Matmos Europe & North America

Jun. 1 - London UK - Kings Place [tickets]
Jun. 8 - Belfast, UK - SARC [tickets]
Jun. 10 - Amsterdam, NL - OCCII [tickets]
Jun. 12 - Berlin, DE - Arkaoda [tickets]
Jun. 14 - Copenhagen, DK - Valby Kulturhus [tickets]
Jun. 16-18 - Warsaw, PL - Ephemera Festival
Jun. 22-26 - Monheim, DE - Monheim Triennale

Jul. 23 - Denton, TX - Rubber Gloves
Jul. 24 - Austin, TX - Parish
Jul. 27 - Memphis, TN - Hi-Tone
Jul. 29 - Atlanta, GA - The Earl [tickets]
Jul. 30 - Nashville, TN - Third Man Records [tickets]
Aug. 1 - Chicago, IL - Constellation [tickets]
Aug. 2 - Pittsburgh, PA - Andy Warhol Museum [tickets]
Aug. 4 - Toronto, ON - The Baby G [tickets]
Aug. 5 - Quebec City, QC - L’anti Bar & Spectacles [tickets]
Aug. 6 - Montreal, QC - Le Ritz [tickets]
Aug. 8 - Boston, MA - Sonia [tickets]
Aug. 9 - Providence, RI - Alchemy [tickets]
Aug. 10 - New Haven, CT - State House
Aug. 11 - New York City, NY - Le Poisson Rouge [tickets]
Aug. 12 - Philadelphia, PA - PhilaMOCA [tickets]
Aug. 13 - Baltimore, MD - Metro Gallery [tickets]

 

Watch the video for "Flashcube Fog Wares / Głucha Affera Słow":
https://youtu.be/oJat9qAAJFA
  97 Hits

Tortoise USA 2022

Oct. 2 - Brooklyn, NY - Elsewhere
Oct. 3. - Chicago, IL - Thalia Hall
Oct. 4 - Portland, OR - Revolution Hall
Oct. 5 - Los Angeles, CA - Teragram Ballroom

  95 Hits

A Place To Bury Strangers North America 2022

Guess what?
We are so psyched to announce that @glovetheband, fresh off their tour with @nationoflanguage , will be direct support on ALL of the shows on this tour!
Have you listened to their new album Boom Nights...

Guess what?

We are so psyched to announce that @glovetheband, fresh off their tour with @nationoflanguage , will be direct support on ALL of the shows on this tour!

Have you listened to their new album  Boom Nights yet?

https://soundcloud.com/glovetheband/sets/boom-nights
(Link In Bio)

Swipe for dates!

Mon 5/9 – Philly, PA @johnnybrendas
Wed 5/11 – Chapel Hill, NC @catscradlenc
Thu 5/12 – Atlanta, GA @529_eav  
Mon 5/16 – Tucson, AZ @191Toole
Tue 5/17 – Los Angeles, CA @Teragramla
Wed 5/18 – San Diego, CA @SodaBarsd
Fri 5/20 – Oakland, CA @Starline_Social_Club
Sun 5/22 – Seattle, WA @ChopSueySeattle
Mon 5/23 – Vancouver, BC @RickshawTheatre
Tue 5/24 – Portland, OR @MississippiStudios
Thu 5/26 – Denver, CO @LarimerLounge
Fri 5/27 – Lawrence, KS @TheBottleneck 
Sat 5/28 – Minneapolis, MN @firstavenue #7thStreetEntry
Sun 5/29 – Milwaukee, WI @CactusClubmke
Tue 5/31 – Chicago, IL @EmptyBottle
Thu 6/2 – Toronto, ON @LeesPalace
Fri 6/3 – Montreal, QC @BarleRitzPDB
Mon 6/6 – Brooklyn, NY @MusicHallofwb
Tue 6/7 – Washington, DC @Songbyrddc


Photo of APTBS by @andy.venturini
Photo of Glove by @von.co


All tickets are here:
https://www.bandsintown.com/a/16447-a-place-to-bury-strangers
(Link in Bio)

Let’s See Each Other!

