Last week, I posted details about the new limited deluxe vinyl edition of Folk-Noir duo Ruby Throat’s cult-classic debut, The Ventriloquist. This week , Amoeba Hollywood has just received quantity of Ruby Throat's sophomore full-length recording, Out of a Black Cloud Came a Bird. The album was released in a limited Special Edition CD run in November 2009, but has now been issued in this standard digipak CD edition.

Ruby Throat vocalist KatieJane Garside became quite prolific this past decade with three separate musical projects running in tandem  with each other (as well as a one-off LP with Hector Zazou - R.I.P); the long-running Queenadreena with former Daisy Chainsaw cohort Crispin Gray, her solo project Lalleshwari, and Ruby Throat with guitarist Chris Wittingham. While Queenadreena is a bombastic, cathartic and lustfully-charged rush bemoaning innocence lost, Lalleshwari revealed a more rudimentary, internal and transitive process of the artist. With Ruby Throat, Garside draws the characters in her songs as reflective, self-aware and with a sense to the nature of their struggles, though still very much struggling.

Black Cloud finds Garside's unsettling fairytale-stylings firmly rooted in her usual but always powerful psychosexual minefield of hushed lullabye, bluesy belting and bat-shit babelouge. Wittingham's psychedelic soundscapes and dreamy dark Americana-influenced arrangements are richer and fuller here but with the same minimalist bent and care as on the group’s debut.

Oakland author Kaya Oakes' book Slanted and Enchanted: The Evolution of Indie Culture was recently published by Holt Books.  Oakes was the co-founder of the respected magazine Kitchen Sink, and her accolades include winning the Utne Independent Press Award for "Best New Magazine" in 2002. Since her book hit shelves, Kaya has been quite active doing readings up and down the West Coast. Tonight, October 17th, as part of Litquake Litcrawl reading series with Small Press Distribution, she will be reading at The Marsh cafe on Valencia between 21st and 22nd in San Francisco, from 8:30-9:30pm. The Amoeblog caught up with the author to talk about indie culture and her new book.

Amoeblog: Why did you decide to write Slanted and Enchanted: The Evolution of Indie Culture?

Kaya Oakes: The book came together for a number of different reasons. I was  approached by an agent right when the final issue of the magazine I helped found (Kitchen Sink) was coming out, and she asked if I was interested in writing a book about underground music, which is the topic of one of my courses at UC Berkeley. I came up with the idea of doing a broader overview of indie culture, since in my experience it means a lot more than just music. Plus, I felt like indie had given me so much that I wanted to give something back in turn, and I had time on my hands for a big project for the first time in five years. It was a strange coincidence to have one thing ending and another beginning, but I’m glad it happened.

Amoeblog: For those who haven't yet read your book, how do you define "indie culture," and if you were to stamp a date and place on it, when exactly did "indie" start and where?

 

About ten years ago, my friend Pete Jourdan and I were trying to advance the awareness of what we felt was a scene that was somehow unrecognized both for its existence as a scene and for the Godlike Genius of it all. I described it thusly, "Although there’s never been a name put to it, there’s an ongoing movement in music whose participants mix musical influences like the baritone atmospherics of Lee Hazelwood, the Doors, Scott Walker and Leonard Cohen with Ennio Morricone, Hank Williams, and Southern Gothic and Poetic Realist literary influences to create a sort of rural, post-apocalyptic, midnight cabaret music that, whilst dark and doomy, offers a sepia-tinted alternative to the embarassing cornballisms of Goth. A lot of the bands hail from Australia and their members normally look like a mix of consumptive prospectors and bourbon-drunk undertakers. Their lush, decadent sound is usually built around haunting violins, spaghetti western guitar and old time religion."

 
It was the CD era, pre-blogs, and eventually we, like Israel and Palestine, couldn't come to an agreement either on what to call it or how to characterize it. Pete maintained that Nick Cave was the central figure. Given that Boys Next Door inarguably sucked while the similarly minded Young Charlatans and Crime + the City Solution were already good, I didn't want to overemphasize Nick Cave's importance at the expense of Rowland S. Howard, Simon Bonney, Mick Harvey and others. If everything had to tie directly to Nick Cave, how could we incorporate bands like Wolfgang Press and Tindersticks but through at least three degrees of separation? Nick Cave became our "right of return" and talks broke down. I don't know whether this biography is auto or not, but in order to preserve it:

Peter D. Jourdan, plagued with weak health, was begged by his family physician, Old Man Olafson (who runs Olafson’s General Store in West Lakeland Township), to harden himself and his constitution by way of spending a length of time on in the masculine arts of ranching and trail-riding in our wonderful frontier... but only after his prescription of horehound (oral) failed. Instead, however, it seems he fell in with the notorious Rowena gang and his health and moral reserve were subsequently eroded completely.