EIC's 10Q's w/ Matmos

"..delirious concepts.."

Matmos

Absurd Accent Analyzers

Matmos Bio:

Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by many others.  Currently based in Baltimore, the duo formed in San Francisco in the mid 1990s, and self-released their debut album in 1997. Marrying the conceptual tactics and noisy textures of object-based musique concrete to a rhythmic matrix rooted in electronic pop music, the two quickly became known for their highly unusual sound sources: amplified crayfish nerve tissue, the pages of bibles turning, water hitting copper plates, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, rat cages, tanks of helium, a cow uterus, human skulls, snails, cigarettes, cards shuffling, laser eye surgery, whoopee cushions, balloons, latex fetish clothing, rhinestones, Polish trains, insects, life support systems, inflatable blankets, rock salt, solid gold coins, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal. These raw materials are manipulated into surprisingly accessible forms, and often supplemented by traditional musical instruments played by the group’s large circle of friends and collaborators. The result is a model of electronic composition as a relational network that connects sources and outcomes together; information about the process of creation activates the listening experience, providing the listener with entry points into sometimes densely allusive, baroque recordings.  Since their debut, Matmos have released over eight albums, including: Quasi-Objects (1998) , The West (1998), A Chance to Cut Is A Chance to Cure (2001), The Civil War (2003)  and The Rose Has Teeth in the Mouth of A Beast (2006) and Supreme Balloon (2008). In 2001 they were asked to collaborate with the Icelandic singer Bjork on her “Vespertine” album, and subsequently embarked on two world tours as part of her band. In addition to musical collaborations with Antony, So Percussion, David Tibet, the Rachel’s, Lesser, Wobbly, Zeena Parkins, and the Princeton Laptop Orchestra, Matmos have also collaborated with a wide range of artists across disciplines, from the visual artist Daria Martin (on the soundtrack to her film “Minotaur”) to the playwright Young Jean Lee (for her play “The Appeal”) to Berlin-based choreographer Ayman Harper. Most recently, they have been part of the ensemble for the Robert Wilson production “The Life and Death of Marina Abramovic”, featuring Marina Abramovic, Antony and Willem Dafoe. Their next album, The Marriage of True Minds, will be released in 2013 by Thrill Jockey Records

Hello, how are you?

Drew: I am feeling manic.

Martin: At ease, though there is much to do preparing for the public enjoyment of our new record...right now photo editing and making handmade cards to go into the special editions of our introductory EP/single (whatever it's formal format designation is!) "The Ganzfeld EP"

What are you currently listening to?

Drew: I'm currently listening to the steady purr of air conditioning in the attic of our house, and from downstairs I can still make out the record that's playing: the Gruppo Di Improvvisazione Nuova Consonanza album "The Feedback", which is an oddity for them, it's got these chunky funk drums and their skronky free music playing on top.

Martin: Helmut Lachenmann' "Mouvement" on YouTube as we have just returned from the Darmstadt Ferienkurse for New Music and apparently this fellow is very important for a lot of composers, and I had never listened to any, so... If you mean in general, the environment at Darmstadt is very dense, musically, so wow, we heard a lot of stuff...the two best things I heard were John Cage's "As Slow as Possible" and pieces that I can't remember the names of by a crazy cool young man/composer called Johannes Kreidler...look 'm up on You Tube, I tried to find a particular thing to recommend, but I fell down the rabbit hole...so I suggest you do the same!

(for Drew) I've always been curious, what sort of things do you speak about/shed light on in your lectures? Also, how did the idea of you writing the 33 1/3 book for Throbbing Gristle's '20 Jazz Funk Greats' come up?

I've taught two lecture courses in the English Department at Hopkins, one on Shakespeare and one on "British Literature I" (a survey course) that goes from Chaucer to Spenser to Milton to Pope. In the process of which I rant/talk about a vast range of things: renaissance literature first and foremost, but in and through that magic, colonialism, psychoanalysis, chivalry, poetic meter, queer sex, capitalism, rhetorical figures, pagan gods, Jesus Christ, suicide, friendship, slasher films, classical epic, venereal disease, feminism, currency policy, social hierarchies, monstrosity, ugly and beautiful bodies, literature as fetish etc. As Matmos we sometimes "lecture" (in a super loose way) about our own music, musique concrete, how to make recordings and why, the history of various mediums and media, records we love.

I wrote a book about Throbbing Gristle because I fell in love with their music at the age of 16 and haven't been able to let it go ever since, and I felt that they would do something odd and critical to the premise of the series as a whole by being inserted into that list. They seem to me to be usefully opposed to the "greatness" rhetoric that tends to accompany that kind of fandom. Their work is hard to read, self-contradicting in a way that felt like it was worth writing about, some art is very strong but it doesn't merit lots of unpacking. I think their work seems in certain ways "weaker" than the canonical albums in that series but that's is the source of its odd power.

What is the theme for your upcoming EP and will you be touring for it?

The EP is an introduction to the concerns that drive the album as well. The EP comes out in October and the album in early 2013. We won't be really touring that material until the spring because I will be on sabbatical then, but we will have a few select shows in Baltimore, New York and London in connection with the EP. The EP and the album have the same conceptual basis: telepathy. For the past four years we have been conducting parapsychological experiments based upon the classic Ganzfeld (“total field”) experiment, but with a twist: instead of sending and receiving simple graphic patterns, test subjects were put into a state of sensory > deprivation by covering their eyes and listening to white noise on headphones, and then I attempted to transmit “the concept of the new Matmos record” directly into their minds. During videotaped psychic experiments conducted at home in Baltimore and at Oxford University, test subjects were asked to describe out loud anything they saw or heard within their minds as Drew attempted transmission. The resulting transcripts became a kind of score that was then used to generate music. If a subject hummed something, that became a melody; passing visual images suggested arrangement ideas, instruments, or raw materials for a collage; if a subject described an action, then we had to act out that out and make music out of the noises generated in the process of the re-enactment. It was very labor intensive and very fun.

How do you guys come up with your sound concepts (such as a snail slithering past a light sensitive theremin)? I bet you have some interesting brain-storming sessions don't you?

Drew: There are lots of discussions, arguments, moods, temporary obsessions and long burning passions that move in and out focus. Deadlines and feelings of guilt and stress can be assets because they crystallize your vague sense that something might be worth exploring more, it helps when there is a gun to your head and you MUST choose something, you MUST decide if an idea is good or not, because that stops the endlessness of discussion. Sometimes there are blind alleys and one of the two of us has to point this out to the other, which is painful. I would like to think that the strongest sounds and concepts survive and that the weaker stuff drops out as it is subjected to scrutiny. One thing that happens quite often is that we'll get obsessed with something, make a piece, and then test it in front of audiences quite a bit before committing to it becoming a song for a record, in this case we're a bit more like a Rock band than an Electronic band, I suppose. But "brainstorming" sounds like a corporate marketing meeting, and I would hope that what we do is often driven more by intuition, stumbling, drift and free association.

What movie would work best on mute while listening to your music?

Drew: I often watch a film on mute while chopping up audio. Silent films are often flickering at me. I've been particularly enjoying the minimal presence provided by the Warhol screen test films, they're perfect for that situation. But so is trash cinema like "Beast With A Gun" or "Gymkata!". There are certain films I can just bask in over and over and over: "Laura", "Rebecca", "Mishima", "Barbarella", "Wild Reeds", "The Conversation", "Night of the Living Dead".

Martin:  Laguna Pacific's "Brothers Should Do It"?  "Buster goes to Laguna"?  I'm not sure I would recommend muting films and listening to our music? Maybe silent experimental animations of the 20's 30's 40's?

You can only keep/listen to ONE album for the rest of your life ..which album would it be?

Drew: Today the answer is Willie Nelson's, 'Stardust'; tomorrow the answer might be Morton Feldman's 'Crippled Symmetry'.

Martin: Terre Thaemlitz's new full length 'Soulnessless'? It's 32 hours long...

Are you living your dream?

Drew: This question prompts a memory of a friend who lived in a rough, crime-ridden building who stumbled onto a prostitute servicing a john in a stairwell. Annoyed at the intrusion, she looked up at him and yelled "Leave us alone, damn! Can't you see I'm just living my dream?"

Martin: I try to take things as they go, so as to avoid disappointment. I really enjoy a lot of things that happen to me, though! Also, most of my dreams are very repetitive work-dreams!

Thanx Drew & Martin!

Matmos are about to release "The Ganzfeld EP" and soon after that (early next year) they will release their next LP..!

EIC's 10Q's w/ Xiu Xiu

"..between ear piercing noise and tear drenched ballads.."


Xiu Xiu
Desolate Abrasive Anomaly

Xiu Xiu Bio:
Taking their name from the 1998 Chinese film Xiu Xiu: The Sent Down Girl, post-punk throwbacks Xiu Xiu were formed in San Jose, California by Cory McCullough, Yvonne Chen (publisher of the indie zine Zum), Lauren Andrews, and Jamie Stewart. Before forming Xiu Xiu, McCullough and Stewart played in the band Ten in the Swear Jar. Prior to the 2002 release of their first full-length album, Knife Play (released on vinyl through Absolutely Kosher and on disc through 5RC/Kill Rock Stars), the band made appearances on numerous compilations. Shortly after Knife Play's release, Springman released a 10" collaboration between Xiu Xiu and Deerhoof. Vocalist Stewart has earned comparisons to the Cure's Robert Smith, while the band itself has been likened to just about any angular guitar band from the late '70s and early '80s without any blindingly obvious sources of inspiration. In 2002, the band issued the Chapel of the Chimes EP. The following year, A Promise and the limited-edition, mostly acoustic Fag Patrol EP arrived, and early 2004 saw the release of their most accessible work to date, Fabulous Muscles.

Xiu Xiu kept busy in 2005 with the full-length La Forêt and a split single with Devendra Banhart. The group's fifth album, The Air Force, which was produced by Greg Saunier, arrived in fall 2006; an EP of covers, Tu Mi Piaci, was also released that year. Issued in 2008, Women as Lovers managed to be some of Xiu Xiu's catchiest and most abrasive work, and featured Michael Gira on a cover of "Under Pressure." Caralee McElroy, who had joined the group for The Air Force, left Xiu Xiu in 2009 and became a member of Cold Cave; she was replaced by Angela Seo, who worked with Stewart and Saunier on 2010's more overtly poppy and electronic Dear God, I Hate Myself. Two years later, the band commemorated its tenth anniversary with Always, which tackled war atrocities ("Gul Muldin"), the plight of Chinese female migrant workers ("Factory Girls"), and the right to choose ("I Luv Abortion"), and was dedicated to the band's devoted fans.


Hello, how are you?
SLEEPY!!!!! and stressed out at the same time. i need both an upper and a downer

What are you currently listening to?
Morton Feldman, a collection of gospel 45s from the 1940s to the 1970s and OMD. Oddly that seems to be about it.

As the release date of 'Always' nears, I am curious about the meaning behind the album's title and what you think of the finished work.
Oh I can't tell you what I think of it! I know that at the time we worked on it, we did our best and out our whole hearts into it. The rest is for a potential listener to decide. The title, for me, comes from a few places. My brother introduced me to the Erasure song "Always" at a time when he was going through an incredibly deep trauma within his family. I drove around the countryside looking for watermelon and playing that song over and over trying to sing along but breaking into tears every time I tried. It's about after being in Xiu Xiu for 10 years, feeling more bound to and by music than ever. Lastly it came from seeing a Bible verse spray painted on my gyms wall that said essentially to God, "..love and hate, good and evil are the same.." This duality was, as one would expect both comforting and terrifying. I had to see this graffiti everyday (since painted over) it was disturbing and inspiring and felt what I imagined the idea of "Always" feels like.

'Always' deals with many themes we have long known to expect from you: suicide, addiction, molestation, and death. Why do you choose to express these obsessions through music?
They are not so much "obsessions" as they are facts of life, my life, my families lives, how politics effects life. It is an attempt to turn them into something other than only crushing negative weight. Or to put them some where other than just pushing them down on my throat..

Throughout your career you have worked alongside many different backing girls. How do you feel dealing with such intimate subjects changes when you're accompanied by a new musical partner?
Hardly backing! Nearly everyone I have played with has been an incredibly close friend and it could only be incredibly close friends with whom one would share the experiences that the songs we try to do document. It follows then that only an incredibly close friend could play them as well. Because of those already established bonds, that aspect of it has always been natural and, for me, deeply rewarding.

You also repeatedly collaborate with artists across multiple mediums. Cam Archer, the director of queer films like 'Wild Tigers I Have Known' whose work I adore, is among these people (Archer directed two Xiu Xiu music videos, “The Fox And The Rabbit” and “Sea”). How did this partnership start and are there any other contemporary queer filmmakers with whom you would like to work with?
We have a mutual friend, Rob Fisk, and he introduced us. Lately Brian Skeet and I have been talking about becoming involved in a number of film projects together. He's using Xiu Xiu songs in a film, Xiu Xiu is recording & scoring a film of his and I'll be acting in a couple of his films. It is a new world for me. Brian is the best and I am excited about this beginning.

Tell me about your work with Grouper. How did the split EP, 'Creepshow', that featured five songs you two co-wrote arise and in what way do you think Ambient music has influenced your sound?
We are actually re-releasing it on the Xiu Xiu blog next month. Liz and I had been friends in Oakland and I went to her shows all the time. she is someone who I admired then and now. Being a fan, I wanted to see what it would be like to work together. It was very easy. She is ultra talented. My understanding of the idea of ambient music, at its onset at least, was that it was sound more than music. Since we began exploring sounds as much as harmony has been exciting for us. Many of the songs begin as a sound and then the trick is to figure out how to fit that into a song in a way that they compliment their meanings. I love any kind of sound. Poke out my eyes whenever you want.

'Always' is littered with over-the-top synth tracks, like “Honeysuckle” and “Hi.” Do you feel writing for your dark synthpop side-project Former Ghosts has effected the music of Xiu Xiu in any way?
Oh I am sure, but I didn't write anything in that band other than a few synth parts, that was all Freddy Rupert's music. but playing in that band certainly re-lit my long time love of synth pop. As noted see OMD in the 2nd question.

You can only keep/listen to ONE album for the rest of your life... Which album would it be?
Something really long i suppose.

Are you living your dream?
As far as being able to make records goes, yes. It's a privilege that I hope I can live up to.

Thanx Marisa & Jamie!

Xiu Xiu is currently on tour, including a few select dates with Dirty Beaches(!), make sure to check out a live show if you can...

EIC'S10Q'S w/Ike Yard

"..the reform you've been waiting for.."


Ike Yard
Spurious Factory Sounds

Ike Yard Bio:
Although IKE YARD dissolved by the beginning of 1983, the band reformed as a three piece unit with original members Stuart Argabright, Kenneth Compton and Michael Diekmann. A career spanning compilation was released on the Acute label in 2006 (see below for details).
The name comes from Anthony Burgess's novel "A Clockwork Orange". You know the scene where Alex is in the record shop ...if you look on the wall there is a list of names, the Heaven 17 are there too
In NYC Spring 1980 Stuart Argabright, founder/drummer/vocalist of the FUTANTS, began sessions with Kenneth Compton on bass/vocals at Kristian Hoffman's rehearsal Studio on the edge of Chinatown. The group was completed when Fred Szymanski (synthesizers/ programming /treatments) and Michael Diekmann (guitar, synthesizer) joined in August 1980.
IKE YARD began with a lineup that included guitar, synthesizer, bass, drums and percussion. The additional percussion was often ‘found’ scrap metal: brake drums, sheet metal, and other debris from the streets and vacant lots of the Lower East Side. During 1982, with the guitar and finally bass being replaced fully by a four-piece synthesizer set up, IKE YARD’s sound transformed into a music bleached of flesh, reduced to a glistening skeleton – the music of machines haunted by ghosts.
The band’s modular analog synthesizer set up included gear by Korg (MS-20, MS-50, SQ-10, VC-10), Roland (TR-909, TR-606, TR 808, TB-303, MC-202, CSQ-600), Arp (Solus, Axxe), the EMS Synthi-AKS, and the Buchla Modular 112 keyboard controller.
In Spring 1981, IKE YARD recorded an EP for Belgium’s Crepuscule records (which was named single of the week in Melody Maker upon its release in November 1981). IKE YARD was the first US group to record for the Manchester UK’s Factory label; an album “A FACT A SECOND” was released on Factory America in September 1982. The band performed with NEW ORDER at Ukrainian National Home, SECTION 25 at Peppermint Lounge & Maxwell’s, SUICIDE and 13:13 (w/Lydia Lunch) at Chase Park, and with the DEL BZYZENTEENS (w/Jim Jarmusch) at CBGB’s and the Music for Millions festival. In addition, the band played at Danceteria, the Mudd Club, the Pyramid Club and Tier 3.


Hello, how are you?
Stuart Argabright: Pretty good. Busy and keeping it together for the most part. Sometimes a bit glazed from too much time on the screen and holding more then four things in mind at the same time.
Michael Diekmann: I'm doing all right. I just recently signed off on test pressings for both CD and Vinyl, as well as the art design, for an upcoming instrumental solo release under the name B Lan 3. The title is "Music for Hunting and Mapping" and its being released on Asthmatic Kitty's Library Catalog series around the start of 2011.

What are you currently listening to?
S A: Looking at 'recently played' on iTunes - Anbb , Jamie Vex'd , Erik Satie , The Doors , Roxy Music , Solar Bears , LV , Ramadanman
M D: In the past few weeks...Deer Hunter's "Halcyon Digest", "Extensions" by McCoy Tyner, "Triangulation" by Scuba, "First Thought Best Thought" by Arthur Russell, "Age of Adz" by Sufjan Stevens, oOoOO's new EP, Salem's "King Night", "Siwan" by Jon Balke, "Cyborg" by Klaus Schulze, Gluck's "Iphigenie en Tauride" conducted by Marc Minkowski, Britten’s “String Quartet no.2” by the Amadeus Quartet, Dylan's Whitmark Demos, the soundtrack to "Kamasutra" by Irmin Schmidt (actually a full Can recording), an Anne Briggs anthology, “Liege and Lief” by Fairport Convention, the last Super Furry Animals' CD, and a couple of home-made rock compilations from 1970 and 2009. I have wide-ranging tastes, and as a listening experience prefer CDs to my iPod.

I’m sure you’ve gotten this question before but, where does the name Ike Yard come from?
S A: Straight out of "A Clockwork Orange". Massive respect to Anthony Burgess for coming up with an invented language for that novel.
M D: Stuart covered that one. Of the names we were considering at the time, it was certainly the right choice.

During the whole “No Wave” scene were you trying to make art, music, or pay homage to something?
S A: By the time I got to NYC spring of '78 , much of what was 'No Wave' , the artistic moment, had probably passed. There were core groups ( Mars, DNA, The Contortions ) but the energy was here and there, it flared and then 'gone'. Lots of scrappy, desperate energy trying to get out, trying to express something .
Hyped and almost wordless. I did see some of the late No Wave-ish series at Max's, another time James Chance and Anya Phillips set upon Marcus Leatherdale and his date or friend on the dance floor of the Mudd Club. Kenneth Compton and I met in the clubs - or as he remembers, out behind one - The Palladium as PIL played inside and we ran around those clubs nightly until we found someone.
Ike Yard came from another place, probably a more cinematic ( this was post - "Taxi Driver" NYC, "Realm Of The Senses" by Nagisa Oshima International city ) sexy ( 'Night after night after night...' )
and sometimes dark place ( we saw people get robbed, mobbed, some with back pockets ripped open with a razor, edge city ) we felt in the character of the city at that time.
Art music from inside the city.
M D: Although I visited NYC a lot in the mid-70's, I didn't move here until the beginning of '79 - with the band I was playing with then, "Moon Maid & Theories of Exchange." We were from Providence, RI - and played original, politically savvy New Wave stuff (but we did also cover "I Wanna be Your Dog").
My friend Fred (eventually a member of Ike Yard in 1980-83) had moved here in '76 and found a job at the Strand Bookstore, where a few of the no wave musicians also worked. He introduced me to that music scene - which spoke to my creative interests much more directly that punk. I hunted down the recordings, and made trips down to NYC to see the bands play.
When my first band fell apart, Fred and I tried jamming with some other friends at the beginning of 1980 – sort of no wave meets Miles’ “Agharta” – synths, sax, wah wah guitars, crazy unmoored no wave drumming with a funk bass; in other words, a mess (and ultimately the Golden Palominos did that much better in 1983). One of those guys introduced by to Stuart during the summer (I’d caught his previous band, Futants, and dug them). He was playing drums with Ken on bass, and I pulled in Fred with his EMS synthizer to a rehearsal/jam – and everything fell immediately into place! With our interest in electronic music and processing, we were certainly a post-no wave band, and maybe even a post-rock band.I was making music and art: initially studying electronic music composition until '76 and soon picking up the guitar again when punk broke out, and as for art - making collages, altering newspaper photos, also did a few installations/performance pieces.

Do you guys consider yourselves “Industrial“?
S A: Not adverse to the term, and can appreciate and dabbled in it as a style. Society had to go through 'machine' and 'industrial' as it tried to get grips with third wave change all around . I Did enjoy moving to things towards 'post industrial' with Black Rain by '89 -'90 !
M D: Hmmm...sometimes? If you think about it, the Russian composer Alexander Mosolov invented the genre in 1926 with "Iron Foundry" - so it’s been with us for a while; Einsturzende Neubauten weren't the first. Did Ike Yard use scrap metal in performances and recordings? Sure, but we didn't ever limit our sound sources and structures to mirroring the industrial triumph or breakdown of our culture. We always kept our sights on the horizon, looking forward.

I’m glad you guys decided to reform, can I ask.. What took so long?
S A: Never expected to reform. Never saw it in the cards as when the group began dissolving , it was partly due to lack of interest from labels. The cyclical nature of culture , combined with the web's easy access to information and music archive, brought certain people to discover the group. I say 'discover' because there were few fans and listeners first time around . Dozens - hundreds at most.
M D: Although we’ve been friends for many years, and Stuart and I have also worked together in the experimental hip hop project Death Comet Crew – initially from 1984-89 and then again since 2003 after the compilation “This is Rip Hop” was released - there was no consideration of reforming Ike Yard…until our compilation on Acute was released in 2006.

Dan Selzer asked us if we’d be interested in playing some shows to support the CD, and we thought about it. Of course we wouldn’t attempt it if the music wasn’t happening, but after Stuart, Ken and I played together a couple of times, we could tell that, even after two decades, there was some real electricity there.

Have you guys fully embraced the new digital format of music or do you feel behind on the times?
S A: Well, 'digital' followed on from drum machines and MIDI which were firmly IY territory from inception to 1983 AD . For my part , I've dealt with digital in a few forms since it began. And with my Father working at The Pentagon when I was growing up outside DC, I may have gotten some idea what was being planned for the 'Monet' ( as the military insiders called it then ).
In 1984 it was CG and curiously working with artists like Gretchen Bender and Amber Denker who was involved with the research at NY Institute Of Technology. Next between 1985 -'90 was a whole wave of 'cyber' projects with William Gibson, Bruce Sterling , directors and artists that my partner William Barg and I embarked on.
M D: We have tried to move forward over the years, although it’s not easy keeping up with the latest versions of software. Our music, individually and as Ike Yard, has involved some sort of programming from 1981, initially with analog sequencing and then moving on to digital. I was doing sound processing and audiotape splicing since the mid ‘70’s, so it’s not as if we have had to adapt our basic approaches to music-making.
Ken, Stuart and I work with digital technologies on a regular basis - I also work with media in the context of my ‘day job’ which involves video and audio editing, and I have to handle media installations at a couple of galleries, so I keep up. True, we may not be working on the ‘cutting edge’ of this technology, but in our collaboration as Ike Yard, once we combine our aesthetics and whatever instruments or technologies we have on hand, we manage to come up with something unique and which stands on its own.

If you could collaborate with any artists both current and from the past what projects would you choose?
S A: Today, coming off of excellent collaborations with the likes of The Rammellzee ( RIP ) and Judy Nylon , I may have run through some wish list of collaborators I may have had. Too busy right now to think of hypothetical other artists and projects. So you have to watch this space as new things are always bubbling up.
M D: As Ike Yard, we’d like to collaborate on some remix projects – The Sistol (Vladislav Delay) remix we did titled “Nuomo” is out now. We’d be up for doing projects with, say, Autechre, maybe Scuba, Burial, or Aphex Twin? Also, it’d be interesting to work with Scott Walker.

You can only keep/listen to ONE album for the rest of your life ..which album would it be?
S A: Probably "Low" by David Bowie, followed closely by "The Idiot" by Iggy & Bowie
M D: Impossible to answer; perhaps Ignaz Biber’s “8 Violin Sonatas” from 1681, recorded by Romanesca, or Morton Feldman’s “Coptic Light” conducted by Michael Tilson Thomas.

Are you living your dream?
S A: Yes. But I have to dream it every night and keep it going...
M D: I’m living my life, the only one I have.

Thanx Stuart & Michael!

Ike Yard is back, hopefully for good. Make sure to catch up on their library when you have a moment..