For the Record is here again, (Our 8th installment! That’s 7 more than we wagered!), and this time out we have none other than Dean Spunt from No Age helping us out with a record recommendation. Dean’s a busy guy these days (with things like this, this and this to name a few) so we surely appreciate him takin’ some time out for FTR (thanks again, Dean!).
And just to re-cap, for those of you unfamiliar with For the Record, this is our semi-regular web feature wherein we (or a generous artist like Dean, Mat,Marty or Scott) reflect on one of our favorite records from the Sub Pop catalog and in turn, said record is dramatically discount for the following 48 hours.
Make Sense? Yes? Good. Now let’s hear about Wolf Eyes!
This record is fantastic! It’s not for the weak though, it starts and ends with a harsh noise ear assault courtesy of the the Wolf Eyes.
Parts remind me of Throbbing Gristle if they were pissed, other parts are like Man is the Bastard if they had no instruments, or Negative Approach with the guitars effected and the drums taken out of the mix and replaced with broken oscillators. Sound good? Then you should check it out – it may cause you to pick up a Behringer mixing board and some pedals and make a limited cassette.
For the next 48 hours, you can get Burned Mind at our FTR sale price of $6 CD/$4 Mp3 here!
Dean’s band, No Age, just released their fantastic EP, Losing Feeling, this month. We think you might enjoy it and heartily recommend you go HERE to check it out.
Wolf Eyes are beginning a US/Canada tour, so now is a relevant time as any to revisit a highly entertaining interview conducted by CITR Music Director Luke Meat circa 2005! Hopefully you can read this with all of the notes. For Wolf Eyes tour dates, go here. And without further adieu:
Fucking Wasted and Fucking Crazy, A Conversation With Wolf Eyes By Luke Meat
Wolf Eyes have more in common with a house full of Old Stock than Stockhausen. Their live show should leave any sane person regressing back to the state a four–year–old child, where all you want is your mommy and for all these evil men to stop making all the loud noise. I got to talk to them after an accidentally double–booked night at The Media Club. Wolf Eyes went on at 7:30. They were pretty drunk. I was pretty drunk. The problem with drunk noise nerds is that when we get together, we can talk for hours about lame esoteric stuff that no one gives a shit about. Hence the notes.
Discorder: True or false: Wolf Eyes is a noise band. John Olsen: True.
How does Wolf Eyes define “noise”? Mike Connelly: Nowadays it’s weird. We come from the old school—y’know, like noise that people do NOT want to hear.
True or False: Wolf Eyes have released over 300 albums. John Olsen: True, about 250–300 now…
True or False: Wolf Eyes are the next coming of Throbbing Grissle. John Olsen [loudly]: Ahhhhhhh! No way, man! Their reunion gig was the best thing I’ve ever seen—it made me retarded—but the dumbest thing is when people see no drums and only electronics, people think we’re like a TG thing. It’s like comparing The Shaggs to The Allman Brothers. It’s retarded to just look at instrumentation, because the actual instrumentation is totally different with us. Of course we all love ’em and stuff, but we are not the second coming of TG. They were all about this social art manifesto thing.
Is there a Wolf Eyes manifesto? John Olsen: Yeah, get wasted and have fun! We got the alliance with the fuckin’ bands like the Allies, and fuckin’ Negative Approach, and fuckin’ y’know…just get fuckin’ crazy! Technology is retarded. Y’know we’re just doin’ it and getting’ crazy… and fuckin’ wasted.
I love the Cannibal Holocaust t–shirt you’ve got on. Have visuals ever been a part of a live Wolf Eyes experience? John Olsen: Nahhh, not really. We used a Valley Export movie where a girl chews her fingernails off, but that’s the only thing. You handle your business with sound, you don’t do fuckin’ Jedi Starbucks Shit. We played with DJ Spooky last night and he had some Japanimation behind him and it’s like, “dude, whatever.”
Did you and Spooky talk last night? John Olsen: No, nah… He’s an intellectual, man… [Another Wolf Eyes member, Nathan Young, enters dressing room]
You’re wearing a Mayhem t–shirt! You’re wearing a Mayhem t–shirt! Is Varg Vikernes innocent or guilty? Nathan Young: Oh, guilty man! [laughs] We like Burzum and Mayhem.
Does he deserve to rot in prison? John Olsen: NO WAYMAN! No one does!
