As poster artists, it’s always a treat whenever you get to create art for musicians you’ve been into for a long time. Ours is one of those bands for us. Jimmy Gnecco has arguably one of the best and most skillful voices out there today. This will be a great show.
you probably can’t tell but this blog just moved to a new home. amenities include bingo on tuesdays and shepherd’s pie / jewish karaoke on friday nights @ 4. needless to say arnie loves it here. come visit. don’t forget the bananas.
in the haste of packing and unpacking boxes, we’ve done a slew posters…
Its been a while since Joe or I posted anything about music. Its not cuz we arent listening, or havent both been absolutely bowled over by Wovenhand’s most recent record (as well as his entire back catalog) or enjoyed the latest from M. Ward and Beirut, or had Vetiver’s “Tight Knit,” Neko Case’s “Middle Cyclone” and the Great Lake Swimmer’s “Lost Channels” on continual repeat. Cuz we have. But the real record that seems to do it for me – and I think for Joe, too – is Elvis Perkins in Dearland. A few years ago Erin gave me Elvis’ first record, and it stands as a sort of marker for the beginning of our relationship. Therefore, it – and he – has a special place. That special place gets personified in the new record – its big and complicated and wonderful. Its happy and sad, triumphant and tragic, and is soaked with an atmosphere that begins at the first chirp of the recorded Cicadas on track 1 and ebbs and flows until the trundling, rumbling final track that asks “how’s forever been, baby?” Regardless of the question, the feeling, the weather, Perkins’ answer to it all in song is always beautiful.
Joe and I are currently working on collages in hopes that they’ll find their way into making a successful poster for Perkins’ upcoming show at Bottletree in May. They are the hardest posters to make, the ones for bands we admire so greatly, whose music inspires us so much that it becomes hard to articulate a proper response. But what a great gift to have – sounds that are so soundly they turn you mute.
Hear more straight from the source on this NPR INTERVIEW.
ADDENDUM, Sat. Apr 25: “Doomsday,” one of the standout trax from the record, is about 9/11. Its the best 9/11 song I’ve heard, and it should be listened to while reading Jonathan Safran Foer’s “Extremely Loud and Incredibly Close.” The two go together like pb+j on warm bread eaten at a picnic where you sit in an ant bed after the canoe sank and you lost your frisbee. But you still have an ok time because its a beautifully crisp, bright Tuesday in Sept., and no matter what bad stuff happens, you’re alive and living and able to picnic.
our friends the white oaks just released their second ep and we made some art for them. if you’re unfamiliar with the musical force known as the white oaks, click here to get a taste. they’re even more eclectic than we are and almost as good looking. plus, they (like your pals here at tmc) like to make stuff with other like-minded folks. after you give them a listen, go watch l.c. crowley’s film, The Wheat And The Tares, starring the band. it’s fresh off the screens of the Sidewalk Film Festival. we made the mini-site for the film as well.
Here’s a recent marvelous project for Birmingham-based jazz guitarist/composer Carlos Pino and his upcoming release with his band, The Smokin’ Newports. Carlos is the best kind of client because he gave us free reign with this project. He is also the best guitarist in Birmingham. Enjoy.
PS – we love doing this kind of work. send us work. marv will show you the love with a little debbie cake.
I’ve enjoyed Phosphorescent for a long time, and I gave my best effort to create a poster that would match the howling, jaunting southern gothic sound of his music. I failed. Joe and I turned him into a cartoon instead:
