Trance Farmers

Leaving Records presents the debut album of Trance Farmers, Dixie Crystals. This is a guitar-slathered, twang-soaked sashay through the unique musical mind of time-traveling bluesman Dayve Samek with a collection of tunes steeped in magical and murky Los Angeles.

Recorded over several years and across the city, the album draws from Samek's experiences on the shores of Venice Beach to the majestic foothills of Altadena. An omnipresent pollutant haze hangs over the whole affair, choking twinkling tones like so much carbon monoxide.

Songs range from tenderly warped ballads of friendship and love to inhalant-fueled rockabilly joyrides. Over the course of ten tracks, a drifting young hayseed finds himself temporarily settled in a sprawling but claustrophobic megalopolis, which feels more like a decrepit roadside attraction on the information superhighway. Sweaty, garage-born ballads brush shoulders with drifter anthems and gasoline drenched doo wop. Next - moonshine.

Before the album's release, Samek will have already sauntered on down the road, leaving the west coast a distant, smudged memory-- a faded photograph worn with joy and laughter and sadness. 'Dixie Crystals' can then be considered a memento, its gleaming selections fragments of getting lost and growing up and finally hitting the road. Last we heard, Samek was spotted somewhere down in the swamps of Louisiana running his vital cassette label, Glue Moon Records. Who knows what lies ahead? Ride on, Greasy Rider.

Cameron Stallones began his musical career as a founding member of the experimental psychedelic rock collective Magic Lantern. Soon after, demos originally intended to light the Lantern became the first Sun Araw LP: The Phynx. Sun Araw blossomed as a solo project in attempted geosynchronous orbit with the Eternal Now: oblique six-dimensional transmissions from changeless environs. Structural and spiritual inspiration for Sun Araw comes primarily from Cameron's first artistic love: film and filmmakers, especially those invested in the long-take (Tarkovsky, Altman, Bela Tarr, Greenaway). Devoted to long-form mantric music, the ethos is similar: straight lampin' in deep focus, angle after angle on the melodic object, gaining strength from the subsequent breakdown of the illusion of fixed perspective.

Since 2007, 4 full-length LPs, 3 EPs, and 5 cassettes have walked the mind-planes from psychedelic drone to melted afrobeat, from warped dub to minimal composition. These releases have been praised in Wire Magazine (who selected Heavy Deeds as one of the top 50 records of 2008, and On Patrol in the top 50 of 2010), The New Yorker, The New York Times, the Los Angeles Times, Uncut Magazine, Mojo, Pitchfork, and beyond. Sun Araw has performed in the US, Europe, Australia, and New Zealand with hundreds of artists including luminaries like Christian Fennesz and Konono No. 1. In early 2011, Cameron and M. Geddes Gengras traveled to Jamaica where they produced and recorded a collaboration album with roots reggae legends The Congos, set for release in the fall. While in and around Kingston, they also began producing dancehall singles and tracking local toasters under the name Duppy Gun Productions, which will be seeing release this summer.

David P. Madson was born deep in the Reader's Digest belt of middle America—Cincinnati, Ohio—in the bicentennial year of 1976 to a Catalonian belly dancer and a farm-raised Iowan engineer. Just the kind of auspicious incongruity needed to promise a life free of predictability. He played trumpet in elementary school and hoops on Porkopolis side streets, drew constantly and skateboarded in between, but it was an unassuming plastic rectangle that stole his heart in eighth grade...after he stole it (a copy of De La Soul's 3 Feet High and Rising) from a house party.

A young Odd Nosdam began meddling with machines in the mid- '90s, looping his favorite Nirvana riffs and Black Moon beats on a Sega Genesis and filling tapes with noise collage. In his early 20s, his visual fixations brought him to the Art Academy of Cincinnati, where he studied fine art and photography, while his more recent aural obsession necessitated a Dr. Sample and a Tascam cassette 8track. Here, a new romance began with fellow found souls Doseone and WHY?, as well as a fertile run of projects and tapes sound-designed by Nosdam (Greenthink, Reaching Quiet, Plan 9) that culminated in cLOUDDEAD's hallowed eponymous debut. His work there done, David dropped out of art school, left home in March of 2001, and relocated to the Oakland Bay Area Anticon settlement.

For five years Odd Nosdam was Anticon's art director (establishing the look of the label by designing album art, clothing, posters and ads) and to this day he's the collective's in-house audio advisor (arranging, engineering, mixing or otherwise contributing to records by Sole, Jel, Telephone Jim Jesus, Sage Francis, WHY?, Dosh and Thee More Shallows). In 2002, Nosdam released No More Wig for Ohio—a collection of beats and mini-opuses recorded in the so-called short-attention-span style—and hence, the methods of a modern maestro of collage were revealed. His is a sound that emerges from the many intersecting lines of chance, wonder, and dedication. Ever the dirty-fingered vinyl junkie, he scours dumpsters, thrift stores, swap meets and yard sales across the U.S. and Europe for long-forgotten musical duds, keeps his Dictaphone handy should a choice field recording present itself, and hones his own capabilities to create inspired moments with occasional live instrumentation. And the results are devastatingly good.

To wit, 2005's fuzz, dub and hop masterpiece, Burner is as strikingly visual as music comes—a feat David achieves by alternately fine-tuning and fucking up his found sounds via an arsenal of samplers (E-mu Systems' SP-1200, Akai MPC2000, Boss' SP-202 Dr. Sample), the inimitable tape warmth and imprecision of his 8-track, and the exactness of ProTools. Thusly, Nosdam pays homage to his greatest influences (Prince Paul, Flying Saucer Attack, Lee "Scratch" Perry, and Hood) while eschewing imitation.

The last few years have found Odd Nosdam riding high on the crest of hard work and good happenstance. The wild acclaim garnered by cLOUDDEAD's genre-flouting amalgam of droney wash, surreal wordage and rich sampledelica led to two Peel Sessions for the group, an unforgettable date in Tel Aviv opening for Mad Professor, and one final album: 2004's pop-perverse Ten. In 2005 Nosdam and Jel wrapped a collaboration with the legendary Mike Patton for his radio-noir project, Peeping Tom. And 2006 saw David continuing his ongoing short-attention span series with the self-released Vol. 8, and joining the ranks of the select few who've remixed the work of pioneering electronicists Boards of Canada.

These days, David indulges his inner musicologist by DJing at Bay Area bars and galleries, draws compulsively (cultivating an ultra-dense abstract style beginning to creep its way into art shows), and in 2007 composed the score for Element Skateboards' video, This is My Element. In 2007, Anticon released Level Live Wires, Odd Nosdam's latest album-length foray into dynamic audio collage and composition. 2008 celebrated the release of Pretty Swell Explode, an enhanced two-disc collection (one album, one EP) of remixes, B-sides, videos and original songs, featuring Boards Of Canada, Black Moth Super Rainbow, Serena Maneesh, Jessica Bailiff, Bracken, Thee More Shallows, and more.

DJ Nanny Cantaloupe

Among other things, Los Angeles native Nanny Cantaloupe (aka Mitchell Brown) is a DJ on KXLU and Dublab, a music label owner (Melon Expander) and an assistant to mentally and physically alternatively-abled children. As a sound artist/musician he improvises and composes using analog electronics, magnetic tape manipulation, electro-acoustics and percussion, among other things. Cantaloupe’s artistic sensibilities can sometimes be related to the various natural psychological and physiological states one can channel when casting aside social judgments in favor of a more solipsistic approach to the human senses. Seemingly foreign inner landscapes can become a familiar canvas upon which feelings, perceptions and sounds without common descriptions by established verbal languages, can flourish transcendentally. And sometimes he just makes people boogie and/or scratch their heads to his esoteric record collection. Current musical projects include Golden Hits (with fellow labrats Frosty, Jimmy Tamborello, Katie Byron & Ben Knight), Fancy Space People, Brain Sucking Peanunanners (founded with children), Points of Friction and collaborations with Joseph Hammer, Matthewdavid and Hymnal, among many others.

$7.00 - $10.00


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