Ink Is My Perfume

Work In Progress

clay — Fri, 04 May 2012 20:00:00 GMT

This is what the monoprint part of a mixed-media monoprint looks like. Step one, splash some ink around.

Step three: profit.

New Prints available at RCFT!

clay — Thu, 03 May 2012 19:59:01 GMT

That's right, it's a big sale! I've got a couple dozen prints up for sale at Reverend Clay's Finer Things, and the auctions end Monday afternoon. There's even some pretty new prints available, things that haven't been for sale anywhere before now! So get thee over to Reverend Clay's Finer Things and decorate your walls!

Dave Johnson and the Interior Establishing Shot

clay — Wed, 25 Apr 2012 20:00:00 GMT

Reverend Dave Johnson is a very well-known cartoonist, but mostly known for his award-winning cover illustrations at this point (on series like DC/Vertigo's "100 Bullets") or for being a co-founder of the Drink and Draw Social Club. Before that, like every other cartoonist, he sometimes had to draw the images in between the covers, too! He's also responsible for one of my favorite comics panels ever (which is the last image in this post). I decided to go back into my collection and find more similarly-themed panels, ones that show his mastery of the Interior Establishing Shot.

The first batch of images are from "Chain Gang War," written by John Wagner, penciled by Dave Johnson, and inked by John Dell, published by DC Comics in 1993 and 1994.

Aside from the bizarre color scheme of this series (and I mean the whole series), this is a solid interior establishing shot. We're clearly not looking at an average studio apartment here.

Now we're starting to get down to business. Here, Deathstroke is clearly getting ready to do battle, but almost as importantly, we get a good sense of the setting this battle is going to take place in.

This is a cool shot also, but requires some explaining. There's a mansion that a villain has built, but nothing is level. It's intentionally so, since the villain sports a twisted-up face, his surroundings must reflect that. Here, there's a sense of the Fun House-style design.

But honestly, the reason I wanted to take do this post wasn't "Chain Gang War." Dave Johnson penciled and inked a pair of "SuperPatriot" mini-series in the mid-90's that are still some of my favorite comics of all time. I don't believe that there's ever been a SuperPatriot collection of any kind, and while there could be a million reasons for that, it's surely not a quality issue.

The first "SuperPatriot" mini-series was scripted by Erik Larsen (the character is one of his creations also), plotted by Keith Giffen, drawn by Dave Johnson, and lettered by Chris Eliopoulos (which will become more important in the second mini-series), and was published by Image Comics in 1993.

So let's check out some Interior Establishing Shots, shall we?

That's a damned great lab right there. Also, with Johnson inking himself on this series, the art is less "designy," and you can see the Masamune Shirow influence shining through ("Appleseed," in particular. Yes Virginia, people were reading manga earlier than just five years ago). But the part that I love is that there's a sense of scale in this drawing that few other artists seem to capture.

Here's a full-page, so that you can get a taste of how fantastic Johnson's reveals are:

Aside from being a fantastic page, and aside from nailing a look that could have come straight out of a great 1970's sci-fi film (like "Logan's Run," for instance), this is another page that really gives a reader a real sense of size and setting. But, of course, not before building your anticipation through the top tier of panels.

Here's another full-page that illustrates one of the "tricks" that Johnson often uses during his action sequences, even though this is a "quiet scene." The Interior Establishing Shot sets the plate so well that it becomes unnecessary to repeat it. Johnson's skill at this sort of shot means that he can focus other panels entirely on figures. One of the raps on many 90's superhero artists (and on Image books in particular) was a persistent laziness in regards to the background work in many panels. To my eye, that's never an issue with Johnson's work (although he certainly and frequently does action panels with no background drawing at all) because of his extreme skill at the basic storytelling technique of establishing a specific environment. Once the table's been set, you don't need to keep putting forks next to each plate every time someone takes a bite.

Another development in this series: the incorporation of lettering effects similar to the work that Howard Chaykin was doing in "American Flagg" with letterer Ken Bruzenak, or that Walter Simonson did in his "The Mighty Thor" run with letterer John Workman, both during the 1980's. This is a great example both of the incorporation of sound effects and the use of an establishing shot in the middle of an action sequence to indicate a change of setting. Again, every panel doesn't need every inch filled, so long as you let people know when your setting has changed.

The second SuperPatriot mini-series is even more fantastic than the first. This time around, the comics are scripted by Tom & Mary Bierbaum, plotted by Keith Giffen, drawn by Dave Johnson, and lettered by Chris Eliopoulos. It was also published by Image Comics, in 1995.

Much of this series is set in Japan, and virtually all of the action is outdoors. There are points where the visual density begins to approach that of Geof Darrow's work, which is saying quite a bit. But I'm trying to stay on point here, and keep focused on the Interior Establishing Shots. There are only a couple in this series, but they're doozies.

On this full-page splash, there's plenty to feast your eyes on. Even the pipes in the ceiling are worth taking a few seconds to untangle.

But for me, the real money shot comes in the fourth issue of the series, one of the few times that I've actually gasped at a page or spread in a comic book:

The scale and scope of this illustration is breath-taking. Even more so when you see it at the proper size, inside of an actual comic book. The little version is nice, but the full version is worth at least tracking down this individual issue for.

Part of the reason why I suspect that many artists don't do a great job of indicating scale is that comics are usually a standard size, and also that it's a lot easier to draw a pair of people fighting with each other at maximum size than it is to pull off something like Dave Johnson's illustration here. But this really has it all, from the Simonson/Workman sound effects, to the insectoid battle armor, to a really interesting building design, and all combined in a very dramatic drawing. I can think of a million cartoonists who could pull off a fighting scene as the dramatic conclusion to a story, but almost none who could do the reverse. It's almost a "Planet of the Apes" ending, where the character's realization of his situation is more important than who it's happening to.

If you stumble across any of the "SuperPatriot" issues, they're worth picking up. I love Johnson's cover work, but comics like this make me miss his sequential work.

DISCLAIMER: all images belong to whomever they belong to (likely DC Comics for "Chain Gang War," and Erik Larsen for "SuperPatriot"). I make no claim to ownership, but present smallish scans (and no complete stories) for academic purposes.

'Sup

clay — Mon, 23 Apr 2012 20:00:00 GMT

"'Sup," 2.25" x 2.25", intaglio etching, 2012. Edition of 10 (printed with Portland Cool Black ink on Fabriano Rosapina white paper).

I had a small piece of copper that I had trimmed down to size, with the intent of doing something for a print exchange. Unfortunately, I have been under the weather a bit more than I would prefer, and I was unable to complete anything in time to be a part of the exchange. But last week I came up with a quick idea, executed it, and here you go.

One of these will be in the next batch of offerings at Reverend Clay's Finer Things, coming very, very soon!

Also, this is the last week to check out the show at Tigard's Skin City Tattoo, so get thee there ASAP!

Leer v3

clay — Fri, 20 Apr 2012 20:00:00 GMT

The third (and final, for the moment) variant of "Leer..."

More new work (and a couple of big ideas posts) coming shortly...

Leer v2

clay — Wed, 18 Apr 2012 20:00:00 GMT

As promised, the trickle continues. The second hand-colored variant of "Leer..."

Hope you likey! Oh yeah, my wrist is doing a lot better now, in case you were wondering.

Leer v1

clay — Tue, 17 Apr 2012 07:03:33 GMT

A brand spanking new print! "Leer," 3" x 4.5", hand-colored intaglio etching, 2012. Edition of six:

This is the first of three that I've got completed, the other two versions will pop up later this week.

You've still got another week or so to check out my half of the show that's currently up at Skin City Tattoo in Tigard. You should check out the other half, too, it's nice work!

Been hampered by more health nonsense, but I'm hoping to finally keep my head above water (at least for the next six weeks or so, I can fall apart again after that). Lots of big new prints in the pipeline, and I've got my first solo show at Mt. Hood Community College opening in June (high five!). Definitely more info to come in the near future, but I've got to get the new pieces done before then...

Skin City Tattoo, Tigard, OR - Zero Day Notice

clay — Fri, 23 Mar 2012 20:36:44 GMT

If you haven't cemented your evening plans tonight, and are in the general vicinity of Tigard, OR, why not come see some art? Or come get a tattoo and stare at some art while you're waiting?

Straight from the horse's mouth:

Join us this Friday evening to see some art! We're having an opening for local artists Alexa Drummond and Clay Hollifield from 6-8 pm. We'll have food, drink and best of all, art!

Here's the linkage (including directions): http://www.skincitytattoos.com/

I went and hung my half of the show on Wednesday, and I think you'll really enjoy all of the artwork present (and the shop is really welcoming, as well). See you tonight!

Resurfacing

clay — Thu, 23 Feb 2012 09:27:49 GMT

I know there's been a lot of dead air around here lately. So let's catch up, shall we?

I had two shows come down this month. One had a lot of my work, the other was the Bite Studio show I mentioned previously. I hope that you got the chance to check one or the other out. I have a solo show coming up in June, I'm pretty excited about that. I'll be shouting about that one from every microphone available to me when we get a little closer to the event. I'm also trying to work on a piece for this year's Leftovers exchange; the 2011 one was great!

Aside from that, this is the time of year to apply for more shows. I'm trying to line up at least one art fair this summer, but more so trying to gauge what kind of shows I can get into. I'm applying to much bigger shows than I've been a part of in the past. Truth be told, the economic woes we're all going through have turned a lot of smaller shows that may have been profitable ones in the past into unprofitable ones, and I don't see much point shelling out booth fees if I can't even break even. Who can afford to throw money into the ocean?

And then there's this:

I've been having troubles getting work done lately. If I'm presented with a ridiculous deadline, I can usually meet it, but presented with long-term stuff, I'm stymied. But another component of the problem is that I've been having some troubles with my drawing hand again. It's kind of a vicious cycle - when I want to work, I'm fighting through numbness and wrist pain, which in turn makes me less likely to work, because I don't want to have to fight through it. A couple of weeks ago, the problem finally got bad enough that I went to the doctor. Got some testing done last week, and the verdict is Carpal tunnel syndrome.

I'd regarded that as an inevitability at some point; I've spent years drawing, years doing data entry and generally working on a computer, I lift weights on top of that. But it's still not what you want to hear. Thank goodness, I currently have health insurance, so that's a weight off my shoulders. But at the same time, I'm stuck in this wrist brace "as much as possible" for the next six to eight weeks, with the threat of surgery looming if that doesn't do the trick. I know I'm not the first artist to have to deal with this issue (and if you're an artist who has dealt with this issue, please feel free to hit me up with anything that was useful for you), and I surely won't be the last, but it's not doing much to calm my mind down. After a couple of weeks solid in the brace, I haven't noticed any improvement. But I guess that's why I'm supposed to use it for longer than a couple of weeks.

Anyways, I guess the only option is to work through it as best as I can. I'm not upbeat, but I am stubborn. I hope to have some new work to show off soon, but hopefully you'll understand if it doesn't come along as quickly as either of us might like.

Two of Hearts

clay — Mon, 06 Feb 2012 22:08:34 GMT

"Two of Hearts," 8" x 10", intaglio etching, 2012. Edition of 10.

In case you didn't make it over Bite Studio's 4th Annual Love in Print show, the exhibition times are now in the past. Not to worry, because this was my print for the show. Sure, a little digital image doesn't really compare to the glory of actual, physical piece of artwork, but it'll have to do for now. Hope everyone has a great Valentine's Day with their sweetie!

Two Day Warning: Love in Print @ Bite Studio

clay — Wed, 01 Feb 2012 23:14:11 GMT

A quick heads up - I've got a print in this year's edition of "Love In Print," the annual show at Portland's Bite Studio (a fantastic printmaking studio). The opening is Friday, February 3rd, from 6 PM-10 PM, and if you can't make that, follow the link and check out the weekend hours! Hope to see you there! Pics and all that to come...

Bite Studio

2000 SE 7th Avenue

Portland, OR 97214

Stymied by Snow

clay — Tue, 17 Jan 2012 23:01:03 GMT

The inclement weather is preventing me from getting into the studio and getting much printing done, but I am keeping busy. I've finally started editing the book that I wrote in November, and also I'm doing a lot of "research" on the internet. Surely, it will pay off in spades down the line.

It has already born one delightful piece of fruit, however. Aesop Rock said on Twitter that this was already the best video of 2012, and I'm inclined to agree. Please enjoy Sir Jarlsberg's "Teach Thee How to Curtsy"...

Tucker and Dale ATC

clay — Tue, 10 Jan 2012 20:00:00 GMT

"Tucker and Dale," ATC, ink and marker, 2011.

I saw this really funny movie called "Tucker and Dale vs Evil." It's really funny! So I figured I'd do a quick sketch card in a more cartoony style, and this is the result. Check the movie out, I'm pretty sure you'll laugh...

Maude ATC

clay — Tue, 10 Jan 2012 04:15:10 GMT

"Maude Lebowski," ATC, ink/marker, 2011.

I'm slowly (very, very slowly) working my way through the Lebowski cast. I've got a Walter (John Goodman) card up somewhere on this blog, but I'm too lazy right now to link it. Don't worry, if I get a few more done, I'll do a round-up post at some point...

Mirror, Mirror

clay — Fri, 06 Jan 2012 02:17:43 GMT

"Mirror, Mirror," 12" x 18", intaglio etching, 2011. Edition of eight.

Hopefully, the idea behind this one is apparent. It's also the last print that I finished and editioned in 2011. You can click on the image to see a bigger version, or if you want to see the life-sized real thing, it's one of the pieces that I have up in that show in Seaside, OR at Hold Fast Tattoo Co. & Art Gallery! First Saturday festivities going on this weekend, and the show's up through the end of the month.

Holiday Trends

clay — Wed, 04 Jan 2012 05:45:53 GMT

Looks like I'm now expected to side with judgmental hipsters. Fantastic...

Happy New Year!

clay — Tue, 03 Jan 2012 05:05:39 GMT

2012 doesn't have to be awkward. Just go with it...
c.

Clay's Top Ten Albums of 2011

clay — Fri, 30 Dec 2011 07:44:18 GMT

2011 Preamble:

Looking back at last year's list, I was pretty down on what had come out in 2010. There are reasons for that, partly the material in question, partly a rough year health-wise that had me in a bad mood for extended periods of time. But it's been a much better year this time around, both for me and for music in general. My list of 2011 albums that I spent some actual time listening to was at least twice this list, and there are still a handful of albums that I haven't had the chance to really delve into yet. I've given them all cursory listens, so it's not as if I'm missing out on something that should be on this list (other than maybe the Tom Waits album). Verdict: on the whole, a really good year.

Get Your Free On:

Dub Kweli

Immortal Technique – “The Martyr”

The King Khan Experience

With no further ado, let's get it on!

10. Slim Cessna's Auto Club - “Unentitled”

I will kick off this list with a really good album that I didn't listen to nearly as much as I should have. In 2008, I picked Slim Cessna's Auto Club's “Cipher” as my favorite album, and that album has held steady in my listening rotation in the years since. It's a tremendous album. And “Unentitled” is also a very, very good album. If I was picking one to start with, I'd have to go with “Cipher,” but you wouldn't be wasting your money here, either.

Part of the reason that I didn't get into this album as deeply is that I missed Slim Cessna's shows this time around, and their live shows are blisteringly good. Having the opportunity to experience some of this material in that setting would have definitely boosted my opinion of this album. I admit, that's entirely my fault. And if they swing around my way again soon, I'm sure I'll go see them and get into the period of obsession with this album that I haven't had the chance to experience yet.

9. Steve Martin & the Steep Canyon Rangers - “Rare Bird Alert”

I'm not going to say this is the best album I've ever heard. And a big part of the reason that I included it on the list is that it's both really funny and a bit of a different sound than a lot of my collection. When you've been buying albums for a while, part of the consideration is “do I need another album that sounds like (fill in the blank)?” There were a few albums that I backed off of on the basis that my answer was simply, “no.” I did not need something that sounded vaguely like Nirvana (or whomever), but wasn't as good. I'd rather just listen to Nirvana (or whomever), if it's all the same to you.

I did listen to this one quite a bit, and it's an enjoyable, funny bluegrass album. I'm sure that if Steve Martin hadn't been involved, I probably wouldn't have given it a second (or maybe even a first) glance, but he was, so I did. If you need something to keep your “O Brother, Where Art Thou?” soundtrack company, you could do much, much worse than this.

8. Cage the Elephant - “Thank You Happy Birthday”

I feel like this one may require some explaining, although I'm also tempted not to explain. But I'll put it this way: “Thank You Happy Birthday” feels like a really good throwback album to the 90's alternative sound. It's fine if you're not down with that, if you also understand that I'm not down with strummy/acousticy/whispery nonsense. And that sound has hijacked the indie sound over the last decade, and I just don't want to hear it any more. I have a soft spot for stuff like Cage the Elephant, and there is both a few good songs and a pretty solid rock album present here. Both “Aberdeen” and “Shake Me Down” got some heavy play on my Zune this year, and so I tip my hat to this album.

7. Foo Fighters - “Wasting Light”

I am a big Foo Fighters fan, and I've been on the Foo train since before the first album. They do something that few other bands do right now: just be a good rock band. Their stock in trade is not revolutionary music, it's doing what they do well.

With “Wasting Light,” it was hard not to get my hopes up. Between the choice of producer (Butch Vig, and you should already know why that's important) and having the whole band intact again, it felt like a promise of a home-run. The result was a really, really good album. It's not quite a home-run, but it's like a stand-up triple with the bases loaded. There aren't boatloads of giant hooks; this is a hard-edged album that needs to be played loudly so that you can swim around in the distortion. In Foo canon, this might be their second best album (behind “The Colour and the Shape”).

We all have a pretty good idea of what the Foo Fighters sound like at this point, and that's fine. Saves some explanation here. I'm just happy to have another album of theirs that's at near-peak form. Plus, mega-points for having Bob Mould guest on “Dear Rosemary.”

6. The Decemberists – “The King is Dead”

I own a lot of Decemberists material, but other than “16 Military Wives,” which I really like, their albums have at times felt like obligations than pleasurable listening material. I know that sounds awful, but honestly, their albums have been like “if you like this, then try this” recommendations that didn't quite click with me. I didn't feel that way about “The King is Dead,” though.

This might be a simplified version of what the Decemberists have done in the past; easing up on the vocab lessons, throw some honest to goodness hooks in there, and jangle, jangle, jangle. But the results are more immediately listenable and more pleasurable. It's a good album, it's a really good way to spend forty-five minutes (or however long it is). It's not as if this album is a complete u-turn and middle finger to long-time fans, it's more of a changed emphasis on something that had been lurking in their earlier work.

5. Shabazz Palaces - “Black Up”

This is the album that seemingly all of the online critics think that I should love most of all. And it's a good, interesting album. It's a distinct album, which goes a long way. This album came out roughly at the same time as my #1 album of the year, and this is my second favorite of the two. There's a lot to recommend this album, particularly if you're an indie-minded music fan. And by that, I mean it's a rap album for the skinny-jean, beard-o set. There's nothing wrong with that at all. It's atmospheric, full of empty space that lets the unusual sound palette breathe. That's the sort of sound that makes sense if you're into indie rock albums.

There's a giant “but” hanging in the air here. So let's get down to why I didn't love it as much as a lot of critics did. It's not a rap album. It's a rap album for hipsters. It came out on Sub Pop, for crying out loud. And I like actual rap albums, too. My only frame of reference isn't fuzzy lo-fi guitar bands. It feels like there was a lot of attention put towards creating a soundscape (successfully, I have to say), but little to no effort put into connecting with the listener. It comes off cold, distant, and emotionally off-putting. It feels like when you wake up from a nap that went on a little too long, and you spend the rest of the day a little off and a little confused. As if you weren't completely jostled out of the dream you had just dipped your toes into. And that hampers how much I want to listen to it.

I like the Shabazz Palaces album. It's an achievement, and a bit of evolution for a rap album. I listened to this album more than a lot of albums I bought this year. But it didn't quite connect with me in the way I'd want it to in order for me to get behind it like Pitchfork did. It's a very good album that I don't want to live with on a daily basis, for fear of what it would do to my general mood and personality.

4. Adele - “21”

Look, I'm not immune to the charms of a good pop album. As much as I hate to admit it, I did buy albums by both Lady Gaga and LMFAO this year, and not as jokes either. Adele's “21” is a pop album in the sense that Amy Winehouse or Norah Jones were pop musicians: even if something's not exactly what people think they are looking for, sometimes good pop songwriting and performances do win out. There's not a lot more to say than that “Rolling in the Deep” has got to be the best song of the year, and I'm glad to see Adele get the widespread recognition she deserves for making a heart-felt album and singing her ass off. Everyone's at least heard that one song, and I'm not even sick of it yet. It seems unfair that something so powerful can just pop up on your radio and take your breath away, without even a hint of warning.

3. Fucked Up - “David Comes to Life”

Here's why I hate Matador Records. There are a few primary outlets where I get my music from (digitally, in order of preference: eMusic, Amazon, 7Digital). And Matador doesn't play nice (digitally speaking) with eMusic, and their records are rarely discounted on any of the other sites. Just for albums released this year, I bought somewhere between 80-100 albums (and that doesn't include any back catalog material from anyone), so getting a good price is pretty important. And one of my rules is that I don't pay $10 for an album of downloads. You can usually track down the physical CD for around that much, and you can re-sell that if you really don't want it anymore. If you're going to maintain a habit of music gluttony over a period of time like I have, you have to set and follow some rules.

I came across “The Other Shoe” on some blog or other that I was following, the person was hyping it as the best single of the year. I don't know if I'd go that far, but it's really, really good, and I knew I was going to have to get this album immediately upon release. Two problems: the downloads were $10 across the board. I'm not saying it's not worth it, but I am saying I won't pay that for any download. Which led the second problem: I live in a small town, and it's at least a 45 minute drive to any self-respecting record store that wouldn't mind stocking a CD by a band calling themselves “Fucked Up.” Go ahead, go to your local Target or Walmart and see the look on the clerk's face when you ask them for “the latest Fucked Up release.”

All of that meant that getting my big, sweaty paws on this album was going to be a big production, involving dealing with big city traffic and parking just to find out if a particular store even had this album in stock. But I'm telling you, it was worth it. I'd listened to the band casually before, I wouldn't call myself a fan or anything. Point being, I was already accustomed to singer Damian Abraham's voice, and it wasn't likely to be an impediment to my enjoyment of this album. To put it impolitely, he's in the running for worst voice in rock, probably somewhere in the neighborhood of Rancid's Tim Armstrong. And many, many people have whined and moaned about Abraham's voice. But it's not about the tool, it's what you do with it, and both manage to get a lot of what might be considered a limited range.

If I'm going to dust off the critical adjective checklist, “David Comes to Life” is a post-hardcore concept album, about a couple falling in love. There is a music video for “Queen of Hearts” (which I'll include shortly) that has schoolchildren singing the song: if you can make it through without tearing up, you're a better man (or woman) than I. And when you're listening to the actual album for the first time, after you've seen this video with the smoother vocals, you might find yourself cringing at Abraham's voice. But what you need to ask yourself is that, if he and his band are capable of creating such a moving piece of music, what's a little gravel in one's voice between friends?

2. My Morning Jacket - “Circuital”

There's this episode of “American Dad” where Stan Smith discovers My Morning Jacket, and it completely changes his life. And that episode is why I feel really guilty for how much I love “Circuital.” Believe you me, jam bands and the like (or anything in the Dave Matthews Band realm of music) is not my usual fare, and I'm past the age when discovering a new band is supposed to be a life-altering event. In fact, I think that I'm supposed to merely acknowledge anything that occurs in my life with either a bemused smile or a shrug and a stiff drink at this point. Anything more or less would be alarming and age-inappropriate.

So I don't want to suggest that I have a room dedicated to MMJ, or that I force discussions of their lyrics onto anyone who shows even the slightest interest. But for whatever reason, this album clicked with me in a way that 2006's “Z” didn't (that was my first exposure to the band). I didn't give them another chance until “Circuital,” and then only because I had a surplus of Coke Rewards Points that I could redeem for a limited selection of album downloads. Resentfully, I got this album and Eddie Vedder's “Ukelele Songs” (which wasn't bad, either).

Other than “Holdin on to Black Metal,” there aren't a lot of big, catchy songs. But I suppose that for whatever reason, I just needed to hear something spacy, pleasant, and mellow. And I needed to hear it a lot. I don't want to over-intellectualize this album; I like it, I've listened to it a lot, and it's a good album. It's also probably a really great album for enhanced relaxation, if you smell what MMJ is smoking. But even if you don't, it's still a good album. This is an everyday album: there are a lot of critically acclaimed albums that are interesting or “good,” but I can't live with them on a day-to-day basis. “Circuital” is good enough to keep me interested, but not so off-putting or boundary-pushing that I couldn't deal with it on a fairly frequent basis.

1. Hail Mary Mallon - “Are You Gonna Eat That?”

Hail Mary Mallon is a collaboration between Aesop Rock, Rob Sonic, and DJ Big Wiz. Aesop is the most well-known of the batch, although he hasn't had a proper solo album since 2007's “None Shall Pass,” a stone-cold classic. I had heard of Rob Sonic before this; I snagged “Sabotage Gigante” a couple of years ago from the late-Amie Street music store (they had a progressive price-scheme: if you caught onto an album before anyone else, you could download it for as little as a penny. Each download bumped the price up until it was the same cost as you'd find anywhere else. I got “Sabotage” for around a dollar), and generally enjoyed it, although I didn't give it much more thought at the time.

So when I heard that Aesop Rock had a new project with Rob Sonic, I was pretty thrilled. At roughly the same time, the Shabazz Palaces album was getting a lot of Bitchfork attention, while “AYGET?” got a decent, if middling review. I downloaded both albums at roughly the same time, and while I did like the Shabazz Palaces album (as evidenced by it's presence on this list), I absolutely could not stop listening to the Hail Mary Mallon album. It's influence on my listening habits wasn't contained to just this one album, either. I dusted off the Aesop Rock albums I already had, plus bought the one I was missing (Bazooka Tooth”) and one of his EP's as well (“Fast Cars, Danger, Fire and Knives”). I dusted off Rob Sonic's “Sabatage Gigante,” and bought his earlier album, “Telicatessen.” And I've been listening to all of these albums over the last few months in addition to the Hail Mary Mallon album.

What is it exactly that's so appealing about “Are You Gonna Eat That?” Firstly, it has a different atmosphere to it than a lot of rap albums. Like the Shabazz Palaces album, you're not going to hear this album on your stereo and wonder who made it. It sounds different. Like really, really different, and very specific. As in the complete opposite of generic, cut-and-paste a rapper in this spot kinds of productions. There are a lot of, shall I say, flavors here. At first listen, you're going to be struck by two things. First, the music is going to sound a little cold, paranoid, and distant. Not in an unpleasant way, but this isn't an album that's begging for your approval. It's all there, but you're going to have to invite yourself into this party. And unlike the Shabazz Palaces album, which is all open spaces and coldness, it's tempered to a more manageable point here by more danceable beats.

Secondly, these two rappers are going to barrage you with words. These words aren't coming from the usual angles either, you're going to need to do some work to figure out what the fuck they're talking about half the time. And this is where the reward lies: once you get over how different the album sounds, once you get over the fact that Aesop Rock and Rob Sonic aren't going to spell every little thing out for you (although their rhymes have a nice flow to them that you can enjoy simply on that level), you can get down to the business of really getting into the meat of what's there.

There are a couple of entry points here; it's not all off-putting music and obtuse wordplay. Try “Breakdance Beach” to start with. Here's the video for that:

The beat is bigger and bouncier than normal, and on your first spin through the album, this is probably the track that's going to jump out at you. Also useful: you can start to get used to separating the two MCs. They have similar flows and word choices (in that neither use plain language), and their voices are just similar enough to not be jarring when they trade off. This song is pretty playful, and it's got a fun chorus.

Once you're done with that song, the next one that might catch your ear is “Grubstake”

This one isn't quite as bouncy or playful as “Breakdance Beach,” but it's a good transition into the rest of the album. There aren't a ton of narratives on this album exactly. It might not always make perfect sense. But it you've ever been listening to a rap album and just get smacked upside the head by a perfect line or rhyme out of nowhere, you need to prepare yourself for that happening over and over again on “Are You Gonna Eat That?” I don't know why Rob Sonic is wondering if his eggplant sammy got put on the same receipt, but in the context of the song, it jumps out of the speakers.

This year, it was completely easy to pick this as my favorite album of the year. It's not a beginner's album (as in, if you're not already into this sort of thing, you might have difficulty getting into the album with the same intensity that I did), which feels like a necessary warning. I want other people to hear it and enjoy it, but it's not a pop album. If the idea of rap music that isn't primarily club music sounds weird to you, Hail Mary Mallon might not be a good fit. But if you're ready, and curious, dig in and enjoy.

*****

I hope all of that made sense, because it's taken me all week to put this post together. If you've got some time, check out some of those videos, and if you don't, I'm working on putting together a mixcast I'll have up on this site later this week featuring these ten bands. You know, to listen to on your drive to wherever it is that you'll be going next week. Until then...

Funky Bah Humbuggery

clay — Thu, 22 Dec 2011 03:45:34 GMT

Still alive, still chugging along. Had a great time in Seaside for the art show (Hold Fast Tattoo & Art Gallery, if you're in that area - show's up through January!), been working on some things that don't yet have any tangible results. That's okay, though. Enjoy this glorious bit of funky bah humbuggery to get you through the week...

Holiday Sale at Reverend Clay's Finer Things!

clay — Fri, 09 Dec 2011 02:06:43 GMT

The title says it all, really. If you're in the mood to buy some artwork, allow me to lubricate the process a bit: all purchases in the ballpark of $50 get free shipping until the end of the month! I say ballpark because I'm not going to let a few pennies get in between you and I making a beautiful, bouncing capitalist transaction.

There are brand new, never offered before prints available now, and there will be a new batch of Artist Trading Cards up early next week. What are the subjects of these cards, you might ask? That depends what swirls my inky pen makes this weekend, but I'm strongly considering a few Lebowski-related cards, and maybe even some Mighty Boosh ones, too. We'll find out together!

Get your purchase on at Reverend Clay's Finer Things!