Posts Tagged ‘Baltimore’

Residency

Suno Deko - Week 2

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Residency is a two-part journal entry brought to you by one of our favorite creatives.

This week, Living Spaces – Baltimore‘s Suno Deko wraps up his two-week stay with a reflection on his time spent in India in his early twenties.


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For my second and final residency entry, I wanted to write about the time I spent in India in my early twenties, mostly because it is a time of my life in which I underwent a great deal of emotional turmoil and subsequent growth, and until now have put a tight seal against any excavation of it. But also because the name of my current project, which comes from the Hindi words for “listen” or “hear” (suno), and “look” or “see” (deko), reminds me that this time in my life continues to have a great significance on who I’ve become. In many ways I see now that it is a true marker of my passing some unseen threshold into adulthood.

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India has always been a part of my life. My father first went in 1964, fresh from college and catching India just before the first wave of hippies flocked to its colorful and chaotic shores seeking enlightenment. He is a recently retired professor of religion, and has spent his life studying Hinduism. My childhood home was filled with statues and paintings of Hindu deities. Regal statues of Ganesh, lord of obstacles, menacing figurines of Shiva, the destroyer. Paintings of Jagganath with his wide, cartoonish eyes. My father would bark Hindi at us to get us moving (“Juldi chello! Let’s go, hurry up!”). When I was fifteen, I spent the spring semester of my sophomore year in high school at an international school in the foothills of the Himalayas while my father did field research for his book on ritual widow self-immolation, a practice called sati. I returned to India in 2009 after teaching English in northern Thailand for a year to work for a figurative painter named Jatin Das as a studio assistant and archivist for his fifty-year career of painting, drawing, sculpture, and poetry, as well as his vast collection of traditional Indian hand fans, or pankhas, which number near ten thousand.

It ended up coinciding with, or perhaps being the catalyst for, that time in my life, which I feel every person goes through at some point in their early to mid twenties, where it seemed my entire universe was collapsing. Maybe you’re in the middle of this time? Romantic ideals and expectations about the way things should be crash and crumble, and there is a supreme surrender that must occur to move beyond it. I have a few people in my life going through this. No doubt the circumstances of my living situation and the stresses of my job were strongly contributing factors to my continual state of exasperation and creative self-laceration, but I experienced a loneliness and alienation far beyond what I thought was possible for the human spirit. Maybe that’s a bit dramatic, but let’s just say I was sad.

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I’ve kept a daily journal for the past five years, which began when I did the Artist’s Way during my time in Thailand. Over the past few days, I’ve revisited those pages I wrote while in India, which I’ve been unable to do before. It’s difficult to face a past self so carefully preserved. It’s a time warp. You’re transported so fully back into the you that existed in those pages, and when revisiting what at times felt like a living nightmare, you can’t help but reassume the entirety of that self. The truth is, it wasn’t a nightmare. It was only a period of intense loneliness and isolation. It’s a pretty normal reaction to flinging one’s self into the great wide world alone, especially a place as intense and unforgiving as India. But my twenty-four-year-old self had something to prove. I wanted to push myself as far as I could go to better know myself. The real truth is that I wanted to run away from myself, and India was the farthest place away. As you may know, the geography can change, but the self remains. I was actually more intensely faced with myself because I lived alone in a foreign place with little to do besides work and turn my thoughts over in my own mind.

I arrived just a week after my twenty-fourth birthday, in the oppressive heat of mid-June in Delhi. The opportunity to work with Jatin came on the heels of very nearly being scammed out of almost a grand by a fake English teaching agency, who promised me a yearlong teaching job for a Spanish diplomat’s family, all of which proved to be a very clever fabrication. I’d already bought my ticket, and through a Delhi writer who was a friend of my dad, the job with Jatin came. I didn’t know what else to do and somehow felt like not going would be defeat, so I threw myself at it. I still remember vividly the feeling of dread I felt as I descended down through the midnight haze of the Delhi, my heart pounding as the airplane pitched and jolted in the humid air. I was young and resistant to everything. I wanted a million things I had no way of naming.

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I lived in a working-class neighborhood of south Delhi called Shahpurjat, which was crammed with clusters of concrete apartments, within which an infinite labyrinth of courtyards and side alleys twisted and braided, slung with blossoming yellow and magenta bougainvillea, laundry drying on clotheslines, tea vendors (chaiwallas) and vegetable sellers (subsiwallas) with steaming pots of sweet milky tea or colorful displays of plump mangoes, spiky bitter gourds, zucchini, tomato and okra, screeching their personalized calls into the thick, humid afternoons. My neighborhood was bordered by a large wall that separated it from a more affluent neighborhood and green space on the other side, and against this long, twenty-foot-high stone barricade, every few blocks would be a massive pile of trash that some impossibly dirty person was inevitably always combing through, which leaked strange florescent blue liquid and swarmed with flies and crows. India is an unwavering and torrential paradox. The most vivid and colorful place on earth, and also the most chaotic and dirty. Smells you’ve never imagined. Every moment contains the entire range of human experience and emotion, beauty and pain, suffering and joy. Every landscape contains a slice of every period of history. A man on his bicycle talking on his cellphone, riding by a woman pulling water from a ditch to use for cooking into which a man is peeing, next to a crumbling fifteenth-century palace, while nearby a team of men is attaching a leecher wire to a transformer to steal electricity and minutes later it explodes into flames. My favorite anecdote from the time I lived in India in high school was watching two men ride bicycles one in front of the other down a steep mountain street carrying an extension ladder on their necks, to which my mom said, “I feel like this country was designed by Dr. Seuss.” There is an incessant barrage to the senses, and when I arrived, added to that was the oppressive heat. The apartment that Jatin procured for me was modest and had no air conditioning. The highs then were in the 120s. It was never cooler than 100 degrees inside my place. I awoke daily to a crust of salt and minerals on my forehead, heat rashes on my arms. My clothes clung to me. The power would cut on and off intermittently, killing my ceiling fan, and the stifling heat would begin creeping across my body. Candle flames would slowly appear in the windowsills of the neighborhood, soft voices and song, wild dogs always barking.

I had long nights there, especially in the heat. I was in pursuit of a deeper self; I wanted to remove familiarity and comfort from my life to uncover a more elemental self, to know who I was beyond the protection of family, home, and friends. I was an ascetic. I was on a vision quest. I wanted to outgrow parts of myself I was unsatisfied with. In a way, I did accomplish this. I put myself in the most isolated environment I’d experienced, the only white person in a neighborhood of Indians, who stared at me relentlessly as I walked the streets and back alleys to work. Despite how innocuous staring is in Indian culture, to me it was a daily reminder of how little I belonged to that place, to myself, or to anything.

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It’s been strange and powerful to watch myself change in the pages I’ve been reading. It’s a bit of a mind fuck to be immersed in those pages and look up realizing I exist presently in this much different (and happier) life. Like I can track my dreams of being a famous writer slowly ground into the dust that coated everything in Delhi. But in the end, now looking back five years later, I see that it was a time of intense growth, and at the very core, a time of surrender. Despite my friction with Jatin, who was in many ways impossible—manic, demanding, monomaniacal, childish—looking back, there was much he taught me about being an artist. I was so sure of what I thought I wanted and who I thought I was, but only by having most of those ideas stripped away, only by finally surrendering to the loneliness and sadness, and inhabiting it like a room, did I find a deeper way into myself. And it took years to see, to understand that by surrendering you enter more fully into your own experience. Nothing is lost by surrender; everything is gained. There were times where I became so immersed in my solitude and sadness that I started seeing subtle differences, changes in its colors. And in those moments, the world seemed to open up to me. I could lose myself in the swaying curtains, drawing the sun in and crowding it out of my bedroom, the light growing and dimming, the slow moan of car horns and voices careening off the walls outside. I felt an undefined longing, whose lack of place in the world made its existence even more confusing. I didn’t even long for home, or for Thailand, where I’d found a loving and supportive community. I longed for something I couldn’t name, for some fulfillment of a feeling I couldn’t define or place. I think now perhaps that longing was either for love, or a steady and fulfilling creative practice. I wrote a lot there, but I never allowed myself to enjoy it, or be okay with what I was making. I wrote a lot of emo poems and bad songs. As an artist I was too fragile, and too hard on myself. And always the long nights, my head a block of stone from the hash, the headlights of passing cars making ghoulish shapes on my ceiling through the bars of the windows, packs of stray dogs barking and growling, the call of food vendors and jingling of bells, and the asthmatic caw of the massive black crows that scavenged the trash.

