Sweet video of Dean and Sean playing a radio session for Sideways Through Sound in Sydney, Australia last month. They perform three songs on acoustic guitars: Bewitched, Tracy I Love You and Moon Palace - and nice to see Sean rocking the Flowers T-shirt!
The Carpenter Center for Visual Arts in Cambridge MA is hosting an exhibition by Damon Krukowski called NOT TO BE PLAYED that is described as:
a multifaceted exhibition featuring archival materials, performance, and a publication that together revive an obscure audio recording made by Ezra Pound at Harvard University in 1939. Recorded on the eve of World War II, Pound believed his poem "Sestina: Altaforte"—or "Bloody Sestina," as it came to be known—could incite violence. He was convinced it possessed a persuasive power over the future: several years after making the recording, Pound wrote a letter stating it was "not to be played."
The exhibition opens with a reception on Thursday 8 October at 6pm and runs until 25th October.
If you're not down-under where Luna are currently touring, you're probably kicking your heels waiting (or crossing your fingers hoping) for Luna to come by (or come back) on their reunion tour. Here's a treat to fill the waiting and/or hoping...
Youtube user 3.Cameras.and.a.Microphone has recently been uploading some video masters to YouTube, as well as the previously available show from the show from 92 at the Whisky a Go Go in LA (which is now available in much better quality than previous uploads - in five parts 12345) there are two shows from consecutive nights from 1994.
OK - another one has just turned up, this one from Luna's first US tour in 1992, and this is a treat (of sorts)…
In Long Beach, California we played a horrid little club called Bogart's on a triple bill with Screaming Trees and Celibate Rifles[...]
When we finally tool the stage, a long-haired guy with a mustache stood directly in front of me.
"Kick out the jams!" he yelled, before we had played a note.
And again after our first, "Come on, motherfuckers! Kick out the jams!"
He was annoyed. Luna didn't rock hard enough for him. He kept his chatter up all set long. After the last song I told him to go fuck himself, and he challenged me to a fight right then and there. Luckily for him, Stanley pulled me away.
You can see this all play out, and Justin, not Stanley, pulling Dean away at the end.
It’s a book that uses the facts—and not terribly obtuse ones—of music technology, things anyone who has been in a band or been in a studio knows, but others may not. I’m using these things to think through changes in our communication patterns with one another both musical and non-musical ways—essentially, using audio, because it’s what I know best, to think about our social relations and how that has been affected by the shift from analog to digital. It’s not an anti-digital book, and it’s not a pro-digital book. It’s just a look at what some of these changes we’ve experienced might mean.
Dean: The Cure song. “Friday I’m Love.” Britta and I did that a few years ago on the tribute album
Ira: You know, we made a decision — I’m not sure who else in the group knew about that, but I knew, and thought, “We’re doing it anyway.” I say that because there’s a time in my life when that would have been a reason not to. It’s already been done, I would have ruled it out. In a way, it relates to doing “Fakebook” again; we’re trying not to be confined by any way we feel like we have to work. We may choose to work that way 99 times out of 100, but still be open to doing it differently
I certainly had no problem with it [laugh]. Back in the ’60s, you had about ten people doing the same song in a month — everyone was doing it. I like your version, I really found it a bitch to sing that song. Robert Smith, he sings high and loud — sometimes I guess I sing that way too — but I struggled with it. But anyway, Georgia nailed it.
There’s so much I love about the way she sings — even when it’s not effortless, she makes it sounds effortless.
I’m not going to ask you what it’s like being a couple in a band, because I’ve been on both sides of that.
It's been twenty years since we lost Velvet Underground guitarist and tugboat captain Sterling Morrison.
Time to dig out some VU, or Luna's Bewitched, and raise a glass...
We had met Sterling on the Velvet Underground European tour in 1993 [...]
Getting the call to open for the Velvet Underground was weird. I thought I might have been dreaming. But weeks later I found myself in a dressing room at the Edinburgh Playhouse, listening to Lou Reed, John Cale, Moe Tucker and Sterling Morrison run through Venus in Furs.
We had already recorded a demo of “Friendly Advice” with producer Victor Van Vugt, which we played every night on that tour, and Sterling Morrison told us that was his favorite track. We asked if he’d like to play guitar on our next album, and we were all surprised when he said yes. So far as we knew, Sterling hadn’t played on anyone’s record since about 1971. He was a lovely and unassuming guy, and when he passed away just two years later, I put on my headphones and listened to his transcendent guitar solo in "Friendly Advice," and I cried.
A quick round up of some Mistress America bits and pieces out there on the web:
The New York Times reviews gives the film a glowing review and picks out Dean & Britta’s score:
A gleaming electropop score by Dean Wareham and Britta Phillips gives you a sense of teetering on a merry-go-round
Dean and Britta had a lovely long radio interview with Ioan Dyer about scoring for films and how they got involved with working on Noah Baumbach’s on Mistress America.
You can hear the full interview (without the music) over on Soundcloud:
The soundtrack album is now available as a CD or a digital download in all the usual places including iTunes, Amazon. It’s also available to stream on Spotify (and possibly the other streamimg services). You can also hear a few of the tracks on Soundcloud.
People often ask me, ‘Do you like scoring film?’ The truth is, not always. But its good to work and it’s a lot more fun if it’s a good film and if the director is good. I think it’s the same for actors. Even actors who have their pick over every single film they do, how many really good films do they get to make? Not a lot, I think.
To tell you the truth, Britta is a lot more patient with learning new software than I am. So when we score together, there are things that she writes and things that I write, but all the detailed work — all the hard work [laughs] — she does. Like stretching things for time or hurrying them up, editing, getting into the nitty-gritty.
After more than ten years as a Wordpress blog, A Head Full of Wishes now isn’t.
It will hopefully be better (but I have the WP site backed up… just in case it’s a flipping disaster) - but things will almost certainly have gone astray in the move - things will be broken, missing, not working. But mostly it’ll be as it was before - but hopefully quicker.
One thing that has gone are the comments - I do still have them all (and I may reintroduce them, but not yet). I’ve replaced this with Faecbook comments. It’s not perfect but it works quite well and Facebook is certainly the place where most of AHFoW’s discussion already happens so it seemed a sensible option. If you’re not a Facebook-er - I’m sorry - I really am. You can still contact me using other channels, email, twitter, and even by post!
Feedback is welcomed - both good and bad - and I’ll try and fix things!