Anvil Orchestra Shows Upcoming
Epsilon Spires, Brattleboro VT. Oct.28, 8:00pm:
A Page of Madness, one of the few Japanese silent films not bombed into oblivion that remain. And it’s, literally, insane.
AFI Silver Theater, Silver Spring, MD. Nov. 18:
4:00pm: The Lost World. The first dinosaur epic.
7:00pm: The Cabinet of Dr. Caligari. The ultimate expression of German Expressionist film.
Vs. Vertigo Tremolo (from Source Audio)
The limited edition of 50 copies seems to have sold out rather quickly. I have no idea if they are going to un-limit the device and make more. Either way, it was fun to work with Source Audio to create a few of the definitive Mission of Burma tremolo patches. And the Vertigo Tremolo pedal sounds really good – I’ve been using it for years in Trinary System and my Solo Electric Guitar Ensemble.
HAIKU FROTTAGE
I have been creating frottages on black origami paper, approximately 6″ square. I refer to these as “Haiku Frottages” because they are small and the ideas therefore need to be more focused. I am debating those that are more complex vs. the simpler ones. I find both appealing.
BORDERLAND
I completed the first pass on all the cues. Re-recording and mixing will be in November. The film is about the Border/Industrial complex at the Mexican border. This is my fifth film with Skylight Productions, and likely the fifth to premier at Sundance. Needless to say, these people are great to work with and I very much support their documentary work.
And a Flashback to 2003
Burma played All Tomorrow’s Parties at Long Beach, CA, in 2003, which was curated by Matt Groening. I flew my son Chance out and I told Mark Kates (Burmanager) that I wouldn’t play unless I got a photo of Chance with Mr. Groening. I’m pretty sure Mark knew I wasn’t totally serious, but he did get the shot (see below). Besides that, and me playing one of my “cocktail piano” versions of Burma songs, in this case Revolver somewhere where there was a piano, which brought Clint and I to near tears, the following was the most interesting event:
At some point during a day, I was standing next to and talking with Clint Conley; Mike Watt; Lou Barlow; and Flea. You coulda dropped a bomb there and annihilated a good chunk of indie rock’s bass masters. What I recall most was talking with Flea (a surprise in itself), and bonding over Bela Bartok’s “Piano Music for Children”. I still play those pieces, and I was amazed that Flea loved them too. I mean, how did that topic even come up? While I am definitely not a big R.H.C.Peppers’ fan, my respect for Flea rose considerably.
