Caley Conway, Partner
Refrigerator, Get Lost
Jeff Parker, The Way Out Of Easy
Mountain Movers, Walking After Dark
The Special Pillow, Meets The Space Monster
Little Hag, Now That’s What I Call Little Hag
Daga Voladora, Los Manantiales
Shady Cove, Part II
Oneida, Expensive Air
Cornelius, Ethereal Essence
Roger Moutenot, Microcosm
Ava Mendoza, The Circular Train
David Nance, David Nance & Mowed Sound
Alan Sparhawk, White Roses My God
Tim Heidecker, Slipping Away
Alan Licht, Havens
Julie Beth Napolin, Only The Void Stands Between Us
Mark Robinson (Teen-Beat Records, Cotton Candy) Kali Malone, All Life Long (record)
Miranda July, All Fours (book)
Kim Gordon, The Collective (record)
Ruben Pater, Caps Lock (book)
hollAnd, Green Text (record)
Katherine Small Gallery (store)
White Manna, Hackensack, NJ (restaurant)
Henry Smith, Film No.18 (Mahagonny) (film)
Bakar, Halo (record)
Escape-ism Black Gold (record)
Mount Kimbie, The Sunset Violent (record)
Ichiro Kishimi, Fumitake Koga, The Courage to Be Disliked (book)
King Krule, Shhhhhhhh! (record)
Papa Slumber’s Top Ten Listens of 2024 (Slumberland Records) Ability II – Rediscovered (I9M)
Autocamper – Blanche (Safe Suburban Home)
Jesse Garon & The Desperadoes – Janice Long Session 11.11.86 (Precious)
Shabaka Hutchings – Perceive Its Beauty, Acknowledge Its Grace (Impulse!)
Rachel Love – Lyra (The Cat Collects)
The Moment of Nightfall & Tony Jay – Winter Dream (Kilikilivilla)
Sharp Pins – Radio DDR (Sharp Pins)
Nala Sinephro – Endlessness (Warp)
The Softies – The Bed I Made (Father/Daughter)
v/a – Lost Paradise: Blissed Out Breakbeat Hardcore 1991-94 (Blank Mind)
I’m not going to get any less angry, so here we go:
Fanzines – loads of brilliant photos, pictures and writing, perhaps replacing record sales. Maybe we all need to evolve…
Clairo – get the latest lp if you haven’t already..
now..
really, are you still here?…
go… get the latest Clairo album, come back, read on…
Do not read on without that Clairo lp
YOU GOT IT? Ok, read on
Heavenly – they have returned just when we need them the most – May I be among the first to solemnly declare allegiance to the flag of FUCK YOU NO WAY
Saturday Night Fever – seen for the first time in 2024, after nearly fifty years of being told “it’s not what you think it is” it wasn’t what I thought it was. Led to me listening to a LOT of disco, good and bad, and buying a LOT of paint.
Italian exploitation soundtracks of the 70’s – turns out it’s the best music there is
Despair – we did our best, it was fun while it lasted, but the cunts have been voted in, promoting the far right, buying politicians and media networks – but remember everyone who didn’t vote for it, we stand together, we are here for each other. I don’t know what it means, but if there is anything I can help with I am here – wiaiwya on most media (fuck you billionaires, we will use your networks while we can) – please get in touch – we are here for each other…
The future – it is ours… it has to be.
FUCK YOU NO WAY
Can you say cunt in America? Hope you can’t and you will anyway- because he is one!
Some books from 2024 that I have read/am reading and thoroughly enjoy – not in hierarchical order, but I do love Joni Mitchell more than most things:
• Traveling on the Path of Joni Mitchell by Ann Powers is my fave of the new books I’ve purchased this year because, well, Joni. There is not a wasted syllable in it, and the “traveling” and “path” is an extended metaphor for both Joni and author Ann Powers.
• How Women Made Music includes two photographs by me, but that’s not why I love it. It is an important reference work of NPR dispatches with thorough curation by Alison Fensterstock. I have lost track of how many people who have received this book from me as a gift. If you still haven’t gifted anyone anything yet – I highly suggest How Women Made Music. And sharing good reads isn’t just for Christmas or year-end lists.
• In Under a Rock, Blondie’s co-founder, Chris Stein delivers a delightful valentine to the NYC of his youth. It’s no wonder Blondie was a pioneering musical project. I wish that NYC still existed.
• The surrealist next door, my former neighbor and lifetime icon of pop surrealism, Robyn Hitchcock also paints a picture of his Groover origin story in 1967: How I Got There and Why I Never Left. He made a companion album to go along with it, which is a fave listen as well.
• The Freaks Came Out to Write: The Definitive History of the Village Voice, the Radical Paper That Changed American Culture. I lived in NYC for 20 years, but I read the Village Voice long before and long after I lived there. What a fantastic biography of a print icon! Bravo Tricia Romano onyour widely heralded book!
• Cue the Sun: The Invention of Reality TV by Emily Nussbaum I’ve worked in television, and I grew up in Santa Barbara and witnessed the Loud family open their lives to the PBS series about them – An American Family, which was the first “reality show” in the early 1970s. Emily Nussbaum nailed this on every point; she has been writing about television for a long, long time and deftly connects all the dots. I am a hard one to convince, since this particular example took place in my very hometown at the peak of my snarky teenage phase. Read for yourself, Emily got it right !
• Miss May Does Not Exist: The Life and Work of Elaine May, Hollywood’s Hidden Genius. I have a personal obsession with the films ISHTAR and REDS, which Elaine May wrote, and co-wrote (no on-screen credit for REDS), and so does the author Carrie Courogen who appropriately identifies Elaine May as “Hollywood’s Hidden Genius.” This is a phenomenal effort and it places my head in a space that helps me understand why I am happy when I’m immersed in ironic satire.
Music and Film – Mostly I was underwhelmed this year – too much hype; too little deliverance. That being said, The The in concert was impressive, with the first set being their new album, Ensoulment, and after a brief intermission, a set of hits and fan faves. Way back in January, I saw Elvis Costello & the Imposters put on the best concert (3+ hours!!) I’ve ever seen and heard.
Kim Baxter’s (All Girl Summer Fun Band) Top 10 Favorite Things About Reuniting with AGSFB in 2023
The amazing feeling that occurred when the 3 of us got together and started playing music again. It was like no time had passed at all. I didn’t realize just how much I had missed playing with Jen & Kathy.
Having friends come to our shows that we hadn’t seen in ages!
Encountering the nicest and most helpful sound people that we have ever worked with.
Jen’s contagious excitement for playing shows & recording music again, her awesome playlists & podcast selections, and her ability to drive for hours on end.
Figuring out that if we rent an AirBnB with a garage, we don’t have to unload our gear each night. Our favorite new tour hack!
Getting to play shows with so many awesome bands & people-Tony Molina, Mo Troper, The Softies, Growing Pains, Who Is She?, Love in Hell, Tony Jay, Kids on a Crime Spree, Rose Melberg, Lunchbox, Wifey, Field Drums.
Catching up, cracking up, and built-in therapy + pep talks with Jen & Kathy at band practices and on the road.
Hitting all of the health food co-ops on tour (Kathy is an expert at finding them) and being instantly transported back to the 90’s by the smell of nutritional yeast and nag champa.
Sitting around in our PJs after shows and watching back-to-back episodes of Selling Sunset together (so bad, yet so good).
Making plans for future shows and writing & recording new music!
Favorite Youth Slang – LFG! (In a text, it means Let’s Fucking Go)
Great albums – Black Rainbows by Corinne Bailey Rae; The Water, The Sky by Black Belt Eagle Scout
Favorite Books – My Murder by Katie Williams and The Fraud by Zadie Smith
James McNew’s Favorite songs 2023:
Staple Singers, “The Gardener” (1970)
The Cyclones with Count Ossie, “Meditation” (1973)
Thin Lizzy, “The Friendly Ranger at Clontorf Castle” (1971)
Jimmy Flemion, “Oh Babe, What Would You Say” (2022)
Little Obsessions, “Can’t See What’s Mine” (2023)
Rob Sonic, “Mink” (2023)
Dave Edmunds, “Where Or When” (1977)
Flo and Eddie, “Keep It Warm” (1976)
Ceremony, “Your Life In France” (2015)
Yozoh, “Tommy” (2022)
The Notwist, “Sans Soleil” (2021)
Evelyn Hurley (Cotton Candy): Top fave shows of 2023
I watched a lot of good television shows this year, so in no real order, here’s a list of a few or my favorite tv shows for 2023:
Slow Horses – this TV show is on a lot of peoples “Best Of” lists and there’s a good reason for that, it’s really good! The acting and stories are super suspenseful, and it’s really funny. Highly recommend!
Rain Dogs – this is a British TV show which was really touching, even though the protagonists are somewhat unlikeable and flawed. The lead actress/writer/creator, Daisy May Cooper, is super talented, and she has another show on my list, which is called…
Am I Being Unreasonable? – this is the other Daisy May Cooper show on my list, and it’s completely different from Rain Dogs. The story is so compelling and the twist at the end had me literally screaming. Definitely watch this if you can, you will not forget it.
Schmigadoon – the second season of this show was based on the musical Chicago rather than Brigadoon, and songs are catchy, the story is clever, and the singing and acting is so good. It’s a great series, watch it if you get the chance, especially if you’re old an old theater kid like me.
Afterparty – this is also the second season of this show, and it’s really so well done with clever, jokes and great acting by everyone. I did not predict the ending at all!
Physical – this was the third and final season of the show and in my opinion it’s really one of the best TV shows I’ve seen in years. Rose Byrne is so excellent, which is saying a lot because every single actor in the show is fantastic. I can see why some people are uncomfortable with this show because it might trigger some trauma people have had with an eating disorder, but the way she portrays a working business woman in the 80’s, with all the references to exercise trends, clothing, foods, is really well done without being preachy or grating. Also, big shout out to Zooey Deschanel, whose portrayal of a zany character was so great.
Big Door Prize – the show was kind of a sleeper but I thought it was really good. Chris O’Dowd is really hilarious in an understated way, and Josh Segarra was so great as the almost-successful hockey player-has been. I still can’t really figure out what is going with the plot, show but it’s a good show!
Hijack – this Idris Elba show was so good, but it’s really suspenseful, so don’t watch it if you don’t like being stressed out.
Pretty Baby: Brooke Shields – this is an amazing documentary about Brooke Shields and how she grew up in the public eye in the 70’s & 80’s. I grew up the same time as Brooke, so all the footage of her childhood was a trip down memory lane for me, only this time I realized how incredibly exploited she was by almost everyone in her life. She handled every single man, woman, TV star, movie star, interviewer, journalist, etc… with such grace and respect, even though they were all usually acting like massive creeps. (Looking at you, Bob Hope.)It’s incredible how she turned out so well adjusted, because she seems like a really cool person.
WHAM! documentary – I’m a big George Michael & Wham! fan, and this documentary was really well done and very sweet. It showed how incredibly talented and driven George Michael and Andrew Ridgely were. I especially loved how tormented George Michael was when he knew that his song “Last Christmas” wasn’t going to be the number one Christmas song because Band Aid would knock it off of its 1st place space, even though he was also on that song. But I especially loved the sweet friendship they had, and it makes me sad that Yog died way too young.
Sukhdev Sandhu (Photo: Gail O’Hara)
Sukhdev Sandhu (English professor, critic, event creator, and CF contributor/MC)
* Chiara Ambrosio is one of the most teeming, tireless people I know. She lives in London, is a writer and an artist and a filmmaker and a puppeteer and a publisher, and champions that which deserves championing. In this year alone: a linocut response to Yannis Ritsos’s Monochords; The Book of Raft – a companion to an upcoming film championing cultural hubs/ holdouts in London; a wonderful event at The Horse Hospital in Bloomsbury – which featured broom-dancing children, Kurdish singing and mulled wine-enhanced wassailing deep into the December night.
* I’m not sure if Mike Rubin ever sleeps. Almost every night he ranges across New York, shows in places both lofty and busted, often attending more than one event – jazz, hip hop, soul and post-soul, mangled electronica, beats from all across the world. He documents these fastidiously, making sure musicians and performers are properly credited, and flagging them up on his crucial Instagram page. It’s a wonderful resource and, in the words of the Caught by the River magazine, ”an antidote to indifference”.
* Archive Books. These days, every bookshop, big or small, cussedly individual or corporate, deserves at least two cheers. And then there’s Archive Books in Marylebone, London. It’s hard enough to get inside, far less glide down its aisles. There’s no space – except to wonder. Its shelves tower and teeter. Edwardiana for a couple of quid. Cricketing autobiographies, collected journalism of long-forgotten Fleet Strack hacks, self-published cookery books, an Aladdin’s cave of a basement crammed with music scores. Impossible to leave, most likely hours later, without a couple of bags of unknown pleasures in hand.
* There are more famous names in food journalism, but Sheila Dillon is in a league of her own. Since the late 1980s, she’s been reporting for – and later presenting – BBC Radio 4’s The Food Programme. Week after week, with clarity and dry wit, she has kept listeners in the now about topics such as the baneful power of the big supermarket chains, the BSE scandal, the fall of Communism’s impact on Russian food systems. Never talking down, pretending to be our pal, or following critical fashions, she is a truly great broadcaster.
* I’m Sorry I Haven’t a Clue. If England still exists, it’s here in this BBC Radio 4 panel show that’s been running since 1972. Its first host was jazzbo Humphrey Lyttelton, about whom Radiohead’s Jonny Greenwood said, “Without his direction, we’d never have recorded/ released ‘Life in a Glasshouse.” One of the programme’s quizzes – Mornington Crescent – is as recondite as any Fall lyric. Another – ‘Uxbridge English Dictionary’ – requires contestants to supply new definitions for existing terms; among those proposed in the Christmas 2024 edition were “aspic: disgusting habit”; “jacuzzi: French for ‘I blame myself'”, and “criteria: cafe for sad people”.
* Radio – live, now, happenstance – is still a thrill. My favourites are Andres Lokko on Sveriges Radio – 2pm every Sunday. Kevin Pearce-style Modernism forever! And Jack Rollo, half of Time Is Away, helming The Early Bird Show on Fridays from 7-9am. Aching folk, glassy ambient techno, worlds of echo, a hush and a huddle for everyone who’s just about made it through another week.
* Back in March, I was lucky enough to be allowed to stage a screening, the first in North America, of Being Mavis Nicholson. How I adored the Welsh TV interviewer when I was younger. So curious, warm, intelligent. She called herself “a natural gasser”. The documentary’s director Carolynn Hitt was closer to the truth: “When a conversation is good, you’re so engrossed in it, it’s like a blanket going round you both…”
* Art galleries: take them away. Too many pious shows, lumpy wall-text, the visitors samey-same. I’ve been going, more and more, to museums. More history, sense of place, modesty. More ‘there’ there. Among my favourites this year the Stadsmuseet in Stockholm, the Franziskaner Museum in Villingen (particularly the spectacularly alarming masks and colourful costumes associated with the annual Fastnacht festivities in southern Germany), and the KattenKabinet in Amsterdam Bob Meijer founded in 1990 to celebrate feline portraiture. There are sleepy cats in some of the townhouse rooms and in the garden. Everything about the place is purr-worthy.
* Monica Zetterlund and Sivuca performing together. That scarf!
* East Broadway, New York City. When you want to get away, when you want to stay, when you want to feel like you’re somewhere: East Broadway – in the autumn, Thursday afternoons, breezes and leaf-carpeted sidewalk. Stay outside, go inside – it doesn’t matter. Carol’s Bun, Ritualarium, The House of Sages. Walk your blues, walk into blue, walk off your blues.
As always: The Style Council, ‘It’s A Very Deep Sea’; Woo, ‘This Love Affair’; Kevin Ayers, ‘May I?’; Nico Fidenco, ‘Ligados’. But also: Erlend Øye & La Comitiva, ‘Mornings and Afternoons’; The Embassy, ‘Escape’; Guy Cabay, ‘Pôve Tièsse’; Romy, ‘She’s On My Mind’.
Gail O’Hara / CF editor/photographer’s ten songs stuck in my head:
Things I’m looking forward to: New Softies and Umbrellas albums, Heavenly and 69LS shows
Pete Paphides (Photo: Gail O)
Pete Paphides (author, critic, Needle Mythology records)
Condiment/seasoning of 2023: Vegan Smoky Bacon Nooch by Notorious Nooch Co.
Protein shake of 2023: Milk (semi-skimmed or oat), peanut butter, whey powder, one frozen banana, sunflower and pumpkin seeds, almonds. Blend. Drink. Oh my god.
Sandwich of 2023: The simple tomato sandwich. Trust me. Nothing else. Just some buttered bread and a sliced room-temperature tomato with a dash of salt.
Various artists anthology of 2023: Disco Discharge presents Box Of Sin. A four LP soundtrack to the gay clubbing experience of the 80s.
Single artist anthology of 2023: The Teardrop Explodes: The Teardrop Explodes: Culture Bunker 1978-1982
Music memoir of of 2023: Paul Simpson: Revolutionary Spirit – A Post-Punk Exorcism
Memoir of 2023: John Niven: O Brother
Most heroic, articulate and humane corrective to toxic masculinity of 2023: Caitlin Moran: What About Men?
Late to the party TV experience of 2023 (i): Better Call Saul
Late to the party TV experience of 2023 (ii): Season one of Fargo, especially Billy Bob Thornton as Lorne Malvo
Cereal of 2023: Robert Forster’s Spring Grain muesli
Football (soccer) hero of 2023: Spurs manager Ange Postecoglou in the interview after losing to Chelsea with two men sent off and refusing, on point of principle, to adjust to a defensive formation in order to avoid being pummelled by their eleven man opponents: “It’s just who we are, mate. As long as I’m here, that’s what we’re going to do. ‘Even with five men, we’ll have a go.’”
Carb replacement of 2023: Edamame spaghetti.
Gig of 2023, not including gigs by humans I had a hand in making: The Northern Soul Proms at The Royal Albert Hall; The Soup Dragons at Electric Ballroom; The Bluebells at Glasgow St Lukes
Gig of 2023, including gigs by humans I had a hand in making: Eaves Wilder’s last-minute set on the second stage at Glastonbury (replacing the also-brilliant Japanese Breakfast, who were/was stuck in transit).
Song of 2023, not including songs by humans I had a hand in making or artists whose album was released on my label: Nadine Shah: Topless Mother
Song of 2023, including songs by humans I had a hand in making: Eaves Wilder: Freefall. Literally my most played song of the year
Song of 2023, including songs by artists whose album was released on my label: Iraina Mancini: Cannonball. Or maybe this was my most played song. It’s close.
Album of 2023, including albums released on my label: Iraina Mancini: Undo The Blue.
Album of 2023, not including albums released on my label: Grian Chatten: Chaos For The Fly; Beatowls: Marma; Mitski: The Land Is Inhospitable and So Are We
Exhibition of 2023: Women In Revolt!, Tate Britain
Parental pride moments of 2023: Seeing the results of Dora Paphides’ astonishing work for The Last Dinner Party’s My Lady Of Mercy, Fred Roberts’ Say and Chinchilla’s Cut You Off; Running along Brighton seafront to a Eaves Wilder’s just-released Hookey EP and thinking my heart was about burst (in an utterly wonderful way).
Inspired musical collision of 2023: John Douglas from Trashcan Sinatras on my Soho Radio show, creating a brand new acoustic accompaniment to the vocal of Stormzy’s Firebabe.
Lazarus-style return of 2023: The Bathers: Sirenesque
Label of 2023: Last Night From Glasgow
Drink of 2023: Sainsbury’s own brand peach iced tea. And you can have as much as you want because zero calories
Meet your heroes pinch-me moment of 2023: Interviewing Chrissie Hynde for Record Collector. I was told one hour. Three hours later, I left and somehow my car hadn’t been clamped or ticketed.
Best album recommended to me by one of my heroes: When I got to Chrissie Hynde’s apartment, she played me Spooky Two by Spooky Tooth. The first thing I had to do after I left was locate a copy.
Chocolate of 2023: Snacksy Raw Chocolate with Ginger
Cake of the year: McVities Jamaica Ginger Cake with Madagascan Vanilla Custard. In a teacup or mug, eaten with a teaspoon. Whilst watching Great British Bake-Off on the sofa.
Belated realisation of 2023: Boiled eggs make great hand warmers + once you’ve warmed your hands on them, you can eat them.
Record I Didn’t Realise I Most Needed In 2023: dEUS: How To Replace It
Most perplexingly ignored album of 2023: Keaton Henson: House Party
Best Instruction Given By An Artist When Telling Their Band How To Play Their Songs During The Recording Of An Album: “Just try and channel the soundtrack of Ten Things I Hate About You” – Keaton Henson
Big-hearted, perfectly judged, very very very funny movie of 2023: No Hard Feelings. Jennifer Lawrence and Andrew Barth Feldman both just utterly perfect in it.
Andrew Bulhak (musicwriter, DJ) Top Songs of 2023 (not necessarily in this order): Emma Anderson – Clusters
the bv’s – warp
Hot Coppers – Hot Coppers
Jimmy Whispers – Ice Cream Truck
Lael Neale – I Am The River
Leah Senior – The Music That I Make
Pickle Darling – Kinds of Love
Slowdive – Kisses
Spearmint – tell me about my sister
Spunsugar – Metals
Strawberry Runners – Circle Circle
yeule – dazies
Borrowed from https://www.instagram.com/macsuperchunk/
Mac McCaughan (Superchunk, Merge Records): Fave Reissue / Archival Releases of 2023
Pharoah Sanders – Pharoah (Luaka Bop)
Reissue of an album by the jazz giant we lost last year that you pretty much just had to listen to on YouTube until now unless you had hundreds of dollars for an original copy. The music (incl a bonus LP of unrelease live performances) is amazing and the package includes a booklet, photographs, flyer reproductions and other ephemera.
Chin Chin – Cry In Vain (Sealed Records)
My fault for not knowing about this incredible all-girl Swiss punk group from the 80s. Amazing songs which remind me of a slightly more aggro Look Blue Go Purple. Can’t stop listening!
Milford Graves / Arthur Doyle / Hugh Glover – Children of the Forest (The Black Editions)
The Black Editions label has uncorked a flow of powerful free jazz archival releases over the last few years and this previously unreleased home-recorded by Graves performance from 1976 is essential. The world will be catching up with Milford Graves forever i think.
Masayuki Takayanagi – Mass Hysterism In Another Situation (The Black Editions)
Electric guitar destruction from ’83 and a two-guitar & drums trio led by Takayanagi. Massive.
Milford Graves / Don Pullen – The Complete Yale Concert 1966 (Corbett Vs Dempsey)
Speaking of Milford Graves, i keep trying to imagine what the audience expected / what they got when they attended this intense performance in 1966… Long out of print and lovingly put back together by the fine people at Corbett Vs Dempsey.
Arthur Russell – Picture of Bunny Rabbit (Rough Trade)
The Arthur Russell archive may be bottomless but if it’s all as listenable as what’s been excavated so far I hope they keep it coming.
Hiroshi Yoshimura – Surround (Light In The Attic)
“Environmental music” commissioned by a home builder to play in their living spaces or something like that… recorded the same year as one my favorite ambient records ever, Yoshimura’s Green LP and never reissued before, Surround is as liquid and beautiful as the sleeve suggests.
John Coltrane – Evenings At The Village Gate: John Coltrane with Eric Dolphy (Impulse)
Minor Threat – Out of Step Outtakes 7″ (Dischord)
The titles of these two releases tell you all you need to know!
Thanks to everyone who has given press coverage to Connie Lovatt’s Coconut Mirror. You can listen to the album on Bandcamp, Soundcloud and other digital platforms. The limited edition compact disc is also available at My Vinyl Underground in Portland, OR; Monorail Music in Glasgow, Scotland; and Main Street Beat in Nyack, NY. More shops coming soon (please contact me if you’d like to sell it!) Thanks to Daniel Gill/Force Field for PR.
While we also interviewed Connie Lovatt in our 2022 issue of chickfactor (19), we interviewed her again just about Coconut Mirror, out Sept. 27 on our label, Enchanté Records (based in the U.S., not the one in Paris, France). Also read about the dream team who plays on it. Interview: Gail O’Hara
Connie Lovatt in Carrboro, NC, 2023. Photo: Gail O’Hara
chickfactor:When did you start making Coconut Mirror? Talk us through the timeline. Connie Lovatt: When [my daughter] Hartley was around 1, we needed to get help with childcare. We didn’t have family in Los Angeles and both our moms had been so generous with their time, traveling out to care for Harts as we adjusted into being parents. But as she got older, I needed to get some structured help so I could take a break during the day. Her name was Diana, and she was incredible. Later Lucy [LaForge] took over and was amazing with Harts, too. During my breaks I discovered I didn’t even like to go anywhere in LA. I started to hang out in my garage and read and work on songs. I didn’t play guitar because the sound would tip off Harts that I was somewhere in the house, so I didn’t do anything with an instrument. I started making up melodies with some phrases. After a few months doing that off and on, I had 11 solid song ideas.
That was 10 years ago. So this was 2013. You can get into something for a little bit and then your kid gets sick and takes you out of it, or something happens, and I would put it away for a very long time. And years would go by, where like off on, off on, I gathered up melodies for each song. And then maybe three or four years ago (2019-2020), it was time to put chords to the melodies and see if the songs were indeed real. That’s kind of hard to do when you start with a vocal melody, to find the right chords and the flow. It was hard for me I mean, learning how to put chords to melodies that already existed because I’m not a great guitar player. And once I got that done, it took a couple years to figure out the directions of stuff. It was the first time I wanted every song to hold a sense of clear narration. I kept working on words all the time, and then when the pandemic hit, at some point, I would send lyrics to Bill [Callahan] and I’d say, “How’s this looking?” One day he gave the thumbs up, and I was galvanized!
Seven months after the pandemic started, we went to New Zealand. Ravi [my husband] got me this little digital four-track and I took it with me. We were there for six months, but two months before we were set to leave, I got it in my head that I had to get these down. I’d been sick for months with odd symptoms with what was eventually diagnosed as long COVID. We’d moved halfway across the world, and I wanted something to show for all this lost time. And it was time for me to face reality, to see how they sounded recorded. We were living in this pretty wood house right on the ocean. The weather in Wellington is extremely moody and beautiful. Almost every walk was challenging and wonderful. Every moment sheltered in the house was good. So, I started doing it, closing my bedroom door, and putting down the guitars and vocals. After months of being sick without any answers, it was incredible for me to hold in my hands something I’d made. It seemed impossible.
The cover features a drawing by Connie’s sister Jennifer Lovatt
When we got back to Los Angeles, I found an engineer. He was a dad friend from our school. I’ve known him from the dozens of school events we went to with our daughters, and he was always helping with sound, at recitals or school plays etc. He’d been an engineer on tons of records from Veruca Salt to Barbara Streisand. His name is Joe Wohlmuth. So, I brought him all my files and I told him I wanted to work off these. I told him something magical happened in New Zealand and that my hands and vocals aren’t the best because of all these neuropathy issues but I want to build on what we have here. Then it took a little while longer to get other players. I was lucky enough to have beautiful Jim White secured but needed to wait for a break in his on-the-go schedule. Once we added Jim’s drums, I was able to send it to killers like James (McNew) and Rebecca (Cole) and Che (Chen) and slowly start building up everyone else’s tracks. Another person that helped me to build up confidence in these songs was Phoebe Gittins. She’s amazing and has an equally amazing mom, Philippa. Philippa was instrumental in helping us find the house we stayed in while in New Zealand, and she lived a couple houses down the road. She was the bestest next-door neighbor anyone could ask for. Her husband, Seth, had an acoustic guitar he generously lent to me while there. It sounds great and is mostly what I play on the record. When I met Phoebe, I learned she was a self-taught piano player. There was this piano in the house we were staying in and I had a couple songs down and I asked her to come by and put on headphones and play along to it and she sounded so beautiful. I kept those tracks, and they are on the album. She did so beautifully on those songs that when I eventually got back to LA, I sent her a couple more songs to work on. My friend Max Tepper lived close to us in Los Angeles, and I asked him to do some synthesizer stuff and he kindly wrote and handed over all sorts of cool sounds to work with. All the instruments, except for Lucy’s harmonica, were sent remotely. Joe and I would sit down and comp them in as they arrived and place them where we wanted, do little edits, and move things here or there to perfect the things we wanted. Then I re-sang everything except for some backing vocals that I kept from the New Zealand recordings. We rerecorded 3 guitar tracks, too.
You recorded this album next to the ocean. It’s hilarious that you went to New Zealand and made a Laurel Canyon record even though you were living in L.A. I didn’t know how it would all come together till New Zealand. Everyone that I’ve loved is in this record. Everyone that matters, women, men, they’re all in there somewhere. I wanted to show Hartley that after giving birth, that I could still make something. I wanted to make a record with acoustic guitar where I’m telling my daughter all the stories that mattered to me. My first few years in California, I listened to a lot of Neil Young and Judee Sill and some Stevie Nicks demos and Sandy Denny. I wanted their voices in my head as I got to know California. All the songs I had written with Fontaine [Toups] and Ed [Baluyut] (in Containe and the Pacific Ocean) were written so fast. They were immediate. I knew I was going to spend a lot of time on this. That I wanted to be certain of every word and note and it wasn’t rushed during the fun of hanging out with friends and trying to learn how to play or how to be in a band. I worked way, way faster then. Everything I did with people that was collaborative, the pace of that was not nearly as careful as I was now attempting. I’d never spent this much time writing one song, much less 11.
So, the recordings you made in New Zealand are these songs and you built on top of them, basically subtracting and adding after you got back. Yes. Almost all the acoustic guitar, lots of the backing vocals and a few of Phoebe’s piano tracks, all came from the work done on that little 4-track in New Zealand.
Who else plays on the record? Lucy, who helped us take care of Hartley in the beginning, she writes and performs and is a strong singer. She plays all sorts of instruments. She’s one of those people that can play a million things. So, she came in and did harmonica and some backing vocals on “Sisters.” James Baluyut plays pedal steel on “Sisters.” And I think that’s everybody. Yeah. Phoebe, James [McNew], Jim [White], the other James [Baluyut], Lucy, Max, Rebecca [Cole], and Che [Chen]. And Hartley’s screams of joy as she played video games with friends a world away are heard in the background on a couple songs.
Bill Callahan produced one of your previous albums (The Pacific Ocean’s So Beautiful and Cheap and Warm). You’ve known each other since then, right (2002)? Yeah. And then I played bass on his album A River Ain’t Too Much To Love.
Would you say that Bill was a consultant? He was a loyal champion. He would check in and ask how the songs were going. Just by being interested, he gave me strength. He knows what I’m trying to do or trying not to do. No matter if I’m successful in my attempts or not, he’s kind and honest so the courage to work on remains no matter the feedback. I’m lucky to have him there telling me, “This is working. This could be better.” Everyone should have Bill as a friend. The end of “Kid” is now perfect due to him.
What else informed the record and its process? Motherhood. Wifehood. My life changed course. I hadn’t touched an instrument for a couple years. When I started working on the melodies that would eventuality became the songs, I felt excited. I had so many happy moments playing in bands. I got curious if I could be happy trying this on my own. If the joys would still be there with just me in the room. I got really into it when I solved problems or things sort of elevated. I couldn’t quit caring about it. I wanted to finish this letter to my daughter, which is what it was becoming the more it came into view. You can’t give up on a letter to your kid! Sometimes I wish it hadn’t taken so long, that all those stops and starts and long gaps between stabs at the work hadn’t happened. But I was a different person in ways, compared to when I started, when I finally recorded it all. I’d became a bit of a perfectionist in that I no longer regarded impatience as a valid motivator to wrap it up. It had its own timeframe in my life and I was along for the ride. I finished when I finished and it felt good.
The New York singer-songwriter Connie Lovatt talks about all the amazing musicians who play on her new solo album, Coconut Mirror (out on our label Enchanté U.S. Sept. 27 on Bandcamp, CD and select streaming services). Workspace images courtesy of the artists.
Connie Lovatt’s workspace
Connie Lovatt, Coconut Mirror (Enchanté US, out Sept. 2023) Songs written by Connie Lovatt / Produced by Connie Lovatt
Connie Lovatt: vocals, acoustic guitar, tambourine James McNew: bass Jim White: drums Rebecca Cole: keyboards on Basin, Broke, Sisters, Snow Che Chen: lead guitar on Sleep, Snow, Lines Phoebe Gittins: piano on Broke, Gull, Heart, Honest, Kid, Snow, Zodiac Lucy LaForge: backing vocals, harmonica on Sisters Max Tepper: synthesizer on Heart, Honest, Snow, Sleep, Zodiac Bill Callahan: vocals on Kid James Baluyut: pedal steel on Sisters Hartley Nandan: screaming on Sleep
Recorded by the artists and Joe Wohlmuth Engineered and mixed by Joe Wohlmuth Mastered by Jeff Lipton and Maria Rice at Peerless Mastering, Boston, MA
Jim White’s work area
Jim White: A brilliant friend that gave the album the topography of dreams. I’ve listened repeatedly to him playing on some of my favorite songs over the years and can barely believe he’s playing on mine. What kind of magic is this?
James McNew recording his bass parts; drawing by James
James McNew: If you could walk up to a music library and ask it “can you play bass on my songs?” and then the music library sits up cozy next to you and says “watch this” and solves all your problems.
Rebecca Cole’s recording room
Rebecca Cole: I asked her to play on some songs when she was practically 48 hours from leaving on tour with Pavement. Her suitcase was probably 1/2 packed on her bed. I got a very sweet “I’ll try” kind of answer. What she sent back sounded so good you would have thought I gave her a year’s time.
Where Che Chen makes his magic
Che Chen: I think the most interaction I’ve had with Che is sharing a smile as we walk past each other at a club or a hallway in a rehearsal space. But I knew his guitar playing very well. To me he is psychedelic in that he’s both the mindset and the setting. I felt brave asking him to play. He was kind and overdelivered and I love it all.
Phoebe Gittins’ piano and her assistant
Phoebe Gittins: I was at the end of my tattered thready rope when I started recording and man, I just didn’t know. Asking Phoebe to come by and play on a song to just see if it could be even something another musician could hold on to was one of my better moves. She is so melodic and musical that I’m telling everyone I know you need to lay roses at her feet and ask her to play on your songs. She’s the sweetest.
Where Max thinks of his outer space sounds
Max Tepper: Max is a family friend and our daughters have known each other from months old. He plays guitar and is road-tested and knows all the bands and all the stories. I knew keyboards and synths were a part of things in his world. I don’t know exactly when or why I heard synths on certain songs, but I was so lucky Max understood what I meant when I asked. He sprinkled the heavy sparkles!
Where Lucy LaForge works
Lucy LaForge: For my young daughter she was magical like Mary Poppins, except the umbrella was a guitar and the chimney sweep was a stuffed cow. For me, on this record, she was a rock who tried everything from tap dancing on the studio floor to harmonica, to trying all the harmonies on “Sisters” to autoharp. She has a bag of tricks no matter where she goes.
James Baluyut’s music room
James Baluyut: A very patient man who helped me send off some final backing vocal ideas as he simultaneously figured out some flawless pedal steel for “Sisters.” He’s a positive force to be around when making music. Nimble and always pushing things forward. I took up his time but I brought him enormous chocolate chip cookies.
Bill Callahan’s workspace
Bill Callahan: He’s one of my favorite songwriters of all time. I got to sing on a couple of his songs a while back. It took a few years for me to write a song good enough for him to sing on. He won’t be losing any sleep about my latest theory, but I do think I’ve shortened his 8 furlong lead by an inch.
Where Joe Wohlmuth and Connie worked on Coconut Mirror
Joe Wohlmuth: All contributors, except in-town Lucy, recorded their own work and everyone did an excellent job. This method, no matter how carefully done, created many sonic scenarios that were out of Joe’s control. Background noises, mic issues, consistency, tempo, etc., etc., had to be addressed and blended together to Coconut Mirror’s starry-eyed standards. Joe has an ear that no note can slide past unaccounted for and he helped guide these songs through every step with an attentive ease.
The cover features a drawing by Connie’s sister Jennifer Lovatt
In September 1993, Connie Lovatt and Fontaine Toups played together at a chickfactor party at Acme in NYC under the name Containe. When I heard them play, I immediately offered to put out a 7-inch single and our label Enchanté was born (not to be confused with an electronic label in Paris). That pivotal moment resulted in close friendships, two Containe albums, three The Pacific Ocean releases and a partnership that continues to this day.
Now, 30 years later, we are so proud to announce the release of Connie’s first solo project, Coconut Mirror. She wrote all the songs and brought together an amazing group of contributors, and it will be released Sept. 27, 2023. Lovatt grew up in St. Thomas and has lived in New York and Los Angeles. She previously made music with Containe, the Pacific Ocean, Alkaline, and Smog.
Connie Lovatt in Carrboro, NC, 2023; photo: Gail O’Hara
Coconut Mirror is a family record and a love letter/life guide to her daughter—full of carefully constructed songs about drownings, cockfights, the ocean, happiness, drug dealers, poverty, heartache and love—written over the past decade or more in Silver Lake/Los Feliz and Wellington. Because of time and space and COVID, the musicians who play on the album recorded their own parts and sent them in to Connie, who worked with Joe Wohlmuth on crafting her solo singer-songwriter debut into a beautiful whole with some of the music world’s most sparkling gems playing on it.
“Everyone that I’ve loved is in this record. Everyone that matters—women, men, they’re all in there somewhere … I wanted to show my daughter that I could still make something after giving birth. I wanted to make a record with acoustic guitar where I’m telling my daughter all the stories that mattered to me.” — Connie Lovatt
All songs written by Connie Lovatt (BMI) copyright 2023
Connie Lovatt (acoustic guitar, vocals, backing vocals, tambourine) James McNew (bass) Jim White (drums) Phoebe Gittins (piano on “Broke,” “Gull,” “Heart,” “Honest,” “Kid,” “Snow,” “Zodiac”) Max Tepper (synthesizer on “Heart,” “Honest,” “Snow,” “Sleep,” “Zodiac”) Rebecca Cole (keyboards on “Basin,” “Broke,” “Sisters,” “Snow”) Che Chen (lead guitar on “Sleep,” “Snow,” “Lines”) Lucy LaForge (backing vocals, harmonica on “Sisters”) Bill Callahan (vocals on “Kid”) James Baluyut (pedal steel on “Sisters”) Hartley Nandan (screaming on “Sleep”)
Produced by Connie Lovatt Recorded by the artists and Joe Wohlmuth Engineered and mixed by Joe Wohlmuth Mastered by Jeff Lipton and Maria Rice at Peerless Mastering, Boston, MA
Connie in NYC, 2022. Photo: Gail O’Hara
Cover drawing by Jennifer Lovatt Special effects by Adam Woodward Layout artist Jennifer Sbragia
When I arrived in NYC in early October, the remnants of Hurricane Ian were still turning the city into a nasty soupy mess. I visited Eric Fischer at the Frying Pan pier complex a few days before our event there, and the wind and waves were violently shooting up through the dock. But on Oct. 6, the weather and party gods shined on us and gave us a completely perfect NY evening. Luckily Eric, who pretty much built much of the pier complex and has been involved with running and maintaining the ships for decades, is the hardest working person in showbiz and pushed me to try to hammer out every detail before the event. We had special gold wristbands, a fancy ‘chickfactor’ cocktail ready as a special for the event, and even a special vegan menu. Eric’s wife, Christina, procured our giant inflatable CF30 letters. Josh “Other Music” Madell helped me wrangle my least favorite part of setting up shows: PA and backline. Our sound person Mike Yesenosky usually works with the Magnetic Fields, so we were very lucky to have him tonight!
When Beatrix Madell, the 14-year-old who formed a band called Girl Scout Handbook for our CF30 NY party on the Frying Pan, asked her mom (longtime CF contributor Dawn Sutter Madell) what makes a song a chickfactor song, Dawn told her it would have to be a song “Gail likes.” But it’s clear that, between the folks who contribute to, read, support, and sell the zine and the folks who play at and attend our events, there is a community of like-minded folks out there that like similar tunes!
we love NY! fireworks went off as the first band went on. Photo: Dean Keim
Girl Scout Handbook, a group of 12- to 14-year-olds from Brooklyn, took the stage right as fireworks were going off out in the Hudson River. Helicopters were swooping into the pier next to ours as well. GSH’s set was made up of covers chosen specifically for the event: The Zombies, Heavenly, the Spinanes, Lois, B&S and it was amazing! So great! They only practiced four times and already got written up in the New Yorker! Watching their proud parents watch them was so heart-warming. What a way to start the show!
image from @girlscouthandbook insta
Next up was DUMP, Brooklyn’s James McNew, who slayed the crowd with his solo set of classics from his repertoire and ace covers. The Jim Ruiz Set, as they often do, came all the way from the Twin Cities to make us swoon to their easy listening pop gems. And the Aluminum Group also flew in from Detroit and Chicago to show the world why it needs to listen to their fab new album. DJs Gaylord Fields and Stephin Merritt helped us keep things humming in between. Artist Kevin Alvir was offering quick portraits on demand, and the Aluminum Group brought a boutique’s worth of fun merch and handmade garlands. It was such a great night full of all kinds of people from different generations enjoying the venue, the music and each other’s company. Thanks to everyone who played, came to the event, and helped out (especially Eric and Christina, Josh and Dawn, and Y-Mike!)
Trixie, Ella, Nora & Claude from Girl Scout Handbook’s very first show ever! Photo: Dean KeimRose from Girl Scout Handbook Photo: Dean KeimGirl Scout Handbook / Photo: Dean KeimGirl Scout Handbook drummer Ella / Photo: Dean Keimphoto: Gail O’HaraGirl Scout Handbook / Photo: Dean KeimDJ Gaylord Fields / Photo: Liz ClaytonDump / Photo: Mike Yesenoskyfrom @marcrisney’s instaDump! Photo: Dean KeimEmily Ruiz at soundcheck / Photo: Gail O’HaraJim Ruiz Set soundchecking / Photo: Gail O’HaraJim Ruiz Set / Photo: Mike YesenoskyEmily Ruiz / Photo: Dean KeimJim Ruiz Set / Photo: Dean KeimGail tests out the ‘chickfactor’ cocktail pre-show The Aluminum Group’s Frank and John Navin! Photo: Gail O’HaraThe Aluminum Group! Photo: Dean KeimFireworks on the Hudson / Photo: Dean KeimDJ Stephin Merritt / Photo: Dean KeimPhoto: Dean KeimPoster by Tae Won YuArt by Tae Won YuArt by Tae Won Yu
chickfactor fanzine was founded 30 years ago by Pam Berry & Gail O’Hara (in DC/NY) and we are celebrating by having some parties in New York! We are so excited to have a friend-reunion and see all these rad bands play!
October 6 at the Frying Pan The Aluminum Group Jim Ruiz Set Dump Girl Scout Handbook + DJs Stephin Merritt & Gaylord Fields Vegan options in the restaurant, nautical photo ops and portraits and other fun stuff! Get tickets
The Aluminum Group are the brothers John and Frank Navin of Chicago and Detroit, who recently released a wonderful new album. John says of this event: “Our performance is very audience interactive. We start with a brief demonstration and teach attendees how to make paper laurel necklaces, then we sing 5 new songs. Show a new short film by Frankie. Then sing sing 5 more songs from the new record, then encore with a new unreleased song from our next record, called ‘Punch The Lights Out Of This Crazy World.’”
Jim Ruiz Set
Jim Ruiz Set Led by the Legendary Jim Ruiz (guitar, vocals), the set also features Emily Ruiz (drums, vocals), Mike Crabtree (lead guitar) and Charlotte Crabtree (bass, vocals). The Twin Cities outfit has been playing CF events since the olden days and never ever disappoints.
art: Tae Won Yu
Dump Brooklyn’s James McNew is the force of nature behind Dump, which was interviewed in Chickfactor 8 back in 1994. Some of you may have heard of his other band, Condo Fucks. We are pretty sure that he will be playing solo tonight and that this is the only Dump show happening anywhere in 2022.
Girl Scout Handbook / art: Tae Won Yu
Girl Scout Handbook Girl Scout Handbook was formed by Brooklyn high school student Beatrix Madell, an avid musician and music fan. The band is technically 5 people, Madell, another guitar player, a drummer, a trumpet player, and a keyboard player. They will be doing a set of covers for tonight’s show!
—
Sat. Oct. 8:
Seablite
Seablite is a four-piece pop band from San Francisco inspired by 80s/90s indie and shoegaze. In June 2019, Seablite’s LP debut, Grass Stains and Novocaine was released by Emotional Response, garnering domestic and international praise. They’ve since released a 10″ EP, High-Rise Mannequins (2020) and most recently their new single, Breadcrumbs c/w Ink Bleeds (2022). Seablite are back in the studio recording their sophomore LP and looking forward to what the upcoming year will bring. East Coast/NYC debut!
Artsick
Artsickis an indiepop band from Oakland/Seaside, California, consisting of Christina Riley (Burnt Palms/Boyracer) on guitar and vocals, Mario Hernandez (Kids On A Crime Spree, Ciao Bella) on drums and Donna McKean (Lunchbox/Hard Left) on bass. They formed in 2018 and released a 7” inch single, followed by their debut album “Fingers Crossed,” on Slumberland Records. East Coast/NYC debut!
Jeanines
Jeanines specialize in ultra-short bursts of energetic but melancholy minor-key pop. With influences that run deep into the most crucial tributaries of DIY pop — Messthethics, the Television Personalities, Marine Girls, early Pastels, Dolly Mixture — they’ve crafted a style that is as individual as it is just plain pleasurable. Alicia Jeanine’s pure, unaffected voice muses wistfully on the illusions of time, while My Teenage Stride/Mick Trouble mastermind Jed Smith’s frantic Motown-esque drumming and inventive bass playing provide a thrilling rhythmic foundation.
art: Tae Won Yu
Gary Olson OG Brooklynite Gary Olson is best known as the leader and founding member of The Ladybug Transistor, but he made a wonderful solo record in 2020 as well, and has collaborated with many bands including the Aislers Set. He also runs a famous studio in Brooklyn called Marlborough Farms, and will be playing as a duo tonight.
most people know james mcnew from his other band, the condo fucks (and yo la tengo). as long as he has been in yo la tengo, he has been making his own recordings under the name dump. dump songs have sort have been filtered into yo la tengo these days so he is less prolific. we interviewed dump + yo la tengo for chickfactor 8 back in the mid-90s and again later, but here we are doing it again! we love dump and gilmore tamny conducts the interview this time and asks some excellent Qs. ps. dump performs at chickfactor 21 on june 13 with the pastels, lois and jim ruiz set. he also plays with the condo fucks and the pastels on june 15 at maxwell’s!
chickfactor: what chickfactor show do you remember best? missed but wished you’d attended? any particular fond/joyful/amusing chickfactor memories?
james: I think I Ioved every one I ever saw, and I definitely loved playing at them. I saw a lot of them. getting to see nice at under acme was a once-in-a-lifetime kind of thing. same goes for the georgia hubley trio at fez. versus were just bloodthirsty at the bell house last year (“another face”!). gail was really the only person who ever asked dump to play, and that always meant a great deal to me. I will always remember the sight of magnetic fields fans in the front row with their fingers in their ears while I played my opening set.
who else will be playing with you for the chickfactor show unless that’s ruining a surprise? are you getting besieged with requests?
that shit’s top secret.
how has your relationship with the dump songs (if it does) change over time? the things that you like/that bug you tend to be the same when you revisit?
I cringed a few times while putting together the reissues, but I guess everybody does that, like when you see old photos of yourself. unless you’re really good-looking. but I still liked most of the songs, or at least the ideas. I feel like I have gotten a lot better at writing songs since then, but I can still relate to old me. depression is timeless.
I was approached by thomas moor of the/his moor music label, of berlin. I was already a fan of their catalog & bands; he was a fan of the dump records. I am always kinda surprised when anyone says that, since they were so difficult to find. I dragged my heels on doing the project until he finally convinced me. so I spent a LOT of time turning it into a deluxe package; bonus tracks, photos, a bunch of new artwork and a ton of new notes I wrote for them. there’s no doubt at least one frustrated moor employee will punch me one day. still, I am very happy with the results. I’m glad he thought of it.
I read once that charles barkley was so keyed up after his games that afterward he’d often vacuum the house to relax. do you have to do any such similar things after shows?
I love charles, so I’ll try that. I also heard he would get his lady friends to shave his head for him. normally I like to pretend like I didn’t just play, and get on with my life, then scrutinize it later.
I’d think touring so much would—if you were inclined—turn one into a bit of armchair sociologist/anthropologist, noting regional differences or ways fans interact, or bass player vs. guitar personalities, etc. any thoughts?
everyone, everywhere, is nuts.
who do you know or admire that might prompt you to say: “that gentlewoman or gentleman, __. _______ _______, has exquisite taste.”?
walt “clyde” frazier.
are there any human virtues you admire or weaknesses that depress you that, when manifesting themselves in music, make you admire/loathe even more? like: subtlety. or: showoffyness. or, the opposite?
traditional “weaknesses” like not being a virtuoso, or having an unusual voice or take on reality, can be total pluses. fearlessness, whether to express yourself or challenge yourself, or just in general, is definitely something to strive for. also, personally, I don’t like when artists supply me with answers. I like mystery; I don’t want them to tell me what their songs mean. I don’t even want a lyric sheet. I prefer to use my imagination and come up with my own meanings.
what show have you played that has most felt like a hallucination? place you’d like to play you haven’t (parthenon, etc.?)
many of them feel hallucinatory, if all goes according to plan. the shows I played as a member of man forever were all that way. I have been insanely lucky to play at some pretty sweet places. that said, I would like to play at an aquarium.
what’s your perspective on musical literacy? If it isn’t too nosey, how technically literate are you or have you had to become? how would you say or observed it being a help/hindrance?
not very. I have learned to do some stuff. I am mostly self-taught, and completely self-taught on bass (I learned by watching and studying the greats, namely sue garner). I took guitar lessons from age 9 to about 12. one day my teacher refused (in disgust) to teach me a van halen song, instead trying to get me to play some fingerpicky blues thing. That was it for lessons. Technical proficiency is by no means a prerequisite for great, important music. by itself, without feeling or ideas behind it, it’s just dumb. to me, few use it for good. But just to name some who do, glenn jones, william tyler, mary halvorson, tortoise and the boredoms all make music I absolutely love.
what non-musical (piece of?) art(s) has had the biggest influence on your music?
the work of jim woodring, for sure.
do you ever feel like you glimpse, out of the corner of your mind’s eye, some instrument not yet invented that you wish was? can you describe?
no, but I would love it if I could get a car horn that is not only deafening but is also a flamethrower.
would you ever—presuming you haven’t, pardon if my internet research skills are lacking—like to do some sort of sound installation à la christo or spiral jetty (etc.)?
basically chickfactor has been into dump ever since we heard it and we have no idea why the rest of the world has been lazily ignoring it since its early ’90s brilliant genius recordings. now FINALLY some label has gotten the good sense to reissue some dump! at last! for chrissakes, what is wrong with the indie labels in the u.s. — um, matador, hello? if enchanté had the dosh, we’d have started the feeding frenzy way back in the day. instead we just forced james to play at our chickfactor parties.
earlier this year we saw the release of a new dump 12″ single called “nyc tonight,” try not to let the fact that it is a g.g. allin cover put you off! now chickfactor has the exclusive international news scoop that morr music of germany has the excellent wherewithal to reissue these first two dump albums that you see pictured here: I can hear music & superpowerless! according to james mcnew (also of yo la tengo, a band you may have heard of), these two will be available on vinyl (for the first time), CD and digital, with new artwork and lots of extra bells and whistles and bonus tracks! dump even had to consult chickfactor to find out the dates of all their shows from the olden days because apparently chickfactor is the only one who remembers (or wrote down this kind of thing). so there you go! there is no release date yet but we will surely be the first to have the scoop so check back with us. and hopefully all the other dump recorded work will be available soon on vinyl too!
