I can’t express how happy I am for this new store to finally open. This has been the plan for years and it’s incredible to see this finally happen. Even though they were still setting things up, there’s already so many new items that I wanted to purchase as I was walking through the store. Fantastic job to everyone involved.

Hit the photo above to see the gallery!

Local skate shop Seasons has released their first full length video. Filmed over two years, the video features the shop riders and many cameos of everyones favorite city landmarks. Even in the trailer it’s fun to try and figure out where all these spots are. Not to mention the actual skating looks sick.

The video is only ten bucks and is available at the store (211 Lark) and on their online store.

Don’t forget that Go Skateboarding Day is this Friday!

The following is a guest post by Robert Taylor, of Fuzz Records.

2013 has been a progressive year for music, not only for upcoming bands, such as Savages, but also for artists that are already well established in their respective fields. My Bloody Valentine dropped the stellar M B V earlier this year and now another flagship 90′s duo, Boards of Canada, have made a return with their first release in eight years. Tomorrow’s Harvest is a chilly ambient album for the summer, so if you are trying to stay cool in the upcoming months, come pick it up at Fuzz Records. For those who find that ambient stuff too boring, we also have albums from Polar Bear Club and Antidote, if you want something with a little more bite.

Hit the jump for my full review!

One of my favorite professors from college said something very eye-opening about art when I was taking his poetry class. “Once your art or your writing goes out into the world, it is not yours anymore”.

My first thought was, “What the hell is this guy talking about? Of course it’s yours!” However, once I continued to dwell on what he was saying, it made perfect sense, for no person can occupy the same space at the same time as another. Therefore, everybody observes the world from their own unique perspective, especially in terms of art. That is probably why you can take a song like “Back That Azz Up” by Juvenile and have a deep philosophical conversation about the world. To me, is it mindless babble and does not represent the essence of hip-hop, whereas to the next man, it could be a representation of all the beautiful women (who would’ve guessed).

This ideology is Boards of Canada‘s music in a nutshell, for although the duo of Michael Sandison and Marcus Eoin provide a “simple” landscape to work with, I am pretty sure everyone has their own unique take on what the group’s music means. That is why when Anthony Fantano reviewed the album on his channel, so many fervent fans responded with hate (specifically, on the BoC’s Facebook). To a degree, I can understand where they are coming from. If a group/musician creates a classic like Music Has the Right to Children, then there are going to be an army of fans ready to defend the artist’s every move. On that album, as well as the Twoism and Boc Maxima EP’s, Boards of Canada gained a huge cult following for their groundbreaking IDM and trip-hop laden dance rhythms.

The music was far from “pop,” however, it still managed to make its way into the heart of sketchy underground nightclubs, creating a sense of belonging among a selective group of individuals. On Tomorrow’s Harvest, Boards of Canada decide to make everything a little more spacey, creating a sense of isolation and introspection. Reading/watching other reviews of this album, words like “barren”, “doomsday” and “desolate” managed to come up. However, after listening to this album, I feel that it is strangely uplifting (similar to Sunbather, another great album I reviewed).

Although everyone has their own interpretation of what Boards of Canada’s music means, I am pretty sure that “cinematic” fits within the umbrella of most BoC fans. Just like openers on previous albums (i.e. “Wildlife Analysis”), “Gemini” provides a landscape ripe for exploration. The droning synths on the track actually remind of one of my favorite Super Nintendo games, Metroid. Similar to the soundtrack for the game, it is eerie and sinister, like something bad is going to happen (like you are going to walk through a corridor and fight the last boss).

This song segues into the album’s first single, “Reach for the Dead”, a song I was not too keen on the first time I heard it online. However, I respect the song more within the context of the album, as it ties into the other tracks in a more cohesive manner. I like the synth arpeggios and how it crescendos but never really resolves, leaving me tense and uneasy, like the soundtrack to a futuristic thriller. I believe that fans of the Blade Runner soundtrack will enjoy this song, outside the entirety of the LP.

The fourth track on the album, “Jacquard Causeway” is not only the longest track on the album, but it is also one of the moments that shine. If you listened to MHTRTC and liked the song “Rue the Whirl” as much as I did, then you should be able to find the similarities. The song carries the semi-boom-bap flare, as well as the hypnotic tone, it just comes across as much colder. Over the course of its six minute timeframe, “Jacquard Causeway” manages to evolve subtly, especially at the end, when these beautiful strings swell up and lightly wash over the beat. The theme of nature that has been prevalent over the BoC discography is still present on this track and it still serves its purpose.

Tomorrow’s Harvest spans over 17 tracks, however, it does not feel like it’s that long, for a number of reasons. For one, the album is constructed in a way that feels organic; the beats and the synths go on this ebb and flow journey, even if the instrumentation is electronic. The other reason is because the album is comprised of shorter motif tracks that tie together the more drawn out tracks. Take for instance the song “Telepath”, a song that has the same Metroid like tinge that “Gemini” contains, with the robotic counting that is akin to BoC’s “Aquarius”. Or the track “Uritual”, which is pretty uneventful if one was to listen to it by itself. It acts more of a transitional point, rather than an actual “song.”

Out of all of the “apocalyptic” laced textures on the album, “Palace Posy” provides something that is uplifting and empowering. The song starts off with this 4/4 beat and these pulsating synths over the top. The song remains this way for about two-thirds of the way through, maintaining its drive and rhythm, right before these chorus vocals break through. To me, they sound like distorted African tribal/gospel vocals. Once again, BoC manage to create something truly organic from a synthetic compost. 12 years since their magnum opus and 8 years since Campfire Headphase, BoC show that they are still in control of their domain.

“Nothing Is Real” is another uplifting track, with its twinkling synths swells and steady beat, followed by “Sundown” and “New Seeds”, two of the more warmer tracks on the album. The only thing that I am disappointed about in regards to the album is the closer, “Semena Mertvykh”. It works more like a motif rather than a song that brings closure. The track does feel like the “end” of something, just not like the end of an album. BoC being BoC, I am sure that they have the artistic license to end the LP in such a cliffhanger fashion, it just does not personally resonant with me as of right now.

“I don’t think we hear our own music the way other people hear it, so it’s difficult to say whether we hear our sound in other people’s work” Sandison states in an interview with The Guardian. This is a statement that is rings true, not only for Boards of Canada, but for all forms of art. For example: Loveless, to some, is just a wall of sound, whereas to me, it is a statement of musical genius. Similar to My Bloody Valentine, Boards of Canada have made return this year after an extended absence, building on a style they left behind for countless imitators, while still remaining triumphant.

There are two more intriguing statements that Sandison makes in this interview: “We’ve become a lot more nihilistic over the years. In a way we’re really celebrating an idea of collapse rather than resisting it”…”Humans like to feel there’s a purpose, even if there isn’t one!” Maybe that is the whole part of Tomorrow’s Harvest: to have no point, to make us realize how dumb we are, to create something that collapses in order to make way for the new. Why the hell am I “reviewing” an album if you are just going to hear it differently anyways? Also, to all of the other critics out there reviewing the album, using the word apocalypse, just remember the original meaning of the word: a lifting of the veil or revelation.

Overall:
- If you want an album that is introspective, cold, calculated and immaculately produced, then listen to Tomorrow’s Harvest. It’s patient, meditative, wise and expansive all in one package.

- Although I believe this album is great, I will say that it is not the best entry point into Boards of Canada’s music. Tomorrow’s Harvest requires a lot of repeats in order to appreciate the album’s concept. This album is somewhat of an antithesis to the IDM inspired work of BoC’s back catalog. In order to fully grasp what BoC are about, I would recommend Twoism and Music Has The Right to Children.

Dear Poppies fans, we are writing to inform you that as a result of the change in ownership of the property in which we rent our space, Red Poppies at its current location will be closed beginning July 1st until further notice.

We will keep all of our fans informed about any further plans, whether they be the reopening or permanent closure of the store. Thank you sincerely for your business so far, and we hope to see you at Red Poppies in the coming weeks.

Unfortunate to say the least. I hope FLOW from the Garden is unaffected, or they find a new spot, close by, together.

My friend Sev Statik pointed out something a couple months ago that has continued to stick with me and also accidentally makes me feel better about that bullshit novelty t-shirt slogan. He said, “I want to meet you in the act of your craft – I want to meet you while you are writing, performing, on stage, at your art show, in your studio, at a record shop, on the field, wherever. That’s where I want to meet you.” It makes me feel instantly grateful, because when I break it down for myself, I really have met so many people I call my friends through catching them in the act of doing whatever it is that they do.

Nate Osborne is no exception to this. I first met Nate at an art show years ago where he was showing his work in conjunction with First Friday in Albany. His work instantly drew me in, mainly because of how clear it was that his work was his passion preserved on paper. I truly believe that when people put serious time and dedication into their work, other people will take notice. Nate’s artwork, in my opinion, has only gotten better with time and with each new piece, all while showing no signs of slowing down.

Currently working full time at Full Effect in Troy as a tattoo artist, Nate is constantly churning out new, quality pieces of artwork and someone seriously needs to get him a solo art show of his own stat. You can next see Nate’s work displayed and available for sale this Sunday, June 16th at the Holiday Inn on Wolf Road for this year’s 6th Annual Albany Comic Con.

Hit the jump to read our full interview and check out more from Nate. You may also view his work on Instagram and in his digital portfolio at Nate Osborne Artworks.

How would you describe your subject matter or the content of your work? What themes occur/reoccur in your work? What mediums do you typically work with?

The subject matter in my work is always changing because there’s so many subjects I’m interested in, but it usually reflects my current and ongoing interests, or where my head just happens to be.. I try not to stick to one particular subject for very long. As soon as I feel like I’m getting into a rhythm of something, I abandon it and move on to something else. Most of the time I’m painting for the sheer visual experience or release, but some reoccurring themes I do use are mortality, balance, sexuality, romance, folklore, nature… it all depends on what I’m feeling.

These days, I pretty much work exclusively with ink and ink washes. The only time I use watercolors is when I’m layering color. I’ve been using coffee stains a lot lately too for more subtle tones and I’ll use spray paint to get cheap airbrush effects for backgrounds. I started painting in an abstract expressionist style so it’s been fun to apply more illustrative techniques to what I know from that.

Do you ever document your process from beginning to end at all when working on a new piece? Or tell us a little bit about your planning process and why it’s important to you. How do you know when a concept or new creation is ‘finished’?

I don’t always document the entire process but I always take progress photos as I work. Not just to post online, but I like to document what I’ve done for the day, and then take them home to analyze and critique to figure out what I like or don’t like, what I can do better, gather research… I think it’s important to do that so you can also see your work evolve in front of you, and learn why. If you rush through something you’re robbing yourself of that experience.

My planning process always starts with a fragment of an idea. It’s never a complete concept. I’ll take that fragment and incorporate it into whatever I’m currently obsessed with. I’ll just splice together different elements until I get more of a solid idea. I like to have a certain authenticity with the subject matter, so I’ll spend hours doing research on the history or the specific elements that make it authentic to whatever it is. When I know more about how things look, I’ll try to find commonalities between the elements; colors, details, composition, etc. and figure out a way to make it all work together. I plan the whole thing mentally before I draw up the final design.

The planning process for me is a way to get everything the way I want it, work out any composition or tonal problems, learn and research techniques, think about what I want to express and how.. it’s basically ALL the work. When it comes time to do the painting I know how everything is going to look, for the most part, and makes the painting experience a lot more stress-free and enjoyable. It is also a way of guaranteeing good work every time as opposed to jumping in and hoping it turns out alright. It pays to plan.

I could honestly spend forever on a design, but eventually you reach a fatigue point where the design tells you its ready to move on. Depending on what style I’m working in that also will help determine how far to take something.

What risks have you taken in your work, or any particular challenges you’ve overcome that you’d like to talk about?

I definitely take risks in every piece I do because I try to make each piece a “first”. I don’t like to repeat myself. Even if it may be another interpretation of a common theme, I’ll try to attempt something new each time and make it more difficult. That way, I always progress and don’t risk becoming predictable. I think one of the biggest challenges I’ve had to deal with, and still do, is self-confidence in my work and my life. I went through a lot of shit as a kid that is pretty much still engrained in my head. Also living with Aspergers syndrome and not knowing it till adulthood created a lot of post-traumatic stress I still deal with. But over time I’ve learned to focus my frustrations and energy into my work which has been the biggest form of personal therapy. I think some of the best artists in the world are those that are working harder to make up for whatever they think they lack.

Talk a little bit about your introduction to tattooing – when did you first decide you wanted to learn the craft and how did you get into it? What’s your favorite thing about working as a tattoo artist?

I remember always being aware of tattooing through being exposed to tons of Japanese art and culture as a kid. I was always into Japanese tattoos. As I got older and started getting into punk rock, tattoos came back into the picture. I was already really into comic book art and was doing a lot of silk screening at the time, so the graphic imagery was naturally attractive to me.

I got tattooed when I first turned 18, just some black work flash I drew in art class. I was more interested in seeing how it was done than what I actually got. I reluctantly went away to college for a year where I studied sociology, specifically art sub-cultures. I thought I sucked as an artist so I didn’t even bother applying to art school, not that I really had any interest. I had a professor that was really into tattooing and punk rock, so we would hang out and talk a lot. She exposed me to some shops in NYC like Adorned and always supported my interests. It was entertaining for a while but eventually I asked myself, “why am I learning about tattooing in college? This is so pretentious and lame.” So I left and looked for an apprenticeship.

Tattooing gave me the opportunity to practice art on my own terms, make a living, and study multiple styles that I otherwise may have avoided. The best thing about being a tattooer is really having the freedom to be your own person and find your own direction with whatever you want to do. I can travel around and work in different places. I worked on the Lower East Side of Manhattan all last year on a part-time basis and could still tattoo upstate and work on my artwork.

What are you currently working on? What about using as reference, listening to or reading to help inspire your art?

Right now I’m in the middle of painting a lunar landscape and planning at least 3 other paintings. There’s a couple other commissions I need to do for friends too. My big ongoing project is for an art book I want to publish of various vampire illustrations. I figured it would be a good way to include all my styles and influences into one curated assignment. As an artist, I think it’s good to impose guidelines and boundaries on projects as a way to be more creative. Too much freedom is just chaos, and chaos is just energy without direction.

For reference, it really depends on what I’m doing. I definitely use a lot of photo reference for figurative pieces. I constantly look through all sorts of art books just exposing myself to images for future use. Whenever I’m not painting, I’m always looking at stuff. Music is a really big influence on what I choose to paint. Whatever I’m listening to will put me in a certain mood, I’ll look at stuff that corresponds with how I’m feeling and go from there. Devil music always works.

What are your main sources of inspiration? How do you remain motivated in your studio/work space?

Man, there’s so many things… I guess the main sources though would be things that are connected to my childhood; Japanese art, comic books, punk rock, medieval folklore, isolation, death, nature. Learning about other people with similar backgrounds who learned to turn whatever wreckage in their lives into something beautiful gives me a lot of inspiration too. For the most part I’ve never had much of a problem staying motivated in the “studio”. I think I have a harder time taking breaks and relaxing. One of the benefits of Aspergers syndrome is even though my brain can only focus on one task at a time, it naturally operates at 150+%. I just allow myself to become a kid again and be transported to whatever place I’m painting. It’s painful coming back to the real world, so I’m always planning my next escape.

What advice has really stuck with you? What was the source? Who has taught you the most about your art?

It’s hard to really say what has been the best advice or who has taught me the most. So much has been absorbed on my own through second hand sources. As corny as it sounds, my mom has always told me all I need to do is be myself and the rest will come. I think in today’s world “being yourself”, your true self, is one of the most original and dangerous things you can do. I’ve never wanted to be anything else than who I am. Whatever comes from that is just a bonus. Other than that I just tell myself, “don’t stop till it looks right,” and never settle for anything less than the standard you compare yourself to.

When it comes to art direction and people I model my approach after I think of; NC Wyeth, Alex Ross, Bruce Timm, Jackson Pollock, de Kooning, Grime, Ed Hardy, Frank Miller, Bob Kane, Kuniyoshi, Hiroshige..

Thank you again Nate!

Friday June 14

High of 72, chance of light rain.

Nervosity at Tawasentha Park: Battle of the Bands AIDS Benefit. Tunes for a good cause.

Atlas Genius at The Hollow: Cheap and intimate dancy indie show!

Party Boat, Hand Habits, Soft Powers and Orphan Legs at Baileys: Free awesome show in Saratoga featuring two friends of mine.

Straight Stuntin Like My Daddy: Fathers Day Bash at the PCC: DJ KaySlay and DJ Rob E Rob from G-Unit. Rap rap rap.

Retro-Active 80s Night at Elda’s: Rana holds it down again with the 80s music.

They Accepted The Pleasures of Morning: Screening By Basma Alsharif at Basilica Hudson: A film screening with a Q&A from Alsharif afterward.

Saturday June 15

High of 75. Clear.

River Street Festival: Music, craft vendors AND the farmer’s market.

Notion of Motion Exhibit at miSci: 30 interactive exhibits from the Exploratorium in San Francisco.

2013 Best of SUNY Student Art at the NYS Museum: See what the local students have been cooking up for the past semester.

Kylsea with Maggot Braind at Bogies: Heavy sludgy metal.

Saratoga Brewfest at the Saratoga County Fairgrounds: Beer. Duh.

WHY? and Sarah Jaffe at Valentine’s: Intelligent indie-ish hip-hop. (Burlesque at Midnight downstairs, too.)

Earlier this week, local producer and 91.1FM radio host Sime Gezus released an instrumental album with a very clear and creatively intertwined hat tip to hockey.

“The Manly Cup” features 21 tracks produced by Sime and available for free download courtesy of Sub-Bombin Records. The label will also be doing a limited run of CDs for purchase online and at live performances.

For someone who has no idea about hockey – and a little bit about music, I hope – I found the album to be quite soothing. There’s something about the mix of news bites with instrumentals that I consistently find enjoyable, although rarely stumble across. The album makes for an ideal work soundtrack, with the occasional sample, hook or beat catching me off guard where I want to go back and have a closer listen. There’s also a dramatic, theatrical quality in this compilation of music, with strategic sampling of historical audio clips and building layers that made me appreciate the album as a whole curated creation.