Tag: Self Sabotage Records

PopMatters Premiere of Little Mazarn Video For “My Love Is All Around You”

Little Mazarn Offers Listeners a One of a Kind Performance With “My Love Is All Around You” (premiere)

Little Mazarn

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JEDD BEAUDOIN

06 Jun 2018

Photo courtesy of artist

TEXAS-BASED FOLK ARTIST LITTLE MAZARN USES PROPERTIES OF A SPACE TO ADD TO THE STORY OF “MY LOVE IS ALL AROUND YOU”.

Little Mazarn is the stage name for Lindsey Verrill. Her self-titled 2017 album (out via Self Sabotage Records, a division of Super Secret Records) features the song “My Love Is All Around You”. The new accompanying video, which arrives ahead of a series of summer dates, finds the singer performing this achy, haunting number in an abandoned space chosen for its natural reverb. Joining her sparse banjo lines and singular vocals is Jeff Johnston’s chill-inducing bowed saw.

The song is a loving nod to the purity of true Americana music and is unimpeded by gimmicks or irony. The live outdoor performance captures the musicians finding the nuance of the sounds and space together. It is an act of love and of intimacy that we are privileged to witness. It provides us with some sense of hope and that what Verrill herself calls “the garbage that is humanity” might still be saved.

“I am fascinated with found reverb and go on exploratory hikes in storm drains and canals looking for perfect natural reverb,” Verrill says. “Ask anyone in Austin about our sewer shows. I found this beauty of a culvert behind one of my favorite vegetarian restaurants. There’s a storm tunnel that runs right under my house, and maybe someday I’ll make a huge reverb chamber out of it with a trap door from the house.”

Named after a river in Arkansas, Little Mazarn bridges the distance between slowcore, gospel, and Appalachian folk.

Little Mazarn‘s LP may be purchased in physical form or in digital.

TOUR DATES
June 9 San Antonio, TX @ Lowcountry w/ Aisha Burns
June 16 Marfa, TX @ Wrong Store
June 17 Silver City, NM @ Frankie’s Place
June 18 Pinos Altos, NM @ Buckhorn Saloon & Opera House
June 19 Taos, NM @ Parse Seco
June 20 Taos, NM @ Taos Mesa Brewing Company
June 21 Santa Fe, NM @ Kitchen Sink
June 22 Tucson, AZ @ Exo Roast Co.
June 23 Phoenix, AZ @ Trunkspace
June 24 Joshua Tree, CA @ TBA
June 25 Los Angeles, CA @ Cosmic Dreamer w/ Tim Rutili and Alex Rose
June 26 San Francisco, CA @ The Lost Church
June 27 Vallejo, CA @ Elam’s
June 28 Carson City, NV @ Sassafras
June 30 Troublesome Gulch, CO @ Cowboy Cowabunga!
August 2 Portland, OR @ Turn Turn Turn
August 4 Manzanita, OR @ Electric Fences Festival
August 5 Astoria, OR @ Fort George Brewery
August 8 Dallas, TX @ Kessler Theater w/ South San Gabriel
August 9 Denton, TX @ Dan’s Silver Leaf w/ South San Gabriel
August 10 Austin, TX @ The Mohawk w/ South San Gabriel

Swordfish Review of Inside The Kingdom Of Splendor And Madness

Posted by JUSTIN VELLUCCI on 

The cello weeps and sows and soars, and so it goes with Randall Holt and his Inside The Kingdom of Splendor and Madness, which gets the CD/cassette re-release treatment April 20 from Self Sabotage Records.

Holt, an accomplished cellist, traffics in the kind of moody, cinematic, classical soundscapes that oft define Godspeed You! Black Emperor, which is appropriate, given the fact that the Austin-ian has collaborated with the Montreal-based collective. But while GY!BE’s song-suites also depend on Efrim Menuck’s saw-buzzing guitars or epic, throttling crescendos, Holt’s compositions on Kingdom are trembling, naked things – cello snapshots where even the percussion, if it could be called that, is provided by strings.

Holt is no experimentalist, however, in the vein of Alder & Ash, whose addictive, pedal looped strings belie angst and penitence. Holt is mournful, somber, to a T – ethereal, funereal. His compositions would do justice to a black-and-white film exploring the underbelly of the open road, or an abandoned mill, or a scorched forest. His work is melancholy and steeped in a longing kind of nostalgia, with the occasional Romanticism giving way to the nuanced post-classical flourishes explored by the likes of the violist Christian Frederickson, whose work fits alongside this well.