Did the Norwegian black metal scene go too far, do you think? What with the burning down churches and eating sheep’s brains… John Olsen: Nahhh, I think that if anybody feels that strongly about something, [they] should do that. I’m not endorsing it, but I think all these lazy fuckers with their computers, if they actually went out and did something that they believed in…then that’s fuckin’ cool.
Is “Wolf” the new “Super”? John Olsen: What?
Never mind. I noticed you were selling hand–cut, individually numbered 7–inch singles for 50 bucks a pop. Is that a tip of the hat to Zoviet France or the Hafler Trio at all? Nathan Young: Yeah, their packaging was cool. That’s different from what we’re doing, theirs was an actual product. We have an old lathe–cutter, so we’re cutting vinyl constantly. We like doing kind of a one–of–a–kind thing, like a hand–cut record of a jam that we’ll never hear again, as opposed to a nice package. Each one of ours is totally unique, one–of–a–kind—both the music and the record itself.
Does that attitude cross over to the live performance as well? John Olsen: Totally! The problem with motherfuckers today is they can’t do it on the spot. Y’know, motherfuckers show up with their CDs and shit like that. Everything we do onstage is on the spot: our releases, everything. If we’re not feelin’ it or it’s not happening onstage, we’ll like just hang out and talk; y’know what I’m sayin’? But all these other motherfuckers, they got it all planned and stuff like that. But since we’re so dumb and fun, we’ll just do what the fuck ever. Our live shit is like B.C.—y’know, stones and draggin’ chicks back to our caves by their hair and shit.
Does Wolf Eyes get any groupies? Nathan Young: There’s a lot of girls at a Wolf Eyes show. There’s a lot of criticism of our shows being male–dominated, but tonight the audience was like half–and–half. John Olsen: We’re not into being male and all this domination shit; we’re into bein’ ourselves and ladies who are into havin’ a good time. Aaron Dilloway: I once fell into a mosh pit at one of our shows that was all breasts.
Okay. Wrapping up: do you feel lucky? Aaron Dilloway: [loud laughter] Every fuckin’ day! John Olsen: Dude, I’m hangin’ out with my best friends, drinkin’ beer, actin’ a fool onstage, and goin’ to Brazil and seein’ the world. We are the luckiest pieces of shit ever. Seriously.
According to a bulletin Wolf Eyes sent out through their Myspace page, and as subsequently reported on Pitchfork yesterday, Nate Young’s brother Peter was severely burned last weekend when trying to rescue his dog from a fire in his apartment. And, while this is horribly sad news itself, to make matters worse Peter has no insurance and will be in the hospital for 2-3 months. The band has set up a Paypal account to try to help cover Peter’s expenses.
If you want to help, and we hope you do, you can send donations via Paypal to Peter.B.Young@gmail.com.
Here’s the note from Nate:
On the morning of Feb 24th my brother Peter Young was in a fire. He was injured with 2nd and 3rd degree burns on 30-44% of his body. Neighbors reported seeing him coming out of his apartment unharmed only to see him run back in to save his dog Little John. The smoke and heat over took Pete as soon as he reentered the apartment. Pete was found unconscious and burning by Brighton Police and Fire Department who rushed him over to the U of M hospital. His apartment was completely destroyed and Little John did not make it. Pete has no medical insurance or insurance on his apartment which he owns. He is in surgery for skin grafts and has not been conscious yet. He’ll be in the hospital for at least 2-3 months.
I am asking for donations to help my family with some of the medical bills and the rebuilding of his apartment. I have set up a paypal account in Pete’s name. If everyone here can donate at least $1 that will be a huge help.
Please paypal donations to Peter.B.Young@gmail.com
Please try to pay the fee if using a credit or debit card.
Pete first introduced me to punk, psychedelic rock and noise – the music that inspired me the most as a kid. He also painted the cover for the first Wolf Eyes album released on Bulb. Without him Wolf Eyes may not have ever existed. I hope you’ll help me give him something back.
Sub Pop is very pleased to announce our involvement with this year’s OFF Festival, to be held August 1st-3rd
in Katowice, Poland. Now in its 8th year, the lineup features the
likes of Belle & Sebastian, Neutral Milk Hotel, Deafheaven, Glenn
Branca, Fuck Buttons, Loop, Earth, Dean Wareham, Dirty Beaches, Chelsea
Wolfe, Perfume Genius, Perfect Pussy and more to be announced.
On Friday, August 1st
Sub Pop will curate the Experimental Stage, with a lineup that includes
artists from the labels roster, past and present, our sister label
Hardly Art, and a few Polish bands. Artists performing include: Wolf
Eyes, Rose Windows, clipping., Lyla Foy, Protomartyr, Kaseciarz
(Krakow, PL) and Wild Books (Warszawa, PL).
Please find additional information about each of the performers below.
Some say Rock N Roll will never reach
the same primitive raw vein hit of Bo Diddley at his more subhuman
lurch, or that no unit could ever scramble the marbles left of what
brain-boiling suburban electronic punk outsiders did in the mid-’70s:
Whatever you think, there is no denying the homemade nuclear war Wolf
Eyes has declared on music. Wolf Eyes was birthed in the shadows of
late-’90s Michigan. However, Wolf Eyes has grown beyond a band into a
collective mutant ensemble, an art abstraction unit: musicians, print
makers, photographers and more, all sharing a primal vision of decoding
the wilderness of the humanoid soul using their deep audio arsenals.
Before the release of clipping.’s debut, 2013’s Midcity,
the trio of rapper Daveed Diggs and producers Jonathan Snipes and
William Hutson did not expect to find an audience for their abrasive
brand of rap music. But since the formation of clipping. and the release
of their debut album, the field of commercial music enlarged ever so
slightly, making room again for noisier, more adventurous elements in
electronic production. Examples of this have been incremental, mere baby
steps, so far. And despite clipping.’s insistence that they’re really
just making rap— not noise-rap, industrial-rap, or any other mashup
genre— their music might be more sonically challenging than that of the
punkish rap rockers, lo-fi bedroom producers, and street goth
hybridist’s they’ve been lumped with so far. The band will release their
Sub Pop debut, CLPPNG, this June.
Lyla Foy (formerly known as WALL) released Mirrors the Sky,
her Sub Pop debut in March. The London singer and producer specializes
in intimate vocals effortlessly intertwined with delicate, emotive
instrumentation. The production is an integral part of her writing
process, capturing not only the intended notes but also the incidental
and accidental sounds that bring the recordings to life and provide
endless intrigue. While the patter of keyboards, guitars and pulsing
bass lines create a beguiling backdrop, it’s Foy’s sense of melody and
turn of phrase that takes centre stage. Subtle nods to classic refrains,
mingled with her own inflection, suggest a writer who draws from many
different eras, resulting in a sound that is both timeless yet modern.
Protomartyr’s taut, austere rock was
incubated in a freezing Detroit warehouse littered with beer cans and
cigarette butts and warmed, feebly, by space heaters. Despite the cold,
Protomartyr emerged with a sound that is idiosyncratic but relatable,
hooky but off-kilter. Protomartyr’s economical rock elicits comparisons
to possible antecedents like Pere Ubu or The Fall as well as local
contemporaries like Frustrations or Tyvek (whose frontman Kevin Boyer
played bass in an early iteration of Protomartyr). Singer Joe Casey’s
dry declarative snarl serves as a reliable anchor, granting his
bandmates — guitarist Greg Ahee, drummer Alex Leonard and bassist Scott
Davidson — the opportunity to explore textures and reinforce the rhythm
section. This is never more apparent than on the band’s sophomore LP and
Hardly Art debut, Under Color of Official Right.
Rose Windows began in late 2010 in Seattle. On their debut album, The Sun Dogs,
the band incorporates elements of The Band, The Doors’ organ-driven
psychedelia, and Black Sabbath’s dirges, along with Persian, Indian, and
Eastern European music. Rose Windows have toured the West Coast
several times, fluidly sharing the stage with underground art-metal
bands one night and popular indie Americana acts the next. The Sun Dogs was recorded and produced by Randall Dunn (SunnO))), Boris, Earth) at Avast! in Seattle.
you could only play rootsy, dirty, sunburned rock in Texas or Tennessee?
The duo Wild Books proves that you set out from a Polish garage to
follow in the footsteps of Jack White and The Black Keys. Wild Books’
self-titled 2014 debut record showcases retro-rock in its whole
Three years ago, this guy proved you could be a surfer in southern Poland. This year he’s back with Motörcycle Rock and Roll,
a mix of psychedelia, garage, and surf, or as he likes to call it,
“garbage rock.” Fortunately the sound quality is inversely proportional
to its aesthetic value. Maciej Nowacki’s music will blow your socks off,
even though he himself admits that the only reason he got into music in
the first place was to prove he was in the arts at parties.