  96 Hits

Karate, Guns & Tanning

Jul 9 Sat
Stranger Attractions Presents Ancient Days / Faerie Ring / Karate, Guns & Tanning @ 8:00pm
 
Aug 5 Fri
Back Alley Ballyhoo 2022 @ 5:00pm
  88 Hits

HTRK US / Australia / Europe 2022

 

TUE 10 MAY
Doug Fir Lounge Portland, OR, US
 
WED 11 MAY
Substation Seattle, WA, US
 
FRI 13 MAY
The Chapel San Francisco, CA, US
 
SAT 14 MAY
Elysium Austin, TX, US
 
SUN 15 MAY
Zebulon Los Angeles (LA), CA, US
 
MON 16 MAY
Soda Bar San Diego, CA, US
 
FRI 27 MAY
Drama Theatre, Sydney Opera House Sydney, NSW, Australia
 
TUE 14 JUNE
Petit Bain Paris, France
 
FRI 17 JUNE
Strange Brew Bristol, UK
 
SAT 18 JUNE
The Workman's Club Dublin, Ireland
 
SUN 19 JUNE
Cork Midsummer Festival 2022 Cork, Ireland
 
TUE 21 JUNE
Les Ateliers Claus Brussels, Belgium
 
WED 22 JUNE
Theresia Ghent, Belgium
 
THU 23 JUNE
Igreja St. George Lisbon, Portugal
 
THU 30 JUNE
The White Hotel Salford, UK
 
  93 Hits

Six Organs of Admittance 2022

  • 05/19/22 Six Organs of Admittance in Los Angeles, CA at Gold Diggers
  • 05/20/22 Six Organs of Admittance in Big Sur, CA at Fernwood Resort
  • 05/21/22 Six Organs of Admittance in Merced, CA at The Partisan
  • 05/22/22 Six Organs of Admittance in San Francisco, CA at The Chapel
  95 Hits

Legendary Pink Dots Europe 2023

09.02.23 NL Amsterdam Q Factory
10.02.23 BE Ittre Zik Zak
11.02.23 DE Dortmund Piano Bar
12.02.23 DE Cologne Helios
14.02.23 DE Hamburg Hafenklang
15.02.23 DE Berlin Quasimodo
16.02.23 CZ Prag Underdogs
17.02.23 HU Budapest -tbc
18.02.23 SI Ljubiljana Channel Zero
20.02.23 AT Vienna Replugged
21.02.23 DE Munich Backstage
22.02.23 CH Luzern Sedel
23.02.23 IT Bologna Freakout
24.02.23 IT Mezzago Bloom
25.02.22 CH Bern Dampfzentrale
27.02.23 FR Paris Le Petit Bain
28.02.23 FR Lyon Sonic

  97 Hits

Legendary Pink Dots North America 2022

10.19.22- Salt Lake City, UT : Metro Music Hall  tickets
10.21.22 – Seattle, WA : Madame Lou’s  tickets
10.22.22 – Portland, OR : Star Theater  tickets
10.24.22 – San Francisco, CA : The Chapel  tickets
10.25.22 – Los Angeles, CA : The Echo tickets
10.26.22 – Phoenix, AZ : Rebel Lounge  tickets
10.29.22 – Dallas, TX : Three Links tickets
10.30.22 – Houston, TX : Studio at Warehouse Live  tickets
11.1.22 – New Orleans, LA : Gasa Gasa  tickets
11.3.22 – Orlando, FL : Will’s Pub  tickets
11.4.22 – Atlanta, GA : Purgatory @ Masquerade  tickets
11.5.22 – Asheville, NC : The Grey Eagle  tickets
11.6.22 – Carrboro, NC : Cat’s Cradle – Back Room  tickets
11.8.22 – Washington, DC : Pie Shop  tickets
11.9.22 – Philadelphia, PA : Kung Fu Necktie  tickets
11.10.22 – Brooklyn, NY : Sultan Room  tickets
11.11.22 – Boston, MA : Middle East – Upstairs  tickets
11.12.22 – Montreal, QC : Bar Le Ritz  tickets
11.13.22 – Toronto, ON : Velvet Underground  tickets
11.15.22 – Cleveland, OH : The Grog Shop  tickets
11.16.22 – Chicago, IL : Beat Kitchen  tickets
11.17.22 – Minneapolis, MN : 7th Street Entry  tickets
11.18.22 – Omaha, NE : Reverb Lounge  tickets
11.19.22 – Denver, CO : Mercury Cafe  tickets