During my time there, I went to the eastern state of Orissa (which recently changed its name from the Anglicized spelling to the more phonetically accurate “Odisha”), where Jatin has founded a museum in his name, and where he was born and most of his family lives. On the train ride back to Delhi from my first visit there, an interminable 31-hour ride through the colorful Indian countryside, I had an experience that still returns to me. I borrowed a book from Jatin called The Religion of the Artist, by Rabindranath Tagore, one of the most influential writers and musicians in Indian culture, who was the first non-European to with the Nobel prize for literature. As I was sitting alone on a dark train hurtling through the opaque Indian countryside at night, reading this book, I came upon a passage that struck me like lightning. Tagore likens a man’s inability to be aware of everything around him in his present existence to a man sitting in a lit train car with the night outside; the man knows the countryside is there, but he is only focused on what is happening in the car. This became a metaphor for my entire mental state up to that point—that I was so focused on the suffering that I was creating for myself, that I was failing to see how much beauty was thrumming and moving all around me. Tagore goes on to say that the restless ambition, or that feeling of longing for a place I couldn’t name or know, that I had been thinking so much about, is actually just the self trying to find a piece of itself that can attain a kind of permanence in the world. And for artists, making work and putting something that comes through the self into the world is the closest we can come to that permanence. There have been times since where a piece of art or writing has struck a chord with me, but few that have been so otherworldly. I was literally sitting in a lit train car at night, reading about a man sitting in the exact same situation, and found an explanation for this strange hollowness that I was trying too hard to define or understand.

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I would love to say that was my spiritual awakening, and from thenceforth I was totally happy, but the truth is I continued to struggle. I made it through, and by the end had learned a way to enjoy myself. I was blessed with the friendship of my first friend there, Simar, who I connected with on many levels, and who listened to my early songs and read my poems and gave me encouragement. By the end I had begun to find a community. I got to organize and execute an international film festival of documentary films on art. I learned much from Jatin, despite his sometimes-insufferable demeanor. I have quotes of his that I’ve kept written, that now have far more significance than my stubborn, immature self would grant: “Don’t be so quick to just be this or that—be everything at once and the course will appear.” “Don’t ever let your pursuit of writing or being a writer or poet or painter or singer distract you—always fully experience the present.” “Just surrender—no one does that in this day and age—don’t do it because I tell you to, do it for yourself.” My time in India was many things to me, but one of the most important lessons I learned was to let go of ideas of who I should be and just sit down and do the work. In his youth, Jatin wouldn’t allow himself to eat dinner until he had completed three hundred sketches. The time there hardened me, but I learned to soften again. And while I would never relive that experience, or wish it on anyone else, the suffering I endured made its mark on me and sharpened my focus on what I truly want out of my time on earth. I became, over time, less focused on the outcome and more on the experience of the present. And I learned to surrender. I learned, and have continued to learn, that to resist is to strengthen. To surrender is to take a step toward grace.

Week 1 | Week 2

Ricky Eat Acid

"this goes out to..."

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I’ve had nearly two weeks to let Ricky Eat Acid‘s self-described “fun nightmare EP soak in among my growing obsession with a revitalized juke movement. The aftermath of a DJ Rashad era has invited waves of inspiration and has become the most thrilling genre to expand among SoundCloud feeds everywhere. Leave it to Sam Ray to prolifically find new ways to keep his multi-faceted project ahead of the curve in mixing.

Yet after digesting the brilliant intensity of Sun Over Hills and mulling over the title track especially, the EP’s softer side in “this goes out to…” shines just as brightly when going back for another listen. Really, there’s no telling which direction REA will go from here, but of course that’s where true admiration for the project lies. A subtle pitch-shifted Kreayshawn flip against the more IDM-like production sounds like a pattern that could continue to be explored.

Natural Velvet

"Baby Dear"

Natural Velvet

When the dust settled after Natural Velvet finished their set at Silent Barn last January, a musician friend proclaimed, “Natural Velvet makes Brooklyn shoegaze seem like BBMak.”

Besides being the best music review of the year, that statement is also absolutely true. Baltimore’s Natural Velvet is a captivating force—an elegantly ominous sound pillared by Corynne Ostermann’s dark velvet vox and Kim Te’s mind-blowing masterful guitar shredding.

“Baby Dear” is the third track off of Shame, the band’s recently released follow-up to last year’s smouldering debut Salome With the Head of John the Baptist. “Baby Dear” is the most direct song on the album, moving headlong through Te’s screeching guitar riffs as Ostermann repeats lines like “Baby dear, I’m not what I appear” and the chilling “my body is central to my existence / my body you read like an open book.”

