The soundtrack for the movie Dopamine plays more like a traditional record than a soundtrack. The original music was composed by Eric Holland and features tracks by Kool Arrow artists Not From There, Hog Molly, and Düreforsög, among others. The critically acclaimed film was shot in San Francisco by Mark Decena of Kontent Films, and won an award in the dramatic competition at Sundance 2003. Holland enlisted the help of many notable musicians in crafting a film score with unique instrumentation: bassist Bill Gould (Faith No More); guitarist Mike Morasky (Steel Pole Bathtub); guitarist Eric Schopmeyer (Slackjaw); Adrienne Leverette on orchestral bells, piano and clarinet; Pat Kadyk on Persian banjo and seter; cellist Esther Reyes (Vervein, Ee); drummer Dustin Donaldson (I Am Spoonbender); and vocalist Jessica Congdon (Vervein, Smitten). Holland was a founding member of Milk Cult, and his current band Anagram is also featured on the Dopamine soundtrack. Holland has composed music for the films Yerba City, Float, What is Lagom?, and the Columbia Tri-Star release Big Girls Don’t Cry. Dopamine enjoyed a U.S. theatrical release as part of the Sundance Film Series and was recentely released on DVD. “There’s a beauty to this movie, a genuine feeling for the mystery and wonder of love and attraction.” – Mick Lasalle, San Francisco Chronicle • Soundtrack to Sundance award winner composed by Eric Holland (Milk Cult) • Features members of Faith No More, Milk Cult, Steel Pole Bathtub
CD $12.00
05/25/2004
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05/25/2004
***In the fall of 1996, Darren Mor-X, Mike Morasky and Dale Flattum began making recordings for what was scheduled to be their second album on a major label with offices in Los Angeles and New York. The trio first spent 72 hours holed up in guitarist Morasky's living room, and later moved the operation to a small recording studio behind an auto repair shop in downtown San Francisco. The results were regarded by the band as its crowning achievement, and by the label as an unmitigated disaster. Why, there wasn't one track that could even possibly be considered a single. Can you imagine? The official word was that the album was "unlistenable," that the band had completely lost focus and created a "soundtrack to nothing." A loophole was found, the band was dropped, and the recordings remained unheard until now. * The long lost album by one of the mid-'90s' noisiest, most amped up and TV-damaged noise-rock bands * Worshipped and emulated by Unwound and many other bands to follow * Cited as one of the reasons Richie Unterberger resigned from OPtion magazine * Liner notes by Darren Mor-X "Pathologically stark." --Discorder "No music in anything they play at all." --idiot Faith No More fan, etext.org "Steel Pole Bathtub must've fallen down an awful lot [as kids]. Their [music] sounds like the musical manifestation of some very scarred minds....[V]ery depressing … discordant guitars and resonating feedback create an aura of frustration. ... [T]heir anarchic, guitar-driven, feedback-and-sampling-infused indie...
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09/24/2002
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09/24/2002
***Along with a liberal dose of borrowed beats and noises, the eleven songs on Kleptophonica include healthy splatterings of cassette deck tomfoolery, Speak'n'Spell abuse, typewriter percussion, lap steel warblings, echo nonsense, singing-into-the-washing-machine experiments, push-button sample blasts, as well as more conventional instrumentation like drum sets, maracas and keyboards. Using varying degrees of "unauthorized remixing," Agent Nova and Mor-X (both veterans of Milk Cult and Steel Pole Bath Tub) aim each song in its own direction, as melodies and rhythms are added and twisted and stretched on top of tape loops and scratchy thrift store records. The result is a softer, gentler sort of Frankenstein. More song-oriented then previous Milk Cult records, Kleptophonica is also a return to more basic recording. Whereas Project M-13 took about a month to record and an exhausting two years to edit, Kleptophonica, recorded in Olympia, Washington, at Mag Rec One, was completed in five days.
CD $12.00
02/05/2002
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02/05/2002
***The first new release from Milk Cult in nearly four years, this Moroccan Nectar-fueled tech-rock-noise-hop experimental dance adventure to the "Port of the Orient" mixes exotic tradition with urban futurism. The first in a series of recordings, Project M-13's raw materials were gathered in Marseilles, France, during a visit made possible by a government-sponsored art grant. Over the course of a month in the spring of 1997, Milk Cult recorded with over 30 musicians and groups of musicians including but not limited to: traditional Corsican singers; Buddhist chanters; Algerian folk improvisers; French folkies; industrial noisicians; rockers; jazzbos; hip hop artists; spoken word artists; electronics experimenters; a 30-piece African orchestra; a Conch player; all of whom played along with backing tracks prepared by Milk Cult but never with each other, resulting in hundreds of hours of recordings to be later edited, played along with, and combined into one of an infinite number of possible combinations. Although this is the first time Milk Cult has used sampling of other players to such a large extent, they have worked with guests extensively in the past. On the college chart topping '95 release Burn Or Bury, they invited a multitude of musical luminaries ranging from Neurosis to Mike Patton to Carla Bozulich into the studio to "top off" the existing tracks. The '96 release, Bruce Lee Marvin Gaye, found Milk Cult in Tokyo "conducting" and playing along with a group of 15 of Japan's musical nobility. On other past releases Milk Cult took a...
CD $12.00
03/07/2000