he is an explorer, guiding through the strange past, shooting forwards into a
future that shapeshift shivers , motorcycle throb, falling glass tension,
torchlight in the dark soothing sometimes,whispering sensual danger too.
he plays with words,juggles images, combines the pop detachment of the
new wave with the healthy intrusion of world rythmns
he is the sly professor concocting joyful experiments, he flirts with new
sounds old instruments, the electro, the ambient, the post punk
he is ambitous, yet serene, giddy yet somehow always quite subtle
he has two albums out at the same time
and he is all over the NBTMusicRadio
Shoot For The King
Shoot For The King create a melodic jangle noise, bouncer tough yet candy
coated indie dance-floor shuffle. A devious mix of dark heart and candid
optimism, this music swaggers and struts with just the right amount of
arrogance sweetened with charming vulnerability.
They don’t play the obvious pop games, don't sing down to their audience,
and refreshingly have faith in the idea that the curious and the intelligent
also groove to the rock n roll alternative.
You can find Shoot For the King spread all over the NBTMusicRadio
Sean Derrick Cooper Marquardt
You can read a review of some of his work on the NBT Blog HERE
and hear his music on the NBT DarkElectric Podcast
and he is playlisted on the NBTMusic 24 hr streaming radio
Sean Derrick Cooper Marquardt, born in Chicago (USA), now living in Berlin, is a performance artist, musician, free improvisator and composer of experimental music. The compositions from Sean Derrick Cooper Marquardt are performed and recorded live using the accidental guitar method. His new album "Gesang der Geister will be released and distributed via AVACHORDA (2010).
His music has been release so far in in Germany ( rainbowdiving butterflies , format noise, knochensache , ) Brasilien ( menthe de chat ) , Mexico ( A.M.P. REC. ) , Portugal ( Editora Do Porto ) , Spain ( audiotalaia netlabel ) , England ( Industrial Culture, Electronic Musik ) , Frankreich ( Vaatican Rec♥rds ) , Österreich (BLEAK ) , Irland ( Flugelrad Records ) , Japan ( Silent novels Rec., SODOMA RECORDS ) , Belgien (FF HHH Records, Sarutra's Music, und Mandai Distribution) Belgien , Niederlande (STRONT REC ), , Zagreb Kroatien ( slusaj najglasnije! Rec. ) , Egypt ( massimo croce ) , Australia ( To Hip To Hop Tapes ) , Italien ( VJGrecords, SfintRecords ) , Russia ( Clinical Archives ) , Ukraine ( Oldturtles Tapes Records ) , Minsk- Belarus ( HAZE netlabel ) und in den USA ( planetarium records, Love Torture Records, Sounds Abound (Free Media Archive), kittyonfirerecords, Audio Sodomy Records, Amduscias Records , pigeon pop records, Placenta Recordings, deepwhitesound.com, und Tethered Records ) .
A new duo project of his will be on a 25 year wire compilation in april 2011
info at the links below
Bohm & Cooper Marquardt Duo in Wire Magazine, issue April 2011
DateFriday, February 4, 2011 at 5:21PM
The Bohm & Cooper Marquardt Duo contribute the track Ruf der Apostel/Apostles Calling for the WIRE magazine CD, issue April 2011.
Release date for the Bohm & Cooper Marquardt duo album Venus von Berlin is also April this year.
Sean In His Own Words:
''I have lived in europe for a few years now, if there is a cultural mix in my composing then it is a mix that i am totally unaware of.''
''I am a complet autodidact, that has eschewed academic and systematic study in order to acheive an idiosyncratic and syncretic personal cosmology, and though this process placing myself in the sunburnt soundscapes of the world that surrounds us. ''
''I have not spent any time trying to maintain a presence, my energies were spent creating the compositions, and then making sure that they were received by the labels, because i always send my tracks by post.
i like the ideal of the label receiving something physical and not just a link.''
''Normally takes me one to two months to produce a composition, and I always record the compositions in a live setting, after the tracks are recorded and released, I never go back to them.''