The songs themselves show a great range of narratives, even if their palate is drawn from similar shapes and colors. “What Hope We Have, What Hope We Haven’t” is slow, meditative and struck with dread, and all-too-perfectly titled. “Labyrinths (and other writings),” on the other hand, has moments that are mathier, more Calculus-minded. Think the b/Bridges of High Plains and you’ll see what I mean.

The real gem on the nine-track disc, though, is most definitely its opener, the gray “I felt safe again and was at home,” which, in addition to swelling tides of timed, moaning cello, has a leading “solo” and harmonic language that are simply devastating. Like Schnittke’s string quartets, it speaks to the heart as much as the head, but, when it speaks to the heart, it simply destroys it. An excellent point of entry for an inviting journey, one I hope we travel together again. – Justin Vellucci, Popdose, April 11, 2018

Austin Chronicle Review of En Las Montanas de Excesos

Chris Cogburn/Ingebrigt Håker Flaten/Bob Hoffnar/Henry Kaiser

En las Montañas de Excesos (Self Sabotage)

REVIEWED BY MICHAEL TOLAND, FRI., MAY 11, 2018

Texas Platters

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Contrary to popular belief, imaginative and virtuosic musicians elevate ad-libbed music beyond “jams.” Thus thrives En las Montañas de Excesos (In the Mountains of Excess), an improvisational collaboration between Austinites Ingebrigt Håker Flaten (the Thing, Young Mothers), Bob Hoffnar (Mood Illusion), and Chris Cogburn (No Idea Festival), and San Francisco great Henry Kaiser (Yo Miles!, French Frith Kaiser Thompson). Each player boasts extensive improvisational experience, with clear ability to follow another player’s nuances and nudge them in unexpected directions. Bassist Flaten and percussionist Cogburn keep the rhythms propulsive, remaining in the pocket without disrupting timekeeping. Guitarist Kaiser and steel guitarist Hoffnar mix and match a wide variety of textures, allowing melody to duel with dissonance sans violence. Noisy riff-mongering meets painterly ambience teeth-grinding pick scrapes cuddling with lush lyricism and everyone leaves as much space as they fill. A sense of humor provides the last piece of the puzzle, not only as a sudden twist that makes colleagues smile, but as a conceptual vision, like the nods to author H.P. Lovecraft in the titles (In the Mountains of Excess, “The Dream Quest of the Unknown Plethora”). These guys are having a ball, and it shows in the strength of the performances, the unity of purpose, and the sheer delight in spontaneous composition.

****

Raised By Gypsies Review of Randall Holt “Inside The Kingdom Of Splendor And Madness”

Cassette Review:
Randall Holt
“Inside the Kingdom of Splendor and Madness”
(Self Sabotage Records)

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Though there are musicians out there who play the cello, I’m not sure anyone plays it quite like Randall Holt.   While I often hear a cello accompany another instrument, it is somewhat unusual for it to be the only instrument for an entire cassette (Though I know there are cellists out there, they just seem to outnumber even rock bands for example)  Throughout this cassette, Randall Holt takes the music from deep, dark sadness to the movie score of something out of either “Lord Of The Rings” or the suspense of an Alfred Hitchcock movie but not at the same time.

In a lot of ways, you expect to hear this type of instrument with other instruments.   It wouldn’t be a surprise to see “Randall Holt (cellist) + Other Musician (flute or whatever)” somewhere down the line, but the fact is these songs stand so well on their own.  As listeners of music we can become conditioned to want to hear things louder, fuller and more powerful but even with a cello these qualities are all in these songs.  What I’m getting at is that you might think a cello would be boring or get that way after a while- by itself- but Randall Holt makes it work on this cassette and it’s amazing.

One of the aspects I find so fascinating here as well is that this has more of a true classical sound than most other cellists I can think of in a modern sense.   I feel like the artist usually takes the instrument and turns it in something weird, something like noise and so it can have this feeling where it doesn’t even sound like a string instrument anymore.  Randall Holt sticks to the roots of the cello though and it gives it that type of classical feel I believe even my dad would enjoy (And he really only listens to classical music, talk radio and Bob Dylan)

“Inside the Kingdom of Splendor and Madness” was originally released in 2016 but is just now getting released on cassette by Self Sabotage.   I think this speaks volumes towards both cassettes and music in general, in the sense that if this wasn’t given a cassette release some two years later I might have never heard of it and that would be a shame.   What’s more is that this album simply has the credit: “Randall Holt — cello”  That’s all.  No one else.  Nothing else.   When was the last time you saw something like that because I bet when you did it didn’t feel this powerful, this full of life.

