The film is currently in post-production, and will feature Browstein and James Mercer as the leads alongside a performance from YACHT (no word if it’s just Jona Bechtolt or if Claire Evans is involved as well), Brownstein’s ex-Sleater-Kinney bandmate Corin Tucker, Corina Repp and Matt Sheehy. Matthew Cooper of Eluvium contributes music to the film’s should-be-kickass soundtrack. Some Days Are Better Than Others is scheduled for a fall 2009 release, and is produced by Neil Kopp and David Cress, more local boys who also worked with Gus Van Sant on Paranoid Park and Kelly Reichardt’s Will Oldham-starring Old Joy, both of which were shot in PDX. So much local love!

While the idea of Mercer and Browstein starring as Eli and Katrina in a film “about lonely people trying to create their own abstract forms of communication” is cool in itself, that got us thinking about other local musicians who we’d like to see branch out behind the camera. Stephen Malkmus playing an aloof uncle in the next Wes Anderson project? Liv Warfield as a soul diva? We want to hear from you! The best suggestion wins a copy of our forthcoming (stay tuned for details!) second annual LocalCut Christmas compilation.

A few Matt McCormick-helmed videos to get you in the mood:

“The Past and the Pending”

“Australia”

“Jumpers”

Links:
Matt McCormick
The ShinSpace
Sleater-KinneySpace

Photo courtesy of the internet. Long live Sleater-Kinney.

A Saucerful of Secrets is great mainly because of the diversity of all of its songs. However this same thing makes it kinda strange and awkward. Sometimes 2 pieces of music sound so different you wouldn't imagine that it's on the same album. This was at a point where different members were writing differently and contributing their own stuff. Richard Wright wrote psychedelic rock songs reminiscient of the Piper days, Roger Wrote more space Rock (with a humourous piece about war called Corporal Clegg) and Syd Barrett wrote a few songs for the album. The only song he wrote that was featured on the album was Jugband Blues which is a very diverse song, fitting in several different sounding parts in 3 minutes. The Rejected songs are Scream Thy Last Scream and Vegetable Man both of which are amazing songs, and I don't know why they weren't included. There's only 7 songs, and none are of extremely epic length, the longest being about 12 minutes. The whole album is around 39 minutes, I think.

The Magnum Opus of this album is the title Track, A Saucerful of Secrets. It is very much Avant Garde and Experimental. This song is more like a piece of art... and depending on your appreciation for it, it might be easy or hard to understand as such. I like to compare it to Picaso Paintings... they look weird, oddly shaped, strangely coloured, etc. But it's art, just a different way to look at them. Some people do not understand this, because they are expecting to hear traditional rock music... that is bass and normal guitar, keyboards drums and singing, choruses, etc. And these people often criticize A Saucerful of Secrets for being nothing but Noise. But the noise is organized in a way that it's experimental and epic. It features menacing percussion, howling feedback, crashing cymbals, and at the end, a chorus of eerie wordless vocals. It sounds like the soundtrack to some strange sequence. Roger Waters says it symbolizes a battle.

This piece is much more for fans of really avant garde and experimental music... music that is not just rock and roll, but is a totally new genre in itself. But I find that this song is amazing, and I hope you do too.

I totally recommend A Saucerful of Secrets... but it's a risk to buy if you are not used to very strange and experimental things. I think that it's more for Pink Floyd fans who know the band and are sure they're going to like it. But it is a great musical piece and I'm sure anyone who can at least understand the art of it will enjoy it a lot. It's not their best album, but by far not their worst either.

by HammerOfPink


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Some Days Are Better Than Others is directed by Portland experimental filmmaker Matt McCormick, who has helmed videos for both Sleater-Kinney and the Shins as well as YACHT and Patton Oswalt, and it's currently in post-production. This is the director's first feature; previous works include the 2008 shorts Light Tiger Eye starring Brownstein and Mercer and The Problems With Machines (That Communicate), starring the Shins' Marty Crandall and Crandall's ex-girlfriend Elyse Sewell. McCormick's 2004 short Towlines featured original music by Mercer as well. Neil Kopp and David Cress, the producers of Some Days Are Better Than Others, also produced Gus Van Sant's film Paranoid Park and Kelly Reichardt's Will Oldham-starring Old Joy.

"Overall, I'd say that the film is about lonely people trying to create their own abstract forms of communication. You could call it a charmingly melancholy look at abandonment," McCormick says. Brownstein and Mercer play the lead roles, characters named Katrina and Eli, respectively. Various other Portland indie rock luminaries also appear in the film, including Brownstein's former Sleater-Kinney bandmate Corin Tucker, YACHT (who perform in the movie), Corina Repp, and Matt Sheehy. Matthew Cooper of Eluvium is slated to contribute to the flim's music as well.

Although McCormick had worked with both Brownstein and Mercer in the past on their bands' music videos, he says that "both of them went through a drawn-out series of auditions before I was sure they were right for
the parts." He continues, "With James, the character he plays is in many ways an extension of the character that I created for him in the the Shins' 'The Past and Pending' video I did awhile back. While writing the script, James sort of became this character by default. The character isn't necessarily based on James, it was just James' face that was in my head when writing this character. And then after I did the 'Australia' video I was just completely impressed with his poise and ability to take direction, and eventually decided to give him a shot at playing this role.

"With Carrie, I had had her in mind for a smaller supporting role that I knew she would just be perfect for, but for formalities' sake we brought her in to audition. While there we also had her read for the lead role of Katrina just to see what would happen, and she completely blew us away."

So, should we expect to see Carrie Brownstein in more roles? Is she headed to Hollywood? "That's a mere hobby," she explained. "I told Matt that I was probably a liability for his film, but he cast me anyway. I auditioned; he didn't hand the roles to either of us, we auditioned. That's not where my future lies. I'd rather do spontaneous and silly work like ThunderAnt [Brownstein's comedy duo with "Saturday Night Live"'s Fred Armisen--Ed.] than have somebody's film on my shoulders. But it is challenging.

She continued, "I think one of the reasons I haven't been doing music is because I think that some of my performance needs are being taken care of in other mediums. I mean, a lot of music for me was about-- I mean aside from the fun and challenge of writing and being really good friends with my bandmates-- getting to perform. It's not the same, doing a movie or doing ThunderAnt, but it definitely is akin to that kind of challenge. I get to sleep in my own bed at the end of the day. And my back doesn't hurt as much."

Stay tuned tomorrow for a lot more from Carrie Brownstein.

“El baile de las moleculas” gives name to the new work of Pársec, in which is already their second job published in escala, just a year after of their debut with “Biorretro”. Tracks so intimists and evocatives as Buckyesferas or Curvatures does show us the complex framework neuronal what lives in the heads of these of zaragonzanos artists that the sonorous experimentation does their main ally.

They also include a pair rhythmic cuts than it confirms the variety of composite registrations of this duet and, on the other way, an audiovisual piece from Orencio Boix under the name of Extracapsular… What else?

1-Buckyesferas 17 MB
2-Curvaturas 13 MB
3-Party_cuántico 7.2 MB
4-Nanotubos 13 MB
5-The_dance_of_the_amoeba 8.7 MB

Download (right click, save as) (61MB, 320kBit/s)