''My performance is not a show or some other form of entertainment.
I see it as a sort of research of what is possible, and what was deemed to be impossible in the realm of soundscapes, this is a journey to known and unknown destinations.''
''I wanted to go to ground zero with making compositions,which means that i wanted to as much as possibleto break away from all influences, and be as honest as i can in trying to be a individual and original composer''
For our German readers/listeners here is a descriptive text by Birgit Anna Schumacher, Autorin und Kuratorin (basierend auf einem Gespräch mit Sean Derrick Cooper Marquardt im Februar 2011)
Sean Derrick Cooper Marquardts
Experiment und Konzept schließen sich nicht gegenseitig aus. Bei Sean Derrick Cooper Marquardt wird das bei seiner Idee der „Accidental Guitar“ deutlich: Das scheinbar Emotional-Spontane, das Intuitive, mitunter Wilde und Ungestüme – Charakteristika, die die Life-Performances des Berliner Musikers und Komponisten genauso prägen wie seine Aufnahmen – entstehen mitnichten „by accident“: also weder rein zufällig noch aus einer spontanen Laune heraus. „Accidental Guitar“ ist ein ganzheitliches und fundiertes Konzept, das drei wesentliche Dimensionen umfasst: Das Kreieren von Klängen und Klangwelten mithilfe der Verknüpfung von Gitarre und Verfremdungseffekten, eine Art „Routing-“ oder „Mapping“-Technik, in die sich der Musiker jedoch keineswegs verliert, sondern bewusst mit den Möglichkeiten, die ihm zur Verfügung stehen, umzugehen weiß. Eine weitere Dimension der „Accidental Guitar“ ist die Improvisation, für die sich Cooper Marquardt entschieden hat – konsequent lehnt er deshalb jegliche Form des Einstudierens und Planens oder festgelegte Choreografien ab, und dies nicht nur bei Life-Auftritten, sondern auch, wenn Aufnahmen in seinem Studio entstehen. Die dritte Dimension schließlich, die das Konzept formiert, ist die jeweilige Situation, in der er sich beim Spielen befindet: Atmosphäre und Setting, Personen, Bedingungen und Stimmungen im Raum führen zur Kontextualisierung seiner Musik.
Das wohl durchdachte und gleichsam situative Konzept der „Accidental Guitar“ ermöglicht es Cooper Marquardt, im Experimentellen Bewusstheit über sein Tun zu bewahren. Diese Bewusstheit wird zum konstituierenden Element seiner Musik, sie erwächst aus „Accidents“, auf die der Musiker reagiert. Die Kette dieser Reaktionen schließlich formiert eine gewisse Logik – ohne dass diese den spontanen und freien Impetus seines Schaffens in Frage stellen würde.
I have worked with Sarathan for a couple of years now, and have found this one simple truth about them. They are honest.
Don’t wrinkle your nose there gentle reader, to find honesty in a label, within ALL their bands, to find truth in every bit of music that comes out from them, is a rare thing indeed.
I believe in every act that I hear from them, but more than that I want to play every act that they have, write about them, and dance to them, go on adventures with them. The label is gently eclectic but each band FITS, there is a rhythm a vibe that joins them. Like perhaps Saddle Creek, Domino or the great 4AD, this is a label that when an innocent musiclover goes into a shop or online and sees that fluttering bird or the name Sarathan, they know the music will be cool, quality and most of all HONEST.
To hook up with this feature I will be writing about some of the acts and presenting a super special episode of the NBT Podcast on the 8th April 2010
Check the artists out further on down this page BUT first let’s hear from the Label and the People who work there. A day in the life:
~Jonathan Kochmer, Label Owner:
Contrary to popular opinion, owning a record label is not glamorous. Nor is it simply a matter of putting out music we love and watching the big bucks roll in. Oh no, not at all! It is incredibly hard work (actually, the most challenging job I have ever had, and I've had some doozies). I don't think that anyone outside the record business really appreciates how much time, struggle, love, and money goes into putting out a record and getting it to the people who might love it and actually pay for it.
