Amoeblog

Our First Ever LIVE "What's In My Bag?" Episode Features Juana Molina

Posted by Amoebite, May 15, 2019 12:07pm | Post a Comment

Juana Molina - What's In My Bag? Live

We were honored to have Argentinian electronic / experimental / folk artist Juana Molina play selections and share stories in our first ever LIVE What's In My Bag? interview. Filmed in front of an Ableton Loop audience at The Montalban Theatre in Hollywood and moderated by Alejandro Cohen of LA's Dublab internet radio station, Molina gave us an intimate peek into some of the records that mean the most to her.

Juana Molina is a Buenos Aires-based singer, songwriter, and actress known for her experimental folktronica sound. Born to Argentine tango singer Horacio Molina and actress Chunchuna VillafaƱe, she began playing guitar at age five and recorded a Mother's Day song with her father, which was released as a single. Molina's television career began in 1988 when she landed a role on La noticia rebelde and then on El mundo de Antonio Gasalla. As her reputation as a skilled sketch comedy artist grew, she launched her own TV show, Juana y sus hermanas, in 1991. By this time she was one of Argentina's most famous comics but, feeling that she had strayed too far from her lifelong dream of being a musician, Molina canceled the show in 1994.

Juana Molina HaloIn 1996, she released her debut LP, Rara. The album was not well-received in her home country, where fans expected and wanted her comedy persona to perform instead. In 1998, Molina relocated to Los Angeles and began working on a sophomore LP, Segundo; she would return to Buenos Aires to produce the album, which was released via Domino. The LP raised her profile internationally. David Byrne bought the album, became a fan, and invited Molina to open for him on tour. Molina released albums consistently over the course of the next two decades, winning acclaim in Argentina and around the world. Her most recent release is 2017's Halo.

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Secret Society of the Sonic Six Northwest Tour With Headless Lizzy September 7-14th

Posted by Mr. Chadwick, August 30, 2012 01:50am | Post a Comment

(((6)) is making the northward trek!!

September 7th
the Icebox
Oakland, CA
$5 21+ 9:00

September 10th
Psychopomp Presents @
Plan B

Portland, OR
$7 21+ 9:00

September 12th
THREAT @ the Mercury
Seattle, WA
$6  21+ 9:00

September 13th
Religious As Hell & SES presents @ New Frontier Lounge
Tacoma, WA
$5 21+ 9:00

September 14th
Cryptatropa Bar
Olympia, WA
$5 21+ 9:00



Of course, you can mail order (((6))) newest 12" Pick Up from Amoeba Music Hollywood.


Secret Society of the Sonic Six
Blame and Blood from Pick Up EP



Headless Lizzy & Her Icebox Pussy Chasm Creeper


Inside Look At Billy Sprague's Space Themed Album Cover Art Installation At As Is Exhibitions

Posted by Billyjam, October 12, 2011 10:20am | Post a Comment

At Friday (Oct 7th) evening's art opening of Billy Sprague's space themed album cover exhibit at North Oakland's As Is Exhibitions gallery space at 4707 Telegraph Ave. so many people showed up to catch the unique album cover exhibit by the avid record collector / Amoeba Berkeley employee, that for much of the night the large crowd spilled outside onto the Telegraph Avenue sidewalk. It was the perfect night for Billy's opening since the Bay Area early October weather was in Indian Summer mode, plus it was First Friday's in Oakland with art openings everywhere including right next door at Smokey's Tangle art space that shares a doorway with the 4707 space. Among the large crowd that showed up at the event were many of Billy Sprague's fellow Ameobites. "Tom McKwon, Shawn Williams, Big Tunde, Gail, Marc Weinstein & family, Ryan Stark, Kent Randolph, Ramon, Lori and Steve, Ian, Ranon, Rebecca & Matt plus a bunch of ex-employees," (including DJ Inti) all converged at the last Friday's packed opening reported the curator.

Like all the other lifelong music collectors I was drawn in by all of these amazing album covers - many I already knew but a lot I had never even seen before like Music for Sleepwalkers Only which - one of Sprague's personal faves that he accurately describes as, "a great mostly black galactic cover with three sleeping pills floating in space in a rather phallic manner."

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Getting to Know...Xeno & Oaklander

Posted by Aaron Detroit, February 15, 2010 02:15pm | Post a Comment

In the tradition of the DIY Minimal Wave and Synthpop bands of the 1980's, Xeno & Oaklander make music with strict guidelines: no digital instruments or recording. The New York-based duo of Sean McBride (of the quite excellent synth-project Martial Canterel) and Liz Wendelbo implemented the exclusive use of analogue synthesizers, instruments and equipment to write and record their darkly brilliant debut full-length, Sentinelle (one of our 20 Dark Music albums of 2009,on the always-superb Wierd Records). Recently, I got the chance to have the band expand on these principles as they were preparing for a series of upcoming globe-trotting live dates in New York, Rotterdam and Paris. Please, get to know...Xeno & Oaklander.

Black Light District: First things first. Why is analogue better than digital?


Liz Wedelbo:
Analogue is immediate and raw. Sean McBride: It's alive -- a current which can be shaped in infinite ways. It's quite elemental, like fire.

BLD: Sentinelle is available on CD and LP, but being an exclusively analogue band in a digital age, do you prefer vinyl? Your presentation as a band seems pretty complete in sound, concept and artwork – so in the age of downloads and streaming, how important is the physical piece to you?


LW:
I'm fond of the weight of objects. SM: The physicality of vinyl has some earthly origin. LW: ...with traces, marks and scratches.

BLD: The press release for Sentinelle expresses that the album's laments of industrialization are meant to mirror our fast-evolving and totally isolating digital age. With this bleak message, what are you hoping to incite/inspire in your Xeno & Oaklanderlistener?