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Bizarre doesn't even begin to describe this album. A blend of progressive punk and almost pastoral music with a mean violin, vocal stylings that baffle even the Peter Hammill initiated, quirky, though generally brilliant, lyrics... the list goes on, and the bizarre melding of standard musical elements and a freakishly experimental mindset works overtime. Really, there is no way to describe this album effectively, it'll probably take a while to catch on as a whole, and any preconceptions you have about Van Der Graaf Generator probably do not apply to this album. Consequently, it's a bizarrely essential album: I really enjoy it, I appreciate there are a lot of people (particularly the pretty vocals crowd) who probably won't get it (not a bad thing, just different tastes), and I think it was really pushing the barriers in a way that the other classic prog bands had rather given up on by 1977. Graham Smith and Nick Potter give the album a great deal of attack, Hammill's experiments with all sorts of vocal ideas have jumped off into the deep end in a way that you'll either love or hate, Guy Evans is solid as ever, and the pianos and guitars are used with a lot more confidence and detail than most previous Van Der Graaf Generator efforts. I think it's a masterpiece, sure some others take the opposite opinion. Lizard Play exhibits the rather Van Der Graaf Generatorish (well, in this case, Van Der Graafish) of having some sort of anti-catch value. On the first listen, it made virtually no impact on me, either lyrically or musically, but now, I can call it nothing less than amazing. The first Meurglys III notes lead us into a little, slightly jazzy intro a bit reminiscent of When She Comes, before Hammill's light-hearted, very cleverly harmonised vocals come in, using a full range of high wispy overdubs to counterbalance low, gritty multiple vocals. Evans is fantastic, of course, providing all sorts of rolls in addition to some absolutely beyond-belief unusual hollow and tingly percussion inclusions. Hammill's lyrics are metaphorical, assertive and extremely potent once you actually see the whole picture, and allow for a couple of clever spins which you somehow never quite expect even when you know they're coming up. Potter's thorough, thick basslines provide the real backbone for the piece, as well as a sort of bestial feel to the piece. The Graham Smith violin is characteristically unusual, and includes a couple of rather neat subtleties that provide a little more weight to the acoustic. A song full of weirdness, shamanic rhythms, a general refusal to accept the standard terms of what rock is, and a touch of whimsicality that works really well for Van Der Graaf.

The Habit Of The Broken heart is another somewhat eclectic song, moving from a fairly basic acoustic riff to a subtle bitter bit of reflection to a full on burst of rock to a small vocal coda. The lyrics are a touch less sharp than I'd expect from Hammill, though they still contain a couple of great lines, and a basic message, which is more than a lot of bands manage to do. The lyrical vulnerability of the song relative to the rest of the album is more than outweighed by the superb musical content and the rather odd mood in Hammill's vocal. Guy Evans and Nic Potter provide a weird bass-driven riff for a fair amount of the piece. The dashes of organ fit in quite nicely, as does the lush background viola. A lot of the punk ethos thumping in again, along with a few elements of dissonance and the rather curtailed melodies than characterise much of World Record. The conclusion is nicely done. Not an absolutely perfect piece, but a lot of redeeming features, and a particularly top notch performance from Evans.

Siren Song features the album's finest lyrics, and some of the finest lyrics in rock, and the closest thing to a conventionally pretty vocal on there. The piano is absolutely lovely, and supplemented by a tragic violin, Guy Evans' very emotional and delicate percussion and the unusual Potter distorted bass sound. The mood changes of the song are distinctive, involving and feature a rather more upbeat, folk-inspired violin part, as well as an example of just how mobile Van Der Graaf Generator can make a song. Nic Potter never did a weirder bass part than that in the middle of this song, and it pays off fantastically. Anyway, the best way to describe this one is with a bit of a lyrics quote. It has reduced me to tears on occasion, and not many pieces can do that.

Laughter in the backbone laughter impossibly wise that same laughter that comes every time I flash on that look in your eyes which whispers of a black zone which'll mock all my credos as lies, where all logic is done and time will smash every theory I devise

The six minute Last Frame could well be the highlight of the album for a lot of the more prog-by-the-books listeners. A hollow atmospheric introductory solo on viola (I think) from Graham Smith leads us into the song proper, coupled with a couple of very dark, full jabs on bass and a tinkle of percussion, takes us onto the tragic retrospective vocals, coupled with a savagely bleak and determined set of lyrics. Hammill provides an acoustic (on occasion surprisingly unusual in sound) pretty much throughout the main part of the song, which is quite a nice change, and it fits in neatly both at the higher-tempo sections and the more introspective low-key parts. A sort of freakish guitar or violin solo backed up by a dab of Meurglys III riff takes up prime position in the instrumental mid-part. The song's conclusion is particularly awesome, with a distinctly rocking bass riff mixing itself in with dabs of percussion, classy lyrical bite and a distorted guitar. As always, Evans is a solid drummer, controlling his sound, volume and feel quite precisely and adding a slightly human feel through the drumming. Fantastic stuff.