As the owner of a small business in a profound global recession, and in an industry that is facing many many challenges and changes, my typical day is currently devoted to number crunching of costs and incomes and coming up with cost-effective and innovative ways to get the word out about our music. I am responsible for ongoing relationship management of the many outside partners who provide services to the label and our beloved artists. I also do a lot of work with our IT systems and am constantly designing experiments with online marketing where we can evaluate very precisely how much income comes in with a given amount of spending.
I am thrilled to have on board a small but hugely effective team of people who are not only passionate about our artists, but with whom I would trust my life. After years of investing in Sarathan financially and emotionally and countless nights waking up at 4am in a panic about whether we would survive, I am very very proud to say that together, this year we have finally developed the core of a new record label business model that should be sustainable and thriving in the coming years. But there is no room for complacency, and we will be constantly tinkering with the bird as it learns to fly!
~Jessica Drenkel, Internet Marketing & Intern Manager:
I've worked with Sarathan Records for over three years and my "official" title has shifted about three times (including Production Manager and Intern Manager). The nature of a small company includes all of us in decisions and processes, which makes defining our roles murky; especially since the cycle of our business is often based around album releases and tours.
A day-in-the-life at Sarathan Records has the usual office necessities; coworker banter, lunchtime quandaries (that sandwich shop again?!?) and timecards. But the day-to-day stepping stones we place thru internet marketing, revising contracts and mailing promo posters to venues are tiny accomplishments that allow us to take pride in the exciting events that happen.
Personally, my most vivid memories come from of a variety of duties. I recall being on the floor surrounded by hundreds of padded envelopes, one sheets, and promo CDs with coworkers and/or interns and having a blast chatting about music, shows and food. I loved the feeling of faxing in those *final* signed Order Approvals to begin the manufacturing of our next release. Of course, I also remember the phone-conferences, lengthy email-threads and sudden flurry of activities sparked by a single missed deadline, shipment mix-up or amazing new opportunity.
I truly never know what I am going to encounter, experience or help make-happen every day at Sarathan, and that's part of what makes it so exciting and rewarding.
~Kate Leaver, office manager & licensing inquiries:
I like to start out each day with a plan of action, but have learned over the years that flexibility is key to survival in the record industry. My day to day duties are hugely varied and consist of everything from buying ink for the printer, to calculating artist royalties, to pitching our artists to music supervisors. It's hard to say what I would consider a typical day. List making has become the key to managing this wide variety of tasks. I write everything down and then look forward to the satisfying moment that I get to cross it off my list.
~Kara McGraw, Internet Marketing
I spent one and a half years of my life in Seattle, WA. Day one, I fell in love with the architecture, the parks, the way the invasive blackberry bushes grew along the sidewalks, the totem poles, the mysterious underground tunnels, the occasional random redwood tree, their amusing nicknames for transportation systems (aka, the SLUT), the comfortable and warm summers, and yes, I appreciated the rainy winters as well. I even came to love the overstatement that is the Space Needle; its rising torch-like form had become a beacon for my second home.
On my way to Sarathan Records’ headquarters every morning, I would fix my eyes on the horizon, where I knew loomed the awe-demanding Rainier, cloaked in a veil of grey. In stark contrast to the wafting mystery of fog, Sarathan was a joy. Its interior was bright and cheerful, its employees intimidatingly intelligent and in tune with pop culture. But they were friendly people, and they inspired me to new heights.
My time in Seattle ended all too soon. I had to move. Fortunately, I am able to continue working for Sarathan from home. Working from home is … well, quiet. My social life and work life are entirely computerized, so much so that sometimes I look in the mirror and I’m surprised at what I see, as if I thought I’d somehow become completely digital. It’s a little unnerving, as I’d always considered myself an outdoorsy person.
Of course, there are the pluses: a flexible schedule and increased productivity, not to mention an unbeatable commute.
