Tuxedomoon's epic 2016 Half Mute Tour comes to a close tonight, June 10, here in Milano. It has been quite a ride. We thank all the fans, friends, and others who have come to these shows and made this the rich inspiring experience it has been. Much love to all and sundry.
Peter Principle and Dok Gregory's Zero Gravity Thinkers' new CD is now released. It will be available at the Merch table for all of the dates on the tuxedomoon Half Mute tour.
Announcing the release of Steven's album of Music for Film and Theatre
Music For Film & Theatre is a soundtrack anthology by Tuxedomoon member Steven Brown
Due to the recent passing of our beloved friend and comrade, Bruce Geduldig, Tuxedomoon has recruited a new visual arts man for the upcoming Half-Mute tour. His name is David Haneke, an Austrian artist resident in Switzerland. We look forward to welcoming him into the fold.
Here is an excerpt from his CV:
David Haneke, born 1965 in Vienna, Austria. Lived from 1985 - 2005 in Amsterdam, The Netherlands. Since 2005 in Switzerland. Studied “performing arts” at the National School of Arts in Amsterdam. In addition to acting in many Dutch theatre productions - including several years as performer with innovative site-specific theatre group BEWTH - he has directed and produced a number of independent films and video installations in the Netherlands, as well as creating pre-recorded and real-time video projections for theatre, opera and dance groups. His short film 'Humming Wires' won a special award at the Advanca Film Festival in Portugal in 1998. In 2000 founding Studio Ame and works additionally as Cameraman and Camera director for Events- and Television productions. From 2000-2004 worked as editor and cameraman for Postproduction Studio Vermaas, Amsterdam. 2001 Teaching Sound and Cinema in collaboration with Marco Vermaas at the Film festival Avanca- Portugal. 2000 MEMBER OF JURY at the Short film Festival Köln: Short cuts Cologne
1988 - 1992 PERFORMING ARTS at the Amsterdam School of the Arts (NL) AHK, De Theaterschool - Mimeopleiding*
Diploma 1992: Bachelor of Arts
1985 - 1987 MIME and Pantomime with E.J.Dijkstra & R.v.Rijn Studio A'dam
1974 - 1983 VIOLONCELLO with Professor Wolfgang Ebert. Vienna.
On the occasion of the Half-Mute tour, we are reissuing the album on CD, in a special remastered and repackaged edition.
The release includes a bonus album entitled GIVE ME NEW NOISE: Half-Mute Reflected. Thirteen artists have specially created covers of all the songs from Half-Mute and from the album's associated singles.
The contributors include Foetus/Jim Thirlwell, Aksak Maboul, Simon Fisher Turner, DopplAr (feat. 2 members from Amatorski), Cult With No Name, Coti K., Georgio Valentino and others, with special appearances by the three makers of Half-Mute, Steven Brown, Peter Principle and Blaine Reininger.
Give Me New Noise will also be issued as a stand-alone vinyl LP and digital album.
Further information is available at Crammed Discs.
Our friend Esmerelda Kay will hold a memorial service for Bruce at our old rehearsal space on Valencia in San Francisco.
BRUCE GEDULDIG MEMORIAL- SAT. March 19th 2:45-4:00pm POWA Buddhist ceremony with Bruce's family at 3324 17th St. (between Valencia & closer to Mission St. )4:30-6:00pm 992 Valencia St. ATA gallery (and the old Tuxedomoon/NohMercy rehearsal space )
There has been a tremendous outpouring of grief and condolences for our loss. Social media reaction has been especially large. Here is a collection of links to international press on Bruce's passing.
Our erstwhile colleague and collaborator, Bruce Geduldig has died, on the occasion of his 63rd birthday, March 7, 2016. He departed from his home town, Sacramento, California, attended by his family and friends. He had been suffering for many years from liver complaints. We will miss him sorely.He joined Tuxedomoon around 1979. He had been working with Winston Tong in his theatre pieces, incorporating cinema and multi-media into their performances, and his orbit increasingly began to intersect that of Tuxedomoon. From then on, he was a constant feature in the live show, contributing to its unique gesamtkunst presentation.In the words of one our mutual friends, Jorge Socarras,
"The golden bad boy - that's what he had thought the first time he watched him walk into a room. All sharp angles he was, with a slight incline of the eyes suggesting migrations long lost under the adapted cover of blondness - invading Huns who, made docile by Teutonic magic, found themselves unable to leave the women they had raped. That fierceness and that seductiveness reconciled in their offspring's beauty, and displayed their genetic advantage when he smiled."
He had lived in Brussels, Belgium for many years, having moved there with the band in 1981. There, he met and married his beloved wife, Bernadette Martou, who died in April 2015.
In 2014, they moved to Sacramento, Bruce's home turf, having first lived for a time in Porto, Portugal.
Au revoir, dear friend.
Gate, gate, paragate, parasamgate, bodhi, svaha!
the heart sutra*
*The Tuxedomoon Half Mute Tour will continue as planned. We shall dedicate it to his memory.
An interesting interview with Blaine Reininger from a few years back. By Max Dax, for Electronic Beats. He also talked to him in Berlin recently, another interview not yet published.
With the proliferation of press on this release, we have been searching for a way to share these many reviews. Here it is, a press book.
The official release date of Tuxedomoon's career-spanning vinyl box is Friday, November 13th (tomorrow, or today, or yesterday, depending on your position in time relative to reading this post)
Follow the link and acquire your copy now!
TUXEDOMOON VINYL BOX OFFICIAL RELEASE DATE is November 13th! Follow the link and reserve your copy now!Over 3 kilograms of vinyl delight available now.http://crammed.be/index.php?id=34&art_id=131&newsid=137
Posted by Tuxedomoon
on Thursday, November 12, 2015
Blaine L. Reininger discovers the new Tuxedomoon career-spanning box set at Crammed Discs' office in Brussel, October 9, 2015
An Interview with TUXEDOMOON’s Blaine L Reininger
Blaine L. Reininger’s roguish moustache and dinner jacket were a familiar sight in post-punk Brussels.
The American singer and multi-instrumentalist had crossed the Atlantic with TUXEDOMOON, the band he founded with Steven Brown in 1977, and become an exile of circumstance.
Unable to afford the return fare to San Francisco, Reininger became an accidental European, falling in with the Crépuscule
and Crammed Discs sets and recording iconic albums of genre-crossing material, both as a solo artist and, despite a period of estrangement, with TUXEDOMOON.
We find Reininger
based in Athens, shorn of his moustache and recently married to his long-time partner, Maria Panourgia. Green tea and cycling have replaced the fuels from his time in the Low Countries, and he’s been working on the stage and in film, but making and performing the music of TUXEDOMOON is his ever-fixed mark. Their latest release is the soundtrack for Peter Braatz’s documentary film, ‘Blue Velvet Revisited’
, made as a collaboration with CULT WITH NO NAME.
Put together for the thirtieth anniversary of David Lynch’s ‘Blue Velvet’, the film features previously unseen footage taken on set by Braatz. The album, issued by Crammed as Vol. 42 of its respected Made to Measure series, also includes a contribution by John Foxx. We asked Reininger how the project came about.
The story of this project is down to Erik Stein [of CULT WITH NO NAME] and his connections and his doings. His group will often go and do artists’ support. They’ve done our support twice in Berlin. So, that’s what was happening. They were doing our support in Berlin. They introduced us to this film-maker guy who outlined the project. The motive force behind that was Erik. It was his connection. They outlined the project, and we settled on trying to do what we could when we could.
It’s always difficult for TUXEDOMOON to get further work, because we’re spread out all over the map, really. Steven Brown is in Mexico. You’ve got me here in Athens; Peter Principle on the East Coast, between Virginia and New York; Bruce Geduldig in California; Luc van Lieshout in Belgium – he’s the only one left in Brussels, even though Brussels is like our rolling headquarters. In order to work on the project, we had to steal the time from our tour itinerary. So, for instance, we were playing here in Athens, so I found a guy that had a rehearsal studio who is a TUXEDOMOON fan. We set up here in Athens and started to work in our usual fashion – we jam. We’re a jam band. We’ve been doing it for so long, it’s almost instinctive. We can do a lot in a short period of time.
We only actually played together for a couple of days. We had a couple of sessions – five or six hour sessions. We were working with tracks that Erik had already sent us, and we were just busting our faces off for two days. We took some of those recordings and sent them over to Erik. They had to exercise some editorial control, and they decided what they liked.
The next time we were able to do that was in Brussels, which was also on days off during the tour. It’s usually the only time we are able to all get together. Somebody has to pay for us to be together. We have to get rehearsal studios. If it takes any more, it’s us – we pay. It’s touring that funds the whole deal. So that’s what we did – we further refined our contributions to the project in Brussels.
The inclusion of a John Foxx track might be presumed to come from another of Erik Stein’s connections, but the links between Foxx and TUXEDOMOON go back a long way.
In the 80s – 80, 81 – both ULTRAVOX! and TUXEDOMOON were more in the media eye. We contacted each other by reading interviews with one another. We saw an interview with John Foxx
in – I don’t know what – the NME, what have you, and they said, “What American bands do you find interesting?”
He said, “This TUXEDOMOON I find very interesting.”
Photo by Gilles Martin
We said similar things. We liked what he was doing. We liked ULTRAVOX! I did, anyway. I was always a massive fan, when he was in the band, and I liked what he did after he left the band, as well.
There is a certain amount of influence – there are certain commonalities between, say, ‘Metal Beat’
. We were using the same gear, for that matter – the CR-78 village, in particular, causing a lot of these sounds.
So, when we started working with an English record company, Charisma, we wanted to contact John Foxx, and that’s what happened. As it turned out, he was not able to participate in the recording of ‘Desire’
, except to put us together with Gareth Jones
, of course, which was a big plus. Gareth was brilliant, fabulous. Of course, he went on to do a lot of work with DEPECHE MODE. He kind of defined their sound. Working with him was really marvellous. He was able to teach us; kind of organise us.
Of course, we always knew a lot about recording from the early outset – TUXEDOMOON was a studio group at the beginning. Stephen and I were both working in his rudimentary TEAC four track studio at school, and we continued to do that with his four track tape recorder. From the outset, TUXEDOMOON was a studio band, really. So, we already knew quite a bit about multitrack recordings. Desire was our first 24 track experience. That was mainly aided by Gareth’s input.
Recorded in a studio installed in a Surrey farmhouse, ‘Desire’ was TUXEDOMOON’s second album. Tracks like ‘Incubus (Blue Suit)’ capably channelled the coldness of Foxx’s ‘Metamatic’, while ‘Holiday for Plywood’ took Dave Rose’s ‘Holiday for Strings’ deep into quirk-funk terrain. ‘Desire’ demonstrated that the psychedelic world of TUXEDOMOON was capable of absorbing and processing incidental music and futuristic pop without being precious about the boundaries between them. Jones’ contributions led to further involvement in Reininger’s solo work.
Of course, we became friends. TUXEDOMOON would often become friendly with the people we work with; so, when I was doing my second solo record outside of TUXEDOMOON, I had to write to Gareth to come along. I asked him if he would do it, and that’s what happened. He came over to Brussels and we recorded ‘Night Air’
together, which was a marvellous experience.
Gareth had really excellent production ideas that I had never thought of. He would take an electronic rhythm machine out – by that time, I was using the TR-808 – he would take that, run it through a guitar amplifier in the studio and mic the bass kick through a bass amp. He would get a little bit of that overdrive in the package. He did things like wobble up the piano with this modulated echo sound – and that kind of stuff was all kind of new to me. We had a really good time making that record.
‘Night Air’ came out in 1984. It spawned the single, ‘Mystery & Confusion’, which was a nod to Ennio Morricone’s Spaghetti Western soundtracks but also steeped in synthesized sounds. How did Reininger, the classically-trained violinist, come to electronic music?
I have always been enamoured of electronics, and over the years with TUXEDOMOON, really. I started on a level with electronics very early on. I was – I don’t know, 12 – and my music teacher at school used to take the advanced students and he would have these morning sessions at the school. He would play records for us and talk to us. Among the things he played was Varèse. You know, he would play that guy Varèse, and I thought, “Wow!” ‘Déserts’
by Edgard Varèse – I thought this was fabulous.
Not long after that, Wendy Carlos’ version of the ‘Clockwork Orange’ soundtrack came out. Just hearing those sounds on the radio, hearing this Moog or maybe Keith Emerson’s solo on ‘Lucky Man’ – the sound of the Moog just blew my little mind, and I resolved that I wanted it – a piece of that. As soon as I was able, as soon as I could get together the resources, I wanted to play that thing. I went to the various colleges. I haunted the electronic music labs. This guy let me play on a Moog Sonic Six at one point, at one of my schools. It was a precursor to the Minimoog. It was the first suitcase synth.
Of course, another big influence on me was when Paul McCartney came out with his first solo record, where he played everything, and I had never considered that as a possibility. But the possibility that I wouldn’t have to work with all these morons that I had been working with – that I could just do it all myself – dispense with them – this was going to be my life’s work.
And it became my life’s work – as this poly-instrumentalist solo guy. The greater part of all my solo work is just me, really, and now it is entirely me. I rarely have the means or the desire to hire people in. I will play all the guitars and I will play the bass. I will play a bunch of violins and all the synths. That’s heaven to me. I love to sit here, at this very computer, amassing the sounds. It is in the process, more than the results, where I get lost.
Unlike with other kind of work – where I’m working for somebody else, I get tired and want to go home – when I’m doing this, I’ll work twelve hours non-stop. I’ll forget to pee and everything – I’ll just get lost in the synthesis. I love the pieces.
With ‘Mystery & Confusion’
, in particular, it was a great delight and a great challenge to make those sounds, but the gear that I had! I had this Roland SH-101 synth, and I was so proud of myself that I was able to get this French horn sound out of an SH-101. I used it for all of the bass sounds.
I was an early disciple of this Roland sync – a pre-MIDI Roland sync. So, I had the TB-303, the SH-101 and the TR-808 all running in sync with one-another. I took the Controlled Voltage out from the TB-303 and made my own cable – I also made my own Roland sync cable, which was a pre-MIDI 3-pin DIN – and I ran all that stuff. I slaved the SH-101 to the TB-303, and I used the layered sound of those two devices to get my bass sounds. So, on that record – also on ‘Mystery & Confusion’, of course – I had some good musicians with me. I had Michael Belfer, who worked with TUXEDOMOON, and I had Alain Goutier, who is a really fine bass player – he was playing fretless bass. I had Alain Lefebvre, who was playing an actual drum kit. Alain Lefebvre has his own label, called Off, in Belgium.
The 101/303/808 combination is a classic set-up for dance music. On reflection, Reininger may be the first person to put them together for a purpose other than creating acid house singles.
That’s what I could afford. Some of the other guys