  101 Hits

Svarte Greiner, "Devolving Trust"

cover imageThis latest release from Erik K. Skodvin's long-running solo project is billed as "zen music for disturbed souls."

Recorded back in 2018 in the bunkers of the "bombed out" Schneider Brewery in Berlin as a solo cello performance (of sorts) in the vein of past longform/(darkly) meditative releases like Black Tie and Moss Garden, "Devolving Trust" was originally intended only as a one-off installation/electroacoustic improvisation.Skodvin describes the space as "wet and hollow with a dark past and long reverb," which seems like an ideal setting for an eerie cello performance (or practically any Miasmah release). While attempting to translate such magical site-specific acoustics into an album intended for home listening can be one hell of a challenge, Skodvin pulled it off beautifully here, as these two pieces make very effective use of visceral, reverberant cello moans and the long decay of notes in the brewery's empty basement hallways.In fact, the recording translated so well that Skodvin was inspired to turn it into a formal album despite being historically averse to releasing live performances.That said, this album is also something more than a faithful documentation of a unique performance, however, as Skodvin ingeniously cannibalized the original 30-minute performance for a more tightly edited and mesmerizing companion piece ("Devolve") that feels roughly like all of the best parts experienced in reverse.Both pieces are great, but I especially enjoyed how beautifully the long decay times transformed into intensifying swells when the original recording was played backwards.

Miasmah

The opening title piece begins with a bassy, reverberating strum that rhythmically repeats, albeit with plenty of space between strums for the long decay to fade into silence.It is a fine starting point, as the chords have a pleasingly woody and hollow tone, yet the piece begins to blossom into something more substantial after a couple minutes when Skodvin starts to introduce new chords and textures between the deep, echoing strums.The slow-motion intensification continues to evolve as the piece unfolds, gradually becoming more gnarled and visceral as echoing scrapes, harmonic squeals, and violently bowed notes become a more regular occurrence.It achieves a fascinating sort of bleak beauty, as new forms to start to appear and an uneasy balance is struck between the slow, heaving pulse of the chords and the more convulsive snarls of bowed melody.By the 15-minute mark, the piece has become something quite wondrous and organic, evoking a haunted aviary of ghost birds mingled with slowly heaving cosmic exhalations. Skodvin leaves one last trick for the final act though, as the crescendo of the piece feels like a spacey free jazz performance by a lone saxophonist in a cavernous cistern. I have absolutely no idea how Skodvin produced such a reverberating storm of blurts, squeals, and howls from a cello, but whatever he did is extremely cool and cathartic.

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  697 Hits

Carmen Villain, "Only Love From Now On"

cover image

This latest release from "US-born, Norwegian-Mexican artist and producer" Carmen Hillestad finds her back on her usual label (Smalltown Supersound), but it otherwise feels like the logical successor to last year's oft-excellent Perlita. That is great news for me, I had been hoping that Perlita would not be a one-off departure for this shapeshifting project. That said, this project had already begun moving away from rock with the "cosmic excursions and dubby ambient-jams" of 2019's Both Lines Will Be Blue, so maybe Hillestad is stylistically here to stay for a while (I hope so, at least). She is nevertheless still a creatively restless artist, however, as this album reveals yet another significant evolution for Carmen Villain's arty, instrumental side: Only Love From Now On feels quite a bit more "Fourth World" indebted than previous releases and that transformation suits the project beautifully. Notably, flautist Johanna Scheie Orellana makes a welcome return after being featured on Perlita's brilliant "Agua Azul" and trumpeter Arve Henriksen now joins the party as well (for one song, anyway). Those more collaborative pieces tend to be the strongest ones, as the presence of a melodic hook almost always deepens the impression left by Carmen Villain's already-wonderful ambient/dub/exotica concoctions.

Smalltown Supersound

According to Hillestad, this album is "fueled by the sense of scale in feeling small in the face of things so large" and the "contemplation of how the biggest impact we can have is in the people close to us." Both are certainly themes that resonate with many these days, but they manifest themselves in fairly abstract ways here, as my main impression is that Only Love From Now On feels intimate and inward-looking, resembling a hypnagogic strain of exotica intended for the tropical grotto of the mind. Sometimes, anyway. Other times, it calls to mind a kosmiche twist on Terry Riley-style minimalism ("Silueta") or a dubby, hiss-soaked collision of loscil and Huerco S. (lead single "Subtle Bodies," which was coincidentally remixed by the latter for the B-side). Unsurprisingly, that single is one of the album strongest songs even if it might err on the side of being slightly too understated (the squelchy beat, water sounds, and breeze-like washes of hiss call to mind a killer rave at a frog pond whose denizens are very concerned about not bothering their neighbors). As delightful as that sounds, there are some other cool touches as well (dubby percussion effects, an actual bass line, buried vocals, etc.).

The album's other top-tier highlight is the closing "Portals," which elegantly combines a hollow and haunting melodic loop with watery exotica touches and bleary melodies that enigmatically drift in and out like ghosts. I quite like the four remaining pieces as well though (even when they delve into stylistic terrain I usually avoid). The title piece is the biggest would-be offender in that regard, as it resembles a smoky, neon-lit jazz-style flute solo in a billowing ambient dreamscape, but the backdrop is nicely frayed and hissing and I dig the stammering chords that emerge near the end. Elsewhere, the opening Henriksen collaboration sounds like a lost '80s classic of Fourth World-inspired desert psychedelia. A persuasive person could have easily convinced me that it was from an imaginary Jon Hassell album and I would probably would have driven myself mad trying to track down that non-existent opus afterward, which I consider a fine compliment (I half expected to see Holger Czukay or Jah Wobble turn up in the credits). Hillestad goes it alone for "Future Memory" (tropical Twin Peaks spin-off meets kosmische synth act) and "Liminal Space" (stammering, deconstructed house music over a panning, uneven rhythm of clacking pool ball-like sounds) with similarly fine results. In fact, there is not a single uninspired piece to be found on this album—just varying degrees of understatedness. There are probably a few small things that could have been changed to give this album more immediate and broad appeal, however, as this album occupies a blurry nexus where songcraft, dub techno, and psych-damaged moonlit palm tree ambiance overlap precariously. Fortunately, none of the inherent compromises involved in realizing such a vision bother me at all, as I love said vision and Hillestad's nuanced execution is extremely impressive. There are definitely a handful of pieces that will immediately connect with more casual listeners (the songs with more pronounced melodies or grooves, unsurprisingly), but this is one of those albums that seems to get better and better the deeper I listen to it.

Samples can be found here.

