I was asked to host a rum tasting for a customer’s birthday. At first I tried to convince them to taste whiskey, but they were pretty much set on rum. Fine, I like it all. But I had to educate myself on the island spirit. Ranging from light, dark, gold, flavored, spiced, and premium, Rum is, in truth, a kindred spirit to our own small island, Unalaska. Separated by the breadth of the Pacific ocean from our Caribbean brothers and sisters, we are an outpost of weird and wild weather and hard-working men and women. Whence one rocky mass of mountain and beach jutting out of the blue-green waters, so another, even so removed from similar climate, the lifestyle of the island dwellers can be derived of one culture – from water, life.
Author: Manny Santiago (Page 1 of 22)
One of the few creative-ish things I still force myself to make time for is the radio show I have been doing for about 5 years, Beard Radio, on KUCB, the local public radio station on the tiny island I live on in Alaska. Every Friday night for the last 250 or so weeks (give or take a few trips off island) at 10pm (replay Monday at 8pm) Beard Radio has attempted to strike a balance between the music that I love and what I think people want to hear. Let me be the first to say that I don’t have a huge audience, but as anyone who ever saw Pump Up The Volume knows, when it comes to radio, someone somewhere is listening. Hopefully it’s the people that the music connects to somehow. More than likely it’s people at work who have no other options.
So ubiquitous is the Bald Eagle in Unalaska, they are referred to as pigeons. As they are generally non-harmful to humans their awesome stature can be taken for granted when these large raptors get up close and personal. Especially large females who are looking for food for their eaglets. Larger than my four-year and two-year-old kids by a wide margin, this one landed on my porch and decided to hang out or an hour or so, giving us quite a show in the interim (she shat all over my deck). She was right in front of my door, so it was a bit of a process to open the door without her hissing and spitting acid-blood in my eyes (I’m not an ornithologist so I don’t know that they don’t do this…). When I made it out the door and we were finally face to face, she either ran out of fecal matter or decided my kids were too big for her to take alone, so she spun and took off. Luckily I had my slo-mo finger on fast-forward and managed to capture it.
“In the Perfected Mahayana – everything, every speck of dust even, can be seen as conditioned arising. Thus even in a hair there are innumerable golden lions.”- Tractate of the Golden Lion — Fazang
My friend Tomohiro once asked me why I was living in Japan, “You not married, don’t have girlfriend, not getting paid shit-ton cash like finance assholes, have no real prospects, kind of smell bad…so why you come to Japan…for the sushi?”
“Tomo, I’m seeking satori…duh.”
“You drink too much beer for satori. Even you run bar you drink all the profit, so why you wanna be Buddhist?”
Actually I get this question a lot. Japanese people are curious about an outsider’s views on what makes Japan attractive. Occasionally whomever it is I’m talking to continues the conversation with another whopper of a mystical/metaphysical/meaning-of-life type of question like, “Can you use chopsticks?” or “Wow, you sure are good at using chopsticks!”
I nod imbecilically and smile, saying, “Chinese food everywhere in America!” while adding, “Oscar Wilde said that when given a choice between going to heaven and attending a lecture on heaven, an American would attend the lecture. Because quoting Oscar Wilde to people, especially in Japanese, gets awkward quickly, the subject changes rather quickly as well.
“Dove” immediately marches through your ears, into your brain, releasing that oh-so-coveted, smile-inducing, music-generated dopamine…calling on fond associations of some of the upbeat tracks Phoenix put out in years past.
— The Music Ninja
Pillar Point – Marble Mouth
Scott Reitherman was planning to record the second Pillar Point album at home in Seattle, when he received an unexpected invitation — extended backstage in Phoenix after opening for of Montreal — to cut it at Kevin Barnes’ home studio in Athens, Georgia. Barnes said of the music, “I love how hooky/funky/dancey the songs are. As a complete work, the album transports me into a glamorous milieu. It makes me wanna dress in drag and go to a blue collar bar. Ha ha.”
“I couldn’t believe it to be honest,” says Reitherman. “I was overwhelmed; we’re halfway through the tour and I’m already having the time of my life.”
When in Northern California, do as the Humboldtians do, go crabbing. Except when there is a harmful red tide going on. Then you don’t go crabbing. You go eating. But here’s what to do when you can go back in.
Crab. Dungeness Crab. Metacarcinus magister. Named by the English Naval Captain George Vancouver after the arrowhead-shaped headland in Kent, England, this super middleweight gets its name from the town of Dungeness in Washington’s Juan de Fuca Strait, the watery border between the U.S. and Canada. Native only of the Pacific coast with commercial fisheries from Alaska to Point Conception, California, “Dungies” are trap-caught, which allows for the release of bycatch (inadvertent fish caught in trap), and therefore considered sustainable by Monterey Bay Aquarium’s Seafood Watch.
