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Monitor CD and Steve Thomsen chapbooks added to LAFMS store

on Mon, 11/19/2012 - 18:31

A small number of the very influential Monitor LP, issued on CD in Japan, is available in the store, along with a new series of chapbooks by the phenomenal artist/musician Steve Thomsen, who has been producing tiny editions of chapbooks since the late 70s as a member of World Imitation Products and Monitor.

Rick Potts interviewed by Dazed & Confused magazine

on Fri, 11/02/2012 - 12:42

Dazed and Confused, a leading UK fasion, design and culture magazine features an interview with Rick Potts. Rick was chosen by guest editors Liars for their "Liars Selects" column. Catch up on some history and on what Rick's been up to!


Fredrik Nilsen announces new website

on Wed, 10/24/2012 - 14:11

Fredrik Nilsen, an LAFMS co-founder and member of Extended Organ, Doo-Dooettes, Airway, Waxy, etc., has announced his award-winning photography studio has launched a new website feautring works by Nilsen. Fredrik Nilsen Studio is the home to Fredrik's long standing art and studio photography business which includes exhibition photography, photography of artworks, and portriature.

On the site, you can find links to current articles about Nilsen's recent successes, including the much-lauded Ken Price exhibition currently installed at the Los Angeles County Museum of Art for which Nilsen was photographer of record and a major input into the beautiful catalog currently for sale on and in the LACMA store where you can also find a poster and note cards with Nilsen's images. 

Vetza presents work at soundShoppe at the Eagle Rock Music Festival

on Wed, 10/03/2012 - 13:50

On Saturday, October 6, 2012 soundShoppe regulars perform a work created by LAFMS veteran Vetza Trussell entitled Anoranzas del Corazon. Vetza's piece is an improvisation based on sepharic melody and text about the expulsion of the Jews from Spain. Joining Vetza are Andy Sykora, William Harrington, Wild Don Lewis, Roberto Palazzo, John Lewis and LAFMS veteran Joe Potts and Jorge Martin among others.

soundShoppe @ Center for the Arts, Eagle Rock is a monthly unstructured sound workshop/noise jam for experimental musicians and sound artists presented by SASSAS and Center for the Arts, Eagle Rock.

LA Times article on Fredrik Nilsen's photos of Ken Price artwork

on Mon, 09/10/2012 - 11:46

Wow - a large article in Sunday's LA Times about Fredrik's photography Ken Price's works for the big retrospective opening next week (September 15, 2012)!

John Duncan radio performance, "Beacon" - Kunstradio Vienna, August 2012

on Sat, 09/08/2012 - 14:36

Following his sound workshop “If You Can't Find God, Searching for a wordless truth with the ears” at the Museumszentrum Mistelbach (initiated by the media arts organization FOTOFLUSS, held in the framework of the festival Weinviertler Fotowochen), John Duncan presents a radio performance for Kunstradio, broadcast live from the studio RP4 in Vienna. For the live mix, entitled “Beacon”, he uses four CD players with sound material from his archive, some of it recordings of performances and installations, as well as his own voice.

For a link to the streaming performance, photos, and an interview with Duncan, please visit the Kunstradio website.


Dennis Duck back behind the kit for Dream Syndicate tour of Spain

on Sat, 09/08/2012 - 14:21

To mark the 30th(!) anniversary of the now-legendary Dream Syndicate album "The Days of Wine and Roses", Steve Wynn has reassembled the group to do a four date tour of Spain in September 2012. Dennis Duck was the only drummer the group ever had and will be back in action for the Spain tour. Other members for the tour include original vocalist/guitarist Steve Wynn, long-time bassist Mark Walton, and guitarist Jason Victor, who plays in Wynn’s current band, The Miracle Three.


The Dream Syndicate tour dates:
Sept. 21: Barcelona, Spain
Sept. 22: Valenica, Spain
Sept. 25: Madrid, Spain
Sept. 29: Bilbao, Spain
For the latest updates and tour information be sure to check out Steve Wynn's website.

Dates for The Tenses October Euro tour kicking off @ Tusk Festival

on Sat, 09/08/2012 - 14:10

A full detailed line-up of the Tusk Festival (Oct. 5-7, 2012), featuring The Tenses (Oblivia and Ju Suk Reet Meate of Smegma) has been posted to the Tusk Festival website. Check out this super informative video narrated by Rock and Roll Jackie Stewart (aka Oblivia) that spells out the full line-up and provides details on all the other fest actions including workshops, talks, films, and more.

In addition to their appearance at the Tusk Festival, The Tenses will embark on a tour of Europe. Stay up-to-date by checking the tour's Facebook event page.  Here are the details as of September 8, 2012:


Oct. 10 
Star & Shadow
Newcastle upon Tyne
Oct. 8
1006 Pollokshaws Road
G41 2HG
7.30pm £7
+ Cru Servers
Oct. 9
Korjaamo Culture Factory
Töölönkatu 51
00250 Helsinki
7pm €7/10
+ Pekka Airaksinen + MC Pipa & DJ Alko
Oct. 10
Linnankatu 7
20100 Turku
8.30pm €6 
+ Tsembla
Oct. 11
Les Ateliers Clause
brabantstraat 23a
1210 bruxelles
8pm €15/18
+ Fushitsusha + Humus + Maan
Oct. 13
Espace en Cours
56 rue de la Réunion
8.30pm €tbc
Oct. 14
Ecurie de L'Iliot 13
14, Rue de Montbrillant
9pm 10fr
+ Francisco Meirino

Fredrik Nilsen's photos in New York Times

on Sat, 09/08/2012 - 13:54

LAFMS co-founder Fredrik Nilsen was the principal photographer for sculptor Ken Price's solo exhibition opening Saturday, September 15, 2012 at the Los Angeles County Museum of Art.  The New York Times has published a short overview of the exhibit along with a gallery displaying a selection of Fredrik's photos.

Tom Recchion - Proscenium - new reviews

on Sat, 09/08/2012 - 13:41

The Wire

(click to read the review in this image posted online)

Note: if someone has a proper scan or can transcribe the full review, that would be much appreciated.

"Tom Recchion has been making weird and wonderful sounds since the 1970s as one of the leading figures in the Los Angeles Free Music Society. In a constant rotation of projects and bands, he cranked out ear-damaging skree, zonked tape collages, anti-musical comedies, and all sorts of other illogical strategies for making fucked-up sound. Compared to pretty much everything he's done previously, Proscenium - his first record in nearly seven years - is downright sensible; and one that fits neatly alongside all of the other releases from Elevator Bath, a label which specializes in rarified dronemuzik and oblique ambience (e.g. Keith Berry, Matt Shoemaker, Rick Reed and even our own Jim Haynes). The album began as the musical accompaniment to Janie Geiser's play "Invisible Glass" itself an adaptation of an Edgar Allan Poe short story, with Recchion attempting to craft a moody atmosphere that slowly creeps into the audience's unconsciousness. Strange melodies emerge through a shimmering hum at the onset of the record, sounding like an underwater version of Aphex Twins' Selected Ambient Works Volume II. Recchion smudges everything beyond recognition, although the thrumming of a piano does seem to peek from behind the veil of his aqueous mystery. Dense applications of reverb are common throughout, as is a strange echoing ripple that has a funhouse, helter-skelter vibe - probably the only commonality with anything from LAMFS! Whatever melodic phrases Recchion might have started out with have blurred into oceanic swells of nocturnal droning that by the end of side two morphs into an algae bloom of dread. The tracks on the seven inch are somewhat different from what's found on the lp, with a Dada-inspired splatter of haptic rhythms on one side; and a slow-crawling calliope slashed with sporadic gasps of noise on the other. While the seven inch follows Recchion anti-aesthetic through LAFMS, the ambient horror of the lp tracks are the true prize of the set. Think Basinski. Think Koner. Think Nurse With Wound. And, then you're getting close to where Recchion might be coming from."
"If attention-grabbing sounds are the quintessence of our living as sympathetic listeners, there are 67 minutes of legitimate bliss waiting for the 500 fortunate owners of this stunning limited edition, which contains four tracks on a LP, two on a 7-inch and a card to download a high-quality mp3 version of the album. The latter is what was used for the writeup, given the chance of listening without breaks and my ever-mounting hate for vinyl noise ruining the enthralment brought forth by superb electronica.
Proscenium takes its origin from a commission by filmmaker and puppeteer Janie Geiser: Recchion conceived these soundscapes for a play called Invisible Glass, defining them a “sound world for the viewer” centred around a set of shifting atmospheres.
“The Mesmerized Chair” and “Entrance Music No.2” comprise perhaps the work’s more introvert shades. Adjectives like “subaqueous” and “stifled” instantly spring to mind, the frequencies oscillating between “swelling” and “chubby”. Trying to understand the derivation of the acoustic materials becomes a case of pitiable anal-retentiveness, though one can get a vague impression of what will be revealed (so to speak) later on. Deliberate melodic movement and buried forms of life are detectable underneath the droning undercurrents and the malleable substances: those who utter “ambient” are going to be hit on the palms with a stick.
Then we have a sort of slow-as-molasses “orchestral” gradualness in the suggestively declining “Entrance Music No.1”, and an episode of disjointedly rambla-sampladelia in “Exit Music No.1”, whose vocal fragmentariness is enriched by those very typical crackles and pops I was willing to escape from at the beginning, and that here represent a fundamental ingredient instead. The additional shorter pieces “The Haunted Laboratory” and “Lean Your Eye Into The Picture” are not mere fillers. Both broaden and improve the sensation of misshapen otherworldliness and pregnant inscrutability transmitted by the entire program.
Tom Recchion’s universe is not made of easy smiles and low-budget Buddhas. But the strange creatures we seem to perceive as the real animators behind this accumulation of bubbling grief are so nice-looking that a friendship should not be difficult to start."
"Elevator Bath is one of those labels, like Helen Scarsdale for example, whose curatorial diligence I never fail to appreciate and to which I consistently find myself drawn. "Proscenium" marks Tom Recchion's first new solo output in six years (!) and is a subtle and immersive listening experience recommended for fans of Keith Berry, Christoph Heemann and Nurse with Wound. Recchion must be admired for his acute sense of pace and atmosphere. Indeed, the sonics contained on this album are every bit as refined as one would expect from a composer with such a distinguished and longstanding resume. Chiming, filtered tones and deep low end make up the majority of the palette here, coiling, ebbing and weaving in and out, augmented occasionally by lulling static and what sound like meticulously obfuscated field recordings. The closer, "Lean Your Eye Into the Picture," provides a stark contrast to the rest of the six pieces on the album, with stuttering, alien sounds forming a web of surreal sound collage. It's a beautiful and strange track and perhaps the album's strongest. Ultimately, "Proscenium" is indeed a focused and refined affair, and listeners fond of the aforementioned labels/artists would do well to give it a thorough listen."
"Today is my attempt to catch up on a few great releases that we’ve been sent and, for one reason or another, haven’t covered. Tom Recchion’s “Proscenium”, released by Elevator Bath, is a beautiful piece of ambient/drone that was originally created for Janie Geiser’s play, “Invisible Glass”. Recchion is a bona fide experimental music mainstay, co-creating the Los Angeles Free Music Society, among a myriad of other accolades.
"Sometime loop-maker & one of the founders of the freewheeling Los Angeles Free Music Society Recchion makes a drone that keeps fading away. Elusive rounded tones that wash creepily in & out of perceptibility."