The Wave is probably the most daringly introspective of the songs on this album, with quirky, and yet quite moving lyrics about the point of analysis and the effect of that on nature or feeling. The lush, but quite delicate, interplay between Hammill's piano and mellotron (it's probably actually a viola, listening to it a bit more closely) and the strings is extremely well-written, and Hammill's vocals are simply amazing in a way that only they can be. The tension is available, and a mixture of grandeur, uncertainty, high and low and whispered vocals, and selective self-harmonies adding a sort of ebbing feel to the piece. The rhythm section is again excellent, with Guy Evans' fitting in his own sort of style quite softly, accomplishing a number of subtle cadences that other drummers often seem nervous to add into soft songs, accomplishing the same sort of rolling line with no intrusion at all. It did take a while to catch onto me, as one would sort of expect a soft song like this to simply head for plain lyrics, but in the end the combination seems simply more and more right. Unusual soft songs are one of my favourite features of the classic 70s prog rock bands, and this fits that description perfectly. Masterful.

If one track can be described as driven, it's probably Cat's Eye/Yellow Fever, this piece rivets itself into the mind, frantically and schizophrenically leaping off its own ideas. Hammill's lyrics and vocals have a wonderfully reeled-off-on-the-spot tint, albeit not a lot of conventional beauty to counterbalance that. The jarring aggression of the vocals is in the vein of Nadir's Big Chance rather than Arrow or La Rossa, relying on an innate menace, speed and rhythm over volume or arrangement, and yet they are actually surprisingly fitting for the song, ramming in uncertainty, panic, menace and rage without pausing for breath... a burst of vocal dubs only heightens the frantic mood. The exhausted final vocal line is a complete contrast to this schizoid personality... one of the best worst vocal performances ever. Graham Smith's violin and viola provides truly berserk emotionality, reeling off a pulsing, tense riff as well as an array of off-the-wall solos, counterbalanced by the utter catharsis of the concluding solo. Nic Potter has never sounded better, with pulsating, demanding, insistent bass-lines complete with mixed-in sort of bass groans, as well as a bass-sound or two I haven't heard used in that way before. Even under that incredible violin solo at the end, he fits in a tasteful, obvious bass sound. The guitar is equally superb, providing a sort of picked-electric sound that lends a lot of character to the piece, as well as some blitz-on-the-ear wails. One of the big standouts of this piece, though, is Guy Evans. His combination of sort of trapping drum sounds, solid, aggressive beats, tasteful leaves, hard, flat rock beats and manically fast, yet comprehensible, fills, which sort of overspill all the parameters of the song, providing a sensation of real vertigo and being off the edge.

Anyway, I've gone into a bit more detail than I usually do on shortish songs for this one, but it was entirely worth it. An incredible song, one that really both pushes the parameters of rock and yet builds on existing traditions. As Peter Hammill would say, the 'exciting stuff'. It's a sample at the moment, so take a listen to it on the appropriate volume. If you don't like it, the album might not be for you (there's a wide range of material covered, and the lyrics, here, are probably not as strong as the rest of the album), but if you do, really, the album might be your thing. It's the song that brought me to going beyond the obligatory four VDGG albums.

The Sphinx In The Face is another oddity, complete with a particularly anarchically arranged set of lyrics, a range of rather clever musical quotes from previous pieces incorporated into the main piece. Opening with a cheerful guitar riff, backed up by the appropriate groove from the bass. A couple of rather reggae-ish moments are juxtaposed with a general pushing-rock-feel, amazing mellotron/viola, as well as possibly the most remarkably moving harmony in rock. The musicianship, as always, is incredible, and though the 'concept' of it all... the unifying theme of disunity, of a search... is a bit hard to grasp at first, once it kicks in, it sinks below the surface, and a range of exclamations that first seem trivial become extremely moving. Also brilliant, though I can imagine that the harmony ending won't hit anyone until you've really wrapped yourself in the album.

Chemical World is another piece of particularly good writing disguised by a bit of general chaos, noise, and lyrics which alternate between whimsical and acidic. Aside from a surprisingly Spanish guitar melody from Hammill, the song's softer moments are highlighted by Graham Smith's fascinating sax/flute-'imitation's on violin. The noisy, distorted-out-of-this-world mid-section is probably the high point of the piece, with an explosive Evans and a number of tense melodies and more 'psychedelic' ideas, which perhaps resemble that rather haunting section of Nine Feet Underground a little. Nic Potter's bass is very effective, again, handling a couple of lead guitarish licks on one occasion. Amazing stuff, and extremely progressive.

The Sphinx Returns concludes the album proper, with a rocked up version of the outro to The Sphinx In The Face, somewhat sealing up all the themes of the album in one range of bizarre musicianship and a fade to indicate that they continue.

Onto the bonus material. The Door is another great piece, with a killer riff. Rocking everywhere, a high-range thumping bass and a couple of hilarious keyboard effects. The demo version of The Wave is actually very moving and effective even without the lyrics, and it places a little more emphasis back on the individual music parts. Potter is probably a bit more effective (think it's that he's a lot more conspicuous with a quieter piano) on this one. Anyway, it illustrates that Van Der Graaf really could do instrumental extremely effectively... almost as incredible unpolished as it is finished. Ship Of Fools truly kicks, with a hammering riff, neat lyrics, and a sort of electric fire that reminds me a bit of a couple of the things 80s Crimson and Tull would go on to do. The vocals are truly off the wall, or off the charts, depending on how you see it, and Hammill gives a great guitar burst or two. I'd probably call it hard rock, more so than any of the Deep Purple and Uriah Heep stuff I've heard.

So, all in all, a collection including pretty much exclusively absolutely fantastic songs (The Habit Of The Broken Heart is a tiny bit weaker, but not much so), which I would consider among Van Der Graaf (Generator)'s list of finest achievements, and that really does mean a lot, coming from me. The album is characterised by subtlety disguised as blatancy, which is a pretty standard VDGG feature, so if you don't get H to He or Godbluff or something like that, you probably won't get this. The lyrics are typically . Nonetheless, vital for fans of Van Der Graaf Generator, aggressive progressive music, later, but still very progressive albums, or quirky, obtuse concepts. A masterpiece of progressive rock, and (and I say this even with Starless And Bible Black, and Brain Salad Surgery close in mind) Guy Evans' performance on this is perhaps my favourite percussion on one album ever.

Rating: Five Stars... seems a bit standard fare for VDGG and my ratings, but that's alright... Favourite Track: Very, very difficult choice. Cat's Eye/Yellow Fever or The Siren Song if I had to pick.

(oh, a couple of considerations)... I'm sure some of the times I reference saxalike/flutealike violins it is actually Jaxon, but I think at others they are, in fact, actually violin sounds that correspond to how I'd expect some of the saxes on World Record to sound. I'm not great on violas, so my exact terminology for string instruments may be horrifically wrong. Finally, the cover art, it's amazing, don't you think?

by TGM: Orb


VAN DER GRAAF GENERATOR Music Online:
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• GEMM, Vinyl Records & CDs Rare Albums (Out of Print and Imports)
• AMAZON, find cheap, used and new stuff with the marketplace
• eBay, used or new | bid or buy now