Lost In The Stacks Ep. 75

Clip Show! Best of 2012 live performances in the studio and interviews!

Jamison Williams – +Solo: Reprise Facebook

Duncan Barlow

Mon Cul

Kevin Lee Newberry – Soundcloud, Facebook

Cheyla Scantling (Heavy Flow) – Band Camp, Facebook

Rickolus – Tumblr, Facebook, Youngster @ Jacksonville Public Library

John Snyder (Bright Orange) – Soundcloud, Facebook

Bill Dudley and the Fat Bastards – ?????

Lost In The Stacks Ep. 74

Jonathan Snider (Bright Orange, Blood Mountain) was our guest this evening and he picked all of the tracks. You can find more of his music on Soundcloud.

Chantal Goya – D’abord Dis-moi Ton Nom
Aphrodite’s Child – Do It
Cimmerons – Streetwise 
Benny Soebardja & Lizard – Candle Light
A.R. Kane – When You’re Sad
Sensations Fix – I Don’t Want To Go
Transit Mum – Pity To You
Paul Giovanni & Magnet – Corn Rigs
Popol Vuh – Der Ruf
La Dusseldorf – Geld
Knit Separates – Swords, Then Diamonds (features William Everson reading from “Cutting the Firebreak”)
Silver Apples – Program
David Bowie and Brian Eno – Warszawa

Lost In The Stacks Ep. 71

Christmas At Home With…

The Kinks Come Dancing With the Kinks Father Christmas
Robert Goulet 16 Most Requested Christmas Songs Have Yourself a Merry Little Christmas
John Coltrane Verve presents the very best of Christmas jazz Greensleeves
Loretta Lynn Hillbilly Holiday To Heck With Old Saint Nick
Run DMC A very special Christmas 2 Christmas Is
Howdy Doody & Friends TV Family Christmas A Howdy Doody Christmas
Slade The best Christmas album in the world– ever! Merry Christmas Everybody
Mitch Miller & the Gang Holiday sing along with Mitch Silver Bells
The Waitresses Best of The Waitresses Christmas Wrapping
Jim Nabors Christmas album Sleigh Ride
Dokken Monster ballads Xmas Santa Claus is Coming to Town
Mahalia Jackson Mahalia sings songs of Christma Silver Bells
Rev. Run & the Christmas All-Stars A very special Christmas 3 Santa Baby
Stan Freberg Dr. Demento presents the greatest Christmas novelty CD of all time Green Chri$tma$
Ella Fitzgerald Yule be miserable Santa Claus Got Stuck In My Chimney
Kip Addotta Dr. Demento presents the greatest Christmas novelty CD of all time I Saw Daddy Kissing Santa Claus

Lost In The Stacks Ep. 70

Evidence – The Liner Notes
The Kinks – Love Me Till the Sun Shines
Hermes Nye – The Devil Made Texas
Dinosaur Jr. – Little Fury Things
Rolling Stones -Sympathy for the Devil
Opeth – Heir Apparent
Flutes and Strings of the Andes – Kajchas
Yoko Ono with Spiritualized – Walking on Thin Ice
Nine Inch Nails & Pigface – Suck
Mayhem – Funeral Fog
Beasties Boys – Sounds of Science
Japan – Stil Life in Mobile Homes
Raspberries – Go All The Way

Lost In The Stacks Ep. 69

Ryan Reno from the bands NRIII and Neon Doom joined in the studio and created the following mixes.

Find out more about Ryan Reno’s music and NRIII at Neon Doom
1. Umberto – The Psychic – Prophecy of the Black Widow
2. First Mix.
Rovo – Horses – Imago
Pole – Modul – 1
MC Trachiotomy – Valentines – Robot Alien or Ghost
3. Second Mix.
NRIII – The Rush – Spat Upon.
Demdike Stare – Dauerline – Elemental
Pink Floyd – Up The Khyber – More
Blossom Toes – Peace Loving Man –  If Only For a Moment
4. Third Mix
Blue Oyster Cult – Veteran of the Psychic Wars – Fire of Unknown Origin
Vladislav Delay – Lipite – Vantaa
Jesus & Mary Chain – Nine Million Rainy Days – Darklands
Mickey Newbury – She Even Woke Me up to Say Goodbye – Looks Like Rain
5. Sol Invictus – Long Live Death – Against the Modern World (outro)

Lost In The Stacks Ep. 66

In-studio guests Patrick Barry and Jesse Gay. The first six tracks from tonight’s episode are on the VEER! motion picture soundtrack:

Nathan Matthew David – Jesse’s Theme
Kevin Lee Newberry – We Will All Be Dust
Juicy In most cases this quality is appreciated by your loved ones, although they may sometimes feel you are being downright bossy!Fire is your paired element and as a Leo, you have the most cardinal relationship with the element of all the free aquarius horoscope signs. Pony – You’ve Made Me So Dramatic
Christina Wagner – Last Day
Crash the Satellites – You’re Mother’s Bones
After the Bomb, Baby – Corpsegrinder

Murs – Can It Be
Sepultura – Troops of Doom
Morrisey – Life is a Pigsty
The Cure – Shake Dog Shake

Interview Guts: Nobunny

Unexpurgated text of a NOBUNNY (!) interview that will be in Ghettoblaster Magazine any moment now….

Tell us a little bit about the new (La La La La Love You) 7″ on Suicide Squeeze?

David, who runs Suicide Squeeze, asked me to do a 7″ for him over two years ago and for better or worse it took me about that long to hand in the tracks. I work at my own pace. One of the great things about being a musician is that I don’t have a boss, I don’t have to answer to anyone or meet deadlines.  So anyway, ya, I finally got it handed in. The artwork is by the great Japanese artist/illustrator Riko (aka Helmet Underground). The songs I’d like to think “speak for themselves”. Those who have expectations of what Nobunny sounds like will probably enjoy the a-side. The b-side is an exclusive track to this 7″ for those ears attached to open minds.

Goner also just released the Maximum Rock N’ Roll EP for this year’s Record Store Day. Talk a little about that album and what made you decide to release it this year?

The songs are a mix of old and new. I was hesitant to release it on Record Store Day cuz I am not one to jump on trend wagons and am not a record collector myself. I do however like records and do like record stores and was happy to do another record with Goner. Releasing a “raw punk” record after the slightly more polished First Blood was not a calculated move but still I can’t help always wanting to fuck with people’s expectations. Keeping things interesting and fun for myself. First Blood was recorded on an 8-track with an sm58 microphone. Hardly a big budget hi-fi production, but it is a bit smoother than other stuff I’ve done.

When I listen to “First Blood” or the “La La La La Love You” 7″, I hear these constantly expanding sonics and songwriting palettes (like the T. Rex homage and string instruments on “Breathe” or the b-side of “La La La…”)- do you ever worry about losing the subtlety of some of these new songs in live performance? Or do you think about retiring the Nobunny live entity in favor of just recording?

I have never worried about how songs will work live when I write or record. Those are all seperate exercises that come together when reality dictates. Listening to a record is a completely different experiance than seeing a performance. You listen with your ears. A live show is for the ears and the eyes. Playing songs exactly as they are on a record is boring to me. I’m always looking for the best way to work the moment. With movement. Be it live or recorded. Nobunny will live forever. Maybe not always as a screaming telegram, but this is art without an expiration or any expectations.

Nobunny live is like this collective exercise in totally sincere and unselfconscious performance art on the part of both audience and performer; how can just a cheapo rabbit mask and some raw rock n’ roll tap into this hidden need on the audience’s part to go absolutely crazy?

Never underestimate the power of the mask and the smell of teen spirit. I was born to perform. I come from a family of musicians and entertainers. It’s in my blood. A zebra can’t change its stripes. Pranking till my last pump.

You play most, if not all, the instruments on your albums – which makes it even more interesting to listen to the musical changes from album to album – what was it that made you initially want to do it all yourself?

Nobunny has always been a one-man-band collective. I record must of the stuff by myself because I can. It’s a bit of an ego trip, but also a productive way to spend time alone. I have and do record with other people, but I imagine I’ll always work alone too as I am a loner. It’s hard for me to teach people the songs in my head. I hate having to correct people and ask them to do something over. Plus the recording process is often a creative one. Songs change and come to me as they are being recorded. S’hard to explain that to someone while in the moment.

Was there a particular song or musician that made you realize you wanted to dedicate your life to music?

All of ’em! I’ve always wanted to be here doing this. I love music and hits, bands n’ b-sides, session musicians and producers, band mythology and tech talk. Everything about the music and beyond. I am a fan of the arts in general and I always want more.

As a discerning rock n’roll fan yourself, do you ever see pictures of yourself in full flight live and think, “Yeah, cool, I would have loved this when I was a teenager?”

If you don’t like what you are doing, how can you expect anyone else to? I make music that I wanna hear, and put on the show that I’d like to see. I live the life I love and I love the life I live.

Are oldies still where it’s at for you when you’re listening to records for enjoyment and inspiration? Do you still get out to shows a lot?

Ya, I love oldies, but to be fair I listen to music from every decade from the ’40s on up to now. I enjoy plenty of modern bands. I do go to shows, but nowhere near as much as I used to. I tour quite a bit and see shows almost every night. When I’m off tour I tend to stay home.

 You’ve been busy lately on the new release front. What’s next?

Secret stuff. Sex sounds. Surprise songs. Recording the real. Playing punk.

Interview Guts: Trevor Jackson

The truncated version of this article appeared in Library Journal, but Trevor Jackson had too many interesting things to say, so here’s the full uncut transcript….

What was the impetus behind Metal Dance? What made you revisit this music from your youth?

A couple of things. One: I was searching through the attic of my parent’s house and I found a bunch of old tapes I made when I was a teenager and I just thought it was quite bizarre; there was loads of compilations coming out, many of them didn’t touch on the more industrial, well there were more obscure industrial compilations, but they didn’t touch on what to me were more commercial records, more club records, what we used to call alternative dance when I was younger. I just felt that it was kind of …. lots of music from that time was overlooked and deserved to be out there in the public domain again.

 For the benefit of a reading audience that might not be familiar with this music, would you tell us a little about the genres and subgenres collected on the album?

That’s the thing…. at the time, we’re talking about that point in the Eighties, music wasn’t so genre-sized. You had rock, dance, there weren’t so many genres. I suppose the music from that time was outsider music, maybe, it was certainly subversive, it was definitely alternative, it was underground and it was mainly made with primitive electronics and by people that maybe weren’t musicians and they just kind of found their way around things they could make sound with in a way that …. in a primitive, naïve way. And that’s what appeals to me about it. It’s not music made by professional musicians as such, which often leads to things which are quite boring.

 Were these the same qualities that grabbed you as a young music fan?

I was a teenager of that time so I grew up reading comic books, playing videogames and playing Close Encounters, Star Wars, and ET. These were films and these were books and comics that were all about the future. And so all the music around me and all the music in the charts at the time was boring rock music. And I was interested in music that was…. These records were by people that wanted to sound like something new. So I think that’s what excited me most. It was new sounds, and beyond sound, most of these bands had really strong images, like conceptually and their whole approach to making music, and that to me was really inspiring.

What was the connective tissue that held all of this music together for you?

I think it’s many things. For me, I was too young for punk and this is pre-hip hop, so for me being a teen, a young teenager seeking out alternative music, I kind of found it on the dancefloor and…. I think it was just… A lot of these people reference Burroughs and they reference a lot… To me it was just intelligent, it pushed things forward compared to what else was going on in the charts at the time and what my friends were listening to. It was something that was brand new and it was also… I remember listening to John Peel in my bedroom, when I was supposed to be asleep, my lights were off and I was under the covers with a radio, you know? And I’d religiously listen to John Peel every night. It’s kind of sad now, I don’t know what the alternative is for young kids, but that was pretty subversive then and for me it was a bit naughty and… I was young! I had friends who were older than me, 17 or 18, who were taking me to clubs when I was 14! It was quite an amazing experience. You’d go to a gig or you’d go to a club and there was a crazy mix of white, black, fashion people, arty people, normal people, bands onstage with crazy piercings, tattooed, smashing pieces of metal, playing synthesizers. It was insane. It was like a playground. For me.

It was an interesting time in music, with John Peel, NME with Napalm Death or Public Enemy on the cover….

It’s so hard for young people to understand! Because now there’s so much of everything. But then, one great record came out every few weeks… probably one great record came out every month. For me one record that blew me away came out every month. Maybe what it was was that people didn’t look to the past so much, people looked to the future and to the now, and also politically a lot of this music was rooted in politics, most of the bands were British or European… what was going on in the UK at that time was reflected in the music. The music is aggressive, so much of it is politically aware and that adds to the energy and the authenticity and the integrity of the music. These people weren’t just making music for fun; a lot of these people were trying to say something as well.

How did you choose the tracks? I’m picturing these epic listening parties?

No… Literally it was finding that cassette in my parent’s attic and then…. It was kind of difficult then because it was released on an independent label (Strut). Some of the tracks I wanted – like I would have loved to have had a Depeche Mode track on there, or Human League, or there were other bands I would have put on there, more obscure tracks by these bands – but you’re very limited in that major labels make it very restrictive now for you to license songs without paying a huge amount of money in advance. So it meant that I had to really dig deeper and find things that were on smaller independent labels. Which probably made the compilation more interesting. But literally it was 75% was on that cassette; they were records that were to me, anthems and for many people going to clubs at the time. So I tried to pick those big records and also add a few other things that I discovered quite recently that fitted in as well.

