Kendra Steiner Editions

January 23, 2016

Bill Shute poetry chapbook “Good To Do, Good To Have Done” (KSE #329)

Filed under: Uncategorized — kendrasteinereditions @ 6:01 pm

BILL SHUTE

GOOD TO DO, GOOD TO HAVE DONE (KSE #329, poetry chapbook)

edition of 49 copies

composed in Calcasieu Parish, Louisiana and Galveston County, Texas, January 2015

——————————————————————————————

($6 US ppd   /   $7 elsewhere ppd)

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

good to do

GOOD TO DO, GOOD TO HAVE DONE (KSE #329) was written soon after SATORI IN LAKE CHARLES, and in many ways is a distillation of the themes and techniques of SATORI, but rooted in the textures and grit of Galveston County, Texas, where I wrote most of it.

If I may again quote from the “advice to a young poet” which I’ve shared here and elsewhere over the years,“I think a good exercise for an apprentice poet would be to limit yourself to a small area…the alley behind your apartment, the parking lot of the convenience store in your neighborhood, a city park…and take notes on the THINGS of that environment. The ground, the walls, the trashcans, the insects, the animals, the patterns to the discoloration of the paint, the ripped screens, the smells, the sounds, the textures. Then use those notebooks as the raw material from which you sculpt your creation, with each particular resonating and functioning as a deep image in your well thought-out, intelligently designed construct. That’s how poetry is constructed, and it’s hard work.” That’s EXACTLY what I did in this piece with the neighborhood around the low-rent motel where I was staying down the road from Gulf Greyhound Park. I was re-reading HPB’s THE VOICE OF THE SILENCE at the time, so a three-part refrain (in sections 1, 3, and 5 of the poem) featuring my variation on “the voice of Nada” served as a foundation (a three-legged stool, so to speak) on which to construct this assemblage.

It was cold, people could hardly afford heat, various small businesses stumbled along as though it were fifteen years previous, but the permanent war economy continued barreling onward, and those who hitched a ride on it and held their noses did not starve….pretty much like anywhere in small-to-medium town America in the mid-teens of the 21st Century. And when the noise of the corporate media was silenced, and we were confronted with our selves, the Voice of Nada could be heard….

Welcome to Galveston County…and GOOD TO DO, GOOD TO HAVE DONE…

note: This was available privately for a brief time in Spring 2015, with a handful of copies being given to friends or distributed at readings or given as a free bonus to folks who had large KSE orders. It was listed as KSE #304, and probably only a dozen or so of those are in existence somewhere, but it was never actually “released” and offered here….so now it’s been re-assigned catalog #329. Grab it while you can, especially those who enjoyed SATORI IN LAKE CHARLES. Actually, this is set right down the road from the area that produced THE MOSQUITOES OF LA MARQUE. You could say this was cut from the same cloth, but that cloth has since been soiled and has shrunk from too many washings and dryings.

Remember, original KSE chapbooks will be the ONLY appearance of these poems in the form and font and layout in which they were imagined. Any future publications in “selected poems”-type books or whatever will NOT be in the classic KSE chapbook form. The 5 1/2″ x 8″ page is my organizational unit, my canvas, my bar structure. As with all KSE poetry chapbooks, this will be available for a few months and then….EVAPORATE…

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #319 (poetry chapbook), BILL SHUTE, “Sculpture Garden In The Snow” Creel Pone Sound Study #11

KSE #317 (poetry chapbook), BILL SHUTE, “Inventing One’s Own Land”

KSE #306 (poetry chapbook), BILL SHUTE, “Manipulating Ambiguity”

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

 

January 20, 2016

new album from LISA CAMERON and NATHAN BOWLES, “Liquid Sunshine” (KSE #328)

Filed under: Uncategorized — kendrasteinereditions @ 7:23 pm

LISA CAMERON and NATHAN BOWLES (aka UNDERCARRIAGE)

“LIQUID SUNSHINE”       KSE #328 (CDR album)

Lisa Cameron: percussion, drums, contact mic, cymbals

Nathan Bowles: percussion, drums, gongs, cymbals, bells

$8  US  postpaid / $12.00 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

LISA AND NATHAN

We’re very happy to welcome back Austin-based percussionist, drone-and-feedback sound sculptor, and master of all things higher-key LISA CAMERON (who has done a number of recordings for KSE and has been a part of ALL of our Austin-based events, including the Jandek concert we organized in 2012) for a new album with another visionary and totally original artist, NATHAN BOWLES….a series of percussion duo pieces recorded in Blacksburg, Virginia (right down the road from where I used to live in the late 1980’s in Catawba!) called LIQUID SUNSHINE. Lisa is well-known as a founding member of Texas treasures BRAVE COMBO (and she participated in some reunion shows last year with the original lineup), backing musician for Roky Erickson, longtime drummer with Texas psychedelic/Krautrock kings ST 37, and guest musician with many many avant-garde greats when they are visiting Austin, everyone from Faust to Jandek. She’s opened TWICE for Psychic TV, if I’m not mistaken, and her drone-feedback project VENISON WHIRLED is legendary across Texas.