Shame was released on June 26th and can be found in full via Soundcloud and Bandcamp.

Chiffon

Marble

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Catharsis in music can take on any shade, any shape, any touch. Active listening can create a platform for any number of emotional breakthroughs. Releasing yourself into shared human experience is warm, nourishing, bountiful. It’s so powerful when you find an artist that captures that exact notion in your mind and in your heart. Especially when that notion is sex.

Baltimore R&B duo Chiffon is undoubtedly making that deliciously sexy music to get your groove on and “roll up in” some special person’s body. Their latest EP, Marble, is an unapologetic ode to getting all sensually pleasured with passionate and respectful lovemaking. These songs are filled with the unpredictable synth grooves that feel like fingers in your hair, true blue throaty grunts, and poetry all about the romancing of the stone. It’s special and it’s true; it’s super weird and it’s totally here for you. It’s everything that a fulfilling roll in the hay ought to be.

Sometimes sex and music about sex can feel a little troubling. The subject matter can often be deformed into something exploitative, shameful, or embarrassing. There are countless things in society that perpetuate this and make the terrain less navigable. However, sex should be just as natural and gratifying as any other part of a romantic relationship. And we should be able to talk openly about it. Expressing consensual and sizzling devotions of the sexual sort is important to make conversations about sex less oppressive. It’s essential to have a forum where you can talk about how much you want to make “I’ll have what she’s having” noises with somebody to show how positive that expression can be.

Marble accomplishes this tastefully, gracefully, and steamily. “Baby, tell me what you need,” opens the closing track “Deep Fantasies.” There is a clear trajectory here, to rock your world. The release even captures an imperative sense of humor that comes with sex, songs sporting a sample of the undeniable sounds of a bed squeaking. These songs are honest while totally turning you on, making you dance, or whatever it is you want to do. It’s not aggressive, but it’s sexual. I think there’s a lot of room for modern pop music to grow here, and Chiffon has lain some very impressive and tamale-tastin’ groundwork to move forward.

Stream Marble in full via Chiffon’s SoundCloud page.

Austin Tally

"Ready To Be Cold"

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Baltimore musician Austin Tally sinks in and out of consciousness on a new collection of songs titled In G. It’s a “mini-album” recorded in Pennsylvania and showcases a sweet, blissed out sound that’s simple on the outside but full of complexity on the inside. The vocals on “Ready To Be Cold” swerve in and out of consciousness, coming from all angles and never settling into one constant groove.

Residency

Born Gold - Week 3

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Residency is a four-part weekly journal entry brought to you by one of our favorite artists every month.

For his third entry, Born Gold‘s Cecil Frena shares an exemplary experience of why he prefers to play shows in the welcoming abode of a stranger to conventional establishments.


i’ve spoken a bit before about how doing a house-show-only tour can actually be about doing collaborative art with respect to both environment and event. nothing illustrates this more with more clarity than the show that went down last sunday in baltimore.

when we arrived it was already apparent that the show’s host was a serious artist: she had a neat house with dramatic interior design shifts in each room, a basement covered in beautiful graffiti by her own hand—and she had made born gold gum and beer.


born gold beer. awkward because i don’t drink. apparently there is also a commercially manufactured sake called ‘born gold.’


born gold gum. not awkward because i chew the shit out of gum.


the born gold tag on the graffiti wall.


the show opened with a resounding bang with a performance by elvis. here’s caroline from julia brown relishing her brief moment with the king. there was also a magician, though i can’t find any photos of him.


then julia brown played a gorgeous and intimate acoustic set in an ornate little crawlspace that was seemingly designed specifically for their colorful, wistful melodicism.


here’s an action shot of us that night—but what you can’t see is more exciting: our host was passing out LED lightsabers and weird glowing elf ears to the crowd, and also making stealth confetti attacks in sync with the beat.


when we started playing “lawn knives,” i had to suppress on-mic laughter at the insane scene before me—our host had distributed popsicle cutouts of my face to the crowd, who then directed that creepy energy back at me.


here’s the aftermath of our set.


naturally, we then went out to the porch for a bit of fire eating.


and as it turns out—our gracious host was also a balloon artist—and thus the three were coronated and sent on their way again.

we’ve been doing our best to bring people a singular art performance in the comfort of their homes. but the baltimore show, thanks to our host, Julia Brown, Elvis, and the crowd reached levels of surreal beauty that would have been frankly impossible to produce on our own. it was a night marked by the confluence of several very different creative energies—and it’s worth considering how alternative hustles such as touring houses can facilitate that confluence.