Posted by at 9:35 AM 

Ghost Cult Mag Exclusive Stream of New Randall Holt Single

EXCLUSIVE TRACK PREMIER: Randall Holt – I Felt Safe Again And Was At Home

Posted on  by 

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Austin Texas-based classical and experimental cellists, Randall Holt may not be a household name to some, but fans of underground music surely have heard his work. In addition to being a member of a member of Knest (with Thor Harris & Jonathan Horne) and Horne + Holt. Randall has also played in Reverend Glasseye, and collaborated with Godspeed You! Black Emperor, Yann Tiersen, Eric McFadden Trio and jazz composer Adam Rudolph. Having released his current album (digital only) in March 2016, Inside The Kingdom of Splendor and Madness on Self Sabotage Records, next week will see the release of the album on cassette and compact disc. To celebrate Ghost Cult has teamed up with this important artist to bring you his new single, ‘I Felt Safe Again And Was At Home’.

Pre-order:http://selfsabotagerecords.bigcartel.com/product/randall-holt-inside-the-kingdom-of-splendor-and-madness

Personnel:

Randall Holt — cello

Recorded, mixed and produced by Chico Jones at Ohm Recording Facility, Austin TX

Mastered by Jerry Tubb at Terra Nova Digital Audio, Austin TX

Photo by Renate Winter

SS-03
2016 Self Sabotage Records

Austin Chronicle Exclusive Stream of “The Shadow Over Overkill”

Kaiser, Cogburn, Hoffnar & Håker Flaten Rock Free and Lovecraftian

A track premiere from the Mountains of Excess

BY KEVIN CURTIN, 12:35PM, MON. MAR. 26, 2018

Henry Kaiser / Chris Cogburn / Ingebrigt Håker Flaten / Bob Hoffnar: En Las Montañas de Excesos

Henry Kaiser / Chris Cogburn / Ingebrigt Håker Flaten / Bob Hoffnar: En Las Montañas de Excesos

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Henry Kaiser lays out his artistic credo: “I’m a die-hard improviser and I’m a die-hard experimentalist. I always want to try things I haven’t done before and see what happens.”

The premise behind the veteran Bay Area guitar wizard’s next release pivots on collaborating with new musicians. That scenario came to fruition on a 2015 session that found him interfacing with a trio of A-list Austin improvisers: bassist Ingebrigt Håker Flaten, drummer Chris Cogburn, and pedal steel expert Bob Hoffnar.

“There was no plan,” admits Kaiser. “There was no discussion. We hadn’t met. We came to the studio, set up, and we played without talking much at all.”

The resulting En Las Montañas de Excesos (In the Mountains of Excess) cuts loose an expressionistic, free-form fusion alternating between aggressive musical pile-ons and anti-gravitational space sections. Cogburn’s malleable meters and Håker Flaten’s muscular electric bass serve as the quartet’s rhythmic tail fin. Meanwhile, Kaiser and Hoffnar beam prisms of squirrely melodies that challenge electric guitar and pedal steel conventions.

While it’s tempting to deem such unrestrained movements as free jazz or avant-garde, Kaiser characterizes it as something more familiar.

“It’s just rock & roll,” he chuckled over the weekend. “It’s improvised rock & roll and I grew up with a lot of that in the Bay Area where it went to a lot of crazier extremes than it did on the albums by San Francisco bands like the Grateful Dead, Moby Grape, and Quicksilver Messenger Service.

“You’ve got little fringe things with improvisation in what passes for rock & roll nowadays,” he continues, “but the way pop music has become so conservative and mainstream, most of what sells a lot isn’t Jimi Hendrix playing ‘Purple Haze.’ It’s indie rock that’s about as experimental as Perry Como.”


En Las Montañas de Excesos arrives April 6 on Austin’s Self Sabotage Records. The collection subdivides into two continuous vinyl sides as well as four longer digital tracks. Each is titled with the self-effacing corruption of an H.P. Lovecraft story. Lead cut, “The Shadow Over Overkill,” streams here for the first time: