Friday, September 5, 2014

GOLDRUSH 2014 Companion Cassette + Zine


Hello again from your friendly friends at Planted Tapes! We'd like to welcome you to a very beautiful September that's shaping up here in Denver, CO. And of course September in Denver, CO means that we are feverishly gearing up for yet another installment of GOLDRUSH Music Festival, that mega, monolithic event taking place September 13th & 14th at the Larimer Lounge and Meadowlark Bar! To celebrate, the organizers of GOLDRUSH have again assembled a collection of tracks submitted by this year's performance roster, which has culminated in a 24-track mix we're happily able to distribute to the masses.

And so... BEHOLD: The Goldrush 2014 Companion, which features new tracks from Mount Eerie, REIGHNBEAU, Sparkling Wide Pressure, Champion, Kevin Greenspon, an exclusive remix from clipping. by Lauren Bousfield, Sister Grotto, Trabajo, Stag Hare, and much, much more. This mix was carefully sequenced by Planted Tapes' own Crawf, and was mastered by Lucas Johannes. Artwork by our favorite design company Tiny Little Hammers. We're quite proud of this one, no joke. Take a listen below to Side A:



Side A:
1. Sparkling Wide Pressure, "Violet Color"
2. Champion, "Frosting the Donut"
3. Guerilla Toss, "The String"
4. REIGHNBEAU, "Milk of Amnesia"
5. CP 208, "H.S.H.C."
6. Homebody, "Hollow Nest"
7. RUMTUM, "Hotel Vontie"
8. Docile Rottweiler, "Typhoon"
9. Stag Hare, "Gruum"
10. Mount Eerie, "You Swan, Go On (version)"
11. Good Willsmith, "Teen Quotes"
12. Sister Grotto, "The Great Haul"

Side B:
1. Dva, "Zoppe"
2. clipping., "Body & Blood" (Men, Women, and Chainsaws edit by Lauren Bousfield) 
3. Kevin Greenspon, "A Step Towards"
4. Trabajo, "Ronggeng"
5. Fingers of the Sun, "Meow" (an Image of Venice in Tatters)
6. Mezzanine Swimmers, "Sterile Sublimity"
7. Church Fire, "Violence"
8. Braeyden Jae, "It Was Shedding"
9. The Howling Hex, "Lord Gloves #3" (Ballas Mix)
10. Aja Vision, "Body2Body"
11. Thug Entrancer, "Terrain"
12. The Horse Latitudes, "Bees"

This item, along with our custom Festival Zine, are now up for pre-order and will ship promptly as soon as the festival has passed and I have a chance to catch my breath. There's a couple of different ways you can procure a copy of each or either, the best of which is to just come to the show. Every 2-day presale pass comes with a copy of both the 'zine and a cassette. You can purchase those for $25 right here:

http://goldrushmusicfest.brownpapertickets.com/

The second way to secure a copy of this National Audio Company-provided beauty — a pro-dubbed, printed and packaged cassette tape — is to order one below. You can do this a couple of different ways, by either buying the tape on its own, or bundling it with a copy of our 44-pg., hand-assembled Festival Zine, which features our schedule program and write-ups about the GOLDRUSH Music Festival sponsoring labels, all written and edited by our pals at Tome to the Weather Machine, and featuring incredible original artwork by Brandon Locher of My Idea of Fun.

• Edition of 500
• Tapes ship 9/15/2014
• $7.00 postage-paid in the US:



• Bundle with the Festival Zine for $15.00 postage paid in the US & Canada:



• Zine only, $10 postage paid in the US:




Here are a couple of pages from the zine:




Thursday, June 12, 2014

PT005 - Lake Mary, "There Are Always Second Chances in the Mountains"

Hey, we're BACK here again at Planted HQ (finally, amirite?) with a brand new cassette tape for all to enjoy. While each and every release we've put our hands on has been special in its own way, this one might creep to the top of the list. Not only did our friend Chaz Prymek, aka Lake Mary, deliver one of his best works to date for us with this album, but each and every piece of this cassette tape puzzle was touched, built, assembled, and packaged all by the hands of Chaz, myself (Crawf here, hey guys), Jordan Knecht, Maryia, and the whole Evergreen crew where Chaz currently finds roost.

