The Audiozine

This is the last post here. Thanks all for supporting Audiozine x 5 years. Thanks for checking out the initial sound collage that launched the site, for forgiving the lack of a proper follow-up, for enjoying the listening series, for sharing my love of music scenes both local and global, for checking out each other’s bands and art projects, for watching the ‘zine briefly achieve minor local prominence (shouts to Nels Cline), then following it as it turned into an early NYC travelogue before it finally came to rest in microblog limbo. Thanks: you know who you are.
Here are some highlights for those who are new or those who wanna reminisce:

The Audiozine Volume 01 – This is the collaborative sound collage (assembled from roughly 2003-2006) that launched this site.

The Audiozine Listening Series – Initially conceived as a stop-gap mp3 blog feature that would eventually lead to The Audiozine Volume 02 (which never came to fruition because life just got too busy). Enjoy 01) Animal Collective; 02) Talib Kweli/Madlib, Ghostface, Miles Davis, Nas; 03) Portishead and Ricardo Villalobos; 04) Spoon, Radiohead vs. DJ Shadow, Jaylib, Child Rebel Soldiers (Kanye West, Lupe Fiasco, Pharrell Williams); 05) Dirty Projectors, Wintry Mix (a mix I put together for the site).

Doubting Thomas aka Clarence Thomas Action-Adventure Unit – This was a band that featured my very close friend Aaron on guitar/vocals/etc and me on drums/sampler/cassette/iPod. Aaron and I first started playing music together with Drew and Farsheed as members of redBus. After redBus stopped playing regularly, Aaron and I started incorporating samples into our music and trying different ways of improvising/playing as a duo. Here’s a mixtape that I put together to list influences and samples that would appear in one of our benefit shows [i.e. gospel blues, charles mingus, Michael Jackson, electronic music, free improvisation, samba, hip-hop, our friends]. And here is the bootleg of that very same show, posted up in anticipation of another gig.

Nels Cline Post – I was one of a lucky few people who got to meet Nels Cline before he played a show at The Paramount. He remains one of the absolute nicest and most approachable musicians I’ve ever met and he was nice enough to let me write up the experience and post a recording of their entire set. The highlight was when he played a then-unreleased track, “Thurston County”, on Aaron’s guitar and then had the whole band sign it afterwards. “Thurston County” is still up here for download, enjoy.

Early NYC Part 1: Rhys Chatham, Liquid Liquid, Tyshawn Sorey, Merce Cunningham Dance Company, Polvo
Early NYC Part 2: Animal Collective, Jason Moran + Bandwagon, Grizzly Bear, Battles/!!!/Flying Lotus

Thanks again for reading + listening.

Rest in peace, Paul Motian. One of my absolute favorite drummers, musicians, composers. I was lucky enough to see him play with Joe Lovano and Bill Frisell at the Village Vanguard last year; really joyful and cryptic at the same time.

Please support Nelly Kate's ISH ISH project. She puts 150% heart and soul into every recording/performance, writes really unique songs that have a way of repeating minimally (structurally, like lullabies) without a whiff of slightness, and she is unusually invested in and serious about the idea of being a great musician and a contributor to your well-being via art. Over and out.

Also:
"it's the multiplicity of the Olivias' music, though, that's their great legacy, their ever-changing, borderline egoless, all-together-now notion ..."

"I'm not a businessman; I'm a business, man."

Watch the Throne.

Reminded of this one recently.

1) PAY ATTENTION: “We stay open at the grace and generosity of our vendors,” said Mr. Hoffman, Wyckoff’s general counsel. “They know it will eventually get better, because we have to have hospitals. Otherwise, we’ll have sick and dying people lying in the streets, and nobody wants that.”

2) SEVEN CITIES: "Then, with Jay driving the Expedition, we were off to Virginia Beach Boulevard, to this car shop Lex frequents, where we stared like chin-stroking art-gallery types at some really beautiful old “box Chevys” — square-bodied ’70s Caprices, painstakingly pimped, their trunks full of bass-cannon stereo equipment, their paint jobs rain-beaded like a Photoshop texture-tool demo."

THIS HOTNESS.

1) Quex-RD. Always a pleasure to hear some AFX deep cuts.

2) Chillingly accurate to say that Slint sounds like this King Crimson song chopped and screwed.

3) Public. Mostly I liked the part about Aristotle, the human voice, and civil order.

Busy lately. Enjoying the above, and also:
-Wild Flag
-St. Vincent
-Lizzy Mercier Descloux
-Joe Henderson
-Aaliyah
-FACT Mixes
-n+1
-Cabinet
-Susan Sontag
-Panda Bear
-Resurrecting old projects
-Sleep
-Travel
-New friends, Old friends
-etc.

I don’t want to explain my film. You take what you want from it. But I have a request: that the audience put away all presuppositions they may have about the film or the country it is made in and look at it as cinema and not as an encyclopedic representation of the country or society where it is coming from. It is surprising to me that some people think that we make films in order to introduce our country to the rest of the world. That is not my role as a filmmaker.

Really interesting history of downtown Manhattan alt-weeklies. Each little tribe has always been and always will until the end.

Equal.

Proud of NY.