Concerto for violin and orchestra from 1990-92 and the Sonata for viola solo from 1991-94).

Numerous prices, awards and distinctions are proofs of the high esteem accorded to the work of György Ligeti and to him as a teacher and mentor of a whole generation of composers. Apart from his membership of the Hamburg Free Academy of Arts and the Bavarian Academy of Fine Arts in Munich, other prizes and distinctions to be mentioned vicariously are for example: member of the Order 'Pour le mérite' of Science and Art in 1974; appointment as 'Commandeur dans l'Ordre National des Arts et Lettres', Paris 1988; 'Prix de composition musicale de la Fondation Prince Pierre de Monaco' received in 1988 as well; the Music Award of the Balzan Foundation and the Praemium Imperiale in 1991; Ernst-von-Siemens Music Award in 1993; UNESCO-IMC (International Music Council)-Music Prize, both awarded to him in 1996. In 1997 the Rumanian Academy conferred him the Honorary Membership; the Academy of Fine Arts in Paris appointed him as "Associé étranger" (Associated Foreign Member) in 1998. On 9 October 2000 György Ligeti was awarded the Sibelius Prize of the Jenny and Antti Wihuri Foundation in Helsinki, and in 2001 the Kyoto-Prize for Arts and Science for the body of his work. Ligeti was honored with the medal of the senate of the City of Hamburg on his 80th birthday, the City of Frankfurt will award him the Theodor W. Adorno-price on September 13 2003. In 2004, he has been awarded the Polar Music Prize of the Royal Swedish Academy of Music, the Gold Medal of the Royal Philharmonic Society, the ECHO KLASSIK 2004 for his lifework and the Frankfurt Music Prize 2005.

Ligeti died on 12 June 2006 in Vienna after a long illness.

Monday, June 26, 2006

World Cup Fever Spreads to the Plantar Fascia...

While playing futbol with pals last Friday, my son Evan landed awkwardly on his foot and heard four loud pops immediately after. The midfielder guarding him heard the sounds too... Ominous portents, to be sure. Two days later, he sent the photos below via phonecam. FUCK!!

While not quite as tall as his old man, Evan's a tough fucking customer and could likely dismember my ass without breaking a sweat. That noted, he's hurting. If I'd been him I'd have been weeping like Pippi Långstrump after gal-pal Annika moved to the Bay Area to be a herpes counselor...

Son, big love but no foot rubs for a while...



Saturday, June 24, 2006

Razr Rust: May/June Latecomers

As the archive swells, pressure must occasionally be released. Here are six phonecam snaps from late May/mid-June...

(Typical Tybee Island weirdness. This swimwear shop's lamentable façade was spotted while C2 and I dodged drunken sandbillies on Tyb's main booze drag. Shaky photography by TS, May 26, 2006.)

(On closer inspection, delightful impenetrability...)

(C2 in excelsis, Tybee, 27 May 06.)

(The modern day aging, preening, narcissistic (de)composer refuses to die... TS after a workout, June 4, 2006. Don't hate me for loving myself so, bastards!)

(Another groovy snap of future Blossoming Noise pundit-in-residence C2, this time at the launch party of a high-end lighting fixtures wholesaler (!), June 9, 2006. Friends of friends of friends, etc. An odd-ass event, but the Patron flowed, and photog TS's tears were effectively staunched...)

(Charles, my dad, stares into the beyond on Father's Day. Alzheimer's is a fucking bitch. He oscillates in and out of awareness with depressing frequency... I wonder if I'll suffer from it... At least dad retains his sense of humor. Big ups to a pop who gave me free reign, even if he didn't know what the Hell I was doing. He was right, of course - I would never make a dime with "that music"!)

Thursday, June 22, 2006

Our Nation on the Goddamned Ropes...

I'm sure some of you noticed this... "Embarrassment" isn't the half of it. It's completely fucking insane. Where the fuck is the opposition? Who can put these Republican cunts out of their misery?

Embarrassment: GOP Puts Renewal Of Voting Rights Act On Hold...

