Tag: velvet chrome
- Various Artists
- A Year of Haircuts
- (Dub Ditch Picnic)
- Asterisk, Canada
From the weathered report of Gregory Pike:
One 1936 July day, in Winnipeg, it was a record 42.2 °C (visualize: the hallucinatory sweat-fever of Shearing Pinx’s “Violence”). On Christmas Eve 1879, it was -47.8 °C (visualize: the hypothermic chaos-scramble of Velvet Chrome’s “Étude en Psychobilly”). That’s a 90 °C disparity. A disparity large enough to match the range of kraut-drone, hypno-pop, and space-terror on this comp from Dub Ditch Picnic — the ’Peg’s home of the strange. Somehow, all at the same time, it’s the soundtrack to both lying in the summer sun on a patchwork quilt blanket, and going snow-blind in some prairie field, lost and kilometres from home.
Du rapport de Gregory Pike, exposé aux intempéries Gregory Pike:
(Traduit par le thé noir aromatisé à la confiture de bleuets de Julie Mayer)
En juillet 1936, Winnipeg a connu un record de chaleur atteignant 42,2 °C (imaginez la fièvre et les suées hallucinatoires de « Violence » de Shearing Pinx). En 1879, il a fait -47,8 °C à la veille de Noël, (imaginez le brouillage chaotique et hypothermique de « Étude en Psychobilly» de Velvet Chrome). Entre ces deux pôles, une variation de 90 °C ; un écart assez grand pour le comparer à l’éventail de drone allemand, de pop hypnotique et de terreur spatiale qui forme cette compil de Dub Ditch Picnic ? la maison de l’étrange de Winnie. D’une manière ou d’une autre, c’est à la fois le disque idéal pour lézarder sous le soleil estival, étendu sur une courtepointe en patchwork ou contracter la cécité des neiges dans une prairie perdue située à des kilomètres de chez soi.
Du troisième œil de Gabriel Jasmin:
Les tonalités endommagées caractéristiques de Frank et Jane et leurs vibrations cosmiques sont le soundtrack idéal pour le sonder les fosses psychiques les plus creuses. La déformation du temps et les percussions primitives visent directement le troisième œil – la communication directe se fait par l’entremise d’un opaque mur, hanté mais passif, de noise psychédélique. Que demander de plus ? C’est leur meilleure parution et possiblement l’une de mes cassettes préférées.
[audio:http://weirdcanada.com/wp-content/uploads/2011/09/Weird_Canada_-_Velvet_Chrome_-_Disintegration_of_Consciousness_excerpt.mp3|titles=Velvet Chrome – Disintegration of Consciousness (excerpt)] Velvet Chrome – Disintegration of Consciousness (excerpt)
[audio:http://weirdcanada.com/wp-content/uploads/2011/09/Weird_Canada_-_Velvet_Chrome_-_Origin_of_Action_excerpt.mp3|titles=Velvet Chrome – Origin of Action (excerpt)] Velvet Chrome – Origin of Action (excerpt)
From the toxic concoction of Jesse Locke:
Just in time for tour, Frank Hobo and the infamous guitar shredder JLK drop this CD (remember those?) of haunted ramblings down the dustbowl backroads. As Velvet Chrome, the power couple combines sensibilities to create a toxic concoction of No Wave skree and ugly Americana laced with hits from the cosmic blotter. Though the majority of these workouts are propelled by primitive drum beats and detuned six-string strategies, seven-minute drifter “Glass Maze” is a primarily vocal-based drone, and closer “Miles Away” is one of the most beautiful pieces of Motorik bliss this side of Neu! 75. A merch table must.
De la concoction toxique de Jesse Locke: (Traduit par Odile Leclerc)
Juste à temps pour une tournée, Frank Hobo et l’infameux déchireur de guitare JLK échappe ce CD (vous vous rappelez de ceux-là?) de divagations hantées au fond des routes rurales desséchées. En tant que Velvet Chrome, le couple en force combine des sensibilités pour créer une concoction toxique de skree sans onde et de terrible Americana entrelacé de hits venant du registre cosmique. Malgré que la majorité de ces exercices sont propulsés par des battements de tambour primitifs et des stratégies de six-cordes désaccordées, le dériveur de sept minutes ‘’Glass Maze’’ est un drone primaire basé sur des voix et plus près de ‘’Miles Away’’ est un de plus beaux morceaux d’extase de Motorik, ce côté de Neu! 75. Un indispensable sur la table du marché.
Today is your last day to vote. These final hours are ripe to give you one more reason to believe. BOOM: our keystrokes are bursting with galvanized fervor as we present the official traveling line-up for Wyrd III and the brand new Wyrd Montreal:
///// WYRD III /////
Long, Long, Long
???Secret Surprise Guest??? (TBA May 10, 2011)
This wyld traveling caravan (plus local shreddery and other surprises) will be bursting through the following cities:
MAY 20 :: EDMONTON @ Dinwoodie
MAY 21 :: CALGARY @ No. 1 Legion
MAY 22 :: VANCOUVER @ Waldorf Hotel
Tickets for Wyrd III will be available April 1st, 2011! Full band bios, schedule, and other details will be posted next week! Please help us tell the world!
PS – We are doubly excited to let a little secret loose: many of these bands will be tearing through Montreal for a new incarnation of Wyrd. Details soon!
It is my pleasure to offer Francophone content for the first time on Weird Canada. This is a huge step forward and one I’m very excited about. Below are two audio interviews conducted by Grabriel Jasmin as part of CHOQ’s Les Artisans du Bruit program focused on capturing some of the fringe musics crafted within Quebec at the moment. We will hear from Jane L. Kasowicz and Francesco de Gallo of Velvet Chrome, a group who poignantly encapsulates Montreal’s bleak psych-dementia, followed by an interview with Francesco concerning his record label Hobo Cult (a Weird Canada favorite) and various solo projects. Gabriel has generously transcribed the interviews into English so those not-so-fluent in French can read along. Enjoy!!
/////////////// VELVET CHROME TRANSCRIPTION ///////////////
Gabriel Jasmin (CHOQ): How would you describe your music?
Francesco de Gallo (Velvet Chrome): We like improvising in different genres, somewhere in between cosmic-tribal and…
Jane L. Kasowicz (Velvet Chrome): Italo…
Not italo-disco, we have an actual italian song that’s like a psychedelic horror soundtrack. We also play garage rock.
Something like garage-psych-noise.
You used the word improvisation in there. Does Velvet Chrome rely on improvisation a lot?
Mmm yeah… Sometimes we try to write songs with a fixed idea and work around that, but our songs often come from jamming out.
It’s mostly improvised jams that we record. When they’re good we’ll re-work them into songs. Though we don’t always play them that way in our live shows.
I’ve noticed you guys exchange instruments during live shows. Is there a reason for that?
We both like exploring with a wide variety of sounds
Does the sound vary depending who plays the instrument?
Yeah for sure. Everyone has a personal style. When Francesco plays guitar it’s always with a no-wave attitude while I’m more garage myself.
I’ve started playing drums and when I’m behind the kit I play very square 4/4 beats, but Jane plays in a much more deconstructed, jazzy way. It gives a very different background.
Your releases have always been very limited editions of 20 or 30 copies, and the packaging was unique for each of them. As a band, do you have a close relationship with visual arts?
Yes. Well, at the start I was making small runs because I was a bit unsure if our material was worth releasing. But they sold out so I made a limited second run. For the new album called Readymades, which is an artistic concept, I wanted to make unique covers so that every one would get a personal relationship with the album.
What are your projects for 2010?
I’ll be starting my solo project JLK, which stands for Jane L. Kasowicz. As Velvet Chrome, we’ll be releasing a … split?
Yeah possibly a split with Hamborghinni, who are two members of Aids Wolf. In february we’ll also be playing Aids Wolf and brooklyn-based Mouthus at Casa Del Popolo.
We might be doing an album soon…
Yeah, we really should. We have tons of unreleased jams, now we have to sort through them to find the best ones. We also have lots of unrecorded pieces that we’d like to finish.
/////////////// FRANCESCO DE GALLO // HOBO CULT TRANSCRIPTION ///////////////
Gabriel Jasmin (CHOQ): Francesco de Gallo, you have so many ongoing projects I had to make list to remember them. You play music in : Velvet Chrome, Wasted Widow, Pradada, Hobo Cubes, Cobra Kiss! and your most recent project Magic Beach. Furthermore, you manage your own label Hobo Cult Records and release DJ mixes under the name Hippies Before Priests. Am I forgetting any?