Hiatus Kaiyote – Choose Your Weapon
“Kaiyote” is not a word. It’s a made up word, but it kind of sounds like peyote and coyote – it’s a word that involved the listeners creativity as to how they perceive it. So it reminds you of things but it’s nothing specific. When I looked it up on online it was like a bird appreciation society around the world, so for me that was a great omen, because I’m a bird lady. A hiatus is essentially a pause, it’s a moment in time. So, to me, a hiatus is taking a pause in your life to take in your surroundings, have a full panoramic view of your experiences and absorbing, and “kaiyote” is expressing them in a way involves the listeners creativity.
— Nai Palm, explaining the bands name.
Hiatus Kaiyote is a future-soul quartet (Nai Palm (vocals, guitar), Paul Bender (bass), Simon Mavin (keyboards) and Perrin Moss (drums, percussion)) from Melbourne. Choose Your Weapon released by Flying Buddha in May. Singer songwriter Nai Palm stated she had a vision for Hiatus Kaiyote’s brand of future soul. “I always knew I wanted to be in a band, but I never knew it could be my own conversation.” It didn’t take long for that vision to attract attention. Gilles Peterson of Crossover Jazz fame named them the Breakthrough Artist of 2013.
The band released their debut album Tawk Tomahawk independently in 2012, noticed by numerous musicians including Q-Tip, Animal Collective, The Dirty Projectors, and Erykah Badu. When Salaam Remi of Sony started up the Flying Buddha label and distributed their debut album world wide, later introducing the band to Q-Tip, it led to him featuring on a remix of “Nakamarra” included on the re-release of their debut, that was then nominated for a Grammy for Best R&B Performance, performed with Q-Tip himself. The band released Choose Your Weapon in May 2015. Lead vocalist Nai Palm described the album as an “extension” of their debut, and stated she and the band had no intention to make one genre body of work.
“The title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparents.”
Waxahatchee – Ivy Tripp
From Merge Records
Katie Crutchfield’s southern roots are undeniable. The name of her solo musical project Waxahatchee comes from a creek not far from her childhood home in Alabama and seems to represent both where she came from and where she’s going. Since leaving home, Crutchfield has drifted between New York and Philadelphia but chose to return to Alabama to write her first two albums: American Weekend, her debut filled with powerful lo-fi acoustic tracks full of lament, and Cerulean Salt, a more developed and solid narrative about growing up. Both are representations of a youthful struggle with unresolved issues and unrequited feelings.
Waxahatchee’s latest record, Ivy Tripp, drifts confidently from these previous albums and brings forth a more informed and powerful recognition of where Crutchfield has currently found herself. The lament and grieving for her youth seem to have been replaced with control and sheer self-honesty. “My life has changed a lot in the last two years, and it’s been hard for me to process my feelings other than by writing songs,” says Crutchfield. “I think a running theme [of Ivy Tripp] is steadying yourself on shaky ground and reminding yourself that you have control in situations that seem overwhelming, or just being cognizant in moments of deep confusion or sadness, and learning to really feel emotions and to grow from that.”
The band that plays together, produces together. Kyle Gilbride (guitar, keys, synth and tambourine), Keith Spencer (guitar, bass, drums and keys) round out Katie Crutchfield (guitar, keys, synth and vocals). Recorded and engineered by Kyle Gilbride of Wherever Audio at Crutchfield’s home on New York’s Long Island—with drums recorded in the gym of a local elementary school—Ivy Tripp presents a more developed and aged version of Waxahatchee.
“I heard someone say that you have to be the change you want to see. I just want to be the kind of musician I want to see in the world. I want to present myself in a way that reflects that.”
Crutchfield is accompanied by both Gilbride and Keith Spencer on Ivy Tripp, and the record was produced by all three of them. With the addition of more guitar work, piano, drum machines, and Crutchfield’s vocals in full bloom, we are given a record that feels more emphatic and pronounced. Ivy Tripp opens with “Breathless,” filled with only a distorted keyboard and layers of vocals, showcasing Waxahatchee’s pension for quiet, personal reflection. The record then opens up into “Under a Rock,” a quicker guitar-driven song that lays the foundation for the rest of the album, which as a whole resonates with strong, self-aware lyrics, energetic ballads, and powerfully hushed moments of solitude. Crutchfield’s voice is certainly the guiding force behind Ivy Tripp—commanding and voluminous in the rock song “Poison,” candied and pure in the frolicking “La Loose”—gripping you tightly and then softly releasing you into the wilds of emotion.
Crutchfield says, “I heard someone say that you have to be the change you want to see. I just want to be the kind of musician I want to see in the world. I want to present myself in a way that reflects that.”