There Are Always Second Chances in the Mountains is the second Lake Mary release to grace the Planted discography, and we couldn't be happier to share this wonderful package with you. On a purple tint cassette with vinyl-transfer labels on both sides, a Risograph-printed booklet, all tucked away in a box made of salvaged cedar wood, this music finds a comfortable home for its rustic, simple beauty. Prymek is known for his elegant fusion of folk and drone stylings, and that marriage is at its most fully realized and fleshed out of all his efforts thus far here, weaving scratchy, patchy static with warm undertones, and situating these moments within larger structures built from gentle passages of strings -- guitar, banjo, and cello. We don't mind saying that it's absolutely gorgeous, and we hope you'll enjoy it as much as we enjoyed making it together.

These were again dubbed with the help of our buddy Joey Wiley, so thanks are due to him (among many others) as well! With everything that goes into this package, this time we're asking for a little more, hope that's ok! We've got a streaming sample featuring excerpts from both sides of the tape, and also a little Q&A with Chaz Prymek further down below if you're curious! We'll also be taking these around to Wax Trax, Twist & Shout, Mutiny Info Café and Ironwood if you're around the Denver area and would like to save on postage. Thanks for visiting!

• Edition of 100
• Tapes ship 6/16/2014
• $12.00 postage paid in the US

**International customers get in touch for rates: plantedtapes@gmail.com (THANKS!)

 

 

Tell me about the process for making the cedar boxes for the tape. Why did you want to do that?

Chaz Prymek: I wanted to do it first of all because I felt really proud of the piece of work that's going into it, and I wanted to make it a little bit extra special. Like more of a piece of art — thinking about music as more of art lately, rather than like a commodity. Me and my buddy Phil went and collected a bunch of old salvaged wood from around the neighborhood, and he's a carpenter by trade, so he taught me how to cut things into certain shapes and sizes. We brainstormed over a beer and pasta. And then it turned out pretty good.


Tell me the story of the album title for this one.

When I started writing this album... it was kind of a break-up record. I was in this long relationship before I moved to Colorado. And that relationship ceased to exist, and then writing this was therapy when I moved to Colorado. I moved up to the mountains, and I was kind of like re-discovering myself, so then all the songs started to change, and it just fit.


The last album you did for us didn't have a title. But this one does. So is there something different about the music that made you want to give it a title?

Yeah, I feel like this was my most cohesive piece of work yet, and in that sense it's special. And what it means to me was moving to the mountains near Denver, and re-discovering who I was as a person on my own, which is a huge thing for me. And now I feel very full and very much alive. So I felt like the title was very appropriate when I heard it from my little sister who kept referring to it. She's two years younger than me. She said it a few years ago. We were going up to Lake Mary, and we were talking about something, and that's what she said and I've held onto that phrase ever since.


You've been kind of moving around a lot, and even since you moved to Colorado, you've still been getting odd jobs, spending time outside of Colorado. You've played a few shows in Salt Lake City... so you're always kind of moving. Is there somewhere that you feel like is home? Where is your "home?"

I feel like I'm most at home when I'm just next to a lake up high in the mountains. And it's just calm and quiet... usually me and my dog, or good friends along for the ride. I think that's the most I feel at home.


You played with a couple of other musicians on this record. Can you tell me about how you came upon these people that played on your new music?

On a few tracks there's cello, one is Genevieve Smith and she's this amazing cellist out of Salt Lake City. We both played in this band called Bramble. One day I was recording with James Miska (who played second banjo on that same song), and we called up Genevieve, and she came over and just killed it, came up with all her own things. It took maybe an hour for her to listen, learn and record all of it. It was awesome. And then the other cellist is Jess Webb, who is in the Ranch Family Band, and also my roommate, and just a gem of a person. She plays cello for me live. And that was our fist time working together. She needed a new project, and I needed a cellist, so we made it work.


What's the best thing in the world?

Probably my dog.


 























 

Sunday, January 5, 2014

PT004 - Cody Yantis, "Resonant Memory" cs

After some ups and downs, a delay here and there, Planted Tapes is back with a late-2013 (or early-2014, depending on your perspective) release that we are incredibly excited and honored to have had the chance to work on. Cody Yantis is a Colorado native who's spent the last several years both in study and travel before returning to plant some firm roots right back here in Denver. Primarily a guitar player, Yantis has previously collaborated with Joe Houpert and Nathan McLaughlin as Tilth and recorded with longtime friend Seth Chrisman as Saguache. He's also amassed a modest discography of solo work under the C. Yantis banner and with his first name presented in all its full, two-syllable glory. Cody has become an integral part of our ever-expanding scene of Colorado experimental artists. He recently agreed to continue his work with electric guitar and tape loop experiments for us in a brand new work called Resonant Memory.

The album combines a multitude of textures that include recordings from the field and home-studio instrumentals—banjo, electric guitar, piano, percussion and more—all of it run through tape machines and effects to place the music in a surreal environment that feels as self-determinate as it does hand-crafted. Although there is a mechanical element at play here, Yantis' approach naturalizes the process; a performance of him performing, a record of him recording. And the results give familiar voices new sonic depth, rich in supple and brittle feelings, breathing and flowing arrangements evocative of hazy imagery and cool colors. Banjo melodies drift among the creaks and cracks of a wooden floor settling, guitar lines cough and stutter their way through a scraping sluice, and piano chords flutter through the leaves on a windy Autumn day.

These solid blue tapes were home-dubbed with the love and care of our friend Joey Wiley's gracious help, outfitted with photography by Yantis himself and hand-assembled by team Planted. We don't mind saying that they look and sound terrific, and would now like for you to listen to some samples and purchase a copy if it strikes you. We made 100 of them and they go for $7 with postage. Scroll down further below for an exclusive Q&A with Cody Yantis executed in true Planted fashion, and get familiar with this brilliant musician and artist. And hang with us through 2014 too, huh? We have lots planned for the new year — thanks so much for supporting our efforts!





• Edition of 100
• Tapes ship 1/6/2014
• $7.00 postage paid in the US & Canada



***International customers: Get in touch for shipping rates to your area!










I've read in other interviews you've done that a lot of your music is inherently tied to setting and location. What can you tell me about the places represented in the photographs that you gave us for the J-card insert and how they relate to the music of Resonant Memory?

Cody Yantis: Yes, I'm a very place-oriented person. I'm not sure if being an Earth sign has anything to do with it, but environment has always had a huge impact on me. That said, the role of place in my art isn't quite as direct as I think I often make it seem when speaking to my motivations. Rarely am I trying to actually represent or recreate a particular environment in my solo work; rather, what interests me is  examining the visceral effects that places have on us--those experiences that are often difficult to articulate yet manage to shape us in fairly profound ways. Or, at a more basic level, just taking sonic cues from a space or place. This is foggy terrain, to be sure, but I like that it's something that requires processes that are more about dialog and consideration than issuing definitive statements.

Speaking directly to the J-Card, the photos were taken in Cambodia last Spring. I was between jobs and moving out of the mountains and back to Denver, so I took the opportunity to travel through Southeast Asia for a month with my brother. I spent a lot of that time reflecting on my previous year of leading a fairly isolated life in Southwest Colorado as well as preparing myself for my move back to Denver, which is where I grew up but a place I'd been away from for a decade. All of this was set against a chaotic and humid backdrop that couldn't have been more different than cold, dry, and quiet Colorado. It was a wonderfully dislocating experience, made all the more so by my reading of Karl Ove Knausgaard's My Struggle en route, which is a deeply personal and devastating examination of time, place, and memory (set in decidedly un-tropical Sweden and Norway). All of this provided a foundation for Resonant Memory.


In addition to thinking about your music in relation to place, can you also talk about Resonant Memory with regards to a certain time? What do you imagine that might be?

It's not really of a certain time (just as it's not of a specific place), but it's certainly about place, time, and memory, all of which are intertwined. Memory, in particular, is such a product of place. You know that feeling—not quite déjà vu, not quite nostalgia—that you get when you unexpectedly recall a past experience? For me, these recollections are usually gestural and murky and likely quite inaccurate, and yet they evoke powerful responses. It's this kind of thing that I was working through in this project, and the recycling and reworking of tracks and sounds via compromised magnetic tape seemed a good way of realizing this.


You've sort of bounced around the country a bit in the past few years... what has been your favorite place to live so far, and why have you chosen to settle back down in Colorado?

The life I'm carving back out here in Denver is really great, thanks in good part to the wonderful community of friends and fellow artists here. It never ceases to amaze me how supportive people are in this town—there's a lot going on and a lot of people doing wonderful stuff. I do still feel tied to the Pacific Northwest where I lived for a decade during my formative college and post-college years, and my two rounds of living in Dublin, Ireland also had a really deep impact on me.


Dream vacation spot?

Atop my list of places to visit, I'd love to go to Namibia. Starting out in Cape Town, trekking up the coast, and then heading on into the mountains, deserts, and national parks/preserves sounds amazing to me.


Desert island situation regarding equipment: What do you feel like your crux instrument is, what one thing could you absolutely not make music without?

My Telecaster has certainly been my primary instrument over the last 5+ years, though I've been letting it take a back seat more and more in recent projects. I spent a lot of time with the banjo this past year, and I'm continually amazed by the range of sounds one can produce with it. So, something with strings, that's for sure... although I do really love my H4N field recorder as well. Maybe that and a pair of headphones? I failed this question, didn't I?


Please give our friends out there some insight into the making of "Resonant Memory" Was your setup very different from what you've done in the past? How do the two sides of the tape differ from each other?

In terms of instrumentation and my approach to playing and recording, Resonant Memory is definitely an extension of my Starvation Winter tape for which I recorded guitar lines that Josh Mason then ran through magnetic tape. I loved the results of those types of sounds so much that I tracked down an Akai GX-4000D reel-to-reel tape machine for myself. This turned out to be the crucial component in Resonant Memory, as it appears on nearly all of the tracks.

In terms of my compositional process, it was mostly improv. I would record a music line and then, often, run it though tape. Syncing these lines up and then panning them created an interesting dialog—technically they were the exact same musical line, but there were wonderful aberrations thanks to the tape. It can be jarring at times, but there's a lot of melody, too, which creates a fun counterpoint, I think. Loud, jarring, but (hopefully) beautiful.

Not every line was run through tape, though, and I'd also fill in or subtract sounds as I saw fit—silence, space, and pacing are all really important to me. I don't like any excess in my music, so I often rework a mix, paring down until I've arrived at what I think is the essence of a piece.


Favorite book?

Totally unfair question, ha! Honestly, I take nearly as much inspiration (in art and life) from reading as I do music. I will say that, with memory and place being such a current preoccupation for me, authors like Knausgaard, W.G. Sebald, and Thomas Bernhard have really affected me this past year or so. They are all concerned with memory—not just personal, but cultural as well—and, thus, I've found them to be wonderfully rich resources.

I should also mention Richard Hugo, John Haines, James Welch, and Joan Didion, too, as I'm so impressed with the ways in which they use sparse yet beautiful language (be it prose or poetry) to examine our complex relationships with place. All of these writers have deeply impacted how I process my environments over the past decade.


Favorite plant?

Sage.

Thursday, September 12, 2013

GOLDRUSH 2013 Festival Companion Cassette



Welcome back once again to Planted Tapes, long time, no see! Thanks for dropping in, sorry for not writing more often, but we have a really special item in our distro that we just can't wait to tell you about. In case you hadn't noticed outside, the temperatures have finally started to level off a little out there, at least for us here in Denver — generally a welcome change of events if it didn't also come this year with liters upon liters of rain. We are always looking towards the Fall season here in Colorado as September can only mean one thing... GOLDRUSH. That's right, Goldrush Music Festival is upon us once again, taking place this year on September 27th & 28th at Planted Tapes' newest, most favorite place in the entire world, The Sidewinder Tavern and Crash 45. An excellent lineup of artists is set to make its way up to Globeville at 45th and Logan St. to bear witness to the festival's third annual edition, featuring performances by no less than 21 acts across two days, two venues, and three stages. Holy shit. We're not even joking: Noveller will be there. MV&EE. Thollem ElectricLee Noble, Derek Rogers, Scammers, Giant Claw, Saguache... it's going to be insane, people.

This year's Companion Cassette tape came together especially well, with 18 tracks split across two sides, 16 of them being exclusive to our compilation. That means we've got brand new tunes from the majority of our performance lineup, and each and every one of these folks delivered hard, turning in an amazing representation of what they bring to this year's very full, very amazing schedule of events. Check out a stream of Side A, premiered over at Tiny Mix Tapes, and check back for Side B next week!




Side A:
1. Noveller, "Completing the Cube Ambient"
2. Scammers, "Planet Earth"
3. mole people, "Bloodletting"
4. Hideous Men, "Gray Eyes"
5. Lee Noble, "Woman in the Dunes"
6. Comfort Link, "Threading the Brown Snake"
7. Thollem Electric's Keyngdrum Overdrive feat. Heather Treadway, "eight"
8. M. Sage, "Expedition Blues Ascender"
9. Derek Rogers, "Live at Los Globos, 8/6/2013 (excerpt)"
10. Paw Paw, "Lost Dream"

Side B:
1. Cop Circles, “Sound Delivery”
2. Accordion Crimes, “Ivey”
3. Lee Dockery, “Drop”
4. Saguache, “Discovery Bell”
5. Giant Claw, “Jersey Christ”
6. Pythian Whispers, “Seance Frequency”
7. The Kevin Costner Suicide Pact, “Vibe Drone 2” feat. Crawford Philleo
8. MV & EE, “Green is the Colour”

Pre-sale is now open on this item, and there are a couple of options with which you can secure your copy, the first of which (and best, we might add!) is to buy a 2-day Festival Pass to Goldrush Music Festival 2013, which will be rewarded with a free copy at the show. You can purchase the pass for $20 plus a small service fee from Brown Paper Tickets here:

http://goldrushmusicfest.brownpapertickets.com/

The second way to secure a copy of this National Audio Company-provided c84 — a pro-dubbed, printed and packaged cassette tape — is to order one below. You can do this a couple of different ways, by either buying the tape on its own, or bundling it with a copy of our 40-pg. Festival Zine, the details of which are still forthcoming (but if you saw last year's, you'll know that this will definitely be an item you'll want to have in your hot little hand!)

• Edition of 300
• Tapes ship 10/1/2013
• $7.00 postage paid in the US & Canada:



• Bundle with the Festival Zine for $15.00 postage paid in the US & Canada:



• Zine only, $10 postage paid in the US & Canada:

Friday, June 7, 2013

Vitamins - "Motions"

Why, hello there! A new tape from Planted Tapes? No. Not quite. Co-owner Crawf is in a band called Vitamins, who have a new tape. And co-owner Crawf is being kind enough to distribute the tape for his band on his own label's blogspot page. And why? Because co-owner Crawf wants you to have a copy, that's why. This one came together both over a long, long period of time (approximately two years from recording to dubbing), and also a very short time (i.e. we're putting them together tonight in preparation for a big gig that you're invited to, of course). In any case, our bassist/guitarist/engineer Matt Daniels poured his heart and soul into realizing this effort before he heads to Chicago to continue his musical pursuits elsewhere, and this could be the last time we work with him on a recording such as this, so we're really excited and a little sad to finally get it out there.

This album encompasses the last major recording sessions from Vitamins and includes some previously-released tracks as well as some never-before-heard jammers. It's a 36-minute record, presented as a double A-sided c72 tape. We had a lot of fun making it, and hope you all dig it too. Here's a couple of samples:


1. No Notion of Anything Only Whatever is What
2. Wee Mouse
3. Vimanas
4. Baby Cakes
5. Due Return
6. Liquid Crystals
7. Shape-shifter
8. Return of the Due Return
9. The Disappearance of David Lee Powell
10. Racey Bomber

Our buddy Joey Wiley helped us with the dubbing on this one again, and endless thanks are due to him. Also, many thanks to Liz Pavlovic for designing the j-card art on such short notice.

...Oh, you want to buy one now? Please do:

• Edition of 100
• Tapes ship 6/8/2013
• $9.00 postage paid in the US & Canada

• International customers: Please get in touch for rates.

Also: This is available for a pay-what-you-will download via Bandcamp: http://vitaminsdenver.bandcamp.com/motions

Tuesday, April 16, 2013

PT003 - Fomer Selves / The Original Flowering Earth split cs

Welcome once again to Planted Tapes! It's been a long and cold winter, and spring is just refusing to... you know, spring here in Denver. We here at Planted HQ are going to do our best to warm things up a little by dropping PT003 into your cassette decks' yawning jaws. Hopefully the music contained within will inspire mother nature to wake up already and start getting green out there. So we're really excited to bring you this very new, very green (see below) cassette tape from two very good friends of ours, Oakland's Former Selves (Paul Skomsvold) and Colorado Springs' The Original Flowering Earth (Kyle Wade). Both sides are exercises perfect for a chilly, snowy April season: This one is about patience, people... for the warmth. The warmth that is coming. Skomsvold's pastel smears feel like they're constantly searching for points of release while remaining in a fluid sort of homeostasis—an ever-thawing melt of frozen harmonics that radiate with an inner heat. On the flip, it's Wade's meandering meditations that wander through aimless dream states, complete with beautiful folk guitar passages, field recordings, and an unsettling bridge of neuron-zapping noise.



We're very proud of this release, as each and every step of the process with both Paul and Kyle was carefully considered and dutifully executed. The results really tell the story: PT003 turned out to be quite a gem, outfitted with beautiful collage + ink drawing artwork from Sarah Michaels, and hand-applied vinyl transfer labels on emerald green transparent tapes. This again was mastered by Ben Thompson and duplication was assisted by Joey Wiley - many thanks to them for their help! And as usual, we have a sample stream of both sides of the tape (just above there), and a quick Q&A with the musicians down below to give you a little more background on what's in store for this release.


Oh! And we ended up with a few extra Lake Mary tapes, so we added a button below to bundle PT003 with PT002 for a discounted rate (within the US & Canada). Since international postage rates increased so much earlier this year, we're asking our overseas customers to kindly send us an e-mail to negotiate a fair price for shipping the tape. We want this in your ears, so let's figure that out!

Thanks again for visiting!

• Edition of 70
• Tapes ship 4/18/2013
• $7.00 postage paid in the US & Canada

***SOLD OUT***


• Bundle with Lake Mary cs for $10.00 postage paid in the US & Canada (limited to 20!)

***SOLD OUT***

• International customers: Please get in touch for rates.







You're both pretty familiar with each other's work... how do you guys know each other?

Former Selves (Paul Skomsvold): I met Kyle through GoldTimers, a label he runs along with two others. Kevin Greenspon and I released a split on GoldTimers sometime last year. Kyle and I traded some tapes and e-mailed back and forth about music and stuff. It organically turned to solicit feedback from one another on various music projects we were working on. I was always impressed by the music he sent me (No Mind Meditation and his own), and thought his comments on my music were very insightful. Specifically, I remember he gave me the last bit of feedback I needed to finish my side of the split I did with Quiet Evenings. I totally value and respect his opinion. I actually got to meet him in person at last year's Goldrush festival in Denver—so cool!

The Original Flowering Earth (Kyle Wade): I think we originally started corresponding around the time GoldTimers was releasing a Kevin Greenspon/Former Selves split. I liked Paul's music a lot and asked him for some feedback on some things I was working with, and we sent stuff back and forth for a while. I was just starting to make experimental music on my own after doing projects with other people, and Paul gave me a lot of thoughtful feedback that helped build my confidence.



You both use guitar on the music you submitted for this tape, but I want to know about everything else that went into your work. What other sorts of instruments can we hear on this tape?

FS: I used the same sources I've used for most of my releases to date: guitar, keyboard(s), a few pedals, and some field recordings. I've since bought an inexpensive synthesizer and have been messing around with it. 

TOFE: There are some field recordings I took in various places, including a magnificent-sounding train and drunken campfire chatter from up around State Bridge/Rancho del Rio in the Rocky Mountains. There's a MicroKorg (of course). There's a long section made entirely with no-input mixer, which is something I was kind of obsessed with for about a year. I'm pretty proud of the no-input mixer section because it doesn't sound much like the typical no-input mixer noise, and I recorded that whole piece live with no overdubs. That segues into some contact-mic'ed acoustic guitar through pedals, and then a "normal" acoustic guitar piece. I think the way this stuff was recorded is important, too--most of it at least started life on a Tascam Portastudio 4-track recorder.


Piggy-backing that last question: Looking back, what instruments do you wish you could have added if you were able to play them?

FS: There's nothing I wish I would have added to this tape, but I would love to learn the violin someday. There are people who play violin on the street outside of my office building and sometimes I'll stand outside and watch them play after work. I listen to the notes they play and imagine how I might arrange the notes differently, or stretch them out or whatever.

TFOE: I wish I really understood synthesizers and could do more with them than monkey with presets. Also one of these days I'm going to teach myself Ableton Live.




Give me the one-sentence review of each other's side of the tape.

FS: A nightmare bridging a peaceful dream and a beautiful morning (Kyle's side rules).

TFOE: Hazy, happy memories that change a little each time you recall them.




Last great movie you saw?

FS: I have a hard time concentrating on movies. Dumb and Dumber is definitely my favorite.

TFOE: I really like those "images of crazy stuff with awesome music" movies like Koyaanisqatsi and Baraka, so I was really pumped when Samsara came out. The visuals are incredible and Michael Stearns did the music... I think his "Planetary Unfolding" is one of the great new-age albums. Seeing that in the movie theater was a cool experience.



Favorite plant?

FS: Coffea.

TFOE: I'm going to say "amaranth" because that's one of my favorite words and I don't really know very much about plants.


Friday, November 16, 2012

PT002 - Lake Mary cs


Hello and welcome back to Planted Tapes! We're really excited to announce our next release, which is a new tape from SLC-based musician Lake Mary. Lake Mary is one Chaz Prymek, something of a vagabond guitarist/dronist who's counted several different cities as home over the past 12 months. Come December, he'll find himself settling down in Denver for a bit with longtime friend and oft-collaborator Jordan Knecht, who he shares a beautiful self-released split tape with from back in 2011. This release brings two recent compositions to tape for the first time: "Canopy" with its swells and swishes of breezy harmony and brassy drones, and "Mardotsha" on the flip, a fine example of Prymek's careful and delicate guitar work, intertwining folk stylings with a pastel undercurrent of gorgeous ambience.

As with our last release, we have a preview of both sides of the tape for you to stream directly below, a couple of buy links, and a quick back/forth with Prymek to give you a little background on this amazing artist. This c40 edition features cover art by Bethany DeMarco, lovingly home-dubbed and hand-assembled with the help of our buddy Joey Wiley.



• Edition of 70
• Tapes ship 11/27/2012
• $7.00 postage paid in the US & Canada

***SOLD OUT***
• $10.00 postage paid anywhere else

***SOLD OUT***












Where is THEE Lake Mary anyway?
Lake Mary (Chaz Prymek): Thee actual Lake Mary, at least the one that I reference, is up at the top of Big Cottonwood Canyon near Salt Lake City, UT. It's a place I hold very dear. Since I was a kid my dad would take us hiking up there, and we'd go on backpacking trips there and to the lakes around it as well. When I got older it became a place that my close friends and I would hike to and camp, go on dates, go swimming, fishing, it's an easy enough hike that you can lug a cooler and a tent up there without too much effort. At some point I spent around two months up there, collecting myself, purifying myself, sobering up, and learning. Some of the best times in my life have been up there.
(Here is a photo of it. I don't know who took the photo, but it's a good one)



Who or what is a Mardotsha?
LM: Mardotsha is also very special. She is a magic dolphin summoner. I could ramble on for paragraphs of our story, but if you are lucky enough to meet her, you'll see why. 


What's your favorite time of year and why?
LM: I'm going pull the "all seasons are my favorite" card, as a gardener, every season brings out such different and amazing food and plants. Winter is quiet in Utah, Fall is gorgeous everywhere, Summer is rad always, and Spring brings new life. It's great. 


If you were going to play the pieces from this tape in a live setting, what specific instruments would you require?
LM: I think, and this is where half of me wants to go, I would perform these pieces, either just solo guitar, or with a small string section and maybe my laptop. I've performed both live, but neither to the extent I'd like, yet.



What was the best album of the '90s?
LM: The Legendary Marvin Pontiac — Greatest Hits


Favorite plant?
LM: Rosemary, Ginger, Marijuana, Amaranth, I have a collection of succulents that I care for and love madly as well.