The 3rd intercontinental Feeding Fingers tour began on January 31, 2018 in Nashville, Tennessee and concluded on April 13, 2018 in Tirana, Albania. Now, we need your help via Patreon to start production on the forthcoming 7th album and to get moving on setting up more concert tour dates. We want to see YOU in YOUR town and we want to keep releasing new music. We can't do this without your help.
Go here and become a patron:
NEW ALBUM - 'DO OWE HARM' - Pre-Order Now to Download the New Single & to Get a Private Link to the New Music Video
I am pleased to let you know that I have completed the 6th Feeding Fingers album. The album is titled, 'Do Owe Harm' - an exploration of microtonal / polytonal / xenharmonic music, combing analog synthesis with the acoustic human element. The album is in the final post-production / mixing / mastering stages right now in Europe.
Pre-orders for the album have begun.
Place your pre-order for either the autographed CD edition or the digital (MP3 / FLAC / WAV) edition of the album now and you will receive an immediate download of the new single, "Fontanelle" as well as a private link to see the official music video for the song. You will also see the real cover art for the album.
Feeding Fingers: 'Do Owe Harm'
CD - Autographed
€15 - Shipping Worldwide - January 5, 2018
Digital Pre-Order - MP3 / FLAC / WAV
Please note that the official release date for 'Do Owe Harm' is January 5, 2018.
"Fontanelle" - Official Video - Dir. Steven Lapcevic
About 'Do Owe Harm':
Justin Curfman returns with his 6th Feeding Fingers studio album, 'Do Owe Harm'. An exploration of polytonal / microtonal / xenharmonic music facilitated by the utilization of tunable analog synthesizers, quarter-tone guitars, fretless instruments, acoustic / electronic hybrid percussion, micro-intervallic wind instruments & vocals abiding cautiously within the notes between the notes.
The vast majority western music consists of 12 semitones. Whether you are a musician or not, certainly you know these semitones well, even if only by ear. These semitones are; C, C#, D, D#, E, F, F#, G, G#, A, A#, B. These 12 semitones give us 1 octave. These octaves repeat.
The following is a gross simplification:
These are the 12 "colors", so to speak, that nearly all of western music has been painted with for 200+ years. However, the human ear is easily capable of detecting more than 128 different pitches within an octave. Meaning that 116+ pitches, or "colors" rather, have been essentially eliminated from the aural palette of the West. A grand piano has 88 keys. It could have 896+ keys, if we were willing to stretch our ears beyond the limitations of ebony and ivory. Microtonal music allows us to do that.
Each song on 'Do Owe Harm' was written upon a foundation of microtonality and superimposed with a surface layer of familiar equal temperament in an effort to synthesize the two into a natural state of polytonality. Curfman hopes that you won't even notice.
Philipp Gerschlauer - Saxophone - "Hate Yourself Kind"
Marica Filomena Coppola - Violin - "A Happy Lust for Alphabets"
Thank you for everything. You know who you are.
To mark 10 years of Feeding Fingers, 17 select tracks from Feeding Fingers' first 5 studio albums have been remastered and collected into a retrospective compilation album titled, Compendium.
Download your copy at BandCamp here:
Feeding Fingers has a new Facebook page:
Go there, "like" and share. You will be rewarded with a new music video, featured as the top post on the page. "I Am Erasing Doors".
Attention gamers! A Feeding Fingers song is featured in the highly anticipated new game, PERCEPTION, which is out now!
The game is brought to you by the developers of Bioshock, Bioshock Infinite and Dead Space, but you will have to play the game to find out which song it is!
Support indie game developers (and musicians) by downloading your copy of Perception now at Steam or GOG.
Perception will soon be available for Xbox and Playstation as well. Keep up with the good people at The Deep End Games for more information.
In Perception, you play as a blind woman, Cassie Thornton, who must make her way through a mansion in Massachusetts. The home is occupied by a supernatural force known as "the presence." Your only physical tools are a walking stick and a smartphone, and also, critically, your ability to hear. Every tap of the walking stick or sound creates a visualization that illuminates the world around you.
Perception is a first person narrative horror adventure that puts players in the shoes of a blind woman who must use her extraordinary hearing and razor-sharp wits to solve mysteries and escape a deadly presence, all without sight.
After months of research seeking the house from her nightmares, Cassie discovers an abandoned mansion in Gloucester MA, the Estate at Echo Bluff.
Once there, Cassie finds that Echo Bluff is worse than she dreamed. A ghastly Presence has tormented its inhabitants over generations, and it now hunts Cassie. She must solve the estate’s mysteries or become one of its victims.
Questa è un'intervista non pubblicata fatta a Justin Curfman lo scorso dicembre da una rivista italiana di appassionati di vinile. Qui troverete la versione inglese e a seguire quella italiana.
Hi Justin. Welcome to XXX. In a time where mainly EP and short records are being released, you have decided to publish Attend, comprised of 25 songs and totalling nearly 2 hours of original music. Why did you choose to do that?
Hi XXX. Thanks for having me. I chose to release Attend as a triple vinyl LP set out of necessity. I didn’t want to break these 25 songs up into a series of EPs or into a couple of autonomous LPs. One of my loose objectives for this album was to explore different sonic palettes from song to song, incorporating different instrumentation approaches on each piece. I think that with all of these songs being kept together as a whole that the intention of the work is clear - at least I hope so. If these pieces were to be separated, I am afraid that the work might come across as being too erratic.
