“Good Fuzz”: MATT ‘MV’ VALENTINE profiled by BYRON COLEY (from Arthur No. 34/2013)

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This piece was originally published in Arthur No. 34 (2013, sold out). I haven’t found a way to present the article online in a way that makes the article’s main text and its many (utterly essential) footnotes easy to read, side-by-side. So: following is the article’s main text, without footnotes. To read the article in full, with footnotes, download this free 31-page PDF. Hope this does it for ya. P.S. ESSENTIAL SIDEBAR: “More Smoke Than Folk: A few important MATT ‘MV’ VALENTINE listening experiences, assembled by Dan Ireton & Byron Coley and presented in chronological order”   — Jay

GOOD FUZZ

For over two decades, musician/head MATT VALENTINE has navigated strange, inspiring trips across myriad underground psychedelic terrains, joined by a revolving cast of fellow free travelers. Byron Coley crosses the bridge to get MV’s side of the story.

Matt Valentine aka Matthew Dell aka LunarMV, etc., is one of the more righteous freaks of our age. As a writer, guitarist, vocalist, label head, whiskey fan, and whatever else he might happen to be, Matt is one of those rare guys who is always ready to go “all in.” He is neither shy about his many accomplishments, nor unwilling to speak about them, but he is so flat-out committed to his own sci-fi-damaged version of personal history the way he’d like it to be known that he can be a tough person to interview. He loves the elliptical, the mysterious, the vaguely legendary secrets that underpin all true history, and he seems more than happy to offer wild and theoretical answers to most dull and specific questions that come his way. For this reason, among others, there are few places you can turn for objective facts about the musical/historical trajectory of Matt Valentine.

And the man clearly deserves a thorough overview.

This isn’t exactly it, but it’s a first step. Matt and I have been friends for a couple of decades. We’ve done various projects together over the years—tapes, shows, albums, tours, books, etc.—and he well knows in what high esteem I hold all of his work. To my mind, much of the popularity of the acid-folk revival was instigated by Matt and his cohort—hardcore record collectors and fans who were capable of hearing things no one else had noticed, and were eager to translate their discoveries into post-punk tongues. Few people have been as tireless in their work expanding and documenting the boundaries of underground culture over the past years, and Matt has created a vast web of friends, recordings and memories documenting his aesthetic peregrinations as well as those of his fellow travelers.

Matt, among other things, has been a tireless documentarian of his passage through space and time. The number of recordings he has released is not easily discerned, but let’s just say they are legion. What continues to mystify listeners is the fact that Matt’s sonic trajectory is constantly evolving. Unlike the many artists who bogusly claim “my latest release is by far my favorite,” Matt’s new records generally incorporate a new form-innovation/renovation/reconsideration. The guy is acutely aware of where he has been and seems dedicated to Heraclitus’s dictum about not stepping in the same river twice. Because of this, Matt’s albums (the major ones, anyway) often represent a true progression in terms of technique, interpretation and vision. That said, the new LP, Fuzzweed (Three Lobed) is a monster of sweetly-stoned tongue-form. It boils many elements of the essential, ineffable MVEE whatsis into a kind of floating vocal/way-post-Dead instrumental-puddle that will absolutely sear your brain. The first batch of copies also come with a CD that culls the best moments of the new 7-CD Zebulon residency set COM just issued. It’s weird. There are only a handful of people whose recordings I choose to follow with something like fervor. Matt is one of them. Hopefully this talk will help you to understand why.

I had hoped that Erika Elder, Matt’s partner in all things, would attend the interview as well. But she played possum at work, leaving us to blab untended from the light of afternoon into the dark of night. Hopefully, this interview will give you some idea of the depth and width of Matt Valentine’s work. It’s a vast weird place. Hello.

 

B: Let’s start with some basics. Where did you grow up?

M: The Hudson Valley region. I was born in Mount Kisco, NY. Lived in several towns around there, including Yonkers for a bit when I was super young.

B: Did you play music when you were a kid?

M: Yeah, but I wasn’t really in a lot of bands or anything. I started a bit when I was in high school. I was kicked out of the school band. I played alto sax. But I got booted out pretty early because I think, without really knowing anything about it yet, that I wanted to play like Ayler. I would take the melody of “When the Saints Come Marching In” and transmogrify it.

B: Was it a marching band?

M: At first, yeah. Then it became more of a concert recital band, and you had to choose whether you wanted to be in the jazz band or one of the other standard school things. The school I went to was pretty interesting because it was fairly liberal. Like, there weren’t any walls in the school. So when you didn’t have a class there was a big open space called The Commons. It was grades 9-12, and the cafeteria and the smoking section and all that stuff was in the middle. When you didn’t have a class it was a regular thing to hang out in The Common with an acoustic guitar and just play and meet people. So that’s where I first started to get hip to the idea of social communication through music. I did weird recordings at home, then the first serious band I was in was a relatively professional band.

B: Who was that?

M: That was a band I played with right out of high school called the Werefrogs. I played with two guys who were older than me, from the same school. They had graduated the year before me and had played in bands for a while. One was a drummer, the other a guitarist. They were both from the same scene at the school and they wanted a bass player. So I said, “Oh, I’ll play bass.” I think they wanted me in the band because I could hang out and I was into kinda cool music.

B: What era was this?

M: Around late ’88. We did a couple of singles.

B: What kinda stuff was it?

M: Psychedelic rock.

B: What were your models?

M: We were probably most like dudes who wanted to play like Joni Mitchell or something. It was kinda weird chords like that, but these two guys were more advanced musically and into jazz voicings and things like that. It was a trio, so of course there were obvious things like Hendrix. I was listening to WNYU a lot then. They had a program called The New Afternoon Show. I would get off this mail room job I had, and the show was on from 4:00 to 7:30 in the afternoons in the tri-state area. I would listen to that driving home, and they’d play stuff like the Road Pizza 12” and all these crazy bands who made one single and then disappeared. It was the most crazoid music I’d ever heard. It made some of the college radio stuff of that era seem incredibly straight. I really dug the stuff I heard, so I’m sure some of that stuff was in the mix as well. This was around the time when Nirvana played on that tour with the Cows at the Pyramid. I’d be going into NY to see gigs like that. And Galaxie 500 was playing at CB’s Canteen a lot, so that was in there. Of course Sonic Youth, and to some degree things like Bern Nix. I’d go see him a lot when he’d play at Roulette and the old Knitting Factory. I was starting to get into that stuff when I was in high school. Then there were some weird record stores popping up, so I’d spend time in those and pick up stuff. So the influences were classic rock, along with a few underground things.
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AH, MAN: A career-spanning conversation with JACK ROSE by Brian Rademaekers (from Arthur No. 33)

As published in Arthur No. 33 (Jan 2013)

AH, MAN
A career-spanning conversation with JACK ROSE, American musician, recorded just a few months before he died in 2009
By Brian Rademaekers

When I started covering music in Philadelphia in 2007, my beat—the city’s crumbling post-industrial river wards—felt like a veritable nexus of weird folk and psychedelic experimentation. The Espers clan and their compound, Fern Knight, Fursaxa, and heavy-hitters like Bardo Pond were all there, churning out a storm of beautiful, strange music that seemed in part a product of the ancient, twisted alleyways of Fishtown and Kensington.

Here, Jack Rose was the benevolent, unassuming King—a master set apart from his peers by a massive presence and an indomitable, mystical talent that elevated him from mere musician to magician. He was a dark alchemist, transforming calloused flesh, polished wood and taut steel into the intoxicating, intricate worlds of sound that were his music. Not that Jack — Jack the giant, hulking Virginian — would ever presume to wear a crown; it was just something that he brought into the room with him, disarming all with a humble warmth offset by a blunt, caustic confidence that he wielded like a knife at just the right moments. These days, most of the musicians from that scene are gone from the neighborhood, though none as gone as Jack.

When I first heard Jack’s 2005 album Kensington Blues, I was thunderstruck, lost in awe that such a masterpiece not only existed, but that it was made in my time, by a man whose elbows polished the same bar counters as mine. Listening to Jack’s recordings was great [see sidebar for a complete discography] but best of all was seeing Jack live, spreading his gospel in church halls or little clubs or living rooms and, finally, along the banks of the Delaware River for a summer concert series shortly before he died.

Watching him amble up to his chair with guitar in hand signaled the start of near-religious experience. He would hunch over the instrument, cock his head to the side and, with closed eyes, unleash wild syncopated layers of rhythms, leaving listeners rapt in a sort of devastated trance. Here was this giant bearded man suddenly becoming seamlessly enmeshed in his guitar to create these idiosyncratic spells that were at once as delicate as flowers and as forceful as hurricanes. Seeing that miracle in the flesh, there was nothing else like it in the world. For me, it was like being a jazz freak in the ’40s and living down the street from Charlie Parker.

So began a years-long obsession. I felt compelled to document this genius quietly living in our midst. And Jack obliged. It never seemed to bother him that some reporter from a little local paper was always pestering him, asking for details about a show or politely begging for an advance copy of a record. In that way, Jack betrayed the appearance of a dominating, cocksure master and revealed a man with a very big heart.

My pretext for interviewing Jack in the summer of 2009 was his forthcoming long-player on Thrill Jockey, Luck in the Valley. Jack was elated. He and his wife, Laurie, had just bought a tidy little brick rowhouse a few blocks from the city’s blasted Port Richmond waterfront. He bragged about his new car, a Honda that he loved for its efficiency in carrying his guitars from gig to gig. He raved about a pizza joint he’d found down the street, about how quiet his block was. To him, the Thrill Jockey release was the milestone he’d been awaiting, a culmination of years of hard work and mastery that meant he could finally say he was making good bread on the merit of his music.

For three hours, he let me follow him around the house, tape recorder in tow, as he smoked and poured tea and pulled LPs from his wall of records. He was a man satisfied, a musician reveling in the feeling that his art was finally about to find the place in the world that it deserved.

When Jack died a few months later, I groped through the shock, looking for some way to respond to the ugly, gaping hole that had so suddenly appeared, and decided on transcribing the whole of our conversation from that summer day on Ontario Street. That tape is presented here, and captures Jack in a bright mood at the peak of his career, ruminating on everything from his first lessons to his labor on “Kensington Blues” to the joy of landing the Thrill Jockey deal.
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EUROPE: MV & EE INCOMING

Arthur No. 34 coverstars MV & EE are coming to Europe. Dates:

New studio recording “Shade Grown” out now, self-described thusly:

Studio C.O.M.’s from MV & EE have been rare these days with recent rockets being in the form of the most righteous and mighty live excursions into unknown jam galaxies thru song form (dig the heroines, box sets and residencies!). However, time was when the Child Of Microtones sound worlds were exploding with the most unique and highly personalized solar systems of pre-war/post Takoma environs colliding like COMets with black ark pods from the tapers section. On “Shade Grown” sweet new MV & EE are back in that orbit fusing all that they can give and more to keep America beautiful. Go DIY army, this is greenspace…throw away yr armaments and trade the electric mower for headphones. This is perhaps the closest Spectra, Matt & Erika have come to dub, The ONE could get lost in these tunes/jams for many spins. Bring on hyperspace awareness, you could be in yr very own room beyond inside out and feel all they are right beside you, just like spectrasound wanted you to be.

Special guests/skypilots from the good ol’ Golden Road: Jeremy Earl (Woods), Michael Flower (Vibracathedral Orchestra), Matt Lajoie (Herbcraft), Doc Dunn, Muskox, Paulie G, Rafi Bookstaber, Carson “Smokehound” Arnold, Rongoose (Blueberry Honey/Causa Sui/Sunburned Hand Of The Man).

LISTEN IN:

More info: mvandee.blogspot.com

LONG-LOST ARTHUR “CRITICS” C & D RETURN TO CONFRONT ARTHUR’S NEW “THOUGHTLESS GRIN” MIXTAPE

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Good news!