Week 1 | Week 2 | Week 3 | Week 4

Alex G & R.L. Kelly - Split

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A few weeks ago, during my weekly radio show, after a lengthy set of East Coast lo-fi indie pop, I referred to the songs as “tweemo” music. It’s a horribly gaudy and generic categorization, but there is a bit of truth to the name. Because starting last year and running full force through 2013, there has been a considerable scene growing in indie’s underground. With a focus on plaintive, lo-fi songs mostly released on cassette and spearheaded by labels like Brooklyn’s Birdtapes and Orchid Tapes, tape hiss and confessional lyrics has been yet again growing a small, yet dedicated, fanbase.

Alex G has been there from the beginning. Perhaps not directly involved with the scene’s inner workings, but as a direct influence on some of it’s biggest breakouts so far: bands like Julia Brown, Pill Friends, Attic Abasement, and Elvis Depressedly. His two albums last year, Trick and Rules didn’t so much as fly under the radar as they dug a hole under the radar station and infiltrated it from the inside. In just over a year Alex has gone from local DIY hero to being included on a list of “20 Indie Classics” with the likes of Minor Threat, Bright Eyes, Slowdive, and The Microphones.

R.L. Kelly, on the other hand, is a brand new addition to this crew. The solo project of Kiss Kiss Fantastic‘s Rachel Levy, her debut album Life’s a Bummer was released this February to much fanfare. Both artists occupy a very specific space of melancholy that highlights devastation in life’s minutiae. “I don’t like how things change,” Alex crooned late last year. “How it hurts to change when everything is not enough,” Rachel echoed just a few months later.

There are few moments of pure joy on Split, though the catharsis does feel somewhat relieving. The songs are short and affective, like a knife directly to your ribs. There are hooks piled on top of hooks, but when you catch yourself singing, “What I need to be okay with myself / and everybody else,” while walking down the street, it’s a little disconcerting. Out of all the admirable things about this collaboration, the ability of these two musicians to mask their crushing lyrics under literal pop perfection might the most admirable.

R.L. Kelly’s side deals mainly with mental struggles: coping with depression, anxiety, and feelings of worthlessness. “Everyday” builds itself around an overblown bass loop while Levy questions—but doesn’t necessarily challenge—her self-deprecating mental state. The chorus-less “Fake Out” attempts to personify the hidden glowing thing that “floats next to” her bed, eventually consuming her entirely. The third track on her side, “The Voices,” ends with the devastating resolution: “Ask the voice in my head, ‘Am I’m okay?’ / She says, ‘Get out of my head.’” The mental battle is nonstop, and ends in just under seven minutes. It’s a wrenching, beautiful continuation of her debut record—something somehow simultaneously more accessible and yet equally upsetting.

Alex G, on the other hand, is a little less direct with his heartbreak. Generally, he is a storyteller, and his tracks on Split range from the confessional to the magical. “Magic Mirror” is heavily processed and distorted, with Alex trading lines with what sounds like a young girl. The lyrics are nearly unintelligible but the parts that peek through (“When it fades, I’m a slave to you”) make the struggle worth all of the sadness. Bar stool confessional “Trade” meanders through mumbled admissions of “I’m way too old to give a shit” and “there is no one inside this body.” Even if there is an indignant tone to the lyrics, it feels pitifully depressive.

The highlight of the entire record is Alex G’s “Adam.” What begins as a tale of schoolyard bullying becomes a heartfelt expression of love, swapping the “I’ll never let it go” from the first verse with “I want you so.” It flips the song’s entire context upside down in just four words, timed in perfect succession with a wailing organ.

Alex and Rachel live for these little mind-bending moments when things come full circle. Unearthing deeply buried emotions and feelings in the listener is what these two do best, and it’s nothing short of destiny that the two teamed up for a release like this. Levy famously covered Alex’s “Change” on her debut earlier this year, and even then the pairing made perfect sense. That their collaboration is this perfect is a testament to the strength of this beautiful little scene the internet has birthed. Thanks to the internet, collaborations of this quality have become increasingly common. But there’s an indescribable relief that these two have created here that is simply unmatched in 2013. Like R.L. Kelly says on “Everyday”: when I listen to these songs it’s almost feels like nothing’s wrong.

Alex G and R.L. Kelly’s Split is out now via Birdtapes.