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TUCKER MARTINE SELECTED PRODUCER, ENGINEER, MIXER, & MUSICIAN CREDITS: Matt the Electrician Forthcoming Album P E M Mt. Joy Forthcoming Album (Dualtone) P E M William Tyler Goes West (Merge) P E M Band of Heathens Forthcoming Album P E M Gregory Alan Isakov Evening Machines (Dualtone) M Josh Pyke Forthcoming Album (Wonderlich) M Neko Case Hell On (Anti) E First Aid Kit Ruins (Columbia) P E Mu Rosanne Cash She Remembers Everything (Blue Note) P E M Laura Veirs The Lookout (Raven Marching Band) P E M Mu The Sword Used Future (Razor & Tie) P E M Grant-Lee Philips Widdershins (Yep Roc) M Grandaddy Last Place (30th Century) M Blind Pilot And Then Like Lions (ATO) P E Mu She & Him Christmas Party (Columbia) P E Mu Aoife O'Donovan In the Magic Hour (Yep Roc ) P E M Mu Karl Blau Introducing Karl Blau (Raven Marching Band) P E M Mu Mavis Staples Livin' on a High Note (Anti) M Mu Sam Beam & Jesca Hoop Love Letter for Fire (Sub Pop) P E M M. Ward More Rain (Merge) E M The Jayhawks Paging Mr. Proust (Sham) P E M Edward Sharpe & The Magnetic Zero's PersonA (Community Music Group) M Petra Haden & Bill Frisell "When You Wish Upon A Star" (Fake Diamond) E Case, Lang, Veirs case/lang/veirs (Anti) P E M Mu Sufjan Stevens Carrie & Lowell (Asthmatic Kitty) E 1 P-Producer E-Engineer M-Mixer Mu-Musician TUCKER MARTINE SELECTED PRODUCER, ENGINEER, MIXER, & MUSICIAN CREDITS: Modest Mouse Strangers to Ourselves (Epic) P Mu Punch Brothers The Wireless (Nonesuch) E The Decemberists What a Terrible World… (Capitol) P E Bill Frisell Guitar in the Space Age! (Sony) E Brian Blade & The Fellowship Landmarks (Mid City/ Blue Note) E Camera Obscura Desired Lines (4AD) P E M Jars of Clay Inland (Gray Matters) P E The Avett Brothers Magpie and the Dandelion ( Republic) E Jim James Regions of Light and Sound of God (ATO) E Richard Buckner Surrounded (Merge) M Neko Case The Worse Things Get, The Harder I Fight... (Anti) E M Black Prairie A Tear In the Eye is a… (Sugar Hill) P E M Beth Orton Sugaring Season (Anti P E M Mu Tift Merritt Traveling Alone (Yep Roc) P E My Morning Jacket Circuital (ATO) P E M Abigail Washburn City of Refuge (Rounder) P E M Mu R.E.M Collapse into Now (Concord) E The Decemberists The King is Dead (Capitol) P E M Mu Bill Frisell Disfarmer (Nonesuch) E M Spoon Gof Nuffin' (Merge) M Death Cab for Cutie The Open Door EP (Atlantic) M Chris Walla Field Manual (Barsuk) M Brian Blade & The Fellowship "Season of Changes" E Jim White Transnormal Skiperoo (Luaka Bop) P E Mu The Decemberists The Crane Wife (Capitol) P M 2 P-Producer E-Engineer M-Mixer Mu-Musician Contact: Jerimaya Grabher GPS | Global Positioning Services 3435 Ocean Park Blvd, Ste 107-191 Santa Monica, CA 90405 Tel 310.656.1350 [email protected] www.globalpositioningservices.net 3 P-Producer E-Engineer M-Mixer Mu-Musician.

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Modest Mouse Live Issue 83
FEATURE AT !" MODEST MOUSE LIVE Fulsome beards on faces, fearsome tea-cosies on heads – this is indie rock. Text: Christopher Holder Nothing says ‘Indie Rock’ like two drummers on stage. EP: I approach mixing them by not getting in the way. Having someone play a drum over and over and over is It says, “anyone can have one drummer – one wage, counter-productive. For one thing, it simply won’t achieve one set of drum !ight cases, one riser, one ego – but we the result I’m a%er once the two drummers are playing choose to walk the path less travelled.” Mind you, there must !at-out. I could spend hours digging into something with be times when Modest Mouse would look wistfully on at EQ but once it’s back in the mix, it won’t #t. For me, Modest other ‘normal’ bands with only ‘the’ one drummer. Like the Mouse is all about looking at the whole picture, and making night I rocked up to the Prince Bandroom in St. Kilda. "e that sound good. I do that by so%ening things; rounding Prince’s corner stage is adequately proportioned for most things out rather than having everything competing for rock bands, but this night was something else. "e support attention. act’s gear was clinging by its #nger nails to front of stage, while Modest Mouse’s two drum kits, bass rig, two electric CH: So you’re doing your best to ‘stay out of the way’ and guitar rigs, keys, upright bass setup, along with a full- ensure the band feels comfortable? blown JBL side#ll (just for the occasion) made for the most EP: "at’s right, which means getting monitors sorted out crowded stage I’ve ever laid eyes on.
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Is Jack Antonoff Overrated?
:: View email as a web page :: What is it like to have a conversation with Isaac Brock? Actually, it’s a lot like listening to Modest Mouse — he’s somewhat erratic, often explosively funny, and, just when you least expect it, brutally honest and insightful. Believe it or not, but Brock now qualies as a true indie-rock elder statesman. Modest Mouse’s seventh album due out June 25, The Golden Casket, arrives 25 years after their 1996 debut, This Is A Long Drive For Someone With Nothing To Think About. Back then, Brock was a few months shy of his 20th birthday, and he sounded like it. His early songs were rough-hewn, combustible, and lled with pointed observations about small-town blue-collar life that still seem utterly unique in the largely bourgeois world of indie music. The next two Modest Mouse albums, 1997’s The Lonesome Crowded West and 2000’s The Moon & Antarctica, are landmarks of modern indie. Then came 2004’s Good News For People Who Love Bad News, which shockingly transformed them into a multi- platinum mainstream rock band. While their output since then has come slower — just three albums in the past 17 years — Brock remains committed as ever to not repeating himself. Check out this interview where Brock talks about Modest Mouse’s discography. -- Steven Hyden, Uproxx Cultural Critic and author of This Isn't Happening: Radiohead's "Kid A" and the Beginning of the 21st Century In case you missed it... The latest episode of Indiecast reviewed the new Modest Mouse album and remembered The Shins.
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WAYNE HORVITZ SELCTED REVIEW EXCERPTS Joe Hill, 16 Actions for Orchestra, Voice and Soloist “Joe Hill” is, in fact, a ravishingly beautiful work… Paul de Barros Seattle Times Solos Somehow, always, they resist the postmodern temptation to be too smart and too cute: they're not trying to impress you with how much they can reference. These 14 pieces - including a few free improvisations, a traditional, a standard, and a Wayne Shorter tune - are mostly contemplative originals; one is particular, Ms. Holcomb's long form piece, " Before the Comet Comes," is staggeringly beautiful. Ben Ratliff , New York Times One of my favorite discs of 2004, Solos (Songlines), teems with solo piano pieces by Horvitz and Robin Holcomb that breathtakingly fuse the hermetic, astringent squiggles of Schoenberg's piano music with the lonesome sound of Shaker hymns. Chris DeLaurenti , The Stranger (Seattle) …they play like composers, giving every stroke a clear intent, informed by the tension and release of subtle harmonic and dynamic shifts. Jazziz ..tunes like "Tired," with its' bittersweet and subtly melancholic feeling, are particularly compelling because one can feel Holcomb's more skewed approach subtly infect Horvitz's playing, while its clearer roots in the blues distinguish it as a Horvitz piece. John Kelman , All About Jazz.com Wayne Horvitz and Robin Holcomb - the legendary husband-and-wife team that has had such an impact on extemporaneous music since the early '80s - take turns improvising on this hour-long solo piano recording.... The music is generally sparse and contemplative, but not *too* sparse and contemplative. It's a relaxed listen that touches on free jazz, polytonal hymnsong, traditional jazz (there's a nice version of "Stars Fell On Alabama",) and postmodern classicism, without really being any of those.
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