Wednesday, April 27, 2011

interview with evan caminiti

Instead of submitting poor Evan Caminiti to a bout of 10 rounds silliness, I thought it was much better to have a proper, serious interview with the Barn Owl man, in light of his hypnotically inspiring new solo album, 'When California Falls Into The Sea', out on R. Loren's fascinating new record label, Handmade Birds Records. As you're about to read, Evan proved to be a brilliant conversationalist, and I just felt like picking up yet another copy of the album when the chat was over. You all go and do that now, so you'll have a cool soundtrack for reading it.



First of all, I know this is not your first solo release, but it would be interesting to know how did the idea of a solo career first came up in your mind. 
Evan: Just as a way to work on music outside of collaborations with other people. I always enjoy being engaged in some kind of music making - or maybe it would be more accurate to say that I need it to keep me sane. Whether it's writing or recording or mixing, it's nice to just be able to work on some things independently. I love playing with other people, it's a completely different feeling and experience, but it can be a special thing to just get really meditative and focused with solo work too. I sort of gave up on band names and just decided to call the work I did alone by my given name.

Was it clear from the beginning what kind of music it was going to be, or did the style of music just develop further ahead in time?
Evan: After years of digesting all kinds of music and playing guitar there were certain things that really stuck with me. Minimalism, krautrock, American primitive guitar, metal, raga, jazz...as different as all these things are I think there are some common threads. Over time the style is always developing and changing and I like the idea of records having a unique identity and not making the same record over and over. You know, things become distilled, they take on their own life. Like, with the new record there is a big focus on space, letting overtones unfold and decay and enjoying the silence between notes. It was just time to focus on that approach, for years I'd come up with some solo guitar pieces that didn't really have a home so it just kind of sat in my subconscious and slowly came out.

How would you compare When California Falls Into The Sea with your previous stuff like West Winds or Psychic Mud Shrine, for example?
Evan: Well, the big difference with the new record was that I stripping everything down to tracks of solo guitar or just two takes of guitar. I guess it translates to a live context more than the densely layered work of the last two records.  Although some of those could be played live with the use of loops, the new album is more about just playing the guitar. I've done pieces in the past that focus on liberating the guitar sort of- distancing the sounds from an obvious origin, and I'm continuing to explore that aesthetic with new material too. But for California, I only used a couple of effects- delay, reverb, fuzz, tremolo - no loops or tricky production. I wanted to explore the wide range of sounds possible to the guitar without removing it too far from the context of simply playing guitar, some pieces that could be played acoustic even. So there are some weird sounds on California made with feedback and playing with a slide, but it's a really organic approach overall. The focus was really placed on subtle tonal differences, space, and getting a wide range of sounds from a small palette.

How has the creation of this album been, a long process? What is your method of working for your solo work?

Evan: Yeah, this material was written and recorded over a year. It was challenging to make an interesting and cohesive album this stripped down so it took a lot of time to reveal itself. Recording to cassette was really crucial for these songs for the withered, hazy characteristic it can lend. A lot of the writing and recording was done alone at night in a reflective mood, staring out at the moon and the city lights. It's nice to be able to record at home too, because there's nothing like capturing a moment of inspiration when it happens.



I find the album to be extremely evocative, visually. Almost like Earth, sometimes. Do you have a sort of pictorial vision or landscape in your mind before you start writing the music? Or does the music itself acquire that property after you write and perform it?
Evan: Sometimes. Sublime landscape paintings were a big influence with Psychic Mud Shrine, but with California the inspiration was a little more abstract. I really wanted to just channel pure emotion even though there are certain images in my mind that recur throughout the album.

How did it acquire that sort of “urban” atmosphere, was that decided beforehand? Is the minimalist nearly guitar-only nature of the album meant to reflect that somehow?
Evan: I spent a lot of time within the last year stuck in the city, in a neighborhood that could definitely be described as gritty and raw, and the album sort of channels some of the harsh things I witnessed there but in a bitter-sweet context.  It's sort of a meditation on beauty and filth living side by side, I guess how all things are just different aspects of the same energy.  The bare nature of the songs definitely reflect the feelings of vulnerability this environment creates.

What about the title/concept of the album, how did that come about? I can’t help but think of Bill Hicks’ Arizona Bay, which is a good thing. It’s the best reference ever for a musician, as far as I’m concerned.
Evan: Hah, yeah Bill Hicks is awesome. There is always the threat of the 'next big one', a major earthquake, in San Francisco, so I guess it's tied in with that idea of impending doom, but it's definitely not meant to be taken at face value. Just from soaking up my surroundings in the city, seeing so many people seemingly desperate and on the edge and getting this feeling that we're all just teetering on the brink in a way. I mean, look what just happened in Japan. One day everything you love could just get wiped out, and that is a terrifying though.  I guess this record was a way of processing those feelings in a way. Ultimately, the conclusion I reach from these gloomy thoughts is a positive one - we have to be grateful and make the most of our time and spend it with those we love.

Is it clear in your mind if you’re creating for Barn Owl or for Evan Caminiti?
Evan: There used to be some gray area, but it's becoming more clear over the years.  Jon and I have developed an intuitive dialogue so it seems more obvious now when something feels like a Barn Owl piece. I definitely try to steer away from being redundant and try new approaches solo.

How was your first contact with Handmade Birds? What do you think of the label so far, is it the ideal home for your work?
Evan: R. Loren got in touch after hearing West Winds, I think. He's such a dedicated and passionate guy and I'm really happy to be a part of Handmade Birds. When he explained where he was coming from - a main point of that being the focus on music that emphasized a pull between aspects of dark and light, the doomed and the uplifting - I knew we had some common goals with creating transcendental sounds. He's been just wonderful to work with and I'm excited to hear what's in store from the awesome HB roster in the future.

Do you have plans to perform this material live? Man, I wish I could see you closing out a Roadburn day.
Evan: Nothing for sure at this point. Barn Owl will actually be in Europe around the time of Roadburn, although it didn't work out for us to play that festival - but we will be doing 32 shows in Europe throughout April and May with Jefre Cantu Ledesma also. Performing these kind of spacious guitar pieces in a large festival context would be daunting- I'm hoping to play this kind of material live in collaboration with the films of Paul Clipson - I think it would greatly benefit from a pairing with his amazing visual element. We'll see, I don't play out solo very often at all but I'd like to more.

Feel free to mention anything else I might have been dumb enough not to ask.
Evan: Hey, thanks so much for the thought-provoking questions and the review - hopefully we'll run into each other in Europe. The dates of our tour are here or here. And I also just contributed to a fantastic compilation of which all proceeds go to helping the people of Japan in the aftermath of the horrible events there.

Tuesday, April 26, 2011

Mayhem + Corpus Christii at Cine-Teatro, Corroios / April 22nd 2011

They got to Portugal late, with their current far-from-classical line-up, but thanks to Prime Artists, at least Mayhem repaired a little of their no-show history in this country with a strong and competent gig on Good Friday, of all days. To complete full-on blasphemy value, local black metal powerhouse Corpus Christii was the perfect addition to the fold.


The band led by the ever busy Nocturnus Horrendus pictured above (just metal-archives him and wonder how the man ever sleeps with all the projects he's in) unleashed a torrent of raw fury over the converted theatre, mixing several classics with some new material from the forthcoming new album, a couple of months away on Candlelight Records, and that previously unheard stuff ended up being the surprising highlight, with a few agonizingly shouted vocals shaking things up a bit. They could be on to something huge, and with a seemingly stable line-up delivering a crushing live show as well, they'll surely be one of the names to consider for a future 2011 black metal recap. Let's put it this way - Corpus Christii weren't supposed to support Mayhem on the Porto date the next day, and when the Norwegians realized this, they paid for their trip with their own means just so that could happen.


Yet, he doesn't look all that friendly, does he? In fact, he looks fucking scary, and that's how he looked and felt throughout the whole show. So Euronymous (and Dead) can't be there, for obvious reasons, Blasphemer has moved on, and the casual fan might only recognize Necrobutcher from any classical Mayhem line-up we might have stored in our collective memory (since Hellhammer is barely visible behind his huge kit), but Attila Csihar damn well makes sure the show will be unforgettable anyway. Never mind the rather lame two pig's heads as only stage props (with which he engages in frequent conversation, it should be mentioned), or the overwhelming and painfully unnecessary triggering of the drums, the low sound volume or the incomprehensible absence of 'Funeral Fog', Attila fucking delivers and conquers all. Screeching, snarling, chanting, reciting, shrieking and screaming his way throughout an otherwise pretty awesome setlist, as blood-smeared demonic pope (and dedicating 'A Time To Die' to the actual pope) his figure centralizes all attentions and is the prime vehicle of release for all the malice we know these songs contain therein.