Okay, Fuck It, I Lied - Four Years and a Day!

God, I'm hopeless. I couldn't help but take the obligatory test drive. With Horóscopo blaring from the inside of my car I realized I had at least another day of micro-tweaks to attend to, the sorts of alterations no one on Earth (or any other life-bearing body) would notice in ten billion years...

Wait - that's ridiculous. The nature of our perception of repetition is such that anomalous elements become more obvious with each iteration. Given a simultaneous demonstration (synch-locked to prevent phase drift), eventually even the most outlandishly addled listener would detect the changes made earlier on the 21st.

(Well, okay, forget O****, but every other outlandishly addled listener... Sorry, must remind myself that I'm an ethicist! Damn this cynicism!)

Tweaks were accomplished, and now - at long fucking last - it's absolutely, finally, done. Long sighs of relief... My eyes are totally blasted.

Thanks to all who emailed (and phoned) with messages of congratulations. Very kind of you.

Remind me to tell you about: Father's Day lunch, Ligeti's passing (sob!), TLASILA tour updates (another round of surprises and temporary personnel shifts), the Noon ETA, mp3 upload requests, the overhaul, and more.

Gotta hit the sack,


Tuesday, June 20, 2006

Slow? Feh! This One Took Just Four Years!

Wow... What a grind! After an insane gestation period marked by the usual hellish fits and starts, Horóscopo: Sanatorio de Molière, the comprehensive, in-house remix/deconstruction of at least a decade's worth of To Live and Shave in L.A. recordings, was finally wrapped today. (Less than twenty minutes ago, to be precise.) Horóscopo began as a fevered reverie atop Dave Phillips' DJ decks (in Aarau, Switzerland, during World Cup 2002!), reached back to field recordings made on the road in the mid-90s, and drew from almost all the officially issued TLASILA releases from 1994 onwards. I've been tweak-checking since Saturday, but I had to let go of it today. It's as done as it's ever going to be, and I'm anxious to turn it over to Graham at Blossoming Noise. (There are other albums in production, other projects in queue! Gotta keep moving...)

More on this and everything else since the last post after I return from the gym. Sick of being cooped up!


Thursday, June 15, 2006

Genius! Genius! Genius!

Holy ass-fucked Christ! I have More Crazy Hits, the forthcoming Crazy Frog album, and I am the most rad motherfucker in the universe because of it. Fuck the entire ESP catalogue, Joan La Barbara and her slightly choleric aunt, Derek Bailey's manicurist, Otto Muehl's film of Harry Partch blowing a dead horse on Fassbinder's doorstep, the unpaid bar tabs from the Viking Lounge's "Special Extermination" fiesta, and every unreleased 1973 Suicide rehearsal stashed for safekeeping in Marty Rev's traverse colon. The is the real murder cache! Stack your insipid Boyd Rice brownshirt fantasies from Connecticut to the Crab Nebula, commander the Penn Station public address system and scream "Sutcliffe Jugend!" for 5,000 years... No avail, fundamentalist dipshits! There's just no fucking comparison. More Crazy Hits is total sex, total joy, total communication! You bought the This Heat box, think yourself well-versed in Jandek arcana? Go fuck yourself. You cannot get more underground than the Crazy Frog overground!

The alb, for real? Okay, it's not 1000% flawless, but at moments - CF's covers of the Knight Rider theme and Europe's "The Final Countdown," to name two - it veers into an absolute, pants-shitting insanity Rudolf hasn't yet begun to perfect. (And that's no dig on Mr. E., who is as cool as they fucking come... It's just that Reinhard Raith and Henning Reith are willing to go further into realms of pure corporate pornography than anyone, anywhere.) Crazy Frog is but a herald, a precursor. In ten years' time our sounds will be infinitely more distressed (i.e., mega-glossed) - they'll have to be! Noise, by comparison, will be wholly without effect, at best a mildly diverting ceiling fan oscillation. Full commercial (mind/body/data) immersion will be on the menu of the Harry Pussies of the near future. Mark these words...

Listen and explode into the future!

(Tracks edited by TS for this preview.)

Frog in the House (Knightrider)

The Final Countdown

Get it, run with it, destroy everything else. Yeah Yeah Yeahs are Seals and Crofts...

PS: When C2 and I brought out G. Moore's cake on the 10th, we serenaded him with Crazy's "We Are the Champions"... I've been listening to a loop of More Crazy's "Final Countdown" for the last fifteen minutes - this is the coolest fucking thing I've ever heard. No shit, no irony - I saw the Pop Group in '80, the Pistols in '78, shopped for Studio 1 dubplates at 99 Recs, smoked a spliff with Keith Hudson backstage at Tier 3, and dodged ashtrays and bottles hurled by angry Bad Company fans while dancing to live Ramones at Atlanta's hippie-ass Electric Ballroom on Thanksgiving Day, 1976, but this sweeps previous experiences, everything, to Hell. Astonishing...

Wednesday, June 14, 2006

Graham Moore Birthday Party Pix, June 10, 2006...

(Amended June 15...)

Snaps by TS, C2, on the occasion of G. Moore's 24th.

(Our young hero reaches into obligatory onyx trews for that which is not there... Goddamned clove cigs!)

(Bobbie, Travis, and Graham - the ATL noize triumvirate.)

(The alluring C2, clearly Mac-centric, takes careful aim...)

(Can this old bastard get any more friggin' suave? TS on the razorwire slide, Decatur...)

(Bobbie and GM indulge in a pantry vogue battle while Travis wrests another round of Tetris out of his Moto...)

Shohei Imamura: 1926-2006

(Written May 31, 2006; posted June 14.)

Shohei Imamura died on May 31st. If you've any working knowledge of Japanese cinema, his passing was a shock. Yes, Imamura-san was getting on, and death is inevtiable. Still, when the genius behind Pigs and Battleships, Insect Woman, and the still-provocative The Pornographers bids adieu to this wearying coil, one is compelled to take note...

(Above, Mr. Imamura...)

Next rainy Netflix night, do yourself a solid and have an Imamura handy. (Yes, that's an order.)



Shohei Imamura's ribald, darkly comic films about messy human relationships and coarse, indomitable women repelled early European critics who had grown to cherish the graceful, exotic image of Japan typified by Kenji Mizoguchi films. Yet Imamura remains a critically important director, both as one of the seminal Japanese New Wave directors (along with Nagisa Oshima and Masahiro Shinoda) and as a chronicler of a side of Japan rarely seen in Mizoguchi movies or tourist brochures.

Born in 1926, in Tokyo, Imamura attended the elite elementary and middle schools that normally would have aimed him toward a prestigious university degree and a comfortable career in business or government. His love of theater and loathing of bourgeois presumptions, however, steered him away from a conventional lifestyle. When he failed the entrance exam for the agriculture program at the national university in Hokkaido, he enrolled in a technical school to evade the draft. The day the Pacific War ended in 1945, he quit the institution and prepared to enroll in Waseda University's literature faculty. There he wrote plays and appeared on stage with a core group of actors, many of whom would appear in his later films, such as Takeshi Kato, Kazuo Kitamura, and Shoichi Ozawa. While his friends from Waseda entered the world of the theater, Imamura joined Shochiku Ofuna Studio as an assistant director in 1951.

At that time, Ofuna cranked out slick Hollywood-inspired movies. Fellow Ofuna assistant Nagisa Oshima assailed this bourgeois cinema, first in his archly political writings and then in his landmark films. Imamura's rebellion was more personal and more instinctive. He found himself assisting Yasujiro Ozu on Early Summer (1951), then later on The Flavor of Green Tea Over Rice (1952), and his masterpiece Tokyo Story (1953). Imamura found Ozu's notorious rigidity in both camerawork and coaching of actors to be repugnant. He directed his first film, Stolen Desire, in 1958, the same year that Ozu released Floating Weeds. Both films are about an itinerant acting troupe, but there the similarities end, as Imamura evidently set out to include everything that Ozu's stylized tale left out. While Ozu's characters are refined and passive, Imamura's are earthy and robust, brimming with latent violence and sexuality. While Ozu's camera remains low to the ground, lingering on empty corridors, Imamura's camera jumps from one angle to the next. In fact, his kinetic camera and dynamic editing resemble those of Akira Kurosawa more than those of his former mentor Ozu.

Imamura's first film also revealed a pair of nascent motifs that would run throughout his career. His fascination with the dialects and practices of the fringes of Japanese culture was first seen in his depiction of a down-and-out acting community in Osaka's rough entertainment districts in Stolen Desire; again in his portrayal of oppressive village traditions in Intentions of Murder and The Ballad of Narayama; in the mutually exploitative culture at the edge of the U.S. military base in Yokosuka in Pigs and Battleships and History of Postwar Japan As Told by a Bar Hostess; and in the incestuous, animistic customs of a remote Ryukyu island community in The Profound Desire of the Gods.

(Above, two stills from Pigs and Battleships.)

Imamura also populated his films with antitheses of stereotypical female film characters. Unlike the self-sacrificing feminine ideal as seen in such Mizoguchi films as The Life of Oharu, Imamura's heroines are overtly sexual, instinctive, deceitful survivors. Characters such as Tome, who rebels against a vicious madame and sets up her own call girl ring in Insect Woman, or Sadako, who struggles with rapists and family to get her deformed son entered in the family register in Intentions of Murder, manage to eke out a scant existence unfazed by oppression, poverty, or morality.

Imamura reached his first creative peak with his1963 masterpiece Insect Woman, a tragicomedy about one of Imamura's signature amoral survivors, followed by Intentions of Murder, and The Pornographers, a brilliant though disturbing black comedy about a pathetic man who becomes obsessed with his lover's daughter.

(Above, the Criterion Collection's spash page image publicizing their edition of The Pornographers.)

Through most of the 1970s, he made a number of well-received documentaries; until 1979, when he released Vengeance Is Mine, a brilliantly ribald film about a serial killer and his father. Since then, Imamura's international acclaim has soared. His 1983 film The Ballad of Narayama and his 1997 film Unagi both won the Palme d'Or from the Cannes Film Festival.

Jonathan Crow, All Movie Guide

From the Desk of Ben Wolcott...

OSCILLATOR has 2 upcoming radio shows!

We are doing a live radio show on KFJC at on June 17 Sat 6:30p PST (9:30p EST) with Dominic Trix hosting.

Also on KZSU at on June 17 around 12 noon PST (3:00p EST) with Will / Scatterbrain Radio...



BEN WOLCOTT oscillator/lumens (To Live and Shave in L.A.) (FROSTY)


SCOTT KINSEY drums (DUMMY)(Enema Resort)(TING)


Oh shit! This error warranted a reply...


Unless Ben Wolcott (of Oscillator) decided to leave TLASILA in the six hours since I last spoke to him, it seems somewhat presumptuous on the station's part to refer to him as an "ex-member." (His drummer in Oscillator, Scott Kinsey, has never been in TLASILA. Thus, your naming him as ex-Shavian is also misleading.) Could you re-write your copy, please? Ben is a (co-founding) member of To Live and Shave in L.A. Oscillator is his other project.

It would, however, be accurate to describe Ben as an ex-member of (the wonderful, sadly departed outfit) Frosty. They no longer exist (except in our thoughts, of course).


Tom Smith

We Have Decided to Split...

... the tours into two halves!

Why, O Why?

'Cuz, like, we needed a bit more time to get Noon and Eternity into shops, on the various sympathetic radio (and podcast) outlets, into print and online circulation, etc. We ideally desire six weeks of hive-mind seepage, media penetration, and fervent cultural taint stroking before taking the Bugatti out to the I-476. Thus, our dilemma. I called Don, then Menlo Marc, then CG, then Ben... We decided no other options were available. With the manufacturer's turnaround deadline edging into mid-September, we've opted to cool our heels until mid-November.

