[Read Part 1 HERE]

This post is actually the continuance of another one that we recently published.  In the previous post, we addressed a little about the background of artist, James Jean and introduced a new project that he’s been working on, called “RIFT“.  As we explained before, RIFT is a series of 15 postcards that, when combined, create two different landscapes.  The last article featured image of the first of these two landscapes, which is titled “SCULL“.  Now we have received a peak at “PROCESSION“, the second landscape, and I’m sure that you’ll agree that it’s equally as amazing. (more…)

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Exciting and heart breaking, and original, yet familiar; Built to Spill’s new album is everything that I had hoped that it would be.  There is No Enemy is comprised of eleven tracks which were recorded over a span of three years.   I have to admit that, when you love a band as much as I love this one, there is always a huge fear of disappointment that accompanies the anticipation of a new release.  This is especially true when a band has been around for a while and they seem unlikely to produce anything that could out-do what they have already created in the past.  For the many who share these concerns, I am elated to report to you that, Yes, I am in love with this album, and Yes, I do want to marry it.

The band is still based around Doug Martsch and his usual group of cohorts (Scott Plouf , Brett Nelson , Jim Roth, and Brett Netson), but this album also features numerous other guest musicians and past collaborators.  Sam Coomes (Quasi), cellist John McMahon, Scott Schmaljohn (Treepeople), and Paul Leary (Butthole Surfers) all make appearances.  Martsch’s wife, Karena Youtz is even credited with providing “some lyrics”, but this isn’t anything entirely new. She actually helped to write “Cleo“, one of my favorite songs from their 1994 release, There’s Nothing Wrong With Love.

There is no Enemy seems much less abstract than Built to Spill’s previous work, but it is no less profound. (more…)

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[UPDATE: View second landscape in part two HERE]

Taiwanese-American artist, James Jean is one of the most awe-inspiring illustrators working today.  By the time of his 2001 graduation from New York‘s School of Visual Arts, he had already been recognized with 4 separate prestigious art awards.  Since then, he has collected over a dozen more.  His work is rooted in fantasy and contains the dark, yet whimsical qualities of Victorian Childrens Literature.  His paintings are eerily beautiful as if they were manifested onto poltergeists stretched into canvas.  There is a deeply emotional quality to James Jean‘s art which, somehow, leaves it feeling both nostalgic and fresh.  A universal quality rests in this formula, which has garnered him critical acclaim for his work with clients that range from DC Comics to Prada. (more…)

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Cereal Killer

30 x19, Framed, Giclee on Canvas

$675.00

Los Angeles artist, Patrick Ballesteros isn’t a household name yet, but he may be on his way.  Over the last few years, he’s exhibited with some of the most prominent artists and rising stars in the underground, pop-surrealism, low-brow, and street-art movements.  Such artists have included Munk One, Luke Chueh, Chet Zar, Brian M. Viveros, Yuka Yamaguchi, and Audrey Kawasaki, among others.  Group shows are a great way to get your work noticed, but it’s also easy to have it overlooked, when placed amongst a sea of so many other strong pieces.  This month, Ballesteros is showcasing a collection of new work in his first solo show at San Diego‘s SUBTEXT gallery.  The exhibit, titled “Cereal Killer“, is a solid effort that will, hopefully, help to springboard the illustrator a little further into the fine-art spotlight. (more…)

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Along with the likes of Squarepusher, Amon Tobin was one of the first artists to give me hope for post-Kraftwerk electronic music and to really open my mind to the genre as a whole.  Being urrounded by ‘90s house and a plethora of clueless, wing nut, suburban candy ravers, instilled a prejudice in me that was hard to shake.  I’d been dragged to raves with monotonous, redundant beats and watched geeked-out teens gawking slack-jawed as some goon twirled glow-sticks in their faces.  Fortunately, I was able to slip out to a Q-bert or Afrika Bambaataa set but, overall, it was not working for me.  I had never realized the potential for live one-man electronica until I finally saw Tobin perform.  It wasn’t just about a laptop and some swirling shapes being projected across a screen.  During his sets, he actually puts on a show; constantly working and reworking every track to death and only moving onto the next one after he’s wrung it dry of every possibility.

Two years ago, the electronic pioneer released his sixth studio album, Foley Room.  With a continued focus on exploring new individual territory, Tobin used the project to venture into the realm of Hollywood “Foley” sound effects artists.  The incorporation of found sounds (tiger growls, hornets in a foil, electric toothbrush on a banjo, etc) and contributions by, string masters, Kronos Quartet, made for a eerily beautiful  industrial landscapes.  [For anyone that doesn't own the release, I suggest picking up the cd/dvd, which features video footage of Tobin collecting the field recordings]  Following the release, Amon set out on a meticulously orchestrated tour to promote it.  Last November, the  ambient wizard released Live in Brussels, an audio documentation of one of these live performances.  The album was provided in full-length, as a free download on Amontobin.com.  When visiting the site today, I realized a few things.  The first was that we never covered anything  regarding the Live in Brussels download, when it was released.  The second, and most important, thing was that it is still available on the site and can still be downloaded for free right now. (more…)

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Everyone has been waiting around to find out what was up with the Fall tour dates which, at this point, have really become much more like Winter Tour dates.  This morning, in typical Phish 3.0 fashion, the dates were introduced via a video on their website.  Most of you will be happy to know that the rumored dates that have been floating around for so many months have officially been confirmed as legit.  The real surprises are the two additional dates added to that list; one in Syracuse and another in Portland, Maine.  The Portland show is scheduled to take place at the Cumberland County Civic Center and will easily be one of the hardest tickets of the year to get your hands on.  The “C4“, as I have just decided to start referring to it as, is listed with a capacity of only 9,000.  What’s more is that the Syracuse show will be held at War Memorial at Oncenter (capacity 8,000).   ZOIKS!

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