Francesco de Gallo (Velvet Chrome): I don’t know, there’s so much going on. Lots of untitled collaborations are to be released in 2010 on either cassette, CD-R or free download.
First off, how many hours of sleep do you manage to get?
Let’s say between 6 and 8. Eight hours is the best.
Being involved in so many different projects, how do you keep them independent from one another, so they don’t sound all the same?
I don’t know, there’s no clear borders. For my solo work, when i’m working on a loop or a song, the outcome will not be the same whether there are vocals, instruments I used and the way I used them. That usually defines the project. When collaborating with others the result will be different each time.
When playing with others do you write the songs on the spot ? Or do you approach other musicians with definite song ideas?
No, never. I don’t like… I stay away from fascism with Hobo Cult. It’s a big family with people I love. When they create things I enjoy, I like to put them out as an album, even if I had nothing to do with writing nor playing the music. It’s really friendly. I record my collaborations, even one-time jams with buddies, and even though we’ll never play a single live show, I might release it to cassette.
Indeed, except for Velvet Chrome, you have a big recorded output but you play very few live shows. is it because you prefer recorded music to live music or is for practical reasons?
Well actually, a lot of recorded material was taken from live shows. With Wasted Widow, we’ve only played two shows, the first one I have on DVD, but then the band has added a bassist for it’s second show and we recorded that to tape. With Magic Beach, we’ve taken lots of material from our last show in late December. A lot of these will be released in 2010.
Your label Hobo Cult is the home to all your projects and those of your friends. How did it start out?
It’s been a year and a half since i’ve started it. I first wanted to release a Pradada album, which was my main solo project at the time, but I had so much recordings that I couldn’t decide what to put on it. Rather, I made compilations that divided the songs by year and posted them for free on the blog. Then I put them on cassette and gave them out. When I was ready to release something new, I knew I wanted to do it myself. It was just a matter of getting my songs heard by the most people. Whenever I release music I like to try and make it accessible, which is why i’ll post free downloads once the tapes or the CDs have sold out.
Are you planning to have releases on vinyl?
Yeah, we are planning something with Magic Beach. It’s a recent project with Philippe Lambert, who also plays in Goa, Monstre and Monkey King. We will be releasing a split tape with Ass, from San Diego, then maybe another tape or CDr and hopefully a 7″ or 12″ in spring, followed by short week-long tour in the United States.
Hobo Cult has successfully melted my face with another uniquely packaged artifact from the bent minds of Velvet Chrome. Channeling the traces of a psych-dementia found in the bowels of abandoned structures and drenching it in the New Zealand acid of Wreck Small Speakers on Expensive Stereos, Velvet Chrome provides the only aural experience akin to a post-Warriors Coney Island vacation: desolation, litter, and decrepit rides breaking through the morning light; a psychedelic vision from oracles and witches brewed for your stereo. It’s bleak, beautiful, chaotic, desperate, intimate, and comes packaged in an unassuming, one-of-a-kind CDR limited to 30 copies. A singular sound that will surely resonate with anyone looking for reverberations on the fringes of musical genre. I can’t get enough, so I ask: WHAT MORE DO YOU FREAKS WANT?
( Traduit par la boîte à rythmes de Odile Leclerc)
Hobo Cult a fondu ma face avec succès avec un autre artéfact uniquement emballé des esprits tordus de Velvet Chrome. Canalisant les traces d’une démence psych trouvée dans les entrailles de structures abandonnées et la trempant dans l’acide de Wreck Small Speakers on Expensive Stereos de Nouvelle-Zélande, Velvet Chrome fournit la seule expérience auditive semblable à une vacance sur Coney Island de post-Warriors : désolation, détritus et manèges décrépits passant à travers la lumière du matin; une vision psychédélique des oracles et des sorcières préparée pour votre stéréo. C’est morne, magnifique, chaotique, désespéré, intime et arrive empaqueté dans un modeste CDR limité de 30 copies, unique en son genre. Un son singulier qui va sûrement résonner avec n’importe qui cherche des réverbérations sur les bords de ce genre musical. Je n’en ai jamais assez, alors je demande : QUE VOULEZ-VOUS DE PLUS VOUS LES MARGINAUX?
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