I understand the temptation for artists to release a steady stream of EPs and shorter records these days. Believe me. It’s no secret that there is almost no money to be earned in the music business any longer. One idea is to release shorter, thus cheaper, recordings with the hope that the artist might be able to recuperate or at least eventually break even on a smaller investment. I can’t fault any artist for wanting to do that, but EPs are a little too ephemeral, I think. Can you name 10 EPs off the top of your head right now? In this age of pretty extreme media disposability, I think that EPs just reinforce that sensibility. I also understand that we live in an age where constant content is expected from artists, so there seems to be this sort of widespread compulsion to keep this proverbial strobe-light flashing on social media feeds. I don’t suffer from athazagoraphobia, thankfully. I don’t really want you to know what I ate for lunch today. I am interested in making music. I would rather write music that I feel good about sharing with my listeners. I have nothing but respect for my audience. I never want to make them to feel fooled into listening to or paying for anything that I have written. And that sort of thing takes time. Ideas take time to develop.
That’s not to say that I would never consider releasing an EP or that I consider them to be inferior to LPs. All of that is subjective. Everything just depends on the project and what it is that one is trying to accomplish with it. If I wrote 5 or 6 songs that I believed to be parts of a whole, then I would certainly release them together as an EP. Sometimes even just a single is enough. It all just depends on what it is that one is trying to communicate.
The style used to compose the songs on this album is really unique. How did you manage to accomplish that?
Thanks, XXX. I appreciate the compliment. As I mentioned a little earlier, it was my intention with this album to approach each piece with a different set of instruments and timbres and a different overall compositional method or technique. I wanted to play with everything in my toy-box that I could manage to wrap my hands and head around without, hopefully, going too far out into the fringes or failing too miserably at.
You have published Attend as a triple vinyl album. Whose idea was it?
My producers and I knew that this was going to be a double album, at the very least. We knew this even before I began writing and recording it. I am not so sure that we thought that Attend would end up being a triple LP. Regardless, the publication and release of the album as a triple LP - the object itself - was made possible by Sounds for Sure Records, based in the Netherlands. I have been a close friend with the label owner, Paul Tetteroo, for about 10 years now. He is a very honest, reliable and detail-oriented person. I can’t imagine having had the pressing and printing of this album supervised by anyone else. Considering this album’s size, both in terms of its play length and as a physical object, there was a real potential for disaster. Choosing the right people to facilitate the production of this album was really crucial. I can’t thank Dana Culling (Feeding Fingers' thumb and honorary member), Jim “Coyote J.” Battan (DJ / Comédien extraordinaire) and Paul enough for having made this album possible.
What are your main lyrical influences?
I can’t say that I draw much influence from other lyricists in terms of text. I take a lot of influence from other lyricists in terms of melody, certainly. But, I can’t say that there are many lyricists proper that have given me much influence or inspiration in purely textual terms. Most of my lyrical influence is probably taken from literature, studies of various things that interest me, dreams and life experience.
Our usual question: what’s your relationship with vinyl and what’s the record that changed your life?
I grew up in a single-parent household where I was raised by my father and grandmother. Both of them were musicians in their own right and both of them were avid music listeners too, of course. So, naturally the two of them had amassed a fairly comprehensive vinyl collection by the time I was old enough to put my hands on it. This would have been the mid 1980s. I had free reign of the collection from, I suppose, about age 4 or 5. I have never really thought much about this before. It’s unbelievable to me now that they put so much trust in me with their records at such a young age. I can only imagine how badly I must have scratched and smeared sugar into the grooves of all of them.
Again, this is something that I have never really put much thought into before, but considering that this was pre-internet, obviously, and that my family was quite poor, it’s remarkable to me now that their collections covered such a broad musical spectrum. The result of a lot of time spent at thrift stores and flea markets, surely. Now that I think about it, two of my aunts also left their collections behind with my grandmother when they moved out on their own. I remember a lot of great Motown LPs and some spectacularly vapid Partridge Family 45s from the two of them, specifically. An unusual pair. I had access to four vinyl collections curated by four considerably different people. I suppose that I was a pretty lucky kid, in that respect.
There was a bit of everything in the house. I remember listening to everything from Beethoven to Bartók, Robert Johnson, Miles Davis, Hank Williams, The Beatles, Led Zeppelin, Bowie, Jeff Beck and all the rest that one might expect in an American home during that time.
I can’t say that there is a single vinyl record that has changed my life in any remarkably profound way, but there are a certain few that affected me more than others. For whatever reason the vinyl record that I remember most as a child was probably the Boston Pops 1956 release of Tchaikovsky's The Nutcracker Suite. I thought that the Dance of the Sugar Plum Fairy was terrifying! Amhad Jamal’s The Piano Scene of Amhad Jamal from 1959 was a big one for me, along with Marty Robbins’ Gunfighter Ballads and Trail Songs also from 1959. Tangerine Dream’s Rubycon from 1975 was a marvel to me. The 1980 re-issue LP of Frank Churchill’s soundtrack for Disney’s Snow White and the Seven Dwarfs animated film was another big one for me as a kid. The American stand-up comedy great George Carlin’s Little David vinyl discography from the 70s probably affected me just as much or more than any music record did. I listened to a lot of stand-up records pretty obsessively. My father was probably more permissive than he should have been. Steve Martin’s Wild and Crazy Guy and Eddie Murphy’s Raw were two others that I nearly memorized.
As a vinyl lovers we put great importance on the cover art. Tell us about yours.
I think that this is one of several areas where an LP is superior to a CD or a collection of digital files streaming from some Orwellian information cloud somewhere in California. An LP cover, to me at least, serves as something of a welcoming vestibule into another little world. You have to open the door and let yourself in. The image is just large enough to get lost in. A little CD cover or a digital thumbnail just doesn’t offer that same level of immersion that a record does. An LP allows one to disconnect into a certain ritual. Sometimes, I think, an LP cover can be even more striking than the record itself. A couple of examples of LP covers that left a lasting impression on me as a boy that were greater than the music on the records themselves, at least in my opinion, that come to mind right now are the U.S. pressing of Uriah Heep’s Salisbury from 1971 and H.R. Giger’s cover for Emerson Lake and Palmer’s Brain Salad Surgery from 1973. I can’t say that the music from either of those albums spoke much to me then or now, but the covers are etched into my memory.