What does this mean for music lovers in Canada? Fear not, gaunt, Mapleleaf'd tofurkey mavens! Our northern jaunt is locked - we're on! Festivities begin August 31st at an undisclosed location somewhere in Montreal.

For the TLASILA-poisoned in the continental 48, however, you'll have to make do with the alb (now scheduled for a late-September/early October release) until our domestic trek begins around November 10... Yeah, it kinda blows, but we'd rather tour in support of an album in actual release. Easily understood, non?

The Get to Know Your Neighbor Tour

Canada (and a sliver of NY)

31 Aug 06: Montreal - For Superfans Only
01 Sep 06: Montreal - MEG Fest
02 Sep 06: Toronto - Sneaky Dee's
03 Sep 06: Hamilton - The Underground

04 Sep 06: Syracuse (tba)
05 Sep 06: NYC (tba)


The Noon and Eternity Tour


Mid-to-late November, 2006...

We apologize for the upheaval in advance, but this is the best solution. Rest assured we don't intend to slack off in the blown minds department. (Maybe a spot of shoplifting, some sniffing of unmentionables, but not much else.) No, it's a question of providing you with the necessary supplemental materials. You'll likely forget to thank us as you're begging for mercy, but that's all part of the game on our, er, hyphy train...

Yeah, yeah, etc.,


Sunday, June 11, 2006

Atlanta Diary Pt. 2

On Saturday (June 10), C2 and I hosted Graham Moore, his Black Meat partner Travis Travissimo, and the lovely, gore-besotted Bobbie for dinner and libations at the C**** manse. We hadn't been told that it was GM's birthday, so the party had extra resonance and more than a soupçon of zazz. The last time we'd laid orbz on G's scrawny frame he was moments away from a (cosmetically) gruesome traffic mishap; there were no gouts of plasma spewing from his cornea (damn!), but the defensive flenching and stuttering he exhibited later triggered indiscriminate felching and queefing... Those crazy noize kidz! C2 whipped up a batch of her legendary vegan chili (well, it should be shrouded in renown), and the veeg choc peanut butter cake we nabbed from Southern Sweets dismantled all dietary reserve. (Lest I forget, C's plenipotentiary course of homebaked jalapeño cornbread ruled over all dishes-in-waiting.) Travis showed his appreciation by playing Pong on his Razr for eleven straight hours; Bobbie admitted she harbored a desire to bumrush Black Meat and take their twee, Manchester-ish shoegazing asses over. Thy will be done!

Back to reality: Graham gave as good as he received, presenting the new Dead Machines vinyl (can't remember the name of the goddamned thing at the moment) to C2 (#44 of an edition of 500), and tossing Ryke, Frankie López, John Wiese, and Sudden Infant (the oft-clamoured-for reissue of Radiorgasm) discs to yrz impurely. The boy is ambitious, well atop the friggin' ball. Plus, as much as I hate to admit it (check out the delightful Klan alteration he posted on TLASILA's MyS**** site), he's a total pussycat. Ditto T and B!

Okay, enough fucking drool. After dinner, we got fairly plastered. I called Bobbie both "Robin" and "Billie" before I finally got her snake-handling moniker down; she pretended not to notice. Once I'd stopped blushing and apologizing, we walked over to a neighborhood park to cavort on the swings and lob serious Geo. Romero jive. (I prefer Day.) A great evening...

Pics up soon.



Friday, June 09, 2006

Atlanta Diary Pt. 1

Back in the (wilted) Phoenix Megalop, taking yet another mini-vacation before the pre-tour insanity revs into fifth. I'm parked before C2's Mac, and organic saladstuffs are being spun to the sounds of Italian movie themes. The sixteen-year-old cat with the acute sinus disorder yalps for a taste of ginger dressing; Morricone launches into "L'Uccello Dalle Plume di Cristallo," and all is well...

Last night we caught the final area showing of Mary Harron's The Notorious Bettie Page; Gretchen Moll completely nailed the characterization. Syn and I were the only two souls in the theatre (the once-opulent, still semi-impressive Garden Hills Cinema on Peachtree), and it was a delight to have the film to ourselves.

We have tix this afternoon for An Inconvenient Truth (bought them yesterday to avoid the queue crush); afterwards, a gallery opening and further ruminations.

Hanging with Graham Moore (from the Blossoming Noise imprint) Saturday eve - first we've seen of him since his accident on the morning of April 9...


TLASILA tour sked update: we'll be performing in NYC on September 11-12; should be no trouble getting into the city on those dates! In an unanticipated development, we found we'll be dipping South at the end of the trek. Richmond, Norfolk, maybe Raleigh, with a final date in Atlanta (September 18?). We'll have more info soon.

Delivered our track to Ecstatic Peace for their forthcoming Tarantula Hill benefit comp; if you listen closely to the cut (recorded live at the manse on September 11, 2004 - numerology alert!) you'll hear the actual voices of actual Balto locals. Our homage to the Live at the Roxy WC2 alb from '77... (Wizened) Wheels within (charred) wheels.



Tuesday, June 06, 2006

Vega In Repose

Before going to bed last night I switched my mp3 player to shuffle mode. Within secs, as usual, I was out, down, dead. At 7:30 (or thereabouts) this morning my dreams began to list; a flood of conspiratorial, sinister images converged. A rabid mob, a chorus of disapproval... What had I done? How might I escape? Other voices - some commenting upon the tumult - slashed across the narrative. I was tense, damp with perspiration... Then I realized I'd been listening to Suicide's 23 Minutes Over Brussels. Kee-rist! Another perfect day...



Monday, June 05, 2006

Brutal Frog

Ran across the framegrab below while rummaging through the Shave photo archive...

In filmic life, Jean Gabin had few peers. Three decades after his death he stands alone.

His work ran the narrative gamut, but a central theme quickly emerged: corruption and decay are inevitable, and so fucking what?

Rent, illegally download, stream into your Pebl, whatever. Just view.

(As some of you may remember, my favorite Gabin film is Touchez pas au Grisbi. Too bloody cool...)




The most popular French actor of the prewar era, Jean Gabin was the essence of world-weary stoicism; a classic antihero, his characters ran the gamut of society's victims and losers, outsiders damaged by life and with no hope of survival. Born Jean-Alexis Moncorgé on May 17, 1904, in Mériel, France, he was the son of professional cabaret performers, and raised by relatives in the country. After World War I, Gabin apprenticed at a Parisian construction company before deciding to follow in his parents' footsteps, struggling as a performer for several years before finally entering the military. Upon his discharge he appeared in a series of musical revues, followed in 1926 by a pair of operettas, La Dame en Decolette and Trois Jeunes Filles Nues. He also toured South America, and upon returning to France signed on with the Moulin Rouge. Gabin's career began picking up steam through his varied theatrical and music hall performances, and after rejecting a contract offer from a German film company he signed with Pathé-Natan, making his screen debut in 1930's Chacun sa Chance.

Mephisto followed in 1931, and by Paris-Beguin later that same year, Gabin was already earning second billing. He worked with an impressive group of directors, including Jacques Tourneur (on Tout ca ne Vaut pas L'Amour) and Anatole Litvak (Coeur de Lilas), and quickly developed the image which became his trademark: his face a mask of boredom and cynicism, a cigarette dangling insolently from his lips. With Brigitte Helm, Gabin starred in both L'Etoile de Valencia and Adieu les Beaux Jours, and for director G.W. Pabst he appeared in De Haut en Bas. A co-starring role in the 1934 Josephine Baker vehicle Zou Zou led to Maria Chapdelaine, his first major hit. Directed by Julien Duvivier, it won the Grand Prix du Cinema, and also set a major precedent followed by virtually all of Gabin's prewar films: His character died, and Duvivier was so impressed by the actor's skillful performance of his death scene that similar projects were immediately discussed. In fact, it was rumored that before long, Gabin's contract stated that all of his characters were to be ill-fated.

After the hit Varietes, Gabin starred as a French Foreign Legionnaire in Duvivier's 1936 war drama La Bandera, a role which launched him as a romantic hero. That same year he and Duvivier collaborated on La Belle Equipe; upon its completion, Gabin entered into another highly fortuitous partnership with filmmaker Jean Renoir, for whom he first made Les Bas-Fonds. Still, it was another Duvivier film, 1937's Pepe Le Moko, which shot Gabin to international stardom; its follow-up, Renoir's brilliant antiwar meditation La Grande Illusion, solidified his new fame. A certified classic of world cinema, the picture ran for an unprecedented six months in New York City, where the critics dubbed it the best foreign film of the year. In France, it was the box-office champ of 1937, and its success established Gabin as his homeland's biggest star. His fame was reinforced by a series of hits, including the 1938 Marcel Carné drama Le Quai des Brumes, Renoir's La Bete Humaine, and 1939's Le Recif de Corail.

Gabin turned down any number of Hollywood offers to remain in France, where he was offered projects like Carné's grim, superb Le Jour Se Lève (aka Daybreak). He then began work on Jean Grémillon's Remorques, but wartime duty prevented the film from completion until 1941. In the meantime, Gabin finally signed a Hollywood contract with Fox; no appropriate projects were immediately forthcoming, however, and when Moontide finally appeared in 1942, few were pleased with the results. At Universal, he and Duvivier were reunited for 1944's The Impostor. At RKO, Gabin was next scheduled to film The Temptress, but at the 11th hour he demanded Marlene Dietrich be hired as his co-star. The incensed studio paid his salary, canceled the project, and issued the warning that he would never work in Hollywood again; Gabin shrugged off the threat and proceeded to rejoin the French troops in North Africa, later winning a Croix de Guerre for his wartime efforts. He intended to make his comeback in Carné's Les Portes de la Nuit, but after a series of delays — most the fault of Gabin himself, who made demand after demand — he was fired from this project as well.

Gabin and Dietrich, whom he was dating offscreen, instead made 1946's Martin Roumagnac; it was not successful, nor was the follow-up, 1947's Miroir. In 1949, he returned to the stage in the flop La Soif, then filmed Au-Dela Des Grilles for Rene Clement; the picture was a foreign smash, winning an Academy Award and directorial honors at the Cannes Film Festival, but in France it bombed. Gabin and Carné were then encouraged to set aside their differences in order to rekindle both of their careers; while 1951's La Marie Du Port was produced without incident, it made few waves upon its release. Clearly, Gabin was in trouble. In an attempt to rehabilitate his image, he next appeared in a fantasy, E piu Facile che un Camello, followed by a comedy, Victor. Neither worked, and despite winning acting honors at the Venice Film Festival for his work in the subsequent La Nuit est mon Royaume, his box-office stature continued to wane.

Film after film failed before Gabin agreed to appear in Leur Derniere Nuit, a role which successfully combined his older, distanced image of his peak period with the warmer, more bourgeois persona he attempted to project in his later years. While the picture itself was not a hit, Gabin had not delivered a more engaging performance in years. His work in the follow-up, 1954's Touchez pas au Grisbi, took the same path, and this time he scored an international smash. Well-received reunions with Carné (L'Air de Paris), Renoir (French Can-Can), and Duvivier (Voici le Temps des Assassins) appeared over the next few years, and suddenly Gabin was again a global star. However, over the decades to come he refused to work with filmmakers greater in stature than himself; as a result, few of his subsequent pictures were released internationally, and outside of France he faded from view. Still, Gabin remained a prolific screen presence in his homeland, and in 1963 he and fellow French actor Fernandel created their own production company, Gafer Films. The 1976 L'Annee Sainte was Gabin's last film; he died in Paris on November 15, 1976.

Jason Ankeny,

Saturday, June 03, 2006

Back Again!

Hello Everyone,

I have a fuckload of posts in queue - check back between now and Sunday evening for the full plate o' poop.

Lots of news, etc.



Happy New Year from the Harz...

Hello Droogs, Happy 2019! I‘m in the Harz region of Germany, enjoying a three-day getaway to cap off an eventful year, one marked by celeb...