Archive for May, 2014

On The Verge Of One Of Those Summer Days

Posted in Uncategorized with tags , on May 31, 2014 by johnbuckley100

Leica M, 50mm APO-Summicron-Asph. 2013.


Ty Segall-Produced White Fence Studio Album Coming On July 22nd

Posted in Music with tags , , on May 31, 2014 by johnbuckley100

Woo hoo!  As Tulip Frenzy readers know, we have wished for a while that Tim Presley would bottle up that awesome White Fence sound in a legitimate studio, with a legitimate drummer, and not just record album after album in the comforts of his sleeping nook.  And — where were we? — we found erstwhile White Fence collaborator Ty Segall has persuaded the boy to follow our instructions to a tee.  Here’s how Presley put it:

Fear, anger, pain, anxiety. Guilty! I needed something new. I needed to be free and innocent. I was floating in my room. Sick of the wall Bounce-A-LuLa. I could not get high. I wanted to put some songs in someone else’s room. I wanted to see what they sounded like with a real drummer. I wanted to see what it would sound like using an Aliens ear. For a lack of a cooler/humble word, Ty Segall “produced” this album.

I had to choose the songs. We then went into Ty’s Fiat-sized garage and recorded them. He placed the microphones, hit record and played drums on some songs. Then Nick Murray was called in to finish the rest of the drums. Nick was perfect, seeing as he’d been a solid member of the live group, and I had played demo versions of most of these for him during car rides. This all was a bit different to the WF formula. I had to put dates on a calendar. It forced me to pick the best songs of the litter, and apply those to the tools I had: Ty Segall, Nick Murray, musical instruments & tape. We then dumped all that LA jive into Eric Bauer’s studio in San Francisco. Added some things, and then Ty mixed it all up. I was the farmer and this was Ty’s soup. He somehow knows exactly what I hear.

This record, I had to make a change, not drastic, but a change nonetheless. My room was tired of me, so we took a break, and I fucked some other room.

“Credence of substances, rights of any sex, and situations of finding a place in this world now next. From the drug dealer, to the honest stealer. From the homeless ex-solider to the privileged creep, to the fine Latina walking down the street. We are all guilty of anger, pain, envy & greed… the recently found innocent …. we all will soon be freed.”

On A Dreary Day, A Mona Lisa Aspect

Posted in Uncategorized with tags , , on May 29, 2014 by johnbuckley100

Leica M, 50mm APO-Summicron-Asph, Novoflex LEM/VIS II adaptor.

Sculpted Face

Haunted Hearts’ “Initiation” Is Literally The Marriage Of Crocodiles And The Dum Dum Girls

Posted in Music with tags , , , , , on May 29, 2014 by johnbuckley100

In their separate realms, Kristin Welchez and her husband Brandon Welchez are responsible for two of the strongest albums of the past year.  Under the name Dee Dee Penny, Kristin is the leader of the Dum Dum Girls, whose album Too True helped get us through a long, cold winter.  Brandon Welchez’ band Crocodiles released Crimes Of Passion last summer, and it claimed the #5 spot on the 2014 Tulip Frenzy Top Ten List (c), and honestly, if we were to retrofit that list to the number of times since that we’ve played the record, it woulda/coulda/shoulda scored a higher slot.

Crimes Of Passion was a brilliant melding of garage rock and post-Bowie ’80s pop, and Welchez proved himself to be something like the ideal caddy, knowing precisely when to wield that 9 iron (horns), or the sand wedge (Farfisa.)  For another band, Crimes of Passion could be a Greatest Hits album, as the entire core of the record was like one radio hit after another.

Too True was also the best Dum Dum Girls album, one of those records that — like the Iggy Pop classic from which Kristin Welchez took her band’s name — probably sounds better on a cheap stereo than an audiophile’s rig.  If you take just one song, “Rimbaud Eyes,” you can immediately get a GPS reading on Welchez’ ambitions: she is somewhere in between Patti Smith (the Rimbaud reference) and Debby Harry (the early ’80s pop sound.)

So naturally it makes sense for two married artists producing such a high level of compatible work to put out an album together, and in Haunted Hearts’ Initiation we have about what you’d expect to emanate from pillow talk about fuzztones and pedals.  It’s a little bit more of a Dum Dum Girls album than a Crocodiles record, for those keeping score.  Which is to say that it lands in the category of mid-’80s MTV pop, catchy as a summer cold, a synth-driven studio record with some of the best features pulled out of each artist’s bag o’ tricks: the two singers’ pleasant voices, Brandon Welchez’s bass-driven pop chops, Kristen’s melodic sense.

