Rabbits Full of Magic

24 August 2018

 

Music Update

Kiwis
There is a new Kiwis 7" coming out soon. The test pressings have come in and it sounds good. It is called Jazzercise, it is 4 tracks and based on the concept of fitness. All tracks recorded by Andrew Nicholson and Adam Bruneau (that's me), with cover art by him and most arrangements by me. The title song is Yamaha synth pop that has a brief psychedelic dub breakaway section. Next is "Run For Your Life", a Damned-style noise punk track, about running from someone that is chasing you with a knife but doing it for the exercise. Side two opens with "Swimming Away", another Yamaha lofi pop song, a piano rave sort of in the classic dancepop "The Twist" mode or whatever about swimming away from a sinking ship. The final track is "5K", a psychedelic lofi bullshit track with pitch shifted raps and honestly it's just an absurd silly track we made up on the spot when we were way too stoned. That's sort of always been the Kiwis' whole MO. I like that we have gotten so good at recording and mixing and have nice microphones now and stuff but we still make this messy DIY joke music.

It is funny, if I had the money I have now back when we were doing music 10-15 years ago, I would have released so much vinyl, made so many projects. But I was broke as fuck. Of course nowadays I can't spend all day fucking around playing music like I used to, so it's a bad trade off. Ideally I would have tons of money when I was young and had tons of time and energy and ideas. Time is a right bastard. Oh well, this is why doing things like this Kiwis 7" is important, even if nobody ever hears our music. Vinyl is eternal, that shit is made out of dinosaurs, an EMP bomb could go off and wipe every computer on the planet and the vinyl music will still be playable. Long Player indeed.

Frank Hurricane
Frank is a friend of mine who goes way back and he is an incredible human being. His music is mostly psychedelic folk (just him & a acoustic guitar doing 10 min drone tracks) but he has this indomitable spirit and optimism that just shines through everything he does along with his absurd and wonderfully idiosyncratic vocabulary ("Top shrymp"). Once I went on tour with him for less than a week and he was constantly telling me "It's gonna be life-changing brotha!" Magical things were happening - we played psychedelic rock at an ancient Spanish castle, saw otherworldly mushrooms and plants at the holy Indian mounds, got high at the grave of the Allman Brothers.

The day after shows we would walk through the towns to get coffee and he would be skipping around just tripping out on how beautiful of a day it was, smiling and greeting every person we passed, putting everyone around us in a good mood, like some modern saint or something. It was beatific. Honestly I have never seen that kind of energy from a person, and being around it, seeing that positivity and deliver and create amazing experiences, was a treat. He was in town recently, as he has moved to Athens, so I was able to meet up with him and a fellow musician (Sirius Bee) last weekend to record music for a new album he is working on. It is a psychedelic Pink Floyd-via-David Crosby song about "Tears of the canyon" and "The irish lass on her wedding day" (me and Bee were going to a wedding the day he wrote the song, so he typically decided to include that detail). No idea if it will ever see the light of day but this guy is a certified genius and we will definitely be making more music together in the future. Check out his Bandcamp page to hear his latest LP Mountain Brew Light. Dude is a genius.


19 August 2018

 

Crimson and Clover

Ever since witnessing the psychedelic awesomeness that is the Ed Sullivan performance of "Crimson and Clover", seen sometime in the mid 90s on VH-1 classic one day after school, one of my all time favorite acts has been Tommy James and the Shondells. The song itself was stunning, perfectly crafted pop, something that was obviously finely tuned over hours and hours of studio experimentation. Ditto for their other tracks, also songs that would end up being covered by punk and pop acts alike in the 80s: the clippy, minimal, insanely dancey "I Think We're Alone Now" (originally written as played w stacatto piano octaves), which invented synth pop, New Wave, bubblegum, and teeny-bopper music all in one. Or "Mony Mony", an orgiastic Wall of Sound-style psychedelic soul record. It is a crying shame that David Bowie didn't cover this for his Pin Ups LP.

I recently read his autobiography, Me, the Mob, and the Music: One Helluva Ride with Tommy James and the Shondells. The title perfectly sums up his wild decade or so career on Roulette records, an indie/pirate 60's label that was run by mob connections (and often their tactics ended up influencing release strategies & inventing things like "Cut outs") who plucked this 19 year old kid who had a regional hit with "Hanky Panky" and made him into a bonafide rock star. In truth his relationship with his manager is very complex, and this is a fascinating inside look at the industry back then.

The legendary Morris Levy ran the label, never paid any royalties, had about 90 rackets going, and at one time employed 900 people. A local dj had discovered the regional Tommy James single, recorded when he was in high school, and had been spinning it to great success, to the point where Levy decided to start pressing and selling the record on his own, effectively starting Tommy's career by bootlegging his material. Year later they discover the label boss had withheld $30-40 million in royalties, yet there was no way to intimidate these guys. Tommy James was the oblivious rock star kid hanging out off to the side at these crazy parties held by mobsters and murderers. In the early 70s there were New York mob wars with families were gunning each other down, Tommy's manager had to disappear for a while as a result of this, Tommy himself was sent to Nashville to make a record, as well as to potentially save his life.

Levy saved his life a second time as well - after the hit release of "Mony Mony", Tommy's draft card had come in (he was reclassified following the finalization of his divorce), and Levy had pulled some strings. If this hadn't happened then Tommy would have been shipped off to Vietnam and never recorded "Crimson and Clover". The recording of that song is very interesting, and detailed in the book. It is a result of a lot of experimentation, layering instruments, making tape loops, cutting and pasting and copying sections, etc. Ultimately they made a dub of it while in the middle of mixing and he made the mistake of playing it on a radio station, where the rough mix was sent out and now considered the final mix. The main reason he felt the mix wasn't finished was that one of the tape edits was off and needed to be redone, making the song slightly slower and detuned after a point, which bugs him to this day. The song was an early victim of leaks - it is fascinating how Tommy's career was constantly plagued by this, these kind of things kept happening to him, yet they also influenced how the songs ended up. That mix is killer - it was fated to sound this way! At any rate, for the album mix and pirate radio he was given the freedom to make a "long" version, which necessitated taking apart the original single take, mixing out the vocals, and copying/pasting for guitar solos and additional overdubs. The process of songwriting and recording was a very collaborative effort, Tommy working primarily with Bo Gentry and Richie Cordell (who wrote "I Think We're Alone Now") to create these bubblegum psych masterworks.

Anyways, i love this band so much. They were working out of Philly and hence have this Philly Soul sound, sort of reminding me of the Blue Eyed Soul stuff David Bowie was working w in the 70s, songs like "Do Something to Me" and "Crystal Blue Persuasion". I Think We're Alone Now is my favorite of their LPs (that i've heard) the title track and "Mirage" (starting A and B) are both amazing songs. "Mirage" is a backwards version of the title track and has some weird Joe Meek style going for it. "What I'd Give to See Your Face Again" is really nice Tremelo Sadcore where Tommy tries to emulate one of his early heroes, Rick Nelson. "Baby Let Me Down" is some smooth 60s Motown style pop. They cover "California Sun", a song a few years ago covered by friends of theirs, The Rivieras, to some great success back in the day. It showed Tommy the potential of a dance cover, the reason why the og Shondells recorded "Hanky Panky" in the first place. The Mony Mony album is really cool, and was designed as a throwback to that dancey rock style. It's an awesome mode and has resulted in some of the best pop songs of all time. I could go on and on LOL I guess I am just geeking out on one of my favorite bands. \__/ \__/

Get yourself some Tommy James and the Shondells.


18 March 2018

 

Improvised Piano Rehearsal - Audrey's Dance on Yamaha PSR-248

So this is just playing around with the music from Twin Peaks on a keyboard. I love the stepping bass that goes down and up the scale, it is very cool, maybe the coolest walking bass line of all time. I am still learning this song but it is a lot of fun to play!

I learned the song mostly from seeing a tutorial on youtube but I have also been playing with the songs of Twin Peaks for a while now. "Falling" is in F/Dm while this is in C. Not Cm or some crazy chord but plain old C major. There is a humor to it all, the coolness of the bass maintaining that pulsing C, while little fireworks of dissonance go off here and there like ectoplasm disappearing in the treetops. It is an amazing piece, the original by Angelo Badalamenti.


14 February 2018

 

I'm So Lonesome I Could Cry - Hank Williams Valentine's Day cover

It is another Valentine's Day alone for me. I don't know what is wrong with me, social skills, physical defects, etc. Sometimes I feel cursed to be alone. It helps to remind myself that relationship shit and traditional notions of lifestyle happiness are as arbitrary as anything. Including the life you would love to live. Society places so many roles on us, so many expectations. This shit is part of the system, part of the stomping foot of inhuman control that struggles in vain to kill the individual, beautiful, soul of a single human being just existing in life's irrefutable dignity. Against this personal striving for meaning in life, Valentine's Day can sometimes feel like psychic violence.

It is probably like this for many people on most Valentine's Days anyways. Anyways usually I don't feel so alone but today is always difficult because I am always alone on Valentine's Day. Well that is not true, the past few years I have my cat Five with me. He was sleeping in the next room when I recorded this Hank Williams cover. It's not the best performance (it's a little cartoony and out of tune) but it is what it is. Happy Valentine's Day.

This goes out to everyone who feels alone.


03 August 2017

 

Infinite Heaven of Twin Peaks


Let's rock. To start I was an OG Twin Peaks fan. Well, I was a bit too young to watch but I do remember mom and dad watching and hearing that dreamlike music before going upstairs to go to sleep. This weekend I visited my dad who moved to the N Ga mountains and we watched 11 episodes of the new season. We watched the first two and he kept saying, "Let's watch the next one", and we would go through 4 or 5 a day. He didn't remember it very clearly - it was probably 25 years since the original - but he was laughing about certain scenes. For instance the famous 2 1/2 minutes of zen barroom sweeping with Jacques Renault in the background (who is dead???). My dad was like "That is classic David Lynch" and was just grinning the whole time. Lynch has wonderful command of time, and it is a thrill to see him play with that during the new season. The awkwardness of time. He gets it.
Episode 3 was my fast favorite for a while. The whole industrial glitch-Eraserhead intro where Cooper is traversing the purple tinted industrial/steampunk/art-deco fantastical world of wherever the fuck this is supposed to be. All the stuff between the Coopers and electrical outlets. When the white electricity started coming out of the power outlet in Episode 3 I just about lost it with how cool and weird and unexpected and bizarre and right this felt. What does it mean? Honestly I love not knowing right now. This is one of the great things about the revival, we can experience it in sequence, like a classical TV mini-series, and not as a binge-watch all at once. As we often do in modern times, a la "On your fucking phone". It would be too incoherent. We need time to breath, to sit and think. I love not knowing the characters in the 50s. I love entertaining the very real possibility that it may not even be returned to again, and entertaining the excitement and scariness of all the crazy theories and ideas and universes that could explain this video. To devote our full attention (and expectations?) towards each precious minute of time and the creation of meaning. David Lynch is at once a character and the creator of the universe and he is literalizing the creation of new worlds. He is introduced in front of a giant mushroom cloud. Is it the same one as episode 8?



Episodes 3 and 8 are my favorite things Lynch has ever done. Episode 8 literally dumbfounded me, as much of this has, like the dead zombie kid growing out of the car seat, like the silent glass box that is a maximalist-minimalist depiction of Lynch's Zen dive into that endless ocean of ideas he is always talking about. The atomic explosion literalizes the creation, Lynch's creation of this universe, in all of its wonderful abstract Powers-of-10-meets-2001-meets-Brackhage glory. We see alternate universes being born, Big Bangs exploding, a visual Brainstorm. Then the Experimental being -gain a literalization? Of the creation? It looks asexual, both male and female. Like humankind when first created by God. It vomits bubbles and eggs and Bob, hovering in a grey and undifferentiated Zone. Then the trip to the convenience store. If you need anything you go to the convenience store. LOL. A little bit taking the piss. Taking the cosmic piss. Then the austere black and white theater where Laura's golden sphere is sent to Earth by a man and woman performing some spiritual ritual. Unlike Eve tempting Adam, he creates from his mind (faculty of imagination/prophecy) and gives her a golden orb that when kissed by the moon (the woman wears a lunar crescent and lunar imagery is throughout this place) is Laura. Laura is the golden atomic nucleus at the heart of the atomic explosion of ideas that is Twin Peaks. Then they do something crazy and show a 50s monster movie. Somehow they have boiled down the essence of Twin Peaks and are once again creating entire new worlds. It is a miracle.

30 June 2017

 

New Song From the Kiwis "We're Gonna Rob Your Bank"

I have been recording with Andrew Nicholson new music for a potential Kiwis release. There are a lot of ideas in the air and I am trying to constantly experiment. Even if I don't have a song idea in mind I will just start recording and make songs up as I record. This is one such song. I sat down to test the drums we were setting up and recorded the base track. Then I immediately added some guitars and we went from there, adding a little air organ and some synths. At that point there were no vocals so Andrew recorded some that ended up very spacey and unfocused so we reversed them and used them as backwards effect. Next I laid down some vocals and sang the first thing that came to my mind over and over again.

Later on I re-recorded the vocals and added some one-take bass. The second half was tricky and I was unsure what to do about the vocals, and at one point there were normal lyrics, but I am real self conscious about vocals and lyrics so I took them out. I wanted this to be more of a 2:40 mindfuck of abstract pop music. The perfect length for a 7" or single. It's like two songs in one. Anyways get it while it's hot I made this mix 10 minutes ago:


28 May 2017

 

Music from the Guide for the Perplexed



The Guide for the Perplexed was originally written about 1190 by Maimonides in Judeo-Arabic. It was first translated in 1204 into Hebrew by a contemporary of Maimonides, Samuel ben Judah ibn Tibbon. The work is divided into three books. According to Maimonides, he wrote the Guide:

... “to enlighten a religious man who has been trained to believe in the truth of our holy Law, who conscientiously fulfills his moral and religious duties, and at the same time has been successful in his philosophical studies”.

“This work has also a second object in view: It seeks to explain certain obscure figures which occur in the Prophets, and are not distinctly characterized as being figures. Ignorant and superficial readers take them in a literal, not in a figurative sense. Even well informed persons are bewildered if they understand these passages in their literal signification, but they are entirely relieved of their perplexity when we explain the figure, or merely suggest that the terms are figurative. For this reason I have called this book Guide for the Perplexed”.

Also, he made a systematic exposition on Maaseh Bereishit and Maaseh Merkavah, works of Jewish mysticism regarding the theology of creation from Genesis and the chariot passage from Ezekiel – these being the two main mystical texts in the Tanakh (Hebrew Bible). This analysis occurs in the third book, and from this perspective, the issues raised in the first two books are there to provide background and a progression in the mystical and philosophical knowledge required to ponder the climax.

Wikipedia on The Guide for the Perplexed

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