Even if guitarists Morfeus (ex-Limbonic Art) and Teloch (ex-1349) deserve a mention for their utmost competence and Necrobutcher for the dirty and heavy presence of his basslines, it's the Hungarian devil who carries the whole show and merits the highest accolades. Even on a song very obviously built for Maniac like 'Ancient Skin' he can make it his own, and even more so on crushing classics like 'Freezing Moon' or 'Buried By Time And Dust'. Necrobutcher's grin seems to say it all: "we still rule, don't we, you doubting fuckers?"

Yes you do, sir.


Corpus Christii setlist:
Stabbed
Crimson Hour
Crystal Glaze Foundation
Bleak Existence
Torrents Of Sorrow
The Owl Resurrection
The Wanderer
Untouchable Euphoria
The Infidel's Cross
All Hail... (Master Satan)

Mayhem setlist:
Pagan Fears
Ancient Skin
My Death
Cursed In Eternity
A Time To Die
View From Nihil
Illuminate Eliminate
Anti
Freezing Moon
Silvester Anfang
Deathcrush
Buried By Time And Dust
Carnage
De Mysteriis Dom Sathanas
Pure Fucking Armageddon

Sunday, April 24, 2011

live shots: roadburn afterburner


Hey guys, how are you all doing? It's been a week, but I'm still on Roadburn rehab. Writer's block, photographer's block, whatever block, any excuse is good. So here are some photos from the Afterburner, Roadburn's kinda-sorta-separate last day. And if you have a minute, go read my little critique on it on Terrorizer's blog, too. Normal the long way home programme shall be resumed henceforth.

Roadburn Afterburner



Blood Farmers





Coffins















Dead Meadow





Black Mountain









Sourvein













Sunday, April 10, 2011

Saturday, April 9, 2011

several shades of busy

Listen, I ain't got time (that's a Hellacopters song, isn't it?) right now to pretend this blog is a hub of crazy activity, and I guess you guys don't really come here looking for zany news or whatever, so it's okay. I've got a shitload of work to do until I fly off to Tilburg on Monday, so if you really really must read me, 1) seek professional help, 2) buy Terrorizer and Rock-a-Rolla, they both have new issues out also with other articles by people who do it better than me. Or LOUD!, if you're Portuguese. If you're not, buy it anyway. There's cool pictures.

So, here's a little something. I've been listening to J Mascis' new album every day, especially before I go to sleep, so here you go. It's beautiful, it's quiet, it's quirky, it's moving and I'm in love with it.

Monday, April 4, 2011

30 day song challenge - day 08 - a song that you know all the words to

Day 08 - A song that you know all the words to
Celtic Frost - Dethroned Emperor

I know all the words to literally thousands of songs. Along with football trivia, it's the only kind of information I seem to be able to store with any reliability and durability, even the ones I don't want to know. I might not remember your name or what I had for lunch, but play me, say, the opening theme of any stupid show I haven't watched in 20 years and I'll happily sing along as if I wrote the damn thing. So this one was hard to pick. I'm going with this Celtic Frost classic because knowing all the words to it (bad accent included) means there is something in this world that I'm better at than the great Ted Skjellum, aka Nocturno Culto, who needed a little cheat paper to help him along when he performed this with Triptykon at Roadburn last year. He's still the man though, bless him.

I'm in a giving mood, so here are those words, the video from that performance and the original in all its fucking kvlt glory.

See the portal, gate to madness
Locked forever in a veil of shame

Deny extraction - Thirst for disgrace

Watch his break - The emperor's killed
Light of the day - Shadows from beyond
Scaffold of steel - The throne has gone

Dethroned emperor


The foot of the stairs, dimension in might

The king sits, his eyes are glass

Growing of the small - The laughter's fall

Can you deny - Remaining cries?
Descent of the lords - Into the trap
Existence and hate - Unseen gate

Dethroned emperor