As far as the cover art for Attend is concerned, I am happy to say that it was a creation left to the able hands of animator and long-time creative collaborator, Steven Lapcevic. Steven has been something of an unofficial member of the group since its creation in 2006. He has provided nearly all of the promotional imagery and the majority of official music videos for the band over these ten or so years. However, somewhat ironically, Attend is the the first album cover that he has ever done for the project. If you haven’t had a chance to do so, I suggest that you take a look at Steven’s animated music video for the song, Your Candied Laughter Crawls from Attend, along with the rest of his work. Everything can be found on YouTube.
What’s the most beautiful place you have ever played? And Why?
I have played in a lot of beautiful places, a lot of mundane places and even some pretty repulsive places. I won’t say which is which. But, I will say that each place, no matter how stunning or how ugly, have their own charms and their own different types of beauty.
What advice would you give to a new artist?
Write with passion and challenge yourself constantly. Don’t get trapped in a niche and don’t write strictly for the pleasure of an audience. Taste is a shifting and fickle thing. Just because someone likes your first album, doesn’t necessarily mean that they will be there waiting for the next. Expect nothing, but be open to whatever good or bad fortune comes your way. Convert your wins and loses into material, if nothing else. You’ll have plenty of both, if you choose to stick it out.
What’s ahead for the Feeding Fingers?
Attend was a giant undertaking for me. I composed, performed and engineered a triple vinyl LP that is still pretty fresh off the lathe, so, it probably goes without saying that I am recuperating a bit. Regardless, at the moment, as always, I am composing new music, working on a film and doing a massive amount of research for both, but I am allowing myself enough time to let the ideas work themselves out properly. I have no interest in burning myself out or driving myself completely mad, just yet. I don’t want to talk too much about my next project, but what I can say is that it will take quite a bit of time and patience and, hopefully, defy whatever expectations my listeners might have about what’s coming. I hope to give everyone something completely new and fresh.
How do you see the current state of music?
That’s a very broad question. I think that the state of music, and all other media for that matter, be it film, television, print, tactile art or what have you has already shifted into a new paradigm. I apologize for the overuse of the term. The old system of deep-pocketed record labels or corporate-business sponsorships is now virtually non-existent or at the very least out of reach for 99.99% of us all. It’s no coincidence that a large portion of bands that you see on tour right now are those that made their mark with old money that lasted up until the late 1990s or the very early 2000s. They are essentially the only bands out there with the considerable monetary resources required to properly tour with. But, even their funds are slowly drying up. Just look at all of the tour cancellations that have and are happening every day.
But, all of this has a positive side as well. The technology for media creation these days is more affordable and intuitive than ever before. There are infinitely more outlets available to artists and listeners to spread music around that would have been absolutely ignored or overlooked up until relatively recently. There is a much wider variety of music available and being developed now than ever before. All one needs is the patience to look for it. Also, artists aren’t necessarily beholden to label and management demands as strictly as they once were. There is a lot more tolerance and encouragement for experimentation now than there ever has been in just about every creative discipline. I think that music and art in general is in better shape now than ever, at least within the realm of ideas and in having the tools available to realize the artist’s vision. However, financially, it’s an increasingly difficult struggle. But, it seems that way for everyone - no matter what field they work in. I try not to focus too much on this.
Having said this, I hope that music listeners understand how important their role is now. You all are not simply music consumers. You are all patrons of the arts. The longevity and basic day-to-day survival of the artists that you appreciate relies more heavily on your direct support than it ever has.
Finally, according to custom, an original message for our readers.
Thank you all for continuing to support independent music and independent music journalism from people like XXX here, without regard for perceived language or cultural boundaries. Without you, a lot of interesting things that are going on in the arts world right now would be swallowed up in all of the noise that surrounds it.
Ciao Justin e benvenuto al Terzo Lato del Vinile. In un momento dove escono principalmente EP e album con poche canzoni tu hai pubblicato Attend, composto da 25 pezzi. Quali sono le ragioni di questa scelta?
Ciao XXX, grazie per avermi intervistato. Fare uscire Attend come triplo vinile è stata una necessità: uno dei miei obbiettivi per questo album era esplorare diverse atmosfere sonore da canzone a canzone, possibilmente utilizzando anche strumenti particolari. Se avessi separato questi 25 pezzi in una serie di EP o LP autonomi il risultato sarebbe stato troppo dispersivo.
Capisco però perfettamente la tentazione degli artisti in questo periodo di pubblicare EP e LP con meno canzoni, infatti non è un segreto che non ci sono più soldi nell’industria musicale. Facendo uscire EP si ha la speranza di poter recuperare i soldi spesi nella produzione. Non posso biasimarli ma, secondo me, gli EP sono troppo effimeri, e considerando che viviamo in un periodo in cui la maggior parte di ciò che proviene dei mass media viene dimenticato subito, credo che gli EP rinforzino questo fenomeno. Capisco anche che oggi ci si aspetta che un artista pubblichi costantemente “qualcosa”, o almeno questo sembra il trend generale, come se ci fosse una compulsione narcisistica negli artisti e nelle persone in genere di avere sempre i riflettori puntati sui loro social network. Per fortuna non soffro di athazagorafobia, non mi interessa pubblicare costantemente qualcosa, preferisco piuttosto scrivere musica che mi faccia stare bene con la mia coscienza quando la condivido con i miei ascoltatori. Ho molto rispetto per loro e non vorrei mai che si sentissero ingannati ascoltando qualcosa di mio. E ciò richiede tempo, le idee hanno bisogno di tempo per svilupparsi.
Questo non vuol dire che non pubblicherò mai un EP o che li considero inferiori agli LP, ma che tutto è molto soggettivo e dipende dal progetto e da cosa si sta provando a dire o fare, a volte anche un solo singolo è abbastanza.
Lo stile che hai utilizzato per comporre le canzoni di questo album è veramente unico. Come mai questa scelta?
Grazie per il complimento, XXX . Come ho detto prima, la mia intenzione era quella di approcciarmi a ogni pezzo con diversi strumenti e tecniche di composizione. Volevo suonare con qualsiasi cosa avessi a disposizione nella mia cassetta degli attrezzi di cui riuscissi a comprendere il funzionamento, senza andare troppo oltre o fallire.
Hai pubblicato Attend come un triplo vinile. Di chi è stata questa idea?
Io e i miei produttori sapevamo già dall’inizio, anche prima che iniziassi a scrivere e registrare le canzoni, che Attend sarebbe stato almeno un doppio album, ma non sono sicuro che ci aspettavamo che diventasse un triplo vinile. In ogni caso, la pubblicazione di Attend come triplo LP è stata possibile grazie a Paul Tetteroo della Sounds for Sure Records, etichetta olandese. Io e Paul siamo amici da ormai 10 anni, lui è onesto, affidabile e preciso, ed è per questo che mi è venuto naturale rivolgermi a lui. Considerate le dimensioni di questo album, scegliere le persone giuste per la sua produzione è stato veramente cruciale. Non finirò mai di ringraziare Paul Tetteroo, Dana Culling e Jim “Coyote J.” Battan per aver reso tutto questo possibile.
Quali sono le maggiori influenze dei tuoi testi?
La maggior parte della mia ispirazione quando scrivo i testi proviene probabilmente dalla letteratura, da studi di vari argomenti che mi interessano, dai sogni e dalla vita quotidiana. Per quanto riguarda la musica, attingo molto dalle melodie, ma non dai testi.
Domanda tipica: qual è la tua relazione con i vinili e qual è il disco che ti ha cambiato la vita?
Sono cresciuto solo con mio padre e mia nonna, entrambi musicisti e avidi ascoltatori di musica. Avevo libero accesso alla loro enorme collezione di vinili già quando avevo circa 4 anni, nei primi anni 80. Non ci avevo mai fatto caso prima, ma è incredibile pensare che abbiano dato così tanta fiducia a un bambino, mettendo tutti i loro dischi nelle mie mani. Posso solo immaginare in che malo modo li ho graffiati.
In ogni caso, considerando che quello era il periodo pre internet, e che la mia famiglia era abbastanza povera, è impressionante pensare quanto fosse grande la loro collezione, proveniente principalmente da mercatini delle pulci e negozi dell’usato. In più c’era anche la collezione delle mie zie, che includeva album dei Motown e dei Partridge Family. Quindi da bambino avevo accesso a ben 4 diverse collezioni di dischi, infatti ricordo che ascoltavo ogni cosa, da Beethoven a Robert Johnson, Miles Davis, Hank Williams, i Beatles, Led Zeppelin, Bowie, Jeff Beck e tutto il resto che ci si può aspettare da una famiglia americana di quel periodo.
Non so dire se c’è un singolo vinile che ha cambiato la mia vita in modo profondo, ma ce ne sono un paio che mi hanno colpito più degli altri quando ero bambino. Per qualche strano motivo il vinile che più ricordo è “Lo Schiaccianoci” di Tchaikovsky suonato dall’orchestra Boston Pops nel ‘56. La “Danza della Fata Confetto” mi terrorizzava! Altri due che mi piacevano tanto erano The Piano Scene of Amhad Jamal di Amhad Jamal e Gunfighter Ballads and Trail Songs di Marty Robbins, entrambi del 1959. Inoltre mi piaceva tantissimo Rubycon dei Tangerine Dream del ‘75, e anche la riedizione del 1980 della colonna sonora, composta da Frank Churchill, del film di animazione “Biancaneve e i Sette Nani”. Anche la discografia in vinile degli spettacoli dal ‘72 al ‘75 del grande comico americano George Carlin mi ha colpito tanto da piccolo.
Per quanto riguarda adesso, la mia relazione col vinile è diventata abbastanza selettiva perché vivo con lo stipendio di un musicista, quindi ovviamente non sono un grande spenditore.
Da amanti del vinile diamo molta importanza alla copertina. Raccontateci la vostra.
Penso che questa è una delle diverse aree in cui un LP è superiore a un CD o a file digitali ascoltati in streaming. Una copertina, per me almeno, serve a dare il benvenuto in un altro piccolo mondo, si deve aprire la porta e lasciarsi andare, l’immagine è grande abbastanza da perdersi dentro. Una piccola copertina di un CD o un’immagine digitale non danno lo stesso livello di immersione che offre la copertina di un disco. Un LP ti permette di disconnetterti in un rituale. Per me a volte la copertina può anche essere più impressionante del disco stesso, come nel caso dell’edizione statunitense di Salisbury di Uriah Heep del ’71 e di Brain Salad Surgery del ’73 di Emerson, Lake e Palmer, la cui copertina è stata creata da H.R. Giger. La musica di questi album non mi ha mai comunicato molto, ma le copertine sono impresse nella mia memoria.
Per quanto riguarda la copertina di Attend, sono lieto di affermare che la sua creazione è stata completamente affidata all’animatore e collaboratore di vecchia data Steven Lapcevic. In realtà Steven può essere considerato come un membro non ufficiale del gruppo fin dalla sua fondazione nel 2006. Infatti in questi 10 anni si è occupato di quasi tutte il materiale promozionale e della maggior parte dei video ufficiali. Anche se, paradossalmente, la copertina di Attend è stata la prima che ha mai fatto per il progetto. Se non avete avuto ancora la possibilità, vi suggerisco di guardare su YouTube il video animato da lui del primo singolo di Attend “Your Candied Laughter Crawls”.
Qual è il posto più bello dove hai suonato? Perché?
Ho suonato in molti posti belli, molti posti banali e alcuni anche abbastanza disgustosi. Non dirò quali sono i belli e quali i brutti, ma ogni posto ha il suo fascino particolare.
Che consiglio daresti a un nuovo artista?
Scrivi con passione e sfida te stesso costantemente. Non restare intrappolato in un solo genere e non creare solo per far contento il pubblico. Il gusto è mutevole: solo perché a qualcuno piace il tuo primo album, non significa necessariamente che sarà lì ad aspettare il prossimo. Non ti aspettare niente, ma sii aperto a qualsiasi destino brutto o buono che incontrerai. Trasforma le tue vittorie e le tue sconfitte in materiale d’ispirazione.
Quali sono I prossimi progetti per i Feeding Fingers?
Attend è stato un enorme impegno per me. Ho scritto, suonato e mixato un triplo vinile che tutto sommato è ancora “fresco”, quindi mi sto ancora riprendendo. Al momento sto scrivendo nuova musica, lavorando a un film e sto facendo un enorme lavoro di ricerca per entrambi, ma mi sto concedendo abbastanza tempo per lasciare che le idee si sviluppino propriamente. Non ho alcun interesse a sforzarmi di creare qualcosa diventando completamente pazzo, non ancora. Non voglio parlare molto del mio nuovo progetto, ma posso dire che ci vorrà ancora un po’ di tempo , sperando che possa soddisfare le aspettative e la pazienza dei miei ascoltatori, a cui prometto qualcosa di completamente innovativo.
Come vedi la situazione attuale della musica?
Questa è una domanda difficile. Penso che la situazione della musica, e di tutte le altre forme d’arte in generale, che siano film, serie TV, o altro, si stiano evolvendo in una forma nuova. Il vecchio sistema delle ricche case discografiche o degli sponsor delle grandi corporazioni non esiste più, o perlomeno è fuori della portata del 99.99% di noi. Non è una semplice coincidenza che la maggior parte dei gruppi che si vede in tour adesso sono quelli diventati famosi prima degli anni 2000, essendo gli unici che hanno le adeguate risorse economiche.
Tutto questo però ha un lato positivo. La tecnologia odierna è molto meno cara e più semplice da usare che prima. Ci sono molte più possibilità per gli artisti e i loro ascoltatori per diffondere la musica in tutto il mondo, che erano assolutamente sconosciute fino a tempi relativamente recenti. Tutto quello di cui si ha bisogno è la pazienza per cercarli. Penso che oggi la musica e l’arte in generale siano in una ottima forma dal punto di vista creativo (non mi riferisco a canzoni POP stile “top 40”), anche se, dal punto di vista finanziario, è tutto in rovina.
Detto questo, spero che tutti gli ascoltatori capiscano quanto sia importante il loro ruolo non semplicemente come “consumatori”, ma anche come patroni delle arti. Voi siete tutto quello che ci è rimasto.
Infine, come d’usanza, un messaggio originale per i nostri lettori.
Grazie a tutti per il vostro continuo supporto alla musica indipendente e alle music magazine, e grazie ai giornalisti che si occupano di musica, come XXX. Senza di voi, tante cose interessanti nel mondo delle arti si sarebbe perso in tutto questo rumore circostante.
Official Music Videos for Attend:
"Your Candied Laughter Crawls":
"Where All of These Towns and Choices End":
3X Vinyl LP Purchase:
2X CD Purchase:
Stream / Digital:
Hello everyone. Justin here. Early this morning my own, personal copies of 'Attend' arrived from the record label, Sounds for Sure. I am listening to it now on vinyl for the first time. I am listening to the cumulative effort of two years of total dedication to this project, not only from myself but from a very select and special few who made this enormous undertaking possible. First and foremost, I want to thank my selfless producers, Dana Culling and Jim "Coyote J" Battan for believing in me - believing that I could pull this off. We did it, even if you felt like strangling me from time to time. I want to thank Sounds for Sure Records president, Paul Tetteroo for nearly 10 years of championing my work and for overseeing the production of such a massive LP set, without ever wanting to strangle me. A thank you is due all of the fellow musicians, filmmakers, designers, engineers and others with whom I worked with from all corners of the earth, both on the recording itself and not. I certainly learned more from all of you than you did from me. And finally, I want to thank all of you listeners, both new and steadfast who have been with me through these years. I made a vow at the beginning of this project not to release work that I didn't feel confident about, or that would possibly insult the standards that you all have come to expect from me. With 'Attend', I hope that I have met those standards.
Now, I will be taking a little time to rinse 'Attend' out of my head and ears, just as you all are, as of today and yesterday, taking the time to process it in yours. After having had all of this music - 25 songs songs at 2 hours in length - running back and forth in my brain, non-stop for nearly two years, causing plenty of both sleepless and somnolent nights, I think that it's time for me to focus my efforts on present and future projects, both within the context of Feeding Fingers and not. I'm not one to take a "break".
With that said, in addition to keeping up with the goings-on here with my Feeding Fingers project, I strongly urge that you all follow me on my Facebook page as well: http://www.facebook.com/Justin-Curfman-1118245858194070
Exciting times ahead. I promise.
Justin Curfman's request for me to create a music video that "feels like it is going to melt a CRT screen" couldn't have come at a better moment for me. I was preparing a new live AV show for Magnetic Foragers using the Basic Cable, an unpredictable video glitching device built by a gentleman called Big Pauper in Portland, Oregon in the US.
The synthetic but classic NTSC feel of the resulting video loops would prove to be a perfect fit for the song's analogue synthesiser-based soundscape. The finished film is partly a visualisation of the music but also a flow of images and influences conjured up by the song itself.
These included: long car journeys in foreign lands; post-war rebuilding of European cities; dealing with trauma; the death of the analogue TV signal; machinery, repetition and self-reflection; 'Trans-Europe Express' by Kraftwerk; films by Oskar Fischinger, Jane Arden and John Minton; 'The Ideal City' by Fra Carnavale.
Co-founder of audio-visual live act Magnetic Foragers, Tom Brown is a video artist based in London. He has screened works and performed live at festivals around the UK and is a frequent collaborator with sound artists, musicians and theatrical directors.
Recent projects include projected visuals for composer Litha Efthymiou's 2015 opera Myisi (premiered at Tete a Tete Opera Festival) and Theatre of the Wandering West, a projected graphic novel created with illustrator James Brown for a live soundtrack written and performed by British band The Cabinet of Living Cinema.
Support Tom Brown & James Allard's audio-visual duo, Magnetic Foragers via BandCamp.
Their latest tracks, "Quiet Days of Unease" and "Desk" were just released on a free/pay as you want basis on February 2. Also check out their full-length audio/video album, 'Field Studies' and their full-length cassette album, 'Sono'.
Now, the song and video that we have been dying to share with you all for months now. We strongly encourage you to watch this in HD on the largest possible screen that you have access to, in total darkness:
SHIPPING FEBRUARY 9
- Pre-Order the 3X LP here: http://www.soundsforsure.eu/feedingfingers-attend-limited-deluxe-vinyl
- Pre-Order the 2X CD here: http://www.feedingfingers.net
- Pre-Order the MP3 / FLAC / WAV Editions here: https://feedingfingers.bandcamp.com/album/attend
All pre-order customers will receive a digital download code via email on February 8, so that you may listen to the album in advance.
4 Stars! "... a musical adventure of unprecedented proportions." 'Attend' Reviewed at MusicMeter (Holland)
(DUTCH - Original / ENGLISH - Translation Below)
Feeding Fingers – Attend (2016)
Review door Eric Walbeek (musicmeter.nl reviewer, Holland) - Original Article Here
Beoordeling: 4 van 5 sterren
The Occupant is voor mij het enige referentiekader voor wat betreft de muziek van Feeding Fingers.
Of ik wilde gaan zitten voor het nieuwe album Attend dat bijna 2 uur duurt.
Het is een uitdaging natuurlijk. Bijna twee uur lang jaren '80 gevoel (Ashes Displayed in Zoos) die me doet denken aan bands als The Mission of aan de experimenten van Jaz Coleman. Ook The Cure of Dead Can Dance schieten door mijn hoofd, met dank aan de oosterse elementen.
Maar dan ben ik er nog lang niet want je hoort echt van alles voorbij komen: piano's die niet helemaal zuiver gestemd lijken, saxofoon, avantgarde, elektronische soundscapes... het gaat werkelijk alle kanten op. En dat maakt dit album tot een behoorlijk zware brok muziek die je tot je moet nemen en wat lastig is om in één keer te doen. Daar tegenover staat dat je in een dusdanige wervelwind van geluiden en stijlen terecht komt dat je je net Alice in Wonderland voelt.
De jaren '80 wave zoals in nummers als A Sleeping Centipede Presence geven me nog enigszins houvast maar zijn niet per definitie de nummers die ik het meest waardeer. Het zijn juist de zijwegen die het boeiend maken en het album z'n bijzondere sfeer geven zoals bijvoorbeeld het ruim zeven minuten durende titelnummer wat een avontuur op zich is: donkere wave, slaat om in een bijna hemels geluid gezongen door ietwat creepy engeltjes. Naargeestig en gelukzalig tegelijkertijd.
En op zo'n nummer volgt dan gewoon weer anderhalve minuut piano die me doet denken aan naargeestige scenes in horrorfilms, het tingeltangel pianootje in het intro van All In Full Bloom Smeared maakt dat gevoel er al niet beter op. Je voelt een spanning die het hele nummer bijblijft. Dat creepy sfeertje wordt ook altijd neergezet door Sopor Aeternus. Feeding Fingers weet het net zo goed aan te pakken. Vrolijk wordt een mens hier niet bepaald van.
Scott Walker is met zijn laatste albums ook niet één van de meest vrolijke jongens en ik hoor zijn geluid een beetje terug in Through Marrow Always dat een behoorlijke synth-saus meekrijgt.
De wat lichtere toon op Abrasive Remains Lubricate Me is dan haast een verademing, een broodnodige ook wel want anders zou het album toch echt een verstikkend karakter krijgen waar je bijna denkt niet meer uit te kunnen komen, maar vergis je niet, ook dit nummer blijft iets naargeestigs houden maar wel van het soort waar ik persoonlijk van hou.
En wat klinkt Polaroid Papercuts dan ineens weer herkenbaar. The Cure is hier niet ver weg en dat is toch het geluid wat velen zullen kennen van Feeding Fingers.
We zitten dan inmiddels ongeveer op de helft van dit enorm gevarieerde avontuur. Quintet zorgt voor een mooi schakelmoment.
Na dat moment gaat At Play With Wasps van start dat op mij vooral tijdens het intro overkomt als een nummer van Marc Almond uit diens donkere periode maar dan met Robert Smith-achtige zang. Survive Bliss idem: het zal komen door de accordeon dat het een klein beetje een vaudeville touch meegeeft ware het niet dat er een hoop gefreak doorheen gestrooid wordt dat het een behoorlijk tegendraads karakter geeft.
Het blijkt een zijweg te zijn want het met saxofoon toegevoegde nummer And Crayon Toxic Twins komt harder en scherper over, en is één van de meer opzwepender nummers op dit album.
Kwetsbaarheid tonen wordt ook niet geschuwd zoals we kunnen horen op In Liquid Summer Schools dat op mij nogal breekbaar overkomt.
Maar zoals gezegd is het een album dat veel uitersten kent en allerlei kanten opschiet, want zo vormt Did My Absence Follow Me een enorm contrast met het breekbare van het nummer ervoor. Dit klinkt steviger maar wel met zoveel kleine, spannende details dat het je begint te duizelen als je even niet goed oplet.
Scott walker is toch weer een naam die in me opkomt als ik The Last Bruise I Harvest Here hoor. Misschien toch een beetje dat vaudeville sfeertje?! Een naam die me in elk geval zo aan het einde van deze driedubbelaar niet los kan laten, zoals ik bij The Firstborn Stands Sedated onwillekeurig toch weer moet denken aan Sopor Aeternus. Vergelijkingen die misschien wel helemaal niet goed opgaan want Justin Curfman weet een behoorlijk eigen sfeer neer te zetten.
Via het The Cure-achtige I Am Erasing Doors (ja, ook die vergelijking kan ik niet helemaal achterwege laten op een aantal nummers) komen we terecht bij het donkere door drumcomputer gedomineerde Where All of These Towns and Choices End en kristalheldere, instrumentale On Glass.
Attend blijkt een muzikaal avontuur van ongekende proporties en vraagt heel veel geduld en inleving van de luisteraar.
Ik denk dan ook niet dat ik dit album al volledig onder controle heb, weet te temmen, want dat is wat je moet doen. Een wild, ongeleid project dat je moet proberen te gaan koesteren en dat gaat heel veel inzet kosten.
Inzet die niet iedereen er voor over zal willen hebben. Het is ook niet makkelijk maar dat hoeft ook niet altijd. Laat ik er ook bij zeggen dat het album voldoende nummers kent die heel goed te doen zijn voor jaren '80 wave liefhebbers of muziekliefhebbers die niet vies zijn van de wat donkerder kanten in muziek. Het is zeker ook niet zo dat we hier te maken hebben met moeilijkdoenerij want daarmee zou ik onterecht te veel mensen afschrikken.
Nee, Attend is een bijzonder avontuur waar je je in moet storten en het zal z'n tijd nodig hebben, maar je voelt doorlopend een muzikaal kloppend hart en dat weet wel degelijk te raken.
Feeding Fingers – Attend (2016)
Review by Eric Walbeek (musicmeter.nl reviewer, Holland)
Rating: 4 out of 5 stars
For me Feeding Fingers' 4th studio album, ‘The Occupant’ from 2013 is my only frame of reference, concerning the music of Feeding Fingers.
I was asked to take some time to review their new triple vinyl album, ‘Attend’ which lasts almost two hours. It’s a challenge of course. I was expecting almost two hours of an 1980’s feel a la the album's second track, "Ashes Displayed in Zoos", which makes me think of bands like The Mission or of the experiments of Killing Joke's Jaz Coleman. The song also reminds me of The Cure and Dead Can Dance, due to the Eastern elements, but that’s far from all of it, because all kinds of things are passing by on this album: pianos which are microtonally tuned, saxophones, avant-garde, electronic soundscapes... 'Attend' really goes in every direction imaginable. And that is what’s making this album a pretty massive load of music to absorb, which is hard to do all at once. Yet, on the other hand, you find yourself in such a whirlwind of sounds, styles and genres that you as is you are like Alice in Wonderland.
The 80’s wave-style songs, such as, "A Sleeping Centipede Presence", are the most recognizable to me, but these are not necessarily the songs I appreciate most on this album. It is precisely the side roads that make 'Attend' interesting and give the album its special atmosphere, such as the more than seven minutes long title track which is an adventure in and of itself: dark wave, turns into an almost ethereal sound sung by somewhat creepy angels. Uncanny and blissful at the same time.
This song is followed seamlessly by a one and a half minute piano solo titled "Flusso", which reminds me of gloomy scenes in horror movies. The toy piano in the intro of the following song, "All in Full Bloom Smeared" doesn’t really relieve that feeling. You can feel a tension sticking with you all the way through the song. It’s the same kind of creepy atmosphere always created by Sopor Aeternus. Feeding Fingers knows how to do that just as well. This doesn’t make a person particularly cheerful.
Scott Walker also isn’t one of the most cheerful guys with his last few albums and I hear a bit of that sound in the track, "Through Marrow Always", which is sprinkled with warm layers of analog synths.
The tone of "Abrasive Remains Lubricate Me" is a bit lighter. It’s like getting some breath just at the right moment, which is necessary in order to prevent the album from developing a stifling and static character, which almost would make you feel like you’re trapped inside of it. But don’t be mistaken, this track also has a gloomy touch, but it’s of a kind I personally enjoy.
"Polaroid Papercuts" has that very recognizable sound again. The Cure isn’t far away here - this is the style of music that most fans will know and recognize from Feeding Fingers.
At about halfway through this enormously varied musical adventure, "Quintet" creates a beautiful moment of change.
After this comes, "At Play with Wasps". During the intro this sounds to me like a song of Marc Almond during his dark period, nevertheless with Robert Smith-like singing. Likewise with "Survive Bliss" - I suppose this is caused by the accordion, which adds a bit of a vaudeville touch to it, although there’s also a lot of freakiness sprinkled through it, giving the song a kind of unruly character.
It appears to be a side way, because "And Crayon Toxic Twins", a track with a nice touch of saxophone, is louder and sharper again. It’s one of the most uplifting songs on the album.
Also a more vulnerable sound is present on ‘Attend’, as we can hear in "In Liquid Summer Schools", a rather fragile song.
But as I said, it’s an album that has many extremes and goes all over the place. "Did My Absence Follow Me" creates a huge contrast with the fragility of the song before it. This sounds heavier, but with so many small, exciting details that you begin to feel dizzy if you do not pay attention well for a moment.
Scott Walker comes to mind again when I hear "The Last Bruise I Harvest Here". Maybe it’s that vaudeville atmosphere again? Anyway, it’s a title that seems unable let me go when reaching the end of this album. Just like "The Firstborn Stands Sedated" inadvertently reminds me again of Sopor Aeternus. But, these are comparisons that might not go well at all, because Justin Curfman knows how to create a pretty unique atmosphere himself.
Via the The Cure-like "I Am Erasing Doors" (yes, on some songs I still cannot completely omit that comparison) we reach the dark and drum computer dominated "Where All of These Towns and Choices" and the crystal clear instrumental "On Glass".
‘Attend’ is a musical adventure of unprecedented proportions and demands a lot of patience and empathy from the listener.
I do not think I have this album already fully under control, nor have I managed to tame it, because that's not what you should do, in my opinion. It’s a wild, unguided project that you should try to cherish. It surely will take some effort to reach that point. An effort that probably not everyone is willing to make. It’s not easy, but that’s also not always necessary. Let me also mention that the album has enough songs for 80s wave lovers or music lovers who are attracted to the darker sides of music. It is certainly not the case that Feeding Fingers is only trying to make difficult music here, because that would unjustly scare too many people away.
No, ‘Attend’ is an extraordinary adventure that demands your attention and takes time to absorb, but throughout you constantly feel a musical beating heart which is something that will surely touch the listener.
Feeding Fingers - 'Attend' (2016)
Review by: Paul Tetteroo (Sounds for Sure Records)
Attend is the fifth studio album by Feeding Fingers, a project suited for the musical expression of animator/filmmaker, musician, writer and artist, Justin Curfman. To a small group of fans, Feeding Fingers is known by now for their highly esteemed post-punk sound that stems from the early 1980’s, inspired by bands like Wire, Virgin Prunes, Cocteau Twins, And Also The Trees, The Cure and Joy Division. Still Feeding Fingers’ sound has been through a change.
Curfman himself composes and orchestrates the music for his albums and he records the largest part as well. On Attend’s forerunner The Occupant, he already tried for other musical directions. The music became more layered and, perhaps, it became also more difficult to attach a label to the sound. To expand his possibilities on that album, Curfman also started to work with some guest musicians; a violinist and a choirboy. Besides that, he started experimenting with various, non-conventional instruments as well, such as the theremin.
With Attend, Justin Curfman not only has continued this trend, he has extended it even further. The album is the result of his decision to record a double-album within 18 months. Eventually, Curfman was determined to record 25 songs which would end up as a double CD. However, since the album is released on vinyl, it resulted in a triple album.
This triplet can by no means be put into one box anymore as far as genre is concerned. It splashes diversity. Although a few songs can still be classified as post-punk, e.g. like "A Sleeping Centipede Presence", "Polaroid Papercuts" and "At Play with Wasps", the total of the 25 songs are mainly connected by having been risen from Curfman’s creative mind.
We find experimentation with a jazzy sound on "Barbed Wire Threads the Sun", a song slightly reminiscent of Bohren & Der Club of Gore, a German band known for their dark ambient jazz. The song "Attend" is even such an experimental mix that it could be regarded as avant-gardish.
So, you will find no clear-cut, straightforward musical pieces here, but rather music that requires some investigation, should the listener not grasp the meaning instantly.
Curfman steers vastly away of the necessity of being put in a genre box. Obviously, this does not entail we have lost the trusted Feeding Fingers. Their music still evokes the sphere of dark realms and ominous feelings, e.g. in "All in Full Bloom Smeared", a song that can easily be considered gothic rock. By the way, it is really a children’s piano that can be heard on this track.
There is also plenty of experimentation with alternative instruments. Is that a typical end of 70’s / early 80’s synthesizer in "Through Marrow Always"? Yes indeed, an original Roland Jupiter-4 forms the base in this song. And what precisely is that well known 70’s sci-fi sound that we hear in "Did My Absence Follow Me"? Well, that’s actually the theremin, in a pretty weird combination with a hip-hop like beat.
The up-tempo "And Crayon Toxic Twins" contains a large section of a freaky saxophone tones played by guest musician Ned Rothenberg. Speaking of freaky: the same can be said of the piano (with Japanese pianist, Shoko Nagai) in "Survive Bliss". Together with the accordion and the applied effects, this song is perhaps a bit hard to understand. This also goes for the short instrumental piano piece "Flusso", played on Ivan Alexandrovich Wyschnegradsky quarter-tone piano.
The use of Asian instrumentation is also remarkable. The rather dark, oriental sounding "Ashes Displayed in Zoo" is completed with a bizarre solo on an Erhu (a two-stringed Chinese fiddle handled by Erhu-virtuoso Chuan Qin), an instrument that is almost never applied in Western music. The basis of "The Last Bruise I Harvest Here" is formed by a Pipa, a Chinese lute played by Zhuxi Wang.
There is a lot to be discovered with this new Feeding Fingers album. It constantly tickles one’s sense of hearing by its diversity and the peculiar combination of instruments. At the same time, styles are being rediscovered and combined. At the instant the listener presumes he grasps the album, he will be blown away by the powerful Sonic Youth-like noise guitars in the song, "The Smiling Dumb and Serious" - a song that also contains a poem written and read by Dana Culling (Curfman’s friend and producer), only to be surprised soon afterwards by the sensitivity and delicate beauty of "In Liquid Summer Schools", a song that has been produced in a rather pure manner.
Towards the end, we encounter more of these gems. The dreamy "Orphans Veiled in Feathers", the beautiful concluding song of the first side of the last LP in the set, can be considered as the introduction to the impressive final side. This starts off with the fragile "The Firstborn Stands Sedated", a beautiful and delicate song, that is being lifted by the minimal sound of the piano, violin (Marica Filomena Coppola) and violoncello (Maja Backovic). Justin’s vocals even are as tender as ever before.