Plus, there’s an additional benefit to this new life, one that I’d never previously considered. You see, back in Seattle, I’d generally let other people dictate the music that was being played in the office. Via these means I was exposed to a range of styles and genres that I might never have explored on my own. Unfortunately, most of these sounds washed over me without leaving a distinct impression. Not that it was bad music, it just didn’t strike a chord.
Now, in the ongoing war against silence and boredom, I’ve discovered a motherload of sounds that have really enriched my life. Below is just a sampling…
SOME NEW MUSICAL DISCOVERIES:
I’ve also discovered new works from artists I’d already known and loved, such as “Exogenisis” (Muse), “Hotel Song” (Regina Spektor), “Toto Dies” (Nellie McKay), and the acoustic version of “No Surprises” (Radiohead).
(By the way, if you want to see a complete list of my discoveries or share new music with me, Twitter/Blip.fm is the place to go!)
And so, I’ve decided…
In a world where there’s music, it’s okay to be alone, it’s okay to be far from the beautiful places you fell in love with, it’s okay to spend most of your life on the computer. Where passion is lacking, music steps in to remind you of your humanity, to endow life with a sense of meaning and direction. And I think this is true for all human beings, be they in the music business or not.
To conclude, if I can help a handful of people find music that does this for them, that helps them get through the day, then I can tell myself that my life and my job are worthwhile.
Hell, it beats selling women’s accessories, anyway.
The Bands/Artists featured on the NBT Podcast special and on the NBT Blog keep reading the various reviews of these five artists and look out for links to free downloads and plenty cool merchandise links.
Anne Watts :
The spark for a Boister song might start with an eight-year-old child musing: “Says here, some moths drink the tears of elephants.” Maybe over breakfast in a greasy spoon, someone said something about cornbread in a skillet. Maybe somebody’s gone off to a nursing home; all of his papers, maps, drawings, letters, are getting thrown into a dumpster, parked by an old barn in an open field. The river’s tide is going out.
Sometimes a memory of Kurt Weill on the turntable seeps in, or a nanosecond of a Lucinda Williams turn of phrase. Maybe somebody you love gets sick, or somebody’s mother dies. Purple finches come to the window, or bohemian waxwings, with their little black masks, picking at black berries on a tree.
History collides with the present, constellations shift, and you remember: there are forty-eight ways to harmonize one note. The band plays on Sunday. Random horn parts converge. The accordion cries out to the drum; the guitar and bass are lost in some flamenco fantasy.
We remember the future when we play, and steal from everyone we have loved. Our sound involves the skillet, the moth, the tide. We toast our good fortune and surrender.
Curt Heavey~guitar, banjo, mandolin
Lyle Kissack~drums, percussion, voice
Denis Malloy~bass clarinet
Anne Watts~voice, accordion, piano
Recent Performance Venues
Kennedy Center for the Performing Arts; Baird Theatre, Smithsonian; Walters Art Museum; Baltimore Museum of Art; Culbreth Theatre, University of Virginia; Mattin Center, Johns Hopkins University; Clarice Smith Performing Arts Center, University of Maryland; Villa Julie College; Hampshire College, Massachusetts; Covenant College, Tennessee; The Creative Alliance at the Patterson Theatre, Baltimore; NXNE Festival, Toronto; and the Philadelphia Museum of Art.
Some Moths Drink the Tears of Elephants (2008)
Sister City (2006)
Les Foules en Amour (2004)
Pieces of Milk (2002)
Song of the Smoke (1999)
Silent Film Scores
Buster Keaton’s Our Hospitality ~ commissioned by The Creative Alliance and Evergreen House (2005)
Buster Keaton’s Seven Chances ~ commissioned by The Virginia Film Festival (2003)
Greta Garbo’s Love ~ commissioned by the Maryland Film Festival (2003)
Buster Keaton’s Steamboat Bill, Jr.~ commissioned by the Walters Art Museum (1999)