OCF

Shop Talk with Liars

Jul 5, 2012
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Categories: CultureOCF

Before Liars decided to send off their mastered mix and album artwork for WIXIW, the band sat, pondered, and took a series of steps to give shape to their sixth full-length. After learning what worked on previous records and where they wanted to refine, lead-singer Angus Andrew and guitarist Aaron Hemphil took to the hills north of their native Los Angeles while drummer, Julian Gross worked on the
percussion back in the city. Only after months of collaboration, note taking, and visits back and forth to L.A. did WIXIW start to take form. It’s Liars’ unique process of experimentation and work with different artistic mediums that marks this album as a continued chapter in the band’s tenure. Eskuché got an exclusive look into their studio space after outfitting them with our latest styles for use on tour.
 
 
 
 
 
 
 
 
 
 
​Visit liarsliarsliars.com for more info.
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Check-Up: Lovefingers

Jun 20, 2012
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Categories: CultureOCF

 

 
Earlier this week, we took a little bit of time to catch up with our good friend―who just so happens to be one of the best DJ/producers around―Andrew Hooge, a.k.a. Lovefingers. The man recently embarked on a new non-musical endeavor (he and his wife are making clothes together!), which prompted a move from the NYC to L.A., but that doesn't mean he's not keeping active as ever in the world of dance parties, vinyl records, and house boogies. Indeed, he's still poring himself into ESP Institute, a label he started a few years back, and even working on a full-length Stallions album, which features a live band. Read on for our little catch-up session with the guy.
 
What have you been working on recently?
 
On my label ESP Institute, I've been dropping fantastic new releases recently for Soft Rocks. And for myself, I just released a new remix by Stallions (Lee Douglas and myself) for the Backwoods (DJ Kent from Tokyo). Summer rave tune! Also, I just finished a remix for Phil Manzanera to be released shortly.
 
What prompted your move from NYC to L.A.? What have you been up to on the other coast?
 
All business. I love NYC and want to be back there, but my lovely wife and I run a few clothing brands and set up shop in L.A. for a while to get the whole machine well oiled and running strong. Its growing. I also started buying records for the hands-down-best new record store in L.A. called Mount Analog. Its in Highland Park, close to my house, and it opens official on June 14.
 
What was the funnest gig you played in the past year or two?
 
So hard to say without offending a great friend somewhere... but my most fun is always had in Melbourne (at Bamboo Musik!), NYC, Tokyo, Moscow, Turkey, London, and Paris. I hope that narrows it down.
 
What're some things you're looking forward to in 2012, in terms of releases, parties, etc.?
 
Working on a full band album for Stallions... but its going slow as Doug and I are 3,000 miles apart right now. In terms of parties, we'll keep busting out the Blackdisco jams! I'll be in Berlin, Paris, and Turkey at the beginning of July, and Stallions are doing P.S.1 Warm-Up on Aug 25.
 
Tell me about your label, ESP Institute. When did you start it and why? What do you have forthcoming?
 
Releases by Soft Rocks, Michael Ozone, Chee Shimizu, Pharoahs, Tornado Wallace, Secret Circuit, Lee Douglas, a new volume (II) of the Concentration compilation (this time compiled by Tako), and a little series of previously unreleased remixes (hand stamped w/ etched artwork on one side). 
 
Have you heard anything that really caught your ear this year?
 
Thom Bullock's remix for Dominik Von Senger on Golf Channel has been melting me.
 
What was something you learned in 2012 so far? A new production trick... a new instrument... a new word...
 
Time management and anger management, these are both important if you deal with daily traffic in L.A.
 
What's something outside of music you've been partaking in as of late?
 
Hanging out at the beach on the weekends with my wife and kid. When I am not working, everything must turn off.
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Check-Up: Caroline Polachek (Chairlift)

Jun 7, 2012
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Categories: CultureOCF

 

A couple weeks back, when we were at Le Baron for ​Dossier Journal​'s ninth issue release party, we bumped into Caroline Polachek, the spectacular lead vocalist for Chairlift, one of our favorite bands around right now. We reconnected with her a little later on, right before she embarked on another tour, and threw a few questions her way. Read on for the full interview, the latest in our series of Check-Up Q&As.
 
What have you been up to since the album came out?
 
We've been touring nonstop since it came out―we just got back from a tour that took us a complete 360-degrees around the world. I've started writing new music a lot recently on my computer, which is a new thing for me; I used to only be able to write at home, or at least in a peaceful place, but little by little I'm finding how liberating it can be to go mobile and start scratching down fully usable ideas whenever you want. 
 
What was the biggest change you went through between the first and second records, either on a personal or professional level?
 
I learned how to produce. When we made the first album, it was all a bit of a mystery to me, although I was a good arranger. But all that stuff on the computer was something I left up to the boys. On the second record, knowing Pro Tools and Ableton Live completely changed the game; production became part of my writing process, and allowed me to put my soul into the texture of the whole recording as much as into my voice and synth. 
 
What's your favorite lyric on Something?
 
My favorite lyric is a bit from the end of "Amanemonesia":
 
"There's a system of symbols that no one can vouch for / Everyone uses and no one believes / There's a dog in the yard with a manner that's ruff / Yet there's something about you that he understands / The girl at the window covered in ashes / Smiles grotesquely in the light of the day / Singing in German a cold summer warning / But I can't remember what I meant to say..."
 
What was the funnest party on concert (not your own) that you went to within the last year or so and why?
 
A few weeks ago we played in Vienna, which was absolutely surreal. Chairlift played right before Ariel Pink, one of my very favorite bands of all time. During the show, Bradford Cox and I jumped on stage uninvited and danced as though we were Siamese twins attached at the skull. That was fun. 
 
What's something you've been listening to a lot as of late?
 
This week I've been listening to Julia Holter, Motor City Drum Ensemble, and Cat's Eyes. 
 
What's something you're looking forward to in 2012? 
 
New electronic music. And summer. 
 
And, finally, what was your favorite gig you played in the last year or so and why?
 
So far, my favorite concert was in Barcelona, two nights ago for Primavera Sound Festival. I still can't get over how fun it was. I got food poisoning in the afternoon, and all evening I was in the ninth circle of hell (as anyone who's had food poisoning knows), vomiting and shaking in my manager's hotel room. But I refused to cancel the show since it was our first time playing in Spain and the line was already three blocks long―and it's such a good thing we didn't, because it was an incredible night. Sometimes the worst days make for the best shows, 'cause you're so broken down that you're actually free. I felt my entire body transform with adrenaline right before going on stage, the nausea melted away, and the crowd was so excited and singing along. Right there with us. We started adding songs on the spot and changing the set list, the sound was good and loud, some good friends from other bands were there to run around with―it was a dream show.
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Check-Up: Darshan Jesrani

May 29, 2012
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Categories: CultureOCF

 

When it comes to New York City DJ/producers, Darshan Jesrani's work is pretty close to unparalleled. As half of the disco revivalist/house duo, Metro Area, he's been a visible member of the dance music world for well over a decade, thought he's been producing in some way, shape, or form for closer to two. In addition to working with Morgan Geist, he's also been behind a number of more recent records, like the Arcade Lover 12" that came out on Tirk a few years back. We caught Darshan for our newest installation of Check-Up.
 
What have you been working on as of late?
 
A whole bunch of stuff, all happening very slowly in parallel.  I recently finished the control room part of a studio space in Brooklyn.  I used to live there a while ago, when I first moved to [the neighborhood]. Over the years, in-between touring, I've been converting it to a studio and work space.  After I was able to set my gear back up and work again I did a bunch of sketches for what I was hoping would end up as a new Metro Area album, but we've changed course, so I've been working on a new sound for myself, a new project, and new label.
 
What's your next release going to be? And when?
 
The main thing on the horizon is my new project, coming out late summer/early fall on my own label.  I'll also have some remixes being released around then as well.  One for Nina Kraviz on Rekids, and a couple of others.
 
What's something you're looking forward to this year?
 
Please see directly above!  I really can't wait for the first of this new stuff to be out in the world.  The things I release as singles will be more disco/club oriented but I also want to move on and do an album. 
 
What's your favorite release of 2012 so far?
 
It hasn't happened yet (wink wink).  I'm not sure really.  I'm not the best person to ask because I only casually pay attention to what's coming out.  I kind of skim the surface of the marketplace nowadays and depend a lot on tips from friends.  There are some people out there doing interesting things. 
 
Have you had any cool tours or gigs recently? Anything particularly memorable?
 
My last tour was really enjoyable and, more importantly, re-affirmed my faith in playing the stuff I love, rather than depending on pure hardness or brute force or repetition to get over and get a vibe going with dancers.  It was really nice to see people respond to mixed sets of old and new music and to just let it be without expecting specifics – modern, retro, house, disco, etc.
 
What was the last piece of equipment you bought and why?
  
My last purchase was a boring, functional peace of gear that lets me interface my laptop with the rest of my shit (console, A/D converters, etc.), but the thing I bought before that is what I'm more excited about.  It's an old Korg/Univox analog monophonic (one voice, so no chords) synthesizer that looks like it was made for someone who's like, an organ player, or who doesn't want to program.  It's got very simple controls and sounds like it's from space.  It's got no MIDI and no way to control it remotely from the computer so you have to play everything and record traditionally, then edit afterwards.  I've been wanting this juicier, mid-70s analog sound instead of the more precise 80s timbres and this is a great first step.
 
What's something valuable you've learned or discovered this year?
 
I think there have been a lot of little revelations about recording and writing.  Just the lessons that happen almost every day when you make attempts that don't end up working exactly as you'd hoped the first time around.  You're forced to troubleshoot, and then just naturally end up problem solving and developing a process and a set of values that guide your way forward.  It strengthens faith in one's own ability to mold sounds and musical parts to the way they've been imagined.
 
When—if ever—will Metro Area return with an actual release?
 
Not sure!  We've both been developing solo ideas lately so it's all a bit up in the air for now.
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Classic Cuts: Darshan Jesrani

May 22, 2012
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Categories: CultureOCFUncategorized

Last week, we asked Morgan Geist to choose a track for our Classic Cuts series. It only seemed appropriate to check in with his Metro Area partner, Darshan Jesrani, for this week's installment! 

This is from the album Travelogue, which I got on cassette from the local Caldor when I was a freshman in high school.  My musical life has always been this back-and-forth between rock 'm' roll/new wave influences and R&B/dance music, and around this time the musical pendulum was swinging back toward the former. This tape got serious play on my sister's Walkman, which I used to borrow, and on my boombox.  Like every other song which has been a touchstone for me, this one conjured in my mind a complete aesthetic universe that I wanted to live in and contribute to. I was also into hacking computers and phones around this time and I found music like this to be the perfect counterpart to my illicit activities. It seemed beautiful and escapist, suggesting other themes within it that were really attractive to my teenage mind, like technology, intrigue, isolation. This song, to me, contains the essence of not only a John Carpenter theme itself, but also the visual scene it would be set to.  Although it was tough to decide between this one and "Toyota City" (from the same album), if you can avoid thinking of "Don't You Want Me" when you hear Phil Oakey's vocal, this song is a bit more rewarding.―Darshan Jesrani

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