Friday, May 15th in Chicago Illinois, Turntabling’s Joe Wallace curates Remix, an art show featuring album cover collages by Jessica Barnett DeCuir, who comes to StudioLab to show her work all the way from San Antonio, Texas. (Some readers will remember that StudioLab hosted the Turntabling album cover show in 2014, Sexy and Scary Vinyl)
DeCuir’s work for the show involves album covers from the 70s and 80s. “I limited myself to these two decades because the albums are easy to come by and are the nostalgic, often cheesy soundtrack of my years growing up and listening to radio, records and tapes. Many of the original album covers contained subliminal content, later to be revealed through my 2×2” square cutting process.”
If it hadn’t been for an accidental discovery, Remix might not have happened. DeCuir says,”The series began when I found a small fragment cut from a record cover in the garbage,” she says, “When I showed it to my husband, a fellow musician, band-mate, and vinyl junkie, he was instantly able to identify the album it came from, while to me it was an interesting abstract image. Surrounded by a couple of thousand records in our home music studio, it was not difficult to get inspiration for the project that began in 2006 and has continued off-and-on through 2015.”
This show features some famous–and infamous–album covers. What has been done to them must be seen to be believed. It’s one thing to view a single image from the show like the one above, titled Crimson Collins, it’s quite another to see a large number of these works grouped together. Then you really get the full impact of the work and the show overall.
On Friday April 13th starting at 6PM I’ll be DJing the OhNo!Doom Gallery opening, A Walk Through The Dark. My four-hour set features live mashups, audio collage, vinyl manipulation and much more. A lot of people have a hard time getting motivated to come out for events like this, but if you’re a fan of Goblin, Morricone, Bruno Nicolai, Jesse Franco and Jean Rollin soundtracks, experimental audio and more you owe it to yourself to make it to this. It’s located at 1800 N. Milwaukee Avenue in Chicago, and starts at 6PM on Friday April 13.
Here’s a little sampler of the sort of thing I’ll be doing at Friday’s OhNo!Doom art opening–forty minutes of rare vinyl-only mashups and mixes (including the opening track which is part of a new Paisley Babylon studio project) featuring Roddy McDowall reading H.P. Lovecraft, a variety of Goblin tracks from Tenebre, Dawn of the Dead, Deep Red and others mashed up with Morricone sounds from Four Flies on Grey Velvet, plus a variety of other rarities including the Rhythm Devils doing Apocalypse Now drumming and sounds from assorted horror sound efx samplers and more.
Please note–this MP3 is intended as a demo for my DJ and sound design work. It’s not meant to be distributed as a free music download, but rather as a part of a demo reel. All rights belong to the original artists.
Turntabling Records, our Chicago-based micro label, has been busy busy. Here’s a sample of the latest project, a little electronica studio band called CUDDLY ANTICHRIST. This video is a short sample of the work being done, soon to be unleashed (inflicted?) on the world in the usual places.
Cuddly Antichrist sounds like what The Orb would have become if Alex Patterson was a habitual shroom eater and Aleister Crowley devotee. Enjoy another feature from the chemical drive-in:
Paisley Babylon’s Joe Wallace reunites with Crevice for this performance at Flight Gallery @ 1906 S. Flores San Antonio, Texas on Valentine’s Day. This is a special performance by one of the classic Crevice lineups. Featuring James Cobb, Bryan Stanchak, James Sidlo, Jeff DeCuir and Paisley Babylon’s Joe Wallace, this version of Crevice goes back to the band’s roots. Crevice was known for using a combination of mutated jazz sounds combined with theremin, Moogs and other analog synths to create atmospheres ranging from deceptively calm to violently psychedelic.
Before their shocking live debut in 1996, Crevice were obsessively toiling away in the studio, abusing equipment to its limit in search of the perfect headphone trip.
One hundred and fifteen instruments were used on their debut CD–everything from giant Moog-monster insect soundtracks to super-chill acoustic panoramas. Two of the group’s three members were working on outside soundtrack projects at the time, so it’s no surprise that Crevice sounds more influenced by Apocalypse Now, The Shining, 2001, or Forbidden Planet than by any particular rock band.