Back for its fourth year, the country’s most determinedly anti-commercial, DIY, how-does-this-thing-even-exist festival returns this September. Cropped Out Fest 2013, just like the previous three, packs some serious surprises – the aerodynamic Lambchop, legendary Red Krayola freak folker Mayo Thompson, legendary Louisville punk outfit The Endtables, feel good noise purveyors Wolf Eyes, and a slew of familiar touring names – Blues Control, Endless Boogie, Bill Orcutt (this time with drummer Chris Corsano), and of course, the weirdest sonic bullshit from the city and region.
Just like last year, Cropped Out returns on the last weekend of September at our absolutely favorite blue collar country club on the muddy banks of the Ohio – American Turners, as well as a special closing party at the Workhorse Ballroom on Sunday (a.k.a. the cave where Bill Callahan and Dave Pajo played). Go on and get your tickets now, because if history repeats itself, more insanity will be added throughout the summer.
From the homies Ryan and James:
What our festival intends to define is a renewed sense of enthusiasm about Kentucky’s cultural offerings by pairing some of our favorites from the Bluegrass State with similarly progressive and expressive examples from alternate alleys of the world. The result? Well, one wild, wonderful weekend on the Ohio River, filled with food trucks, cheap drinks, vinyl vendors, art installations, merchant booths, tattoo artists, live magic, horseshoes, an idyllic backdrop of birds, boats, and barges, all while witnessing one-of-a-kind, intimate performances from artists like Jandek, Scratch Acid, Neil Hamburger, Lil B, Pissed Jeans, Merchandise, Angel Olsen, Papa M, & more.
Cropped Out exists solely as a celebration of contemporary musicians, artists, and artisans whom we feel reflect a greater undercurrent of sonic, visual, and conceptual exploration. These are the minds most interesting to us, the minds most capable of emerging from and quickly returning to their lightlessness, if only to be briefly met by a niche appreciation. We’re the ones who are listening. We’ll be waiting on the boat dock with open beers, open ears, and open arms. Now you know where to find us.
A sad start to today as news that Kevin Ayers passed away in his sleep last night. Beyond his seminal work with The Soft Machine throughout the ’60s and gritty prog outfit Gong, Ayers was a visionary psych folk artist, crafting one of my personal favorite albums, his career-defining Joy of a Toy. Ayers was 68.
Blast these songs loud today, folks.
Warp just announced that the soundtrack to art horror film Berberian Sound Studio is coming out – a festive move on Halloween, and an incredible piece of news as the score was composed by Broadcast before Trish Keenan’s untimely death in early 2011. Undoubtedly Broadcast has a wealth of material recorded and never released during their five year hiatus, but an entire score is quite a lovely surprise! More about the film and soundtrack below.
Initially conceived as the soundtrack to The Equestrian Vortex, the film-within-a-film around which Berberian Sound Studio unfolds, this collection of compositions would eventually spill outwards to encapsulate the entire world Strickland creates in the film. On it’s own, the music sets a sinister and atmospheric tone that still exists well within Broadcast’s sonic universe.
The film’s plot, which involves a British sound recordist’s slowly degenerating mental state while working in an Italian film studio, has clearly been one driving force behind the music as has the work of pioneering Italian composers such as Ennio Morricone and Bruno Nicolai. Working closely with Strickland as well as the film’s supervising sound editor Joakim Sundstrom, Cargill wove in sound effects, screams and snatches of dialogue in order to bring elements of the film back into the soundtrack. The outcome is the rare piece of film music that not only enhances the visual, but exists on it’s own as an independent work, and one that is an invaluable edition to Broadcast’s inimitable history.
Berberian Sound Studio is out January 7th.
POSSIBLY RELATED :::
All previous Broadcast coverage (there’s a lot)
It’s been a while since San Francisco damaged dudes Sic Alps rolled through the area. By my calculations, it was the Saturday night of Cropped Out 2010. They played outside, and it was cold as shit. Not a concern this time around though, as the Kentucky Museum of Art and Craft (KMAC) has started booking some real mean shows as of late, like Dan Decon last month, and their digs are most definitely climate controlled.
Sic Alps ain’t ya father’s unwashable, filthy, no-fi psychedelic rock scuz – Sic Alps twist, creak, and thump, taking you on a cosmically damaged romp through west coast good vibes and future shock trepidation. If you’ve heard Ty Segall’s latest excellent jam hive, then it should make a lot of sense that this group spawned that monster. They released their latest eponymous effort on Drag City last month (it’s great you should buy it), and it’s their most sonically dynamic (i.e. generous incorporation of strings) and funky to date. True story, I was casually listening to my iTunes on shuffle whilst engaging in some fast-track multitasking when some Alps came on and I thought “hmm, I don’t recognize this Alexander Skip Spence song.” Both Skip Spence and Alps vocalist Mike Donovan retain a subtle, gorgeous quality through raspy timbre and decimated, hissing melodies, suggesting that both gentlemen have seen the true face of God and didn’t like what they saw. Don’t get it twisted though, while Sic Alps certainly drink from the same goblets as the highest in psych rock royalty, they also bring the goods to back up their seat at the table.
Put the kibosh on your Twin Shadow-listenin’ numbskullery and get weird with Cross, the Lexington, KY-based collection of heads who boil a sludgy amalgam of proto-metal, West Coast psychedelia, fuzz-punk, and goth into instantly hummable anthems juxtaposed against shadowy, abyss-staring exercises. The project is spearheaded by visual artist R. Clint Colburn and Ma Turner, who you may recall from the Troubleman-signed bizarros Warmer Milks. Cross’ rounded-out cast of bodacious cohorts possess a crystalline artistic vision, propelling a thundrous, well-oiled form of sonic alchemy that trascends “scenes” (ugh). Like, can death rock be jangly? Turns out, fuck yes. Cross figured that out with panache in their subterranean laboratory for their forthcoming debut effort, Die Forever.
What a damaged bill in such a fancy establishment. Won’t you join us, por favor?
Sic Alps with Cross
Friday, October 19
715 W. Main, Louisville
8 p.m. / $8 ($6 for museum members)
All ages / Get wasted with ID