We thought of this in the context of those early MTV bands, but there’s another pop reference point easily invoked here: a song like “Johnny Jupiter,” which is the strongest of the eight songs on this short, fun record, could easily have been featured on an iPod ad back in the day when Apple and their ad agency TBW\Chiat\Day were breaking synth-pop bands like Asteroids Galaxy Tour.

Haunted Hearts are not better than the sum of their separate bands’ parts, but Initiation is a fun record.  We anxiously await Crocodiles’ follow up to Crimes of Passion, but for now we’re happy to bask in the Welchez’ musical honeymoon.


On Memorial Day

Posted in Uncategorized with tags , , , on May 26, 2014 by johnbuckley100

Leica M, 35mm Summilux Asph FLE.


The Laying Of A Memorial Day Wreath

Posted in Uncategorized with tags , on May 25, 2014 by johnbuckley100

Leica M, 35mm Summilux Asph FLE.


Getting Ready For Memorial Day

Posted in Uncategorized with tags , on May 24, 2014 by johnbuckley100






Leica M, 35mm Summilux ASPH FLE.



The Sex Pistils

Posted in Uncategorized with tags , , on May 19, 2014 by johnbuckley100

Leica M, 50mm APO-Summicron-Asph, Novoflex LEM/VIS II. Yeah, go ahead, click on it.

Azalea Riot

The Brian Jonestown Massacre’s “Revelation” Is Perfectly Named

Posted in Music with tags , , , on May 19, 2014 by johnbuckley100

Beginning in 2010, when Who Killed Sgt. Pepper was the follow-up to My Bloody Underground, we began to think of the Brian Jonestown Massacre as a superb live band with one of the great back catalogues in rock, but not really a band whose who new album would engender much excitement.

But then came 2012’s Aufheben, which had a number of songs as good as anything Anton Newcombe had ever written, with “I Want To Hold Your Other Hand” and “Blue Order New Monday” taking up permanent residence inside our earbuds.  We began to get excited about what tricks Anton still had up his sleeve.

Revelation, which officially comes out tomorrow but happily was available to download last night, is so good, we wonder if it might be the Love and Theft to Aufheben‘s Time Out Of Mind, a portent not just of a return to greatness after a less-than-great creative patch, but an indicator that Newcombe’s best work, like Dylan’s, might someday be understood to have been made when his youth was behind him — to be not what he produced when he was a young and brash punk, but what came after a hard-earned perspective.  I mean, there were days when few people might have expected Anton would be around to make an album in 2014 — but to discover that he’s produced one of the best albums of his career?  Yeah, it’s got the right name: Revelation.

The album begins wonderfully, with the Swedish rocker “Vad Hande Med Dem” giving way to the Kurt Vile-ish “What You Isn’t.”  By the time we get to “Memory Camp,” it doesn’t matter which members of the large tribe that have variously performed as BJM are playing behind Anton, it doesn’t matter that we’re in Berlin, not California, no other band or set of musicians — not even ones like the Morning After Girls who worshipped the sticky ground on which Anton walked — could produce a Brian Jonestown Massacre album half as good as this. By the time we got to “Food For Clouds,” we were grinning ear to ear.  At “Memorymix,” we were ready to take the day off and just hole up, having committed to memory the phone number to the Dominos delivery folks.  By “Xibalba” we were dancing around the house.

Over the past few weeks, as Dan and Joel and Matt, as Ricky and Frankie descended upon Austin like the Hole In The Wall Gang getting together with Butch and Sundance to go rob a bank, excitement mounted.  They came together to play at the Austin Psych Fest, and then do a few West Coast shows before heading off to Europe, and reports came fast and furious that the band was in fine form.  Interviews with Anton found him completely on his game, honest about the past, a sober father with a great sense of humor.  Revelation reveals marriage, fatherhood, and sobriety have not diminished his creativity one wit.  And of course, as is so often the case, as a sober artist, these days he’s more capable of hitting his mark.

We expect to be playing Revelation until the hard drive on our device gives out.  Most important — and we are struggling to convey this to the band of weirdos to whom this really matters — based on the evidence available here, it’s time to raise our expectations and settle in for a late run.  The albums the Brian Jonestown Massacre are producing in the mid-’10s are as good as what they produced in the ’90s.  We may be ahead of ourself thinking that Anton’s on a run like the one that Dylan went on between ’97 and, oh, 2010.  But our hopes are high again.


The Last Tulip of 2014

Posted in Uncategorized with tags , , , on May 4, 2014 by johnbuckley100

Well, the last ones we likely will post ’til the next Tulip Frenzy!  Don’t worry, we have Azalea Frenzies, and Rose Frenzies, and other delights of the season yet to come.  Leica M, 50mm Noctilux, ND Filter, Dumbarton Oaks, of course.


%d bloggers like this: