the maddest of props, the hardest of crushes.
octopus project, you rock my world.
let me join you.
i cook.
The Octopus Project – Rorol (Identification Parade take)
Tag Archive for 'The Octopus Project'
The Octopus Project – Six Feet Up
The Octopus Project – The Way Things Go
ps. i know that the god-like revamped version of “Rorol” is on the Golden Beds EP, but how haunting is the take off of Identification Parade? One of their first recordings and easily still up to par with their ridiculously characteristic new tunes.
The Octopus Project – Rorol (IP version)
Ah, I just caught that Cameron tagged this on Facebook and I flipped out. Those who read my review of The Octopus Project’s Golden Beds EP know how deep my love runs for the Austin homies and this photo just makes my heart flutter. I’m on my way to catch FMLY FRNDS DD/MM/YYYY open for Del at the Williamsburg Watefront, hope everyone else is having a rad day.
Over the past seven years The Octopus Project have played a consistent role in the “soundtrack of my life.” Every album that they’ve crafted has had its own character, and with the last song (“Queen”) on their last record, Hello, Avalanche, we as fans were introduced to a new angle with the band; one of vocals. Not too long ago our 8-tentacled FRNDS released a Bee Gees cover of “I.O.I.O.” giving us a taste of some legit soft pipes, but with their recently released Golden Beds EP our sweet Austinites..Austinians…Astonians…Texans have given us more than we could have asked for! While hangin’ with the Octopus Project last year at CMJ the subject of vocals came up and the band assured FMLY that they have no prejudice against singing, they only wish to work their voices into the sound if it is appropriate and is not just for lyrical sake. Well congrats, you’ve come out successful! “Wet Gold” and “Moon Boil,” the first two tracks off of Golden Beds do feature vocals and they are no less than kickass. I’d for sure rob a bank or drive a motorcycle over a helicopter to “Moon Boil.” Now for the rest of the EP, lets just say that a Star Trek stun gun doesn’t do justice to what I’ve been feeling internally the past couple of weeks. I don’t want to give anything away or raise any expectations, but the care for which “Rorol” nurtures the listener only to grab us by the collar and slam us head first into the front of its ex-boyfriend’s pick-up truck just makes me want to blast this tune out of my window for the entire Lower East Side to jam on. The latter portion of the EP encourages a “journey through The Octopus Project’s bizarre and wonderful world of reverie including videos by the Zellner Bros., Divya Srinivassan, Phillip Niemeyer and Ryan Junell, Nick Smith, and Toto Miranda. Finally, the live footage of “Truck” from the 2008 Austin City Limits music festival offers a glimpse of the band at their best in the real world, joined on stage by the Austin High School marching band and in the audience by 10,000 waving arms. [via]” Geeeet Ittttt.
Stream the entire EP here, buy it here and tell them how much I, we, you love them here. You got me hypnotized, so mesmerized.
It’s an honor to present an interview with Tobacco covering the dichotomy between Tobacco and Black Moth Super Rainbow, as well as touching upon earlier works and hinting towards the future. As satanstompingcaterpillars, an introduction to lo-fi synth-pop was made and as Black Moth Super Rainbow grew from the ashes, several good men and women stronger, the music has not only gained in appreciators but taken on a unique form of production different from any other music being made today. Without spilling our collective hearts out and continuing with words which do no justice, lets get on with this.
FMLY: I’d like to begin by clearing the fog. Thanks to Impose magazine it’s acknowledged that you, Tobacco, are Black Moth Super Rainbow (outside of live settings). During the time of satanstompingcaterpillars, when was it decided with Power Pill Fist that you would take composition and recording duties? If it wasn’t decided, and you feel comfortable doing so, I’d like to know about the transition into BMSR and what provoked it.
Tobacco: It’s just sort of how it always was. I’m bad at collaborating with people, and I thought it was always easier to work alone. I think I get most inspired alone, and less self conscious of what I’m doing. We’ve written a few songs together as a band back in all the different bands, and it always feels great when it happens, but I never push it to keep happening. I had started off really noisy and abstract with Allegheny White Fish. We were all so happy with ourselves for coming up with that name in 10th grade, but it wasn’t too funny 4 years later. Then ssc [satanstompingcaterpillars] was like my way to be more melodic all the time, and a little more serious. Then when it started to shift again into something I might be a little more comfortable performing live, I brought in the rest of the band and we changed over again. I’ve always felt like these ideas shouldn’t outstay their welcome. 3 or 4 records is enough, because I get really bored, and I like to keep these bands and ideas as pure as I can, in their places in time, until it seems like I’ve finally gotten it right.
FMLY: Your sound evolved tremendously with Falling Through A Field. Was this due to new software, new instruments, new friends to play with, an acid trip or just a new vision of swampy pink meadows and multicolored waterfalls? Do you and PPF continue to make music together on the side? I’m a big fan of his Atari work, were you two into video games when you were young or is it only appreciated as an instrument? Related, why the decision to use many tracks from satanstompingcaterpillars?
Tobacco: Falling Through A Field was like a weird best-of record at the time. Some of my favorite stuff that I thought was still relevant from ssc, mixed with where it was going with the vocoders and analog synths and beats. It was all fueled by the idea that these synths were available and we were figuring out what they did, plus the idea of the vocoder was really appealing because I didn’t have to be so self-conscious about my voice anymore. PPF and I haven’t made anything in awhile, but like I said, I’m just not much of a team player. I think he’s taking the Atari stuff somewhere really interesting for his next record. I’ve only heard one song, but it was definitely different.
FMLY: After speaking with The Octopus Project I was surprised to find out that The House of Apples and Eyeballs was an online project and that you hadn’t actually met before recording. Had you listened to tOP before this collaboration and who initiated the process? Do you still maintain a relationship with them and was the rest of BMSR involved during the recording process or only at your live performance of the album at SXSW?
Tobacco: I had the cd with the mannequins on the cover, and I had no idea how much they’d changed since then. I didn’t know they were more of a rock band, so that was a good surprise. I think Ryan from Graveface just went to a couple shows of theirs and had the idea on his own to put it together. We see them like once a year now, because we usually stay with Toto when we play in Austin.
I had all these random parts recorded with everyone from BMSR over a couple years that we were able to incorporate into that album. The whole point of it was trying to make something out of stuff both bands had lying around and didn’t know what to do with, so it ended up being kind of a good exercise for me in listening to some of the garbage I make and figuring out how to make it work on some level. I think everyone makes at least one appearance.
FMLY: There’s no denying the role that your music has played in many people’s lives, but more specifically those who dabble with acid, shrooms and other mind -altering drugs…or just straight up weed. What you may consider to be a subtle portion of a track could influence one’s entire trip. Do you take this into consideration when crafting an album?
Tobacco: I’m sort of learning this more and more over time, but everything I make is pop to me, and it’s the only way I know how to make it. So drugs have absolutely nothing to do with it for me – it’s just what I think sounds good at the time. I’m not much of a psychedelic music fan, and I’ve never aspired to be psychedelic. I think it’s just my ear being wrong. I really think I’m making hooky pop music, but then it comes out, and everyone’s like, “no, it’s this…”
satanstompingcaterpillars – Goodbye Method (from Flower Slides)
satanstompingcaterpillars – The Autumn Kaleidoscope Now Has Hips (from The Autumn Kaleidoscope Got Changed)
satanstompingcaterpillars – Black Snow (from The Most Wonderfulest Thing)
Black Moth Super Rainbow – Boxphones (from Falling Through A Field)
Black Moth Super Rainbow – Smile Heavy (from Start A People)
Black Moth Super Rainbow + The Octopus Project – Spiracle (from The House Of Apples & Eyeballs)
Black Moth Super Rainbow – Sun Lips (from Dandelion Gum
Black Moth Super Rainbow – Just For The Night (Laura Burhenn, BMSR remix) (from Drippers)
Black Moth Super Rainbow – Eating Us medley
The Octopus Project singing? I haven’t heard such a thing since the closing of Hello, Avalance! Well, Cameron and I sat down with our favorite Austinians, Austinites…er, citizens of Austin during CMJ week and were told that they have nothing against singing, their music just hasn’t allowed them to comfortably add lyrics to their music. Last week apparently, became time for a major transformation for the band exploring an uncharted territory. Not only are they singing, but there’s no theremin or electronic elements. This appears to be an ‘indie rock’ song that well…is better than most of the indie rock songs I heard in all of ‘08. This organic sing-a-long pop tune – which is actually a cover of the Bee Gees – is more of a holdover and will be on their soon-to-be released EP with UK 7″ tunes “Wet Gold” and “Moon Boil” as well as some other H, A tracks that didn’t make the cut. With Josh, Miranda and Toto taking turns with vocals it makes me wonder if they’ll be incorporting this sound into their next full length. Stay tuned for FMLY SXSW surprise announcements, maybe regarding some Octopi?
[via HRO]
I’ve found myself incredibly into Banjo or Freakout who have consistently provided the blogosphere with on point covers of Burial’s “Archangel,” Vampire Weekend’s “Cape Cod Kwassa Kwassa” and now Radiohead’s “All I Need.” Being a contender for some of my favorite tracks of the year I could imagine no better show than Banjo or Freakout and Panda Bear. Find the covers here.
The Octopus Project’s “I Saw the Bright Shinies” has now made its way to video, follow this link to the band’s site and check it out. It couldn’t be more fitting for the track.
Goodnight FMLY.
Tonight experimental pop band The Octopus Project will be playing the Knitting Factory with FMLY favorites The Histories who will be playing their last LA show of the summer. I had a chance to see The Octopus Project last time they were in town when they played with Meals for Children and let me tell you, you don’t want to miss this show.
Other shows worth your time:
Xiu Xiu with Carla Bozulich at the Echo
Dawes and Chief at Troubadour
Paolo Nutini at Puma Concept Store, Third Street, Santa Monica (12:30 pm – free)
Nico Vega with Black Gold, Dikta, DJ MiChael and more at Three Clubs