“Thoughtless Grin”, a collection of songs from recent releases that we’ve been digging lately, sequenced with care for the sensitive mind/ear, is now available direct from Arthur to you as a $3 digital download. Affordable! (Push the BUY NOW button below. A link containing the “Thoughtless Grin” zip file will be emailed to you upon payment.)

Buy Now

A few of the artists on “Thoughtless Grin” are featured in the latest issue of Arthur, so this mixtape is a cheap and sleazy way to get to know ’em better.

Songs featured in the mix:
1. DANIEL BACHMAN – “Sun Over Old Rag”
2. FEEDING PEOPLE – “Other Side”
3. ENDLESS BOOGIE – “Taking Out the Trash”
4. BOMBINO – “Aman”
5. RADAR BROTHERS – “Disappearer”
6. GAP DREAM – “58th St. Fingers”
7. SONNY & THE SUNSETS – “Pretend You Love Me”
8. DEVENDRA BANHART – “Won’t You Come Home”
9. MV & EE – “Turbine”
10. HERBCRAFT – “Full Circle (Eternally)”
11. ARBOURETUM – “Coming Out of the Fog”

All proceeds help Arthur Magazine to resist those nefarious and persistent economic pressures we all face.

As an added bonus, each download comes with a large-size image file of the cover artwork by Lale Westvind (that’s it above) and extended liner notes by long-lost, slightly lamented Arthur “critics”/goofballs C & D.

But! Because you’re an Arthur blog reader, you can preview C & D’s commentary by scrolling to the bottom of this post, where we’ve attached the whole blasted thing. Enjoy, or not — it’s probably more fun to read along as you’re listening to the music, and an adult beverage may make it an even finer experience. Or so we’re told.

Buy Now

Thank you kindly, hope you enjoy. Oh, and the title? It’s from Edward Hoagland—more info on that in the download.

* * *

THOUGHTLESS C & D

Arthur Magazine’s resident cretins—ahem, critics—lend us their opinions on “Thoughtless Grin”

1. DANIEL BACHMAN “Sun Over Old Rag” (excerpt) from Seven Pines (Tompkins Square, 2012)

D: Oh, what a beautifully newgrassy morning. Yes indeedee.

C: It’s coming on, D. Feel the vibes?

D: I always feel at home when I hear a drone humming from the hi-fi.

C: Looks like you’ve already made yourself at home. On my couch.

D: I do feel at home on your couch. Especially now that you’ve moved it onto your porch.

C: Hear the rich, beautiful fingerpicking, multiple-ringing, a guitar weaving, a mystery expanding.

D: It’s big and contemplative at the same time.

C: [cough] Much like yourself.

D: It’s so cool that people still make music like this. What are the chances?

C: I think this Bachman is a young guy, like 21. His music is steeped in lineage and alive. Bachman plays with the tumbling, unfolding joy of Peter Walker, Robbie Basho, Jack Rose.

D: Soaked in the liniment of tradition, I’d say! Great work!

C: We gotta get some of Arthur’s regional operatives on this. Some proper “old rag” recon. Find out what this Bachman guy’s got in his cup.

D: Now I’m far from an expert…

C: [snorts] You can say that again.

D: …but I know what we’ve heard and one thing’s for sure: This sets a fine table.

2. FEEDING PEOPLE “Other Side” from Island Universe (Innovative Leisure, 2013)

D: Do I hear “7 and 7 is”?  I feel a sense of urgency here, girl singer has a great snarl going. “I got friends on the other sigh-eeede…” I believe she does.

C: This is Burger Records alumni Feeding People, featured in the new ish of Arthur. The singer is 20-years old.

D: Coming up and coming of age, a true garage psych corker.

C: Excelsior!

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NOW: ARTHUR NO. 34

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ARTHUR NO. 34 / APRIL 2013

Oversized broadsheet newspaper
24 15″ x 22.75″ pages (16 color, 8 b/w)
$5

CLICK HERE TO ORDER DIRECT FROM US

Now with 50% more pages, Arthur continues its comeback in the bold new broadsheet newspaper format that’s turning heads and drawing critical acclaim.

