Wow & Flutter - Elements

Improv sextet featuring: Thurston Moore (Guitar), Nels Cline (Guitar), Carla Bozulich (Guitar & Sampler), Devin Sarno (Bass), Lin Culbertson (Keyboards) and Tom Surgal (Drums)

Recorded Live at Tonic (New York City) on June 9, 1999 as part of New Music Festival (Curated by John Zorn).

Moore/Cline/Bozulich/Sarno/Culbertson/Surgal(Live at Tonic 06.09.99)  Excerpt

(Excerpt) Recorded Live on February 27, 2016 at Character Projects (Highland Park, CA.)

Carla Bozulich: Vocals, Bass, FX
Devin Sarno: Bass, FX

Photo Credit: Kelly Norris Sarno

Carla Bozulich + Devin Sarno (Live at Character Projects 02.27.16) Excerpt

(Excerpt) Recorded Live on December 28, 2015 at Pehrspace (Los Angeles).

Carla Bozulich: Vocals, Bass, FX
Devin Sarno: Bass, FX

Photo Credit: Sarah Lipstate

Carla Bozulich + Devin Sarno (Live at Pehrspace 12.28.15) Excerpt

Sad Boy Breaker Mastering

Slow Moses #2

"Glass House" from the album Quieter by Carla Bozulich

Album out 11 May 2018
Constellation
CST132 • 180gLP/DL
cstrecords.com/cst132

"Glass House"
Written and engineered by Freddy Ruppert
Freddy Ruppert: programming
Carla Bozulich" voice

Quieter

Carla Bozulich & Freddy Ruppert • "Glass House"

LYRICS: It can't speak but it's makin' sound, little lips are moving up and down. It's all hate for the nation-state, is it great or just American rape, can't wait for the latest fake today. A sick circus kind of cavalcade, took possession of the USA, it can't think but its shit still stinks, on the edge of a nuclear brink, the paper prints what the faker thinks today. All our rights are going down the drain, pretty soon you're gonna' feel the pain. You're not safe tucked out of the way, the cops are comin' 'cause they're gettin' paid, the faker wishes he was gettin' laid today. How can we go on this way? Every week is like the end of days We gave away our democracy so we could sit and watch tv, the Faker gets the USA for free today.

FAKER

A unique feature of many independent labels is that they’re closely intertwined with one person’s taste and vision. Instead of emphasizing a genre, these ventures often reflect a specific scene or time. Like Jealous Butcher Records, these labels exemplify the true labor of love that can go into an album release. 

In 1991, Rob Jones started Jealous Butcher in Eugene, Oregon. Since then, he’s released countless records from some of the state’s most exciting artists -- many on the verge of their big break. On this episode, Jones describes the history of Jealous Butcher, the philosophy behind the label, and how his business has (and intentionally has not) adjusted to today’s music industry. We also hear from Tim Rutili (Califone, Red Red Meat), who released a new album with Craig Ross earlier this year through Jealous Butcher.

Jealous Butcher is offering a discount to our listeners! Get the code in the episode.
https://www.jealousbutcher.com/

Indie Label Spotlight: Jealous Butcher

Written by Maria Maita-Keppeler
Engineered by Bart Budwig at The Ok Theatre in Enterprise, Oregon, and Matthew Zeltzer at Room 13 in Portland, Oregon
Produced by Maria Maita-Keppeler & Matthew Zeltzer
Mixed by John Askew at Scenic Burrows
Mastered by JJ Golden at Golden Mastering

Best Wishes

Can't Blame a Kid

Estella:
This composition was written as a response to the story of Minerva and Arachne by Ovid, upon invitation by artist Jade Blood.

After listening to the story as told by Liv Albert (of the 'Lets Talk About Myths, Baby!' podcast) I was struck by what Liv said about these types of stories always being told through the lens of men. Somehow the women in these stories, despite their many accomplishments or being literal goddesses, often had nothing better to do than be envious, scheming, and vengeful towards each other.

Therefore I wrote my piece from a perspective where Minerva and Arachne would have naturally seen their shared passion and skill as an opportunity for collaboration. In this scenario Minerva is not lording her goddess-status above Arachne, but instead they use the term to assert their shared power.

Dual vocals are used to reflect their equal status, and the gang vocals towards the end represent the wider community of womxn as a whole, insisting that we are so much more than what men tell us we are.

I wanted the piece to have an ethereal element to it, so used sounds like bells and chimes, along with a healthy dose of reverb. The descending chromatic scale near the start represents Minerva's descent to Earth.

It is fitting that this piece was created for a projected centred on a feminist approach to collaborative creativity, as I would not have been able to make it without the inspiration and assistance of feminist networks such as Girls Rock London, Young Women's Music Project Oxford, and Music Production for Women. 

This is the first composition I have completed using a digital audio workstation and an analog synthesiser, tools I have been learning to use during the current lockdown.

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Bio

Estella Adeyeri is a performing musician and multi-instrumentalist. She plays in black feminist punk band Big Joanie, and in the anarcho-pop punk outfit Charmpit. She is a music coach at Girls Rock London, a project that seeks to empower women, trans* and/or gender non-conforming folks to play instruments and enter the music industry.

https://linktr.ee/EstellaAdeyeri