LW: I would wish to inspire a new form of rebellion. SM: and a return to a craft and community.

BLD: Sean, you've been credited as the founder of the current Minimal-Synth revival with your other current project, Martial Canterel – what led you to synthesizers as an instrument and chosen tool?

SM: My college had an electronic music lab with all sorts of esoteric analogue synths. This was absolutely inspiring and I owe much to the many nights spent there patching the Arp 2600 and the Serge modular creating a music I couldn't quite describe.

BLD: What musical artist was the ‘one’ that made you want to start your own project?

SM: It’s a particular methodology in music that inspired me, not a singular band.
LW: Mozart.

BLD: Do you feel an affinity with any other current 'Minimal-Synth' bands of the moment?

LW: There is a great community of like-minded musicians around the world, who have a similar approach to music. Here in the US, there's the Miami scene with bands such as Staccato du Mal, Opus Finis, Ronin and Nina Belief -- Miami is the darkest scene in contrast to the sunshine. On the west coast, there are new bands like Frank Alpine in LA, and Futility in Portland. Here in New York there's bands such as Sleep Museum and Epee du Bois -- seminal first wave Wierd artists who have been working in the genre with great rigor and dedication – and Led Er Est; also more recently Light Asylum, Figure Study, and Further Reductions.
SM: And outside of the US this affinity is felt strongly in the Ruhr Valley, Germany, such as our friends Dirk Klein of Silent Signals / Echo West, Andreas Sippel from Second Decay, the lads from Epic Dreams, Automelodi in Montreal, Frank (Just Frank) from Nice; too many to name here.

BLD: Sean, is there something separate or different from your work you are trying to achieve or communicate with Xeno & Oaklander and Martial Canterel?

SM: There are a lot of similarities with X&O and MC, however with MC there isn't the fine art of cooperation which exists in X&O, the counterpoint, the fusion of two hearts and two minds. MC is quite isolating, which figures heavily into many of the themes I deal with. Naturally, there is a greater immediacy as I can just turn on few step-sequencers, patch them into a synth and the song has started.

BLD: Liz, do you also work on music separately from Sean? When can we look forward to hearing this?

LW: I'm a visual artist, so when I'm not doing Xeno & Oaklander, I make films, books and take photos -- that is my solo project. I'm a punk at heart though -- I like the idea of community and being in a band is that for me. I'm fond of collaboration, and have released music with other artists, such as Staccato du Mal in Miami, the 'Xeno & Staccato' 7inch, or Epee du Bois and Martial Canterel with our 'Three to Forgotten' Cdr Music for Ruins.

BLD: Sentinelle has been described as a “cinematic” record. What films or directors would you say helped shape the album or your music in general? In what way?

LW: I've been making films for many years. It's a kind of cinema I refer to as 'Cold Cinema', which is based on similar principles as the music of Xeno & Oaklander: one take, all live effects, no post-production. So it only makes sense that our songs are visually charged. Japanese directors such as Teshigahara and Ozu were formative during the making of Sentinelle -- dehumanized urban experiences, arid landscapes and the recurring character of the lone wanderer. The sparse aesthetics combined with great attention to detail and texture of 50s and 60s Japanese cinema are affecting. There's always a slight sense of menace lurking beneath the surface, an uncanny sort of tension.


BLD: Being such a “cinematic” band, are you interested in scoring a film or -- the next step -- collaboratively producing one yourselves?

LW:
Sean has been scoring soundtracks for my films from the moment we met (one can see a few on our site). We've also shot the video for "Rendez-Vous d'Or" on super 8, which was cut by director Jimi Patterson. Soundtracks are a passion of ours, and ideas often come from specific fixations on a detail, such as the sound of the wind in Fellini movies, or the sound of a door closing in Teshigahara's Face of Another -- and recreating that feeling with the specific sounds of a filter on the Serge, tubes rattling in the Arp 2600, or two oscillators coming in and out of phase. A new series of short films is in the works.



BLD: How do you see Xeno & Oaklander evolving in the future? Are you firm on working within the confines of analogue synths or would you ever consider using or adding other instruments?

SM:
Certainly. The track "Another" features Liz playing live Indonesian percussion, Maracas, Flute, and I play trumpet -- my first instrument. With some of the soundtrack work I have done, I have incorporated non-synth instrumentation, such as using the voice to imitate raven song, drumming on an aluminum bread box, using SuperCollider to create 36 tone aleatoric clusters. Having said all of that, the synthesizer still affords us the greatest variability and breadth.

BLD: It took you nearly 3 years to release Sentinelle, can we expect a follow-up sooner?


SM:
We are already working on new material...

BLD: Excellent, so finally and just for fun, recommendations -- your guiltiest music/film pleasures?

LW:
Devil's Daughter
by Michele Soavi -- written by Dario Argento, a Horror film set in the provincial suburbs of Frankfurt, Germany, starring classic actor Herbert Lom and Kelly Curtis (Jamie Lee's Sister). Devils' Rain by Robert Feust -- a 'melt movie' set in a Western desert awash with sunlight starring Anton Lavey.
SM: Stuffy septuagenarian British Murder mysteries: Midsomer Murders, Inspector Morse, Lord Peter Wimsey (Edward Petherbridge), to name a few. For music I quite like smooth jazz and DC Go-Go.


Xeno & Oaklander's Sentinelle is available at Amoeba Hollywood on CD & LP. Also check out other great new Minimal Wave and Synthpop releases; Frank Alpine Night Tripper  7",  Led Er Est LP, Cold Cave Love Comes Close CD/LP and Death Comes Close 12" and The Minimal Wave Tapes, Vol. One -- all filed in the always awesome Goth/Industrial section.

Merry Christmas!!!

Posted by Mr. Chadwick, December 25, 2008 01:50pm | Post a Comment