Le'Talk: a Q&A with Will Gilbert of Secret Stash Records

By Juleana Enright

The local dudes behind Secret Stash Records just might own the coolest reissue label in the country. With a huge catalog of releases in the areas of African funk, freak folk, krautrock and forgotten international rock and soul gems paired with their all-inclusive knowledge of vintage music history, Secret Stash have carved a niche for themselves in the culture of record reissuing – a welcoming revival in a shrinking music industry.

We recently caught up with Will Gilbert, 1/3 of the brains behind Secret Stash Records to chat about how the label got its start, why the Twin Cities thrives on vinyl, and why record reissuing and buying local is saving the music distribution industry...




l'etoile: First off, what is Secret Stash and what's the story behind its inception?

Will: Secret Stash is an independent vinyl reissue label. We focus on unearthing overlooked funk and soul grooves from across the globe and pressing limited vinyl runs. The label was started by Eric Foss and Cory Wong in 2009 in reaction to their experiences working on projects for labels from the Walmart, Borders, & Best Buy model of music distribution, that segment of the music business is rapidly deteriorating and is a pretty sad scene. Vinyl is just about the only part of the industry that is going in the right direction. I think the label was a natural step for Eric and Cory: two people passionate about vinyl who enjoy sharing new (old) music with others.

As far as why vinyl was the format of choice, it comes down to the personality of vinyl diggers. It seems to me that the type of people who buy vinyl have a completely different mindset than those who primarily download or buy CDs. A lot of buying vinyl is in the experience. You go to your favorite local shop, chat with someone working there and maybe get some recommendations, spend a half hour or longer looking through all of the new arrivals, and leave with a few records. If you ask someone where they got their record, chances are they can tell you the store, what they were thinking when they saw the record, and maybe even the month or year they bought it. If you ask the same question to someone about an album in their iTunes, chances are you’ll get a blank stare. The point is, vinyl buyers, for the most part, are very active and engaged consumers. If you have an obscure '70s funk record from Ghana, more people are going to stumble across it in a vinyl bin than in a CD bin, or on iTunes.

Friday, October 14 at Clubhouse Jager, details here

l'etoile: Why do you think the resurgence of record reissuing – vinyl specifically – has become so popular?

Will: New music is so competitive that unless you spend millions of dollars saturating the market with advertisements, reviews from prominent tastemakers, and radio airtime, you can’t get people to listen, even if it’s free.

From a label’s point of view, the costs associated with doing a reissue are much less than a new release. You can get a lot of attention and interest in a reissue without having to spend a lot of money on marketing. With a struggling music scene and economy, a lot of labels are realizing reissues make a lot more economic sense than betting the farm on some up and coming act who likely will never make back the money spent on promotion.


l'etoile: With the competition in the music blogs scene and even between record labels, how are you able to find vintage artists and unique genres that haven't been hyped to death or reissued a million times over?

Will: We work in an office nine to five every day, sometimes longer. We are not a hobby label, and I think researching and networking on a continuous basis is essential to finding new material. That being said, sometimes it seems with the ever increasing number of reissue labels out there that finding untapped material in the future will be a challenge. We are off to sunny Miami in the next few weeks, so hopefully we will return with some more treasures!


l'etoile: You guys do a lot of research into the cultural and political history of an artist's country and time span before re-releasing their album, how does that affect your view of the record and its importance?

Will: I think there are different layers of appreciating music. When we choose projects, we are very conscious of a few things. First, it is important to us that the music can stand on its own, independent of any historical or cultural significance. Second, we research the culture, politics, and history of an artist’s native country so we can make sure we can do justice to a reissue, and present a story that contributes to the reissue landscape. Without both of those components, we quickly lose interest. The more we know about the back-story of a record, the more excited we become about the reissue; I remember sitting transfixed as I read about the history of Haiti while looking into the Tabou Combo reissue. And because of that history – combined with the great music – it is my favorite project.


l'etoile: What would you say to people to encourage them to support local record distribution? What are some of your favorite local labels and vinyl boutiques?

Will: Minnesota used to be a really important place for music distribution. Amos Heilicher, who started Musicland (Sam Goody, FYE), was a pioneer of indie music distribution, and Best Buy and Target have a history of being among the biggest music sellers in the country. The areas dedicated to music in Best Buy and Target seem to be shrinking every day. Over the last twenty years or so, that scene has virtually disappeared. If you value physical products, supporting local record stores will be the best way to ensure they continue to be made.

We really appreciate what Rhymesayers and Doomtree have done to put Minneapolis on the map as a hip hop destination. As far as stores, they each have their own charm. I would say the Electric Fetus is Minneapolis’ most successful indie chain, and they have a national presence. They do a great job stocking new releases. Treehouse Records, Roadrunner, and Yeti are old school record stores. They have a mix of used and new, and very cool vibes. If you are looking for a specific used title, Cheapo and Shuga Records - they probably won’t have it on display, but it is likely in their enormous warehouse – would be great places to start. The truth is we are very fortunate to have a thriving vinyl community – probably in the top ten in the country.

Catch Secret Stash founders Will Gilbert and Eric Foss in the studio for 89.3 The Current's recent Current Presents show here and join them Friday, October 14th at Clubhouse Jager as they celebrate the release of their latest reissue Obi Agye Me Dofo by Ghanaian legends Vis-A-Vis. Details here.

Le'Talk: a Q&A with Gigamesh

By Juleana Enright

By now we're sure you've heard of local remix-guru, Gigamesh. But just in case you haven't, here's the lowdown. Gigamesh is Matt Masurka, a Minneapolis-based multi-instrumentalist, producer, and DJ. Starting by releasing bootleg remixes on music blogs in 2007, he's built his name as a versatile remix artist and producer. His collaborations include being a member of DiscoTech and Señor Stereo, as well as co-producing albums for Minneapolis bands Lookbook and Estate. In 2010, he became a multi-platinum selling producer when his remix of Mike Posner's “Cooler Than Me” was chosen to be the first single on Posner’s debut album. The song rose to #5 on the Billboard Top 40 and was chosen as iTunes 2010 Pop Single Of The Year. Gigamesh will be releasing his debut self-titled EP worldwide by the end of summer. Not only is the dude the epitome of MN-nice, but his beats could move even the surliest of misanthropes to the dancefloor.

We recently caught up with MN returnee Gigamesh to chat about his latest projects, what's on his iPod and why he couldn't stay away from Minneapolis. You can catch Matt spinning this Friday at the Anthem Heart-produced party "Recess" at the Varsity Theater:

l'etoile: You recently returned to MPLS after a stint producing beats in Miami. What prompted the hiatus and why the move back?

Gigamesh: The main reason I moved to Miami was to work with my brother Joe and Danny (our other partner in DiscoTech & Señor Stereo). However, I realized shortly after the move that my career will benefit more from concentrating on music released as Gigamesh. So after a few months, I started missing Minnesota friends and family and drove back up to the home turf.

l'etoile: We hear you've been signed to a new management and are booking gigs all over the country? Can you tell us a bit about the new changes?

Gigamesh: Yeah I'm working with Travis Hayden, who co-founded IHEARTCOMIX and also worked at Atlantic Records. He's a great manager. I recently joined Coda for Europe/Asian gigs and will be announcing a U.S. booking agency soon. I've never been overseas, so the thought that music will be allowing me to go soon is very gratifying.

l'etoile: You've played quite a few gigs since your triumphant return including guest spots at Menergy and Recess. Has the energy on the dancefloor evolved since you've been gone?

Gigamesh: That's tough to say. In a sense I don't think dancefloor energy really ever changes. As long as everyone is there to have a good time and are open to hearing new music, it will always be great.

l'etoile: Where do you see the future of dance parties heading and how does our local music scene fit into that?

Gigamesh: I see audiences becoming more and more open-minded. It's really exciting! Genre classification/loyalty is continually dissolving and people who primarily listen to pop radio seem to be more willing to take a chance on music they're unfamiliar with.

l'etoile: Is there a difference between the tracks you play at parties and the artists you listen to at home?

Gigamesh: Yeah, for the most part my favorite 'listening' music has very little overlap with the music I play out. I have a big appreciation for orchestra music, jazz, experimental stuff, etc... To stay creative, I think it helps to listen to as big a variety as possible.

l'etoile: Who are a few of your current loves/what's on repeat on your iPod?

Gigamesh: Gil Scott Heron's last album and Jamie xx's remix album of it are pretty high on the list. I'm also a huge fan of Bibio and Tame Impala. As for dance music, recent favorites include Carte Blanche, Lone, Midnight Savari, Breakbot, and Faze Action.

l'etoile: Any projects in the making we should know about?

Gigamesh: The main focus is my debut EP coming out in September. I'm planning to make a music video for one of the songs. Other than that, there is a song I started with the group "Oliver" (U-Tern and Oligee) that I'm pretty excited about. As for remixes, I have one coming out soon for Theophilus London, and a few others that I shouldn't mention quite yet.

l'etoile: Besides friends and family, what did you miss most about the Twin Cities?

Gigamesh: Tap beer – very few Miami bars have it.

l'etoile: Lastly, l'etoile and our music geek readers want your opinion: Spotify vs. Grooveshark.

Gigamesh: I haven't even heard of Grooveshark...will have to check that out. Spotify is awesome, although I heard that indie labels get unfair deals because they have less negotiating power. Other than that I love it!

Props to Gigamesh for all his awesome success and be sure to catch his signature DJ style at RECESS this Friday , Saturday night in The Entry & at Extra Large in the Record Room August 12^th.

Le'Talk: An Interview with DJ Millions Billions

by Tara Sloane

No doubt the next three weeks will be jam-packed with opportunities to drink, dance, and be holly jolly, but you may as well start the (party) season with a bang: The 37th Annual Shitty Christmas Party! Unlike the exclusive, invite-only parties of yore, the 37th annual is open to one and all – one of many awesome new firsts masterminded by DJs Jonathan Ackerman and Millions Billions. The boys have wrangled together a stellar lineup of local DJs including Soviet Panda, DJ Bach, Tendercakes, Famuel, and more. Long story short: prepare to dance ‘till you can’t feel your feet – and get extra jazzed with our stocking-sized interview with Ned Lampert a.k.a. Millions Billions.

Photo by Erin Nicole Johnson

l'etoile: You’ve promised “nutzo.” But what exactly are partygoers getting themselves into at the 37th Annual Shitty Christmas Party?

Millions Billions: At the 36th Annual Party (last year's) Jonathan Ackerman said to me "This is the craziest party I have ever been to". So, when he and I were approach to throw/promote the 37th, we knew it had to be even better. We'll have a bunch a gifts, decorations, a great line-up of DJs (duh), drink specials and room full of beautiful, interesting people. It's gonna be great.


What’s it like collaborating with pretty much every awesome DJ in town?

It's the best. We've all played together at one point or another, but to have everyone in the same room is a rare treat. Each DJ has their own well-established style, and they bring such a unique crowd. The whole idea for this year's was to get (nearly) everybody together and bask in the warm glow of the Minneapolis dance music scene. It gets me into the holiday spirit just thinking about it.

Will Santa really be in attendance?

Yes. He's been texting me non-stop. "Yo Bro, this year's is poppin off! FTW"

What’s the best Christmas gift you’ve ever received?

My mom bought me a really fantastic squash racquet last year. I was just getting serious about the game, and she took the time to find me the racquet I wanted and a bunch of gear to go along with it. It was super thoughtful.

The shittiest?

Since I am a DJ people are always giving me music or music-related items - not to mention asking me what every song is on the radio. Two years ago someone in my family gave me an Elvis Clock that looked like it belonged in the furniture clearance area at Target - that was probably the worst.

The 37th Annual Shitty Christmas Party happens this Friday, December 10th at the Triple Rock Social Club. 9pm / 21+ / Free. Click HERE for the Facebook invite.

Third Thursday Preview: An interview with designer Samantha Rei

by Juleana Enright

Tonight, Third Thursdays will unveil the products of a design challenge poised to pair four local fashion designers with works from Minneapolis Institute of Art's extensive trove. Inspired by the pieces' artistic aesthetic and cultural elements, the designers have created looks that bring their visionary juxtaposition with art and fashion to life via a stylishly eccentric gala runway show. In this article, l'étoile will be featuring a short Q&A section where readers not only get an insider's perspective on the designers' specific art choices but also catch a sneak preview of their wearable “works of art” collection.

We caught up with fashion designer and the creative chops behind local apparel line, Blasphemina's Closet, Samantha Rei, to chat about the challenges of experimental sewing projects, fashion as escapism and why her Third Thursday collection is a l'amour homage to her hubbie.

l'étoile: The works you chose as inspiration are very architectural: panels, grilles, terra-cotta tiles, an upholstered chair. What drew you to these?

Rei: Love, I guess. I'm a very romantic and whimsical type of person. I'm usually drawn to pretty and feminine things. My husband has had a long love affair with structured and blocky types of things. When we go to the MIA we go to the same wings all the time: Japanese Art, anything Rococo or Baroque, and the Art Deco section. Art Deco makes me think of him and it's pretty much the opposite of my aesthetic. It's both a challenge to my usual look and love letter to him.

l'étoile: George Elmslie – the artist who created the majority of your selections – designed with an organic, ornamental aesthetic in mind. How did you incorporate this aesthetic into your Third Thursday collection?

Rei: I did a lot of hand sewn trims when I couldn't find fabrics that had the shapes I wanted. I made felt backings for the circles to make them perfectly shaped, but hand stitched braided trim to get the right manipulated look. I chose lighter weight upholstery fabrics to get the prints I wanted and stayed with structured, yet pliable dupioni silks to get the rigid and organic look I was going for in the solids. I think so many of the items were both feminine and masculine, structured and fluid. It was a fun experiment!

l'etoile: These artworks are decorative yet useable, reminiscent of how the Victorian-inspired designs in Blasphemina's Closet are ornate, yet still function as wearable fashion pieces. How do you create garments that are whimsical while retaining their relate-ability?

Rei: I think about the fact that I'm not the only escapist out there. What would you want to wear to make yourself feel special if you were sure no one would give you a hard time? And in the end, would you really care if they did give you a hard time if you felt beautiful?

I try to put myself in the shoes of every prince and princess that live in the minds of every man and woman. There's no reason why people can't wear art every day and still be comfortable. I think there's an epidemic of comfiness. People equate comfortable with easy and lazy. It makes me sad to see people going through their day, not making a statement, or if they are, that statement is' "I don't care what people think of me. I want to blend in. I don't want my appearance to cause a fuss." When making a collection, I pick a theme that makes me warm and tingly inside; I ask people what they wish they had and I run with it. I do a lot of research; I read a lot of books; I watch a lot of TV and movies. I never want to make a garment that would make someone feel like they are set apart from everyone, because I don't want them to feel lonely. But at the same time I want them to make a statement, be a leader and run with their own look.

For more info on Third Thursdays at the MIA on November 18th click HERE.

For more info on Samantha Rei click HERE.

Third Thursday Preview: An interview with designer Laura Fulk

by Juleana Enright

On the November 18th, Third Thursdays will unveil the products of a design challenge poised to pair four local fashion designers with works from Minneapolis Institute of Art's extensive trove. Inspired by the pieces' artistic aesthetic and cultural elements, the designers have created looks that bring their visionary juxtaposition with art and fashion to life via a stylishly eccentric gala runway show. Prior to the event, l'étoile will be featuring a short Q&A section where readers not only get an insider's perspective on the designers' specific art choices but also catch a sneak preview of their wearable “works of art” collection. (photo of Laura by Marshall Franklin Long)

This week, we went behind the sewing machine with sculptress and fashion designer, Laura Fulk, as she talks about her personal connection to photography and how she plans to bring her clothing collection to life.

l'étoile: As fashion inspiration you choose pieces by photographer and electrical engineer pioneer, Harold Edgerton. What drew you to his work?

Fulk: I was a partial photo major in my undergrad and was always drawn to his work. I still get a little star struck to think that the MIA owns it here, in Minneapolis. I think generally even the average person would think his work is astounding. What he’s done – especially during his era – was ground breaking and it’s flat out bizarre to see time frozen in such a way. I'm excited to put that "frozen explosion" in to a garment that moves...and breathes.

l'étoile: Edgerton was credited for his contribution transforming the lab instrument, the stroboscope (aka the strobe). Do you have any plans to execute this concept of oscillation and cyclical motion in the collection you're showcasing?

Fulk: Initially I did, yes. As the concept and actual pieces developed it started to become more about “the era” and the physical act of “blowing up.” I did a similar series in my art school days by blowing up jackets with firecrackers.

l'étoile: These particular photographs feature a sort of severed disconnectedness, an aesthetic that reminds us of some of the dramatic collars and spliced geometric shapes your past garments have incorporated. Is this something you thought of when selecting Edgerton's photographs?

Fulk: Absolutely. There was so much visual beauty in his work it almost takes my breath away. It’s really something when you can create physical reactions through art/fashion such as a “gasp”. That’s what makes me do what I do.

For more info on Third Thursdays at the MIA on November 18th click HERE.

For more info on Laura Fulk click HERE.

Third Thursday Preview: An interview with fashion designer Emma Berg

By Juleana Enright

On the November 18^th, Third Thursdays will unveil the products of a design challenge poised to pair four local fashion designers with works from Minneapolis Institute of Art's extensive trove. Inspired by the pieces' artistic aesthetic and cultural elements, the designers have created looks that bring their visionary juxtaposition with art and fashion to life via a stylishly eccentric gala runway show. Prior to the event, l'étoile will be featuring a short Q&A section where readers not only get an insider's perspective on the designers' specific art choices but also catch a sneak preview of their wearable works of art collection.

This week, we caught up with mplsart.com founder, local curator and fashion designer, Emma Berg to talk movement, methods of inspiration and – of course – surrealism...

Songye

Songye, African Sculpture from the 20th Century

l'étoile: In recent collections, your fashion aesthetic has incorporated architectural elements as well as a whimsical tone, yet this piece seems to evoke a primal tribalism. What drew you to it?

Berg: The works of art that I selected are all interconnected by the impact that movements have on the movement that follow as well as the inspiration that select works have on individual artists. In 1907 Pablo Picasso saw an exhibit of African artifacts at the Palais de Trocadero. It is argued that this experience influenced his completion of the work Les Demoiselles d'Avignon, seen by most as the first work of cubism.

In my translation of the Nkisi, I was eager to explore the modern idea of adornments, the use of raw materials and the bottom heavy silhouette.

Dali

Salvador Dali, Portrait of Juan de Pareja, the Assistant to Velazquez, 1960

l'étoile: The muted colors in this piece differ quite dramatically from your designs which often embrace vibrant color. Was it the surrealist aspect that motivated this choice, or was a chance to change your palate?

Berg: I saw this piece on view at the High Museum of Art in Atlanta while viewing the Dali exhibit; it was on loan from the MIA. Seeing the exhibit reminded me of my interest in the (surrealist) movement while I was in college, during which time I visited the Salvador Dali Museum in St. Petersburg, Florida. To me, Surrealism provides a freedom of thought that juxtaposes imagery in a way that may have never visually or verbally been combined, creating a new thought that is not defined by a prescribed process. This gift in an artist is inspiring to me.

The Salvador Dali piece pulls inspiration for the previously created garments (Nkisi and Picasso) and works to represent the structure and exterior in one – as in the painting – as well as a placement and combination of deconstructed elements that create a new ensemble of a whole.

Picasso

Pablo Picasso, Woman in an Armchair, 1927

l'étoile: As a curator, when does a work of art go from being a piece that you appreciate or decide to exhibit to a work of art that inspires your own creativity, as in the Picasso painting?

Berg: For me, art and often times the mind and personality of an artist are enviously inspiring. Each work of art that I see and take the time to digest will somehow impact how I come to a conclusion on something else in my life. I truly believe that each I idea I have, each dress I execute, exhibition I curate, the limitations that I might place how I execute a task are all absorbed and influenced through what I experience.

In choosing the Woman in an Armchair piece, I wanted to select a painting/movement that influenced Surrealism in order to show lineage between all of my inspiration pieces.

With the Pablo Picasso piece I was inspired by the flatness which removed dimension, the distorted profiles that are to represent multiple views and the combination of all elements into one whole. My final garment will represent the “armchair,” the “woman” and the room all with equal importance by layering transparent representations of the three into one garment.

The Reluctant Graveyard, A New Hope and a Personal Voyage for Jeremy Messersmith

by Rob Callahan

Rob Callahan checks in with hometown fave, Jeremy Messersmith as he gears up for a big show this Saturday at First Avenue. Hot off a summer of touring in support of his latest album, Messersmith chats music, the creative process and his unique approach to self-promotion in a digital world.

The Reluctant Graveyard is an album about death. Well, mostly. It's an album full of songs about love, friendship, obsession, loss, judgment and vision. It's also about the impact death has on all of these. For Jeremy Messersmith, the chief undertaker behind the pop sensibilities and rock n' roll spirits that haunt this eleven song requiem, the moodiness lurking just below the surface of the upbeat hooks and lyrics arose from something of a personal soul-search.

“I'd been thinking a lot about it,” he recalls. “And I had moved from a belief system that included an afterlife to one that didn't, and so I had to re-think death as something that's pretty much the end. I think these songs were just me subconsciously trying to process that.”

“For the most part I'd say they're pretty fictional. They all ended up being about characters and stories,” he says of his songs, in which the intimacy of a close and personal conversation is often implied. “But there are little moments that ring true for me personally like in A Girl, A Boy and a Graveyard. A lot of those lines are sort of taken verbatim from conversations I've had, so that song is very personal, even though it's within a fictional framework.”

Although the subject matter may be dark, the album's tone and delivery are often upbeat. The opening track, "Lazy Bones," is presented with the polish and production values of early Jeff Lynn. "John the Determinist" could have been a breakaway track off of Revolver just as easily as it is the midpoint along Messersmith's meander along the mortal coil's many twists and turns. The homages to classic rock conventions go on, employing elements of the Zombies, the Turtles, the Easybeats and the Kinks to craft the songs.

“When the four of us were sitting down to arrange the songs, we were throwing out ideas,” Messersmith recalls of the creative process, in which he worked with fellow musicians Andy Thompson, Dan Lawonn and Brian Tighe. “We would ask 'What if the song went this way, or what if we moved this section over here.' Brian is a huge Kinks fan, and sometimes he would say that's a very Kinks-y thing to do. Then we would basically end it. We'd say, 'Well, it it's Kinks-y, we have to do it.'”



The decision to draw from their upbeat influences within the classic rock canon was a conscious one. The band considered the album's otherwise dark tone and concluded, “Nobody is ever going to want to buy a record about a graveyard. It just sounds so depressing.” So Messersmith et al. sugared the proverbial bitter pill, layering it within a symphonic suffle and toothsome three chord riffs with just a hint of bubblegum.

“If I were a chef and I were creating a dish,” Messersmith muses, “That's sort of what this is.”

The creative, collaborative process behind The Reluctant Graveyard produced a sound rich in detail bespeaking a practiced, meticulous creativity while it retains and expands upon Messersmith's earlier, more organic sound. “My first record was just me recording in my basement, and I just did the whole record. The demos just sort of became the record,” he says. “On the second one, I went in with full songs and then sat around with Dan Wilson goofed off. We did some arrangements, but it was mainly just me and Dan, and then sometimes Andy. Some of the demos made it on to the final record.”

In order to hone his craft for the new album, Messersmith used a minimal, low-fi setup to record the demos. Using only his lap top mic and Garage Band, he produced recordings that were intentionally horrible to listen to.

“That way, none of us would get too attached to the demo, and we would feel okay rearranging it or making it sound better. If you make it sound a little too nice, you might get attached to a particular line, or the way you sang it.” In the end, all but one of the songs had been extensively reworked from a rough outline to a rich, dense story. Only stripped-down ballad "Repo Man" was recorded just as it sounded in an earlier demo, its voice already fitting its tale.


Noting that his success as an independent artist stems from his roots as a fan, Messersmith considers the relationship he has nurtured with his own fans. “If I was a fan of someone I'd want to hear what they were doing every week and find out what was going on, so I try to update my website every Wednesday with something.” Not unlike They Might Be Giants' now defunct Dial-A-Song service, Jeremy Messersmith's website has provided enthusiasts with a new weekly tiding straight from wherever the singer-songwriter happens to be at the time. Between offerings of new music and live videos, he sometimes also puts out personal messages, sharing the books that take his interest or commenting to his fans that he'd like it if his wikipedia entry, for one, was factual and accurate.

“I like doing that,” he admits, noting that an online presence not only keeps him in touch with his audience, but fuels the karmic engine that propels us through life. “I feel kind of guilty for all the content that the internet has given me, and I feel that I should try to contribute something. So I'm giving something back. The other thing is it keeps me constantly motivated to put something new out there, so it's a way to keep myself engaged.”

Like many in the music industry, Messersmith watches the trends in online sales and distribution, indulging his self-confessed nerdy side by checking in on techdirt and boingboing to keep abreast of the changes inherent in technology's relentless advance. This influenced his early decisions to offer free content online, and the content he adds to his website doesn't just please his fans. It also helps to satisfy his curiosity and his creative passion. “It's interesting, and I'd rather have somebody listen to my music than not listen to it, so it seems like a good idea. And it's nice that you can go and download whatever you want off of the Bandcamp.com page.”



Bandcamp is an online distributor that has gained popularity among independent artists for its ease of use and fair royalty structure. It has served as the digital distribution model for other well-known artists including Amanda Palmer and Imogen Heap. “I started posting stuff in February or March,” he says. “I put my first two records on bandcamp then and, right from day one, I put The Reluctant Graveyard up.” In addition to iTunes, Amazon and other more established eMusic sites, it has boosted the number of people enjoying his music around the world.

“You pay what you like for my album,” Messersmith explains, “And basically, as long as it doesn't cost me anything to distribute and I can make my records fairly cheaply, then I have no trouble giving it away, cause it doesn't cost me anything.”

Messersmith sees the Bandcamp model as an extension of his other online experiments. Just as putting up free content provides an incentive for fans to check in and keep track of new shows or the next release date, the pay-what-you-like business model that was made famous by Radiohead's In Rainbows album has helped to bring in new fans who might not have access to independent music stores, or who may not want to spend a lot of money on an unfamiliar artist. Those higher numbers translate into larger shows when he's on tour, where he enjoys bringing his online relationship with his fans full circle, and playing for them live.

For Messersmith, this is a mix of business model, science experiment and artistic vision. “I sometimes think it's some sort of movement, but virtually everyone I've talked to – labels and indie artists alike – nobody has any idea what to do anymore. Everybody's just trying all these different things until something kinda sticks and they find something that works.”

“Halloween Alaska is using a pledge to raise money to make their new record. I know Kaiser Cartel, who I toured with, did much the same thing. And I know Sufjan Stevens just released his new record on bandcamp, so maybe it's a trend. It just seems like all the digital tools are there, the things that you would traditionally need a record label to do for you. Right now, you can do them online pretty easily.”



Although, even when the album is in the bag, the music keeps evolving. Fans see this happen when a new live version of an older tune hits his website, as there are always tweaks and changes that can be made. There are new arrangements, new angles and new perspectives. New arrangements are a part of Saturday's show and that excites Messersmith most. “I'll be very happy to have the strings section back,” he says. “I haven't played with them since the release show back in May. So we're working on a bunch of new arrangements and I think we're going to use the strings section a little more heavily during the show. I'm also collaborating with a VJ who's going to do some very interesting lighting and visual stuff.”

The First Avenue Mainroom show wraps up an extensive Summer tour and, as his busy schedule winds down, Messersmith is easing back into life at home. As an instructor at McNally Smith, he'll resume teaching songwriting to younger, aspiring artists and he'll complete a hand full of other shows before the year is up.

And if any of those shows get recorded, look for footage to join the ever-increasing repertoire of video, thoughts and commentary at JeremyMessersmith.com.

Jeremy Messersmith performs an early show this Saturday in the First Avenue Mainroom. 6pm, 18+, $8 adv/$10 door ($5 with a valid student ID). Openers include Total Babe and Chastity Brown.

Lé'Talk: An interview with Weisman curator Diane Mullin

by Kate Iverson

This Friday, the Weisman Art Museum will host its last official exhibition opening of 2010 before shuttering for a year to make way for the new museum expansion. And while you're still welcome to visit the Frank Gehry-designed art mecca through October, this weekend's relative last hurrah is sure to be a doozy. A roster of 10 all-local artists make up the Ordinarily Here exhibition, a stellar collection of artwork comprised of or based on every day objects and experiences. From Elizabeth Simonson's intricate, mind-boggling wire and cellophane tape installations to Jenny Jenkins' charmingly domestic embroidery pieces that depict local graffiti tags, the exhibit embraces and celebrates commonality in an incredibly uncommon way. Want to check out the exhibit with us? We're hosting our next l'étoile Field Trip at the Weisman this Friday, followed by an uber-secret arty after party. Click HERE for details on the Field Trip!

We chatted with "Ordinarily Here" curator Diane Mullin this week about the exhibit, the expansion, and the Twin Cities art scene...

l'étoile: Over the past year, the Weisman has been producing exhibits based on the art of the everyday. How does Ordinarily Here play into that theme differently than past exhibits?

Diane Mullin: For our 2010-11 investigation of the everyday, we focused on the varied meaning and manifestations of that idea in a number of our exhibitions and programs. In the fall, our exhibition To Have It About You: The Herbert and Dorothy Vogel Collection we presented a recently gifted collection with a special emphasis on how the Vogels made art a part of their of everyday lives. Branching from there we considered other ways in which people, not just collectors, but also museum-goers, artists, readers, and students. do and can make art an ordinary part of their lives. In the new year we presented works from our collection that addressed the idea of the common over the course of the last century and a half. This summer, we are focusing on our immediate artistic community by featuring ten living Minnesota-based artists whose work considers or utilizes the idea of the ordinary. In particular, the works all use a sense of place or context as a key element in the work.

Jenny Jenkins / Risk, 2010 / embroidery

You've focused on local artists for this exhibit, which is not an uncommon practice for the Weisman. Why do you think some of the other big museums veer away from this practice? How deliberate are you in choosing local artists to show?

First, I will say that the other museums in town don't necessarily veer away from exhibiting local artists. I think the manner in which they engage the local art community is in keeping with their particular missions. As a land-grant state university the Weisman is actively involved in keeping and assessing the state's history. And as has become more common with art museums, the Weisman is more actively involved in the presentation and at times production of contemporary work from the local area. From the recent survey of WARM to the exhibition of selections from our vast collection of New Deal art, the Weisman is, as a part of its mission, cataloging, researching, presenting, and offering new interpretations of the history of art here in the state. The choice to feature Minnesota-based artists for Ordinarily Here was entirely deliberate. It was an important part of the idea for the show. It seemed like the perfect ending to the year. The close-up focus on our community in this moment of increasing emphasis on the local--a social trend in which Minnesota is certainly a key if not a leading player--literally brings it all back home.

Adam Caillier / Antler Speaker, 2009 / inkjet print

The Weisman has a huge collection packed away in its vaults! How is the process different when curating a collection show as opposed to a show like Ordinarily Here?

As a curator I would say a major difference is the element of unpredictability and give and take one experiences working with living artists. Contemporary artists almost always want to at least tweak older work and more often would rather present something new in such a setting. While this is exciting, it requires a particular kind of effort and attention. When I draw from that vast store house in the "vault" as you say I have more time to consider, compare, and choose works. However, in all fairness, I must also say here that that vault has yielded its own fascinating surprises that have proven quite fruitful for me over the six years I've been working at the Weisman!

Vince Leo / Becaused / pigmented inkjet print

This Fall, the Weisman will be closing its doors for a year to complete the new expansion! What is being added and what sort of exciting new programming can people expect when you reopen?

Well, while we are keeping some particulars under wraps I can say that there will be new galleries for American art, ceramics, works on paper (which comprises the majority of what's in the "vault"), and a studio-based space for collaborative work. I can also say you can expect to see more interactive interpretive strategies, more new and commissioned work, and more university student and faculty involvement in the galleries.

Building Expansion Project / West Facade / Image courtesy Gehry Partners, LLP

What else does the Weisman have going on through the summer?

We'll have an installment of our WAMplified live music series featuring Minnesota band Solid Gold. That will include a midnight gallery tour with a number of the artists. We will continue our monthly Weekends with the Weisguides program. We'll also present an installment of our WAM Chatter series in September, asking the question: "Do local artists count?"

Val Jenkins / Shreds of Wit, 2010 / graphite on paper

What do you think about the local art scene and how do you think Minneapolis compares to other big art cities in general?

The Twin Cities is renowned for its unmatched support of not only arts institutions but also individual artists. That combined with an increasingly acknowledged globally diverse and smart population, makes this, I believe, a vital nexus for the arts. Capitalizing on both its sophistication and its relative smallness,the Twin Cities can be a wonderfully supportive place to produce, enjoy, and learn about the arts.

The opening party for Ordinarily Here happens on Friday, June 18th from 5:30-8:30pm at the Weisman Art Museum and is free and open to the public. For more info visit www.weisman.umn.edu.

For details on the l'étoile Field Trip to the exhibition plus a secret location after party click HERE!