  541 Hits

The Humble Bee, "Light Trespassing"

cover image

I have a long-running fondness for tape loop artists, yet I had always lumped this Craig Tattersall project together with more conventional ambient fare until last year's reissue of 2009's A Miscellany For The Quiet Hours finally smacked me in the head and made me pay closer attention. I bring that up because Light Trespassing (recorded roughly a decade later) entered heavy rotation in my life immediately after my Quiet Hours obsession and it has been quite interesting to hear how Tattersall's vision has subtly transformed over the ensuing decade. In some ways, it feels like the two albums could have been recorded in the same damn week, but it is also clear that Tattersall has been consciously chasing an even more minimal and lowercase vision than the one he started off with. That tendency makes Light Trespassing a bit less immediately gratifying than some other Humble Bee releases, but I suspect that may very well be the point. In fact, Tattersall's execution remains as mesmerizing as ever—he is simply achieving the same ends with an increasingly reduced palette and even fewer moving parts. In essence, all that truly changed is that I now need to listen a bit more attentively before Tattersall's delicate miniatures reveal their full beauty. It feels akin to witnessing a tightrope walker systemically removing all safety measures as they become more confident in their ability to consistently nail their signature tricks without even the hint of a wobble.

Motion Ward

In keeping with the theme of extreme minimalism, Tattersall and Motion Ward have provided very little background information about this release other than the poetic phrase "like the last embers of a fire burning." As far as album descriptions go, however, that is quite an admirably apt and concise summary (though it does demand some familiarity with Tattersall's previous tape work in order to grasp the full implications). To my ears, it feels like Tattersall decided to expand the ephemeral beauty of the fading final moments of his usual fare (the point where all the added layers fall away to reveal the naked, beating heart of a piece) into an entire album of such "last embers." The first few pieces provide an especially lovely introduction to the possibilities opened up by such an approach. In "A Little Alone Snow," for example, it seems like two harp loops of slightly different lengths create an endlessly transforming melody as their moment of collision keeps subtly changing. Elsewhere, "However Far I Walk" initially sounds like little more than a simple arpeggio fragment played on an acoustic guitar, but then a new loop begins dancing through the spaces between those notes to form a tender melody. Tape noise, recorder clicks, hiss, and room tone also play a larger role than usual on this album, particularly on "When Your Voice Disappears." My favorite pieces on the album tend to be the more fleshed out gems that begin surfacing near the midpoint though ("A Day of Light and Air," "Inside Out Mountains," and "Dotted and Course With"). They each have their own unique character, of course, but they all evoke a similarly elusive and ineffably beautiful scene akin to a half-blissful/half-ghostly dream in which I am waiting outside a train station on a perfect spring day awaiting a long lost love. Those are not the only quietly gorgeous pieces to be found, however, as Light Trespassing has quite a satisfying arc of deepening warmth and soft-focus dreaminess. If there is a caveat with this album, it is merely that it takes a few listens for the full beauty of its sublime spell to sink in, but I certainly got there eventually. In fact, I wish I could dissolve myself into this album. I have not figured out how to do that yet, unfortunately, so I will try to content myself by merely stating that Light Trespassing adds yet another singularly beautiful album to Tattersall's rich and varied discography.

Samples can be found here.

  517 Hits

Episode 565: March 13, 2022

#ListenToWomenSelf portrait by Inga from Netherlands

It's another episode featuring nothing but excellent music by women. This week's music comes from Monika Werkstatt, Diana Rogerson, dolphin midwives, Park Jiha, People Like Us, Jessica Bailiff, Fovea Hex, Laurie Spiegel, Electrelane, Tara Jane O'Neil, Damiana, and Myriam Gendron.

Thank you Inge from Netherlands for the self portrait.

Get involved: subscribe, review, rate, share with your friends, send images!

Amazon PodcastsApple PodcastsBreakerCastboxGoogle PodcastsOvercastListen on PocketCastsListen on PodbeanListen on Podcast AddictListen on PodchaserListen on Spotify PodcastsTuneInXML

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  1730 Hits

Éliane Radigue & Frédéric Blondy, "Occam XXV"

cover image

This is the debut album for Claire M. Singer's Organ Reframed imprint, which will now enable home listeners to experience a bit of her singular music festival of the same name. While the festival itself has been going on since 2016, I can understand why Singer did not make the leap into releasing albums until now, as I imagine it is quite a challenge to translate the site-specific acoustic pleasures of Union Chapel's famed hydraulic organ onto a CD. Also, solo organ albums have only recently begun to come into vogue (and I suspect Singer's efforts played a key role in that). Thankfully, the stars seem to now be in proper alignment for such an endeavor, as artists like Kali Malone, Lawrence English, and Sarah Davachi have spent the last few years turning adventurous ears organ-ward and the reigning queen of minimalism (Radigue) is currently in the prime of her "acoustic instrumentation" era. Unsurprisingly, composing for organ has not resulted in a newly bombastic and maximalist Radigue, as she remains unswervingly devoted to Occam's guiding principle of "simple is always better." In fact, this album is probably a strong contender for one of Radigue's most minimal compositions to date. That may test the patience of some casual Radigue listerers, but those attuned to her slow-burning drone majesty will find much to love, as she is in peak form here.

Organ Reframed

This is not the first album in Radigue's "Occam Ocean" series that I have heard, but this is the first time that I learned about the origin of its curious title. Naturally, the "Occam" part is a reference to William of Ockham's timeless razor (the law of economy), but I did not know that the "ocean" bit was because Radigue is drawing much of her inspiration from water and waves these days. That makes sense and knowing that reveals further depth to this series. Also, given Radigue's history with Buddhism and its focus on mindfulness and the interconnectedness of all things, this series can be viewed as a sort of an artistic culmination of the themes and philosophies that have shaped her life as a whole. In more concrete terms, Radigue's recent work is driven by the "transcendent beauty" that she finds in the "micro beats, pulsations, harmonics, and subharmonics" that result when sound waves interact. Another central belief of Radigue's is that written music is an abstraction and that it is the performer that ultimately breathes life into it She also notes that "no two performers, playing the same instrument, have the same relationship with that instrument," so it was a significant choice that return collaborator/ONCEIM director Blondy was chosen to perform the piece.

Speaking of Blondy, I am quite curious about how technically demanding this piece was to play. My guess is "very," as it could easily be mistaken for a single sustained and droning chord with casual listening, but closer listening reveals that it is endlessly evolving and constantly creating subtle new sonic phenomena despite it being damn near imperceptible to tell when new notes are being added. In fact, the entire mood of the piece sneakily undergoes at least two dramatic transformations over the course of its 44 minutes, slowly moving from a stark, almost futuristic-sounding introduction of shuddering bass throbs towards a surprisingly hallucinatory finale of blearily celestial-sounding drones and insectoid whine. In between those two poles, there are passages that call to mind a surveillance beam slowly sweeping across a desolate wasteland or a gorgeous slow-motion sunrise and it never feels anything less than totally organic and seamless. And, of course, the piece's unhurried, meditative journey continually reveals additional subtle layers of harmonic complexity with deep listening. Given the near-geologic timescale and the ultra-minimal nature of this piece, it probably is not the ideal introductory Radigue album for the curious, but those already attuned to her work will likely be spellbound by the exacting and patient virtuosity on display (I certainly was). Occam XXV sets the bar intimidatingly high for whoever gets tagged for Organ Reframed's second release.

Samples can be found here.

  725 Hits

Lee "Scratch" Perry, 1936-2021

Jon and Lee fist bumpThe world would sound a lot different today (at least the music we listen to a lot of here at Brainwashed) were it not for the ears of of Lee "Scratch" Perry. Beginning with his role in Jamaica's legendary Studio One in the mid 1960s up until this year, he has been active in music, a visionary who would take the sounds he heard in his mind and create them for the world to hear.

The list of musicians he has collaborated with is massive, from Bob Marley to Paul McCartney to the Clash to Brian Eno to Andrew WK! Known as the Godfather of Dub, his creations may have originally nestled under the genre of Reggae, dub has proliferated throughout music since its inception, finding its way into rock, electronic, jazz, avant-garde, metal, ambient music, and nearly everything in between.

He will sincerely be missed however he has left us with nearly a lifetime of music to listen to and catch up with.

Our love goes out to his family and friends.

  1216 Hits

Nari Mann

Nari MannWords cannot describe how devastated we are about the unexpected sudden loss of Nari Mann.

She was one of those music fans who just got it, had impeccable taste, was a classically trained pianist, a fantastic photographer (flickr.com/photos/nariposa), a local hero (Keep Austin Warm), a writer (nariposa.wordpress.com) who just recently became a contributor to brainwashed, and a friend for decades.

Here's her pictures from Brainwaves 2008.

Our hearts go out to all her friends and family.

She is loved and is dearly missed.

 

  3094 Hits

Harold Budd, 1936-2020

https://i1.wp.com/echoes.org/wp-content/uploads/2016/05/Budd-DownShot-600.jpg?resize=600%2C450&ssl=1The world is a much more bearable place thanks to Harold Budd.

While he began composing in the 1960s, teaming up with Brian Eno in the late-1970s brought him greater acclaim through more widespread album releases. Collaborations with acts such as Cocteau Twins, Andy Partridge, and Brian Eno may have put him on the radar for people who would not normally be listening, and those who explored more were almost always rewarded by his aural treasures.

His influence is immeasurable.

  2241 Hits

LD Beghtol, 164-2020

https://rbhsjukebox.files.wordpress.com/2014/01/beghtolflarelivenow.jpg

Singer, musician, art director LD Beghtol one of those people who kept you laughing. He released five full-length albums as Flare, but is most famously known for singing in The Magnetic Fields and authoring 69 Love Songs, A Field Guide for the 33 1/3 book series.

He was also one of the first contributors to Brainwashed.com when we began writing about music in the late '90s.

He will be sorely missed.

  2202 Hits

Simeon Coxe, 1938-2020

We are saddened to learn of the passing of Silver Apples founder, Simeon Coxe. Not only was the music Simeon created back in the 1960s with Silver Apples influential beyond measure, he was an amazing gentleman and wonderful soul.

In 2008, Simeon played Brainwaves as Silver Apples to the only standing ovation during the weekend. Click here to see some photos by Greg Cristman. He will be missed.

https://obits.al.com/obituaries/mobile/obituary.aspx?n=simeon-coxe&pid=196760627&fhid=18119

  2848 Hits

Vaughan Oliver, 1957-2019

It is impossible to estimate the impact Vaughan Oliver had on the importance of the intersection between music and visual arts. Throughout his years at 23 Envelope, Oliver was responsible for the artwork and art direction of most 4AD releases along with Chris Bigg. While based in the UK, 4AD had the occasional support of radio, magazines, and promotional campaigns but overseas, most people had only the record cover artwork to go on. The stunning visuals of the 4AD catalog were enough to stop, pause, and appreciate while flipping through records down at the local shop. Over the years of the music industry downsizing, graphic downsizing, and rise of digital media and international communication, album cover art became less of a factor with music. The vinyl renaissance over the last few years, however, have sparked a renewed appreciation for art and Vaughan Oliver is often at the tops of everyone's lists of artists.

4AD founder Ivo Watts-Russell has paid tribute at 4AD.com.

Our hearts go out to Vaughan's friends and family. He will be sorely missed.

  4929 Hits

Daniel Garcia

Daniel Garcia and Yulia Krashennaya

Daniel Garcia launched hollyfeld.org in 1995. In a world before multinational multibillion dollar social media empires, Dan provided a place for numerous communities to flourish. Hollyfeld.org began hosting the email discussion lists for Coil, Meat Beat Manifesto, The Legendary Pink Dots, Cabaret Voltaire, and Throbbing Gristle, among others, all out of the kindness of his heart, all 100% free of cost and advertisements. All lists remain active however the future is uncertain.

Daniel and Yulia lived life to the fullest, were active in photography, travel, digital arts, and remained supportive of the brainwashed music community. Our hearts go out to their closest family and friends. We will miss you dearly.

  8108 Hits