KELP LUNACY ADVANCED PLAGIARISM SOCIETY

CONTENTS:

K.L.A.P.S. follows the soundscape of audio artist Karl Blau-- often thematic, Kelps are sent out periodically in the format of CD: songs and sounds, orchestrations and field recordings.

All things Blau, K.L.A.P.S. follows the committment to style exploration of the modern world as giant mixer of culture. Beneath the grey skies of the Skagit Valley, KLAPS produces sonic landscapes of a new world--think of Costner's "Waterworld" but with eelectric instruments. Karl Blau as crooner, as music producer, instrumentalist, as natural world observer, as collaborateur with artists from the NW and beyond: Kelp Lunacy Advanced Plagiarism Society above all shares Blau's love of sound.

The K.L.A.P.S. site here in transition features the ancient technology of scrolling to navigate. If you find anything cumbersome, please don't hesitate to email to karl at kelpmonthly "at sign" fastmail "dot" fm. As of spring 2008 it should be functioning fully with digital downloads available as well as one may order Blau's full-length albums to arrive by mail.

Here are some things coming up and some albums I've been on in the relative past

====================July 9th, 2008: I became overcome with excitement today as I realized that Kelp Lunacy is going to halt here in 12 issues from now. Number 40 is going to be the last issue of Kelp that you may subscribe to. It's safe to say that this has been a great run, and the concept is great and possibly sometime during my life this will seem like a good idea again. But for this era I must cap this thing off, and thusly keep my sanity in check. It's going to be fun finishing this out and I hope that you will subscribe to it you who have in the past or have just considered it before. At this point the best deal is subscribing for the entire 12 issues left at $10 each in the U.S. and $12 each outside N. America. Do that now here.

========================>>>>>>>>Two new D+ releases: What is Doubt For? and On Purpose

Suddenly we recorded a new album. I don't know how this happened, we got together a few times and I guess the tape was rolling. It was so spontaneous and lazy. Bret Lunsford is calling the new one "What is Doubt For?" It's quite similar to "No Mystery." You can buy "No Mystery" here and possibly "What is Doubt For?" and "On Purpose" here soon. There's a really loud song that leads off the album and I'm singing the first line which is unique to this and the last record "No Mystery." It's not available yet, but I just listened to the master and it's sounding really good so maybe by What the Heckfest...

This is a retrospective D+ spanning a dozen years of recordings and songs of Bret Lunsford with Phil Elverum and Karl Blau.

Here's what Blau says of it, and in general of Bret--taken from the liner notes:

Here are a bunch of songs from the first era of D+. I really hope we don't call this D+ Greatest Hits. That would just not be true; there's hardly been any radio play of this band and they're all just incredible pieces to the puzzle of the mind of Bret Lunsford with Blalverum embellishments. Many of these particular recordings were demos we made and one or two from compilations otherwise unreleased. An illustration is rendered here of the open-mindedness to recording we explored.

The nonchalance of recording with Bret and Phil started in Calvin's basement. It became apparent to me that the method of recordings by Calvin Johnson placed the emphasis more on what happened at the actual performance of the song (D+ often recorded the music all together then overlaid the singing) than how the song "sounded." And to be more specific and accurate, if we played through the song-- got through it-- it was, like, cool. This approach grew and developed in my mind, and became key in enjoyment of the recording process. To stress the practice of performance and to get out of the way as much as possible on the recording end-- this was ideal. Resulting music stays alive and breathing and the potential for revisiting the songs increases because the idea isn't beaten down in process. More recently we took this practice further; the tracks from "No Mystery"(2007) were mostly recorded in Phil's living room together into one microphone--one track-- mono.

Practice on stage was never discouraged. It was a place where we found ourselves with our instruments. On stage was just over here instead of over there. "When you play shows, don't drink doubles..." It was not unlikely to stop a song midway for a longish pause and then go back into it where we left off. This was all practice it seemed.

Early D+ shows must've seemed so awkward. Looking back on us: Phil - teen skater with a perpetual grimace hitting the drums so hard and bored; me with smile I couldn't wipe off, bare foot, long haired forest dwelling hunchback, pumping endlessly optimistic basslines; Bret's slur and slower-than-decipherable-by-youth prattle between songs, distorted, strummed open chords.

The physical make-up of our sound augmented drastically after the Deception Pass and Mistake recordings. We became a vocal group with guitar accompaniments. It was something barely mentioned between us the metamorphasis was so natural. At the time of this release, I think we're somewhere in middle ground: distorted vocal harmonies with loud distant drums, still the anchor of words meant to rack your brain c/o Lunsford.

True there is much wincing today on my behalf when I listen to my "harmonies" shouted over Bret's delivery on the first 2 D+ albums. But this also reminds me how ecstatic I would and still become in engaging with these words. If you've ever heard or read them I don't have to tell you how Bret's lyrics work like a Choose-Your-Own- Adventure book. Each line Bret writes has at least two meanings to offer, D+ lyrics usually have 3 to 5 stanza's--lots of possibility. This is homage to me the listener, it's telling me "I respect that you will make your decisions based on who you are and with respect to your environment." Basically, Bret's lyrics read like an anarchist handbook. Trust your conscience.

\\\\\\\\\\\\\\\\\\\\\\\\\\\There are 6 albums floating around my studio, I am going nuts, because I can't wait to send them off. Got the "In Return of Ghost Country"s in the mail yesterday. I have a feeling some are going to come back to me because it's been too long since the last KLAPS installment. Thank YOU so much for your understanding SUBSCRIBERS! You are the wind beneath my wings, the current on my scales.

{{{{{{{{{{{{{{I recorded Spencer Sult last weekend, his moniker is Generifus.He lives in the Redmond/Kirkland area of Seattle. I'll put some songs up soon about what happened, he is a touched songwriter. He had all the songs and arrangements just floating in his head, never wrote down a word. A couple times we would begin to lay his vocals down on tape and he'd be like "just a second, it's still coming to me" and a moment later, he would sing the vocals having never sung them out loud before.

========Brightblack Morning Light's album comes out this September and I play drums on one of the tracks. It's on par in my mind with Dr. John's Gris Gris album, very dark and snakey and very pretty. Some amazing singers from New Orleans sing on backing vocals on it and their voices are other wordly. I'm going to be touring with them beginning October, playing drums in their band. It will be a major change from the solo touring...

O+++++++++++++++++++++OThe "That's How I Got to Memphis" single just came out on K records IPU series. This is two tracks that Tucker Martine produced under his own project Mount Analog featuring me as vocalist. You should get your copy now here as the second pressing is going to happen soon.

===================================I am really excited about being asked to play drums for Bright Black Morning Light. I may get the chance to be on their upcoming album, but I'm definitely going to be playing with them on upcoming tours in Summer/Fall/Winter 2008. We've had a long history of playing together, D+ played a show with Nathan Shineywater's band back in 1996 or '97 in Arcata, CA and have been keeping in touch ever since. Nathan keeps bringing up my Shell Collection record, I need to send him something more current.

=========================================New Your Heart Breaks recorded recently, mastered and even available now here! We revisited the trusty Dub Narcotic studio in Olympia for these recordings. I don't think that our version of the New Kids on the Blocks's "The Right Stuff" made it sorry to say. But that's just testament to how strong the recordings are otherwise!

Live in Berlin. A full live YHB set from Germany. Featuring Karl Blau, Steve Moore, and Clyde Petersen as Your Heart Breaks. From a European tour with Laura Veirs in Spring 2007.

Sailor System. The newest full-length from Your Heart Breaks. This is the twin record of New Ocean Waves. Recorded at Dub Narcotic Studios in January, 2006. There are more than 30 awesome musicians on this thing. It is a rock opera with Karl Blau, Laura Veirs, The black cat orchestra, and the Your heart breaks band. The art was made by Meghan Hanlon, who made the art for new ocean waves. The records belong side by side. It is epic.

BUY NOW!

New Ocean Waves. A full-length from Your Heart Breaks. Produced by the best producer in the world, Karl Blau. Recorded at Dub Narcotic Studios in January, 2006. There are more than 30 awesome musicians on this thing. It kicks ass. It's 5 bucks. You will love it.

BUY NOW!

==============================The fabulous Laura Veirs and Saltbreakers record on Nonesuch "Saltbreakers" came out a year ago March. Get it here. I play bass, guitar and sing on these recordings with Laura, Tucker Martine, Steve Moore, Eyvind Kang, Bill Frissell , and more folks.

Also check out these amazing Laura Veirs albums. I met Laura Veirs in Anacortes at a little show at the Business on Commercial Ave. about 10 years ago. Bret Lunsford set it up, then Laura was passing through Anacortes on her way to visit her parents in the San Juans from her home in Seattle. We played some shows together at that point and even began playing music together. I played in her group the Tortured Souls that became Saltbreakers, recorded Carbon Glacier and then Year of Meteors with Tucker Martine and Steve Moore. Kelp issue number 8 features Laura Veirs and myself in Europe on tour as a duo in support of Carbon Glacier(then a Bella Union release). The Kelp issue is called "Lore of Ears" and is currently sold out, but I'm toying with the idea of putting it up just to share for free. Here's more Veirs albums-- you can click on the picture and order if you want:

Here's some links you probably found Karl Blau through, so now this is just feeding back

K Records -- This is the greatest label ever in case you were wondering(toot! toot!). You can buy my record "Beneath Waves" from this site as well as 100 plus other incredible titles from amazing artists. You can buy cassettes here. You can buy crazy vinyl. shop here now. Karl Blau's new record "Nature's Got Away" is coming out on CD/LP from here soon. Also keep an eye out for the "That's How I Got to Memphis" 7"--recorded by Tucker Martine with his band Mount Analog feat. Karl Blau voice in this lovely Tom T. Hall side("side" is another name for "cut" or "song" Nashvillian sprecht).

Whistler Records is run by Rob Brenner and Bill Helmkamp of Chicago, IL. My release "AM" is the first official release of "Whistler Records." Once "On Purpose" this label has a release by Kallikak family and proposes to release the first album of the Blue Ribbon Glee Club rock choir of Chicago.

Chapter Music -- one amazing label of one amazing Guy Blackman from Melbourne, Australia; he's collected an incredible compilation of music from Japanese underground and a couple postpunk Australian comps and much more...

P.W. Elverum and Sun -- Phil's own label out of li'l Anacortes, WA. Not just vinyl only. The most amazing picture book is available here now. Also Phil is just putting out a new record of Mount Eerie entitled "Black Wooden Ceiling Opening" featuring his metal band, Jason Anderson of Wolf Colonel and of Yume Bitsu and Kjetil Jenssen of the Spectacle.

Marriage Records -- Portland's Foxiest indie label. The Bret Lunsford lyric laden "Dance POSITIVE" is out on Marriage Records on CD and LP. Also here: White Rainbow, Lucky Dragons, Thanksgiving, Watery Graves, Dirty Projectors and so much more.

http://www.newrafael.com -- Rafaël Rozendaal, one of the greatest internet artists ever (and though the interweb has only been around a short while, and though I am no authority what so ever on anything-- thanks Azure!). I don't know this person, but he's a friend of a friend. You should just right now go to the best website ever here--http://www.popcornpainting.com-- it's one of Rafaël's. Here's another website of his: http://www.onequestioninterview.com

(written this way I hope that it doesn't get any spam additions by trained machines)

KARL, WHY DID YOU HAVE TO RENAME KELP MONTHLY INTO "KELP LUNACY ADVANCED PLAGIARISM SOCIETY"?

I want to be fair to people and the fact that I hadn't put out a Kelp in like 6 months, I didn't like the misleading term "monthly" to be a part of the name, but I decided to keep the moon reference('month' is derived from 'moon') and go with Lunacy in there. I would like it to be a monthly periodical. As soon as KLAPS is all I'm doing, it will be monthly. The "PLAGIARISM" part comes from my recent semi-obsession with the fact that nothing is original. Even God made people in his/her likeness I am told. I feel like just saying it right out front that I plan to rip everything off relieves the pressure of doing something original on one hand, but then also gives ample room to prove otherwise. I really do want to do something original. Can you tell?

I have no clear answer, please know that I have not given up. They should be flowing like the Skagit River here in the next week(my prediction of early April was quite off, it's June as I write this and the new Kelps are just in the mail now)

There is also the chance that you have moved and forgot to let me know. Please email me above if you have moved.

Great question. Please let me know where I may. Yes I do want to play in your town. But it has recently been bumming me out that my system thus far has been driving around and using all this gas. I would like to tour by train and, coexistingly, I would like to play shows in my own town and people can come see me there. I have a couple ideas here:

- I could set up free shows where I can make a bigger production playing locally as I could save all the time driving and just rehearse orchestrations with a group. The shows could be scheduled around the cheapest times to take the train to Anacortes, WA. Would you be excited about coming to Anacortes for a special show? Also, did you know Heckfest is coming quick? In fact it's almost here and the full passes are already sold out, so get a half-pass which is totally awesome.

- Also, planning a train tour, I would like to perform in homes to push the all ages arena further and also bridge a gap in society that otherwise is not normally crossed. If anyone has any ideas to this effect, please let me know.