Do you have any good stories about making contact with the artists on the album?

Nothing really that exciting but purely from my point of view even thought I’ve been involved in the music business for twenty years, I’m still a punter, y’know? I don’t see myself as this industry person. I live around the corner from Rough Trade East, I shop there nearly every day buying records. For me getting the chance to speak with some of these artists…. even emails… I’m always very hesitant to make contact with anyone that I’m a fan of because the only times it has happened have been hugely disappointing. But generally Ive had nothing but positive responses from all the people involved… particularly some of the bands like Hard Corps and DAF. It’s been an honor to be able to talk to them. It’s still freaks me out that I’m in contact with artists I admire. I’m doing a gig with Jah Wobble in two weeks. Jah Wobble and Keith Levene are doing Pil’s Metal Box without John Lydon. And it’s just bizarre that I’ve been on the phone to Jah Wobble. I don’t believe it!

I like the variety of tracks chosen and that there are some surprises in selection, but this also feels like an accessible entry point to a rather inaccessible form of music. Was that in the back of your head at all?

That was 100%. I could have done a compilation of the weirdest music that no one had ever heard before, and I would have loved it and I would have had a lot of kudos from the people in the right places but for me, in my position now, I see myself more as being, in an odd way, a good librarian. As  I become older, it becomes increasingly harder for me to be creative in many ways, my output becomes less and less. I think about things too much, I’m far more hesitant about putting things out there because I kind of want to make a statement with everything that I do, yet my knowledge of music and many cultural things going back from when I was a young kid… I like to be able to share that with people. When I made this compilation it was interesting because … There were two reasons: I picked the tracks that I loved. The Pete Shelley track I chose, I was a massive Martin Rushent fan, the producer, everything he did, I bought. But that particular 12” that tracks was the one I loved most off that album. But I decided when I made the compilation, I was like, forget all the people who are really cool who are going to think these are really obvious tracks. I wanted to make it an introduction for those people who might not have heard this music. And it was kind of vindicating, because I was concerned, thinking, All of my contemporaries are going to say that this is so OBVIOUS, but then I started doing interviews with people who are in their twenties and they’d never heard any of the tracks! Not one of them! So it was like, this is amazing. To me it was like obvious, this music, but to a lot of people it’s not, so it’s really satisfying that it worked in that way, certainly.

Did you do all of the design and packaging on this record.

I did the whole lot. To me music is more than just about the sound it’s about everything you know.

What work went into it?

I think that sex and music has always been an incredibly important thing. And those times were very experimental times. Perhaps it’s slightly too overtly heterosexual because the music of that time wasn’t completely about one sexual preference  but people played with sexual imagery a lot at the time. So I wanted to reflect that, but in a contemporary way. The sleeve is all about …. It’s supposed to be a sleeve within a sleeve, so it’s imagining finding an artifact, an imaginary sleeve for an imaginary album that never existed, that’s what it’s supposed to look like.

If a library were using this collection as a jumping off point, are there any albums or artists that you’d particularly recommend?

Whoa. There’s so many. I’d have to say Cabaret Voltaire to start off with. They’re probably to me one of the most important electronic music artists of all time. It’s honestly…  so many artists on the album are seminal artists. Like Cabaret Voltaire, Yello to me… People talk about Kraftwerk as being the kings of electronic music, to me Yello were equally as important. I think some of their albums… They’re more human than Kraftwerk, there’s more humor in there, there’s more overtly obvious humor, and they’re sexier records. In a way. And they’re so creative. So Cabaret Voltaire, Yello, and probably… Those two bands in particular are artists that if anyone liked the compilation they should definitely hunt out more of theirs. And they did a lot of albums as well.

Do you have any curatorial projects in the works?

I’m trying to concentrate on my own music this year. I mean, part of me, it’s almost like, I spend my life collecting things: I’ve got thousands… I’ve got 50000 thousand records, I’ve got 15-20 thousand books, I’ve got tons of stuff. And in an ideal world I’d have a publishing company that would reissue books, reissue records, reissue films, reissue everything. But obviously its… We live in a time and it’s obviously quite interesting from a librarian’s point of view, the whole electronic age. I’m not overtly opposed to downloads and the digital realm, but at the same time I need to hold something in my hands, I need to possess things. I think the interesting thing is that the physical object is going to become a fetish. It’s not a bad; I think the mainstream will become all about the equivalent of renting, you won’t buy anything. But I think there will be a hard core that won’t won’t – that will probably grow – of people that have a passion for the physical. As I get older, I think that’s what I want to do. I want to try and rerelease, not just music, there are loads of things I’m passionate about.