In this issue…

After 20-plus years navigating strange, inspiring trips across myriad underground psychedelic terrains with a host of fellow free folk, righteous musician/head MATT VALENTINE (MV & EE, Tower Recordings, etc) finally spills all possible beans in an unprecedented, career-summarizing, ridiculously footnoted epic interview by BYRON COLEY. Plus: Deep archival photo finds from the MV vaults, a sidebar wander through some important MV listening experiences with your guide Dan Ireton, and a gorgeous cover painting by ARIK ROPER of MV & EE at peace in the cosmic wild. Delicious!

Orange County, California psych rockers FEEDING PEOPLE left the church, entered the void, lost band members and returned to our reality to sing their tale in glorious reverb. Chris Ziegler investigates, with photography by Ward Robinson…

Everyone needs someone to love, and AROMATIC APHRODISIACS are here to help that lovin’ along (sans wack pharma side effects). From truffles to borrachero, author-scholars CHRISTIAN RATSCH and CLAUDIA MULLER-EBELING get in on the action. Illustrations by Kira Mardikes…

Gabe Soria chats with novelist AUSTIN GROSSMAN (Soon I Will Be Invincible) about the basic weirdness of playing (and making) VIDEO GAMES, with art by Ron Rege, Jr….

All-new full-color comics by Lale Westvind, Will Sweeney, Vanessa Davis and Jonny Negron…

Is there a way to examine the nature of existence at its very foundation? Esoteric mapmaker DAVID CHAIM SMITH says yes—but there’s a price. Interview by Jay Babcock…

Stewart Voegtlin on what (or: who) made MELVINS’ 1992 beercrusher Lysol the most unlikely religious record ever built, with art by Stewart’s Chips N Beer mag compatriot Beaver…

“Weedeater” Nance Klehm on BETTER HOME BREWING…

The Center for Tactical Magic on ANARCHO-OCCULTISM…

PLUS! Byron Coley and Thurston Moore’s essential underground review column, Bull Tongue, now expanded to two giant pages. Covered in this issue: New York Art Quartet, Don Cauble, Douglas Blazek, Rick Myers, Desmadrados, Century Plants, Richard Aldrich, Robbie Basho, Steffen Basho-Junghans, Bed Wettin’ Bad Boys, Michael Zacchilli, Pat Murano, Tom Carter, Les Conversions, Hobo Sunn, Decimus, Saifyya, Jeff Keen, Inspector 22, Yves/Son/Ace, Pink Priest, Smegma, Nouvelle Impressions D’Afrique, K. Johnson Bair, Major Stars, Endless Boogie, David Novick, Joe Carducci, Scam, Erick Lyle, Phantom Horse, Failing Lights, Tomuntonttu, The Lost Domain, George Laughead jr., Xochi, Sublime Frequencies, Barbara Rubin, Red Rippers, Linda King, Cuntz, My Cat Is An Alien, Bird Build Nests Underground, Pestrepeller, Painting Petals on Planet Ghost, Peter Stampfel, Joshua Burkett, Michael Chapman, L’Oie de Cravan Press, Genvieve Desrosiers, The Residents, Dawn McCarthy, Bonnie Prince Billy, Ensemble Pearl, Azita, Woo, Galactic Zoo Dossier, Mad Music INc., White Limo, Excusamwa, Little Black Egg, Dump, Jarrett Kobek, Felix Kubin, The Army, Bruce Russell, and Gate…

And more stuff too hot to divulge online!

Please keep in mind… Arthur is no longer distributed for free anywhere. Those days are (sadly) long gone. Now you gotta buy Arthur or you won’t see it. Our price: Five bucks—not so bad!

CLICK HERE TO ORDER DIRECT FROM US

FEEL FREE TO PRE-ORDER ARTHUR NO. 34 NOW (STREETS MARCH 5, 2013)

A34coversml

ARTHUR NO. 34 / APRIL 2013
Twenty-four 15″ x 22.75″ pages (16 color, 8 b/w)
$5
Streets: March 5, 2013

CLICK HERE FOR THE PRE-ORDER INFO

Now with 50% more pages, Arthur continues its comeback in the bold new broadsheet newspaper format that’s turning heads and drawing critical acclaim.

In this issue…

After 20-plus years navigating strange, inspiring trips across myriad underground psychedelic terrains with a host of fellow free folk, righteous musician/head MATT VALENTINE (MV & EE, Tower Recordings, etc) finally spills all possible beans in an unprecedented, career-summarizing, ridiculously footnoted epic interview by BYRON COLEY. Plus: Deep archival photo finds from the MV vaults, a sidebar wander through some important MV listening experiences with your guide Dan Ireton, and a gorgeous cover painting by ARIK ROPER of MV & EE at peace in the cosmic wild. Delicious!

Also in this issue:

Orange County, California psych rockers FEEDING PEOPLE left the church, entered the void, lost band members and returned to our reality to sing their tale in glorious reverb. Chris Ziegler investigates, with photography by Ward Robinson…

Everyone needs someone to love, and AROMATIC APHRODISIACS are here to help that lovin’ along (sans wack pharma side effects). From truffles to borrachero, author-scholars CHRISTIAN RATSCH and CLAUDIA MULLER-EBELING get in on the action. Illustrations by Kira Mardikes…

Gabe Soria chats with author AUSTIN GROSSMAN (Soon I Will Be Invincible) about the basic weirdness of playing (and making) VIDEO GAMES, with art by Ron Rege, Jr….

All-new full-color comics by Lale Westvind, Will Sweeney, Vanessa Davis and Jonny Negron…

Is there a way to examine the nature of existence at its very foundation? Esoteric mapmaker DAVID CHAIM SMITH say yes—but there’s a price. Interview by Jay Babcock…

Stewart Voegtlin on what (or: who) made MELVINS’ 1992 beercrusher “Lysol” the most unlikely religious record ever built, with art by Stewart’s Chips N Beer mag compatriot Beaver…

“Weedeater” Nance Klehm on BETTER HOME BREWING…

The Center for Tactical Magic on ANARCHO-OCCULTISM…

Byron Coley and Thurston Moore’s essential underground review column, Bull Tongue, now expanded to two giant pages. Covered in this issue: New York Art Quartet, Don Cauble, Douglas Blazek, Rick Myers, Desmadrados, Century Plants, Richard Aldrich, Robbie Basho, Steffen Basho-Junghans, Bed Wettin’ Bad Boys, Michael Zacchilli, Pat Murano, Tom Carter, Les Conversions, Hobo Sunn, Decimus, Saifyya, Jeff Keen, Inspector 22, Yves/Son/Ace, Pink Priest, Smegma, Nouvelle Impressions D’Afrique, K. Johnson Blair, Major Stars, Endless Boogie, David Novick, Joe Carducci, Scam, Erick Lyle, Phantom Horse, Failing Lights, Tomuntonttu, The Lost Domain, George Laughead jr., Xochi, Sublime Frequencies, Barbara Rubin, Red Rippers, Linda King, Cuntz, My Cat Is An Alien, Bird Build Nests Underground, Pestrepeller, Painting Petals on Planet Ghost, Peter Stampfel, Joshua Burkett, Michael Chapman, L’Oie de Cravan Press, Genvieve Desrosiers, The Residents, Dawn McCarthy, Bonnie Prince Billy, Ensemble Pearl, Azita, Woo, Galactic Zoo Dossier, Mad Music INc., White Limo, Excusamwa, Little Black Egg, Dump, Jarrett Kobek, Felix Kubin, The Army, Bruce Russell, and Gate…

And more stuff too hot to divulge online!

Please keep in mind… Arthur is no longer distributed for free anywhere. Those days are (sadly) long gone. Now you gotta buy Arthur or you won’t see it. Our price: Five bucks—not so bad!