Here she is paired with Nathan Bowles, a man who is both a fine multi-instrumentalist in the old-time Appalachian tradition and an avant-garde pioneer, best known for his work with PELT. Lisa was very excited to work with Nathan, and these duo percussion recordings made in Blacksburg, Virginia in 2013 (with two tracks being recorded live) are an amazing creation. Their duo is also known as UNDERCARRIAGE, and I must say that this album works beautifully on any number of levels. It’s deep, spiritual, tribal, trippy, and consciousness-raising (and altering). If you can imagine an album that has all the best qualities of Ya Ho Wa 13, Rashied Ali, African drum orchestras and the work of people like Olatunji, PIL’s Flowers of Romance….this is it. I grew up listening to solo and duo percussion albums such as Sven-Ake Johannsen’s SLINGERLAND and the Christian Vander/Frank Raholison P.A.L.M. LP “Fiesta In Drums,” not to mention the various John Cage percussion albums and things like Rashied Ali’s duo album with Frank Lowe, and I understand the POWER of raw ferocious percussion to take one HIGHER. This album does that. It’s got a heavy spiritual power, as most anything Lisa is involved with does.

I’m so glad the UNDERCARRIAGE duo of Lisa Cameron and Nathan Bowles is being documented on this album. Nathan has a wide and diverse background, having played with the Steve Gunn Band, Pelt, Black Twig Pickers,  Spiral Joy Band, and as a solo banjoist. Lisa, who knows such things well, described Nathan as “the best player of bowed cymbal that I have ever encountered.”

Although we are releasing this album in late January 2016, it’s technically the last of our wave of late 2015 releases, and really, NOTHING could have followed this in our release cycle. Please give it a try…..two masters coming together and taking us all on a magic carpet ride, fueled by LIQUID SUNSHINE.

And while you are ordering LIQUID SUNSHINE,  why not also pick up some of our other micro-edition CDR releases of diverse experimental music….

other CDR albums available (same price, see ordering info above):

KSE #327 (CDR) BELLTONE SUICIDE, “Wave Table Erotica”

KSE #326 (CDR) MORE EAZE, “Abandoning Finitude,” December 2015

KSE #324 (CDR) FOSSILS, “Modern Architecture,” cover art by Wyatt Doyle,  November 2015

KSE #322 (CDR), WEREWHEELS (Sir Plastic Crimewave and Dawn Aquarius),  “Live, Raw and Psycho in Japan”, November 2015

KSE #318 (CDR), ALFRED 23 HARTH & JOHN BELL, “CAMELLIA”

KSE #316 (CDR), MASSIMO MAGEE & DAVID W. STOCKARD, “INTERROGATORIES”

KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

KSE #305, (CDR) RAMBUTAN, “Remember Me Now” 

KSE #296 (CDR) THE GARMENT DISTRICT featuring Jennifer Baron, “Luminous Toxin”

KSE #314 (CDR), BELLTONE SUICIDE, “Non-Conformist Sessions”

KSE #320 (CDR), MIKE BARRETT & TOM CREAN, “CASUAL LUDDITES”

As always, thanks for your support of independent, artist-centered arts organizations…

We’ll be back in a few weeks with our first release of 2016, the KSE 10th Anniversary compilation album with new and exclusive records from a wide variety of folks we’ve worked with over the last ten years: Ernesto Diaz-Infante, Graham Lambkin, Vanessa Rossetto, Sarah Hennies, Rambutan, Brent Fariss, Alfred 23 Harth, Massimo Magee, Matt Krefting, and Derek Rogers….pre-release copies of that will be available from WFMU as a gift for folks who pledge to their fund-raising drive. We sent five copies of the comp for that, so listen to WFMU….(which you should be doing already anyway!) and see when they are offered for what kind of contribution, and get an advance copy before release (and before most of the artists even have their own copies! This is a one-man operation here!    )

January 9, 2016

first KSE poetry chapbook of 2016: BILL SHUTE, “Sculpture Garden In The Snow” (KSE #319)

Filed under: Uncategorized — kendrasteinereditions @ 8:41 am

BILL SHUTE

SCULPTURE GARDEN IN THE SNOW (KSE #319, poetry chapbook)

Creel Pone Sound Study #11

edition of 43 copies

——————————————————————————————

($6 US ppd   /   $7 elsewhere ppd)

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

SCULPTURE GARDEN cover

Back from our week in North Texas, back to the salt mine, getting the KSE machine up and running for our 2016 set of releases.We still have one album which is technically a 2015 release which we were not able to get out on time, Lisa Cameron and Nathan Bowles’s LIQUID SUNSHINE (KSE #328), which should be released in the next week or so. Watch for it—-as with anything from Lisa Cameron, it’s a stunning and mind-expanding creation. Also, speaking of stunning and mind-expanding, near the end of January, we’ll be releasing the KSE 10th Anniversary compilation album, featuring new and  exclusive pieces by Alfred 23 Harth, Sarah Hennies, Massimo Magee, Brent Fariss, Graham Lambkin, Rambutan, Matt Krefting, Derek Rogers, Ernesto Diaz-Infante, and Vanessa Rossetto….more on that later.

For now, here is our first poetry chapbook of 2016, my  SCULPTURE GARDEN IN THE SNOW, which revives the Creel Pone Sound Study series (this time around, the sound prompt is the 1974 album “Still Live In Concrete” from Ed Herrmann) that’s been on hiatus since 2009 after 10 volumes issued in the 2006-2009 period. We’ll probably revive the series again in the next year or so….it involves close listening to a Creel Pone electronic music release during the development and composition of a poetry chapbook. This one is a poetry-and-photography chap, to some extent, with four pages of text and three related photographs (taken in Opelousas, Louisiana).

SCULPTURE GARDEN is a piece where the energized clusters of text on the open-field page stand out and radiate like pinpoints of light from the scattered farmhouses on the snowbound Midwestern prairie.

The snow collects on the pieces in the sculpture garden, changing them, rebuilding them, redefining them….moments of consciousness, frozen at the end of the proverbial fork.

SCULPTURE GARDEN IN THE SNOW 

And while YOU are stranded at home on those Winter evenings, why not spend some quality time with some of the latest KSE poetry chapbooks. Pour a glass of wine, put on a solo piano album from the late great Paul Bley, and walk through this poetic Sculpture Garden In The Snow.

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #319 (poetry chapbook), BILL SHUTE, “Sculpture Garden In The Snow” Creel Pone Sound Study #11

KSE #317 (poetry chapbook), BILL SHUTE, “Inventing One’s Own Land”

KSE #306 (poetry chapbook), BILL SHUTE, “Manipulating Ambiguity”

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

January 2, 2016

KSE 2016 New Year’s Update

Filed under: Uncategorized — kendrasteinereditions @ 1:09 pm

325 releases later, Kendra Steiner Editions reaches TEN YEARS of contemporary poetry and experimental music in early 2016. It all began when I needed some copies of a new poem (Four Texas Streams) to distribute at a reading I was doing at Viva Books here in San Antonio in support of my Word Mechanics poetry book Twelve Gates To The City: The Labours of Hercules in the Lone Star State. Four Texas Streams did well, so I went on to publish others, then bring in other poets I respected and whose work I felt needed more exposure, from young and relatively unknown poets such as Stuart Crutchfield and A. J. Kaufmann to respected names such as Doug Draime and Luis Cuauhtemoc Berriozabal. Then after a few years we moved into music, with an album by Sir Plastic Crimewave and a 3″ mini-cdr by Derek Rogers. Now we move into our second decade of creation. Thanks to all of you who have supported KSE in one way or another over the years.

I hope we make it through a second ten years. The underground “market” changes from year to year, but the most important lesson I’ve learned in that respect is that YOU BUILD YOUR OWN UNIQUE AUDIENCE IF YOU ARE DOING UNIQUE WORK. And we’ve done that….and on an international level…and for ten years. It’s sad that some of the folks we’ve worked with over the years have changed the nature of their work to suit the “alternative” marketplace or to curry favor with the gatekeepers of “alternative” culture, and in every case they have cheapened or diluted their work and lost the spark which made them worthwhile in the first place….but that’s the way of the world, isn’t it? As Little Richard once observed, some people lose what they have to get what they think they want.

Also, while we are waxing philosophical about the state of the arts and culture, isn’t it kind of ironic and on a deeper level depressing and pathetic that Rolling Stone and The Village Voice and the like are now featuring a “Top 15 Noise Releases” list? Noise? That’s so five years ago. Or is it ten? Jandek and the Nihilist Spasm Band and Mahogany Brain and Fossils and Harry Partch and Sun Ra and Brian Ruryk and Wadada Leo Smith and Steve Lacy never needed labels and names-of-movements to justify their work, as if any name or label could ever encompass what they have done/are doing. I’ve lived long enough to see dozens of movements come and go in the various arts, including my own chosen field of poetry. When I was a teenager in high school back in the mid-70’s, I was carrying around LP’s by Alfred 23 Harth, Captain Beefheart, Anthony Braxton, Faust, John Cage, Kim Fowley, The Spontaneous Music Ensemble, and the like, and I still am today! My core has not changed, but my scope has enlarged and grown exponentially. I’m still as hungry as I was then (perhaps that’s the real key), and I still every month take a chance on books and music and art and film by people new to me. NOT just recommended to me. I plan to continue doing that…As long as people like Massimo Magee and Lisa Cameron and Ernesto Diaz-Infante and Alfred 23 Harth are out there doing important and under-recognized work, I’m going to be out there plugging away for them by championing and releasing their work through KSE. Life is short—-USE every day you have available to you. As Kinky Friedman once stated to justify one of his candidacies, “why the hell not!”

We had 22 music releases planned in 2015 and we managed to get 21 of them out (apologies to Lisa Cameron and Nathan Bowles—-their album will be out later in January), and we issued around 12 poetry chapbooks. That’s at least 33 releases. I don’t see that happening again—-maybe a total of 20 poetry and music releases in 2016. However, we here have the attitude that it’s creation which is important, not reception. Some labels/presses put out 3 or 4 featured releases a year and work the rest of the year supporting them, promoting them, sucking up to the “alternative” powers that be (and some of those “powers” who were our former champions seem to expect more sucking-up-to than I’m willing to provide!), etc. When you consider that someone on the level of fame of John Cage had MANY unperformed compositions when he died and that “new” compositions of his are STILL being performed and recorded today, that Gertrude Stein had 8 large volumes of high-quality unpublished works left when she died AND EVEN AFTER HER DEATH SHE HAD TO PAY FOR THEIR PUBLICATION, and that a small percentage of Andy Warhol’s 1980’s work was ever exhibited in his lifetime and that these later works are amazing in their quality and diversity and originality (and unlike you or me, these are people who had large international reputations…but it’s the WORK that survives, not the reputation)…when you consider that Melville had to privately publish his later poems (some of his greatest-ever work) and when you consider the reception of Emily Dickinson’s work in her lifetime (not to mention recent greats such as Angus MacLise or poet Leland Hickman), the message is….learn your craft to the point where it becomes as natural to you as breathing or speaking, if you compete with anyone compete with the greats in your own pantheon of greatness NOT with your contemporaries, and create create create.

WE WILL BE GONE FROM 4 JANUARY to 8 JANUARY in North Texas (orders received while we are gone will be sent out on Monday 11 January). While up there, Mary Anne and I will present Derek Rogers with the first 20 copies of the KSE 10th ANNIVERSARY COMPILATION ALBUM (pictured below), a project that he and I have been working on for six months. It will be released in the latter half of January….so save your orders until that time. It is a stunning collection of new and exclusive tracks from 10 great talents we’ve worked with in one way or another over the last ten years….and it also totally captures what KSE is about.

KSE comp_0001

We have a lot of surprises in store for 2016, but first comes the 10th Anniversary Album in mid-January. Then our first featured poetry chapbook will be a new collection from one of the greats, Luis Cuauhtemoc Berriozabal. If I could put a poetry book in the desk drawers of motel rooms the way the Gideons do with Bibles, I would put a collection of Pablo Neruda. He was a master of the use of natural and everyday particulars, and that’s what poetry is about, particulars which resonate. Luis is one of the finest post-Neruda poets, a man with deep and profound roots, sipping from the underground streams which transcend time and nationality, and it’s a pleasure to continue to present his work. Watch for this collection, which should be out in a month or two. Also, I will be moving in some new directions and exploring some new publishing platforms and performing venues with my own poetry in the next two years (stay tuned for that), and KSE may be doing a few European-based events in 2017. Hope we’re all still standing…and even if we all don’t make it, some of us will…

Our releases tend to stay available for 3-6 months. Be sure to stock up on quality experimental music and contemporary poetry for the new year now.

Here’s what’s available, including the newest releases from the last few days:

CDR ALBUMS ($8 US postpaid / $12.00 elsewhere postpaid)

KSE #327, BELLTONE SUICIDE (aka Mike Barrett), “Wave Table Erotica”

KSE #324, FOSSILS, “Modern Architecture”….cover art by Wyatt Doyle

KSE #326, MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude”….cover art by Bob Bruno

KSE #322,  WEREWHEELS (Sir Plastic Crimewave & Dawn Aquarius), “Live, Raw and Psycho In Japan”

KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

KSE #316, MASSIMO MAGEE & DAVID W. STOCKARD, “Interrogatories”

KSE #314, BELLTONE SUICIDE, NON-CONFORMIST SESSIONS

KSE #310, MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

KSE #305, RAMBUTAN, “Remember Me Now”

KSE #296,  THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

KSE #298, GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

—————————————————

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #319 (poetry chapbook), BILL SHUTE, “Sculpture Garden In The Snow” Creel Pone Sound Study #11

KSE #317 (poetry chapbook), BILL SHUTE, “Inventing One’s Own Land”

KSE #306 (poetry chapbook), BILL SHUTE, “Manipulating Ambiguity”

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

———————————————————-

Remember, as bad as so much in society is, we are in the midst of a golden age in the arts, and it will take 70+ years for future anthropologists-of-culture to wade through and make sense of all the micro-press and micro-label and self-issued works which are coming out daily. We are all living through and part of this period, each of us a stone in the mosaic, a torn piece of throwaway newsprint in the larger collage—-we are all literally making history and building bridges into the future.

And let’s not ever forget that it’s the workers, the most bashed group in society in our present set-up, who make all this possible. The overnight crew at your local supermarket who stock the shelves; the agricultural workers who grow and pick those strawberries and grapes and coffee beans that start our mornings; the bus drivers who get up at 4 a.m.; the no-benefit, 30 hour-a-week  day-care workers who without knowing it are molding the future of those runny-nosed and overflowing-with-life two and three year olds who will grow up to, I hope, not screw up the world as much as my generation and the one before me have; the bartender who serves you that local-brew at the end of a long work week—-those are the heroes of everyday life. Those of you reading this on a portable device at 3 a.m. while you are working as a security guard at a building you as a citizen would not be welcome in, I’m talking to you. Those of you up with a fussy  infant or toddler at 3 a.m., trying to make their world better and their life more pleasant and their future brighter than yours was (ours was/mine is), thank you. I try to be a positive person in my daily life. I’m not going to be able to overthrow capitalism or do away with militarism or imperialism or fundamentalism or bigotry, and I’m not going to do away with that percentage of the population who are jerks and a**holes and egomaniacs, but the majority of people aren’t, and I try to view every person I meet (worker or customer) at the driver’s license office or the convenience store or the post office or the bus stop as a brother or sister, a comrade in the fight that is getting through daily life in the US circa 2016 (or anywhere…most have it worse than we do), until they prove otherwise, and unfortunately many do prove otherwise, often those who make the loudest pronouncements about how wonderful and how correct and how progressive they are. That was one of the first “dirty little secrets” of life I learned, probably while still a teenager. As Louis Armstrong and many others in many other walks of life have observed, those who talk don’t know, those who know don’t talk.

First, do no harm.

Off to North Texas….see you in a week or so….

KSE Visual Art Spotlight #2: WYATT DOYLE

Filed under: Uncategorized — kendrasteinereditions @ 8:26 am

Wyatt Doyle is a true Renaissance Man. I first stumbled across his work 8 or 9 years ago when he did a superb joint DVD commentary with Chris D of the 1973 film DEATH SMILES ON THE MURDERER (issued by Legend House), starring Ewa Aulin and Klaus Kinski. His perceptive and insightful comments on this unique film led me to wonder, who IS this man? Well, he’s been a hard-working fiction writer, editor, publisher, script doctor, screenwriter, and photographer. His most recent book is the photography collection DOLLAR HALLOWEEN, which you can read about here: https://kendrasteinereditions.wordpress.com/2015/10/17/dollar-halloween-by-wyatt-doyle-new-texture-books/ . KSE also reviewed (and raved about) a few years ago his book of short stories set in the world of the Los Angeles bus system, STOP REQUESTED, and you can read that review here: https://kendrasteinereditions.wordpress.com/2014/01/04/stop-requested-by-wyatt-doyle-new-texture-books-2010/ . One of the qualities I admire most in Wyatt Doyle’s work is his eye for the unexpected juxtapositions of detail among the seemingly mundane, juxtapositions of detail that provide a window of insight into life, into society, into truth. This quality is as strong in his fiction as it is in his photography. However, as a photographer myself (about 85% of the 325 KSE album and chapbook covers have been rooted in my photography), I appreciate his superb eye and his exquisite framing. On a number of occasions when Mary Anne and I have been travelling across small-town Texas or the midwest, we’ll view a scene and comment to one another that it looks like a Wyatt Doyle photograph.

We’re presenting a small sample of Wyatt’s work here along with a brief statement from the artist about his work. You can read more about his many and varied activities at newtexture.com . Wyatt has also done two covers for KSE: the much-acclaimed Doug Draime poetry book DUSK WITH CAROL and the recent album “Modern Architecture” by FOSSILS. Wyatt will also have a new book arriving in 2016, a themed collection of photographs and stories, the ungrammatically titled I NEED REAL TUXEDO AND A TOP HAT! The book focuses on street scenes and street people (two from the works below — “Window sketcher” and “El santo” — are from TUXEDO) . Until then, enjoy the 10 works below (and check out the New Texture website).

ARTIST’S STATEMENT: I keep it simple. My cameras are consumer-grade, point-and-shoot models.  I avoid posing or positioning. I prefer natural or source lighting, I dislike using a flash. I crop, but resist further manipulation.

I like photographs that imply a narrative. I’m interested in people, places, and objects — how they intersect and interact, and the ways time and physical surroundings affect, alter and comment. It’s a conversation; I document that conversation.

 

WYATT 1

WYATT 2

WYATT 3

WYATT 4

WYATT 5

WYATT 6

WYATT 7

…..

WYATT 8

…..

WYATT 9

…..

WYATT 10

 

January 1, 2016

new album “Wave Table Erotica” (KSE #327) from Belltone Suicide

Filed under: Uncategorized — kendrasteinereditions @ 3:57 pm

BELLTONE  SUICIDE (aka Mike Barrett)

“Wave Table Erotica”

KSE #327 (CDR album)

limited edition of 48 copies 

$8  US  postpaid / $12.00 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

BELLTONE WAVE COVER

Good to welcome back Western Massachusetts’s BELLTONE SUICIDE (aka Mike Barrett) for a blistering new solo album, WAVE TABLE EROTICA. Mike’s previous two albums for KSE (both still available, by the way) were quite different: NON-CONFORMIST SESSIONS featured a series of minute long analog-electronics acid-tinged portraits in miniature, while his duo album with guitarist-banjoist Tom Crean (CASUAL LUDDITES) had him as a duo improviser, along the lines of the Marion Brown–Elliott Schwartz duets. This new album, WAVE TABLE EROTICA, features 3 extended pieces (one 30 minutes plus) of gonzo solo analog-electronics action painting in sound…and what virtuoso performances they are! Many such performances by lesser mortals can get tiresome, but this is almost like an electronics version of a solo twenty-minute blowout from a saxophonist such as Peter Brotzmann or the late Frank Wright…..shredding, kaleidoscopic, endlessly inventive…and each of the three tracks has a quite different character. It’s like an action-painting in molten lava in sound. What more could one want? It’s not like anyone could top an album such as this…

Mike’s been doing important work for many years (google his ‘Gilded Throne’ label) and we are honored to have him as part of the KSE family.

Get your copy now….edition limited to 48 copies, and if you’re not in the Northeast, you might not be able to get one from Mike at a show–get one direct from KSE….and also pick up NON-CONFORMIST SESSIONS and CASUAL LUDDITES….

STILL AVAILABLE:

KSE #314 (CDR), BELLTONE SUICIDE, “Non-Conformist Sessions”

KSE #320 (CDR), MIKE BARRETT & TOM CREAN, “CASUAL LUDDITES”

$8  US  postpaid / $12.00 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

other CDR albums available (same price):

KSE #326 (CDR) MORE EAZE, “Abandoning Finitude,” December 2015

KSE #324 (CDR) FOSSILS, “Modern Architecture,” cover art by Wyatt Doyle,  November 2015

KSE #322 (CDR), WEREWHEELS (Sir Plastic Crimewave and Dawn Aquarius),  “Live, Raw and Psycho in Japan”, November 2015

KSE #318 (CDR), ALFRED 23 HARTH & JOHN BELL, “CAMELLIA”

KSE #316 (CDR), MASSIMO MAGEE & DAVID W. STOCKARD, “INTERROGATORIES”

KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

KSE #305, (CDR) RAMBUTAN, “Remember Me Now” 

KSE #296 (CDR) THE GARMENT DISTRICT featuring Jennifer Baron, “Luminous Toxin”

 

December 29, 2015

MORE EAZE (aka Marcus M. Rubio), “Abandoning Finitude” (KSE #326, cdr album)

Filed under: Uncategorized — kendrasteinereditions @ 7:30 pm

MORE EAZE (aka Marcus M. Rubio)

“Abandoning Finitude”

KSE #326 (CDR album)

limited edition of 48 copies 

cover artwork “Fire Inside Dark Matter C” by Bob Bruno

$8  US  postpaid / $12.00 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

MORE EAZE ABANDONING

KSE is proud to welcome back Marcus Maurice Rubio aka MORE EAZE for the third and final installment in his KSE Trilogy of 2015. With a creative energy like Marcus’s, it’s best to just stand back and let him do his thing. We’d agreed on the concept for this More Eaze trilogy before he began work on the first installment (now out of print), yet each album has been totally surprising to me as Marcus delivered the masters. As this third album works its spell on the listener, the dominant impression initially might be the wizardry on the guitar and violin strings, the virtuoso playing (no surprise that MMR is also a one-on-one music educator), which morphs from demanding minimalist passages to lyrical deconstructed songs, a few moments of which had me thinking I was listening to some big-ticket early 70’s European private pressing acid-folk LP…but get attached to that and soon after you are transported into an electronic music world of ventilator shafts and gearshifts….and let’s not forget the post hiphop interludes. Yes, there’s something for everyone here, and it all fits together into an amazing album-length collage. We at KSE are proud to have worked with Marcus to bring you this trilogy of MORE EAZE works. As we stated with his previous release, Rubio is almost like the Van Dyke Parks of the noise-experimental music world: he’s outrageously talented, has incredibly deep roots (how often do you hear Abner Jay’s name dropped in discussions of the kind of music played on WFMU or reviewed at Vital Weekly?), and is a virtuoso in his composing/arranging/manipulation of parts/whole. Very happy to have had him do this More Eaze CDR trilogy for KSE….be sure to grab this one, and the previous one ACCIDENTAL PRIZES is still available too.

KSE #326 (CDR) MORE EAZE (Marcus M. Rubio), “Abandoning Finitude”

KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

$8  US  postpaid / $12.00 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

——————————————————

Marcus M. Rubio on Abandoning Finitude: “one of the main goals of more eaze is to create works that have the potential to go anywhere given some related element from the last piece. this final record in the Kendra Steiner trilogy of 2015, is structured similarly to the previous two but explores this concept even more in depth. this time the relationships between tracks are even more subtle using tempo and timbral connections just as much as harmonic relationships to create a music of infinite possibility. the theme of the creative nature of destruction is still prevalent in this work too with pieces often briefly presenting  their themes before being deconstructed and turned into the next work and then the next. overall, this album for me is about possibility and rhythm and how those two things are interconnected in subtler than we often realize.

………………………

CHAPBOOKS/CDR’s  NOW AVAILABLE: 

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11.50 )

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

FOSSILS MODERN

 

 

 

 

 

 

 

 

NEW FOR WINTER 2015/2016, KSE #324, FOSSILS, “Modern Architecture”….cover art by Wyatt Doyle

 

 

WEREWHEELS COVER

NEW FOR WINTER 2015/16, KSE #322,  WEREWHEELS (Sir Plastic Crimewave & Dawn Aquarius), “Live, Raw and Psycho In Japan”

MIKE AND TOM LUDDITES COVER

 

 

 

 

 

 

 

 

NEW FOR FALL 2015: KSE #320, MIKE BARRETT & TOM CREAN, “Casual Luddites”

A23H CAMELLIA

NEW FOR FALL 2015: KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

 

massimo 2015

NEW FOR FALL 2015: KSE #316, MASSIMO MAGEE & DAVID W. STOCKARD, “Interrogatories”

belltone reissue

NEW FOR SUMMER 2015: KSE #314, BELLTONE SUICIDE, NON-CONFORMIST SESSIONS

 

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

———————————————————————————————————————

NEWEST POETRY CHAPBOOKS:

($6 US ppd/$7 elsewhere ppd)

KSE #317 (poetry chapbook), BILL SHUTE, “Inventing One’s Own Land”

INVENTING cover

KSE #306 (poetry chapbook), BILL SHUTE, “Manipulating Ambiguity”

MANIPULATING AMBIGUITY

KSE #302 (poetry chapbook), BILL SHUTE, “Satori In Lake Charles”

satori in lake charles

 

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

Questions? Write to  django5722 (at) yahoo (dot) com   . Thanks for your support!

………………………..

December 22, 2015

Boarding House Blues (1948)

Filed under: Uncategorized — kendrasteinereditions @ 9:05 pm

BOARDING HOUSE BLUES

Dir. Josh Binney, released 1948 by All-American News

featuring Dusty Fletcher, Jackie “Moms” Mabley, Lucky Millinder, Bullmoose Jackson, Una Mae Carlisle, etc.

classic 1940s Black vaudeville routines and musical acts

boarding_house_blues_poster_01

Forget the “plot” (the old standby where broke folks have a house party to raise the money to keep from being evicted)–it’s just contrived to string together various classic vaudeville routines and exciting musical numbers from late-swing/early R&B Black performers of the 1940s. If you enjoyed Killer Diller (made by the same people as this one, and also featuring Dusty Fletcher and Moms Mabley), you’ll want to see this one too. It offers a rare opportunity to see African-American vaudeville routines that were probably old in the 1920s, now performed in the waning days of vaudeville. Dusty Fletcher, best known for his smash hit “open the door, richard,” is a wonderful physical comedian (here accompanied by some acrobatic person in an ape suit!), and ANY opportunity to see the legendary Moms Mabley should be taken advantage of. The musical performances by Anisteen Allen, Una Mae Carlisle, and Bullmoose Jackson are wonderful, and it’s great to see bandleader Lucky Millinder as compere. Millinder’s band was as commercially successful in live performance as the Ellington or Basie bands in the late 30’s and 40’s, but since their records have not had the staying power of DE or CB, we don’t hear much about him, and surely it was his “act” that helped keep the band on top—-nice to get a taste of that presence here! There’s also some off-the-wall “novelty acts” worked into the show, including the one-legged dancer “Crip” Heard. The emphasis here is on the acts you’re watching, NOT on the filmmaking. All in all, this is a pleasant way to kill 90 minutes and also gives us a window into a form of entertainment long gone–classic African-American vaudeville. Thanks to the makers of this film for documenting these entertaining and vibrant acts for future generations to enjoy and marvel at! This was distributed by All-American News, the company that made African-American oriented newsreels, a number of which have surfaced in recent years and are a goldmine of 1940’s Black culture.

December 21, 2015

Samuel Fuller’s adaptation of the David Goodis novel STREET OF NO RETURN (France-Portugal, 1989)

Filed under: Uncategorized — kendrasteinereditions @ 9:52 pm

STREET OF NO RETURN

made in Portugal in the late 1980’s, released in France in 1989

directed by Samuel Fuller

starring Keith Carradine, Valentina Vargas, and Bill Duke

adapted from the American existentialist crime novel by David Goodis

 

street book

strange, intense yet otherworldly swan song for Samuel Fuller

Director Samuel Fuller’s films SHOCK CORRIDOR and THE NAKED KISS are among my all-time favorite films, the perfect mixture of pulpy imagery, the pushy attitude of the investigative reporter, and post-noir visual poetry. His attempts to achieve a kind of gutter-level truth through expressionistic exaggeration make his films completely unique. This film takes the classic noir novel STREET OF NO RETURN by Davis Goodis and transposes it into a strange cinematic vision that is intense and brutal, yet otherworldly and cerebral. First of all, the film exists in no particular time–like RUMBLEFISH, it blurs elements from different eras so that it exists in some kind of alternate reality. Also, while the film supposedly deals with American issues, it looks so foreign (it was shot in Lisbon, Portugal, a city that has a unique look, but not a familiar look, as Paris or London or Rome or Berlin would have) that the whole thing seems to play out on an allegorical level. Even the music by Keith Carradine is odd–Carradine (known for his 70s hit “I’m Easy”) is rooted in a kind of 70s folk-pop in the James Taylor vein, but his music is given an 80s Euro dance feel, and he looks like glam-era Kim Fowley (in the earlier times in the story) or trashed-out hippie-punk Kim Fowley (in the later times in the story). And while the film deals head on with racial issues, the Black actors in the smaller roles look nothing like African-Americans, which again takes the film away from any realism–it radiates truth rather than depicting it. Bill Duke is excellent as the harried police inspector, Keith Carradine is impressive as the protagonist (quite different from the book, but not attempting to be like the book, but like the screenplay), and once one gets into the “feel” of the film, it carries the viewer along for a wild ride. This is a memorable last film for the great Samuel Fuller. It has all of his good qualities and visually it’s pure Fuller. The strange look and European feel to the film remind us that the man could not get a film deal in his own country and, like Orson Welles, was forced to put together overseas projects wherever he could. The Fantoma DVD presentation of the film is superb as are the extras (commentary by Carradine, documentary about the making of the film, etc.). The women in the film–Valentina Vargas as the woman Carradine desires, and Andrea Ferreol as the woman who has nurtured him and who loves him but whom he sees as a maternal figure (the line about “you’ve always been like a mother to me” is painful to hear!)– are both incredibly sexy in a raw, animal-like way that we don’t often see in films nowadays. If you’ve ever enjoyed a Samuel Fuller film, you should seek out this DVD. If you want to try something different, buy or rent this rather than going to see some empty Hollywood product at the multi-plex. (originally published in 2005)

street-of-no-return

Hail, Brother! (18 min., 1935, Educational Film Exchanges comedy short)

Filed under: Uncategorized — kendrasteinereditions @ 9:20 pm

HAIL, BROTHER!

Educational Pictures two-reel comedy short, released 26 March 1935

directed by Leigh Jason, starring Billy Gilbert

BILLY GILBERT

off-the-wall musical-comedy parody of modern art and communism!!

HAIL BROTHER is certainly one of the strangest comedy shorts of the 1930s, a musical-comedy parody of both modern art and communism! Billy Gilbert stars as a rich businessman who gets hit on the head and suddenly becomes a convert to the cause of modern, abstract art and the cause of collectivism, which causes a bunch of cagey “artists” of all types to move in with him and turn his mansion into an art colony and a commune where everything is shared. There are parodies of Gertrude Stein’s writings and of pretentious literary criticism, as well as a lot of interpretive dance (with hobos mixed in with dancers in flowing abstract gowns) and musical sequences, including a romantic theme called “You Inspire Me!” which is played in different forms THREE times, as if they were trying to break it as a hit! I can’t get it out of my head since hearing it yesterday. Of course, there is a lot of well-executed slapstick comedy here too, so those not into music or dance or social criticism could still enjoy HAIL BROTHER solely as a comedy short. I remember hearing many years ago that in some un-named city members of the Communist Party actually disrupted showings of this film, based on advance rumor that it was anti-communist. They shouldn’t have bothered, as this is a broad burlesque that no one would have taken as serious social commentary, but anyone who has read Richard Wright’s AMERICAN HUNGER knows that during the Stalinist era members of the Communist Party were not known for having a sense of humor or irony! In any event, this is an off-the-wall curio that should interest any lover of the weird. I can’t imagine any other comedy short company making this–RKO was too staid; Columbia was too focused on physical comedy and would have found the other elements to be getting in the way;Hal Roach’s musical shorts were not this “hip”. Say what you will about Educational Pictures, the company produced some strange product (the shorts of Joe Cook and Jefferson Machamer being good examples!). Checking director Leigh Jason’s filmography, I notice that he also directed an old favorite of mine, the German made 1961 cheesecake-comedy FESTIVAL GIRLS, starring Alex D’Arcy in a hilarious role as a starving con-artist filmmaker who is a fast talker and bluffs his way through life. You may not like HAIL BROTHER, but I don’t think you will be bored while watching it! (review originally published in 2005)

educational

 

Next Page »

The Rubric Theme. Blog at WordPress.com.

Follow

Get every new post delivered to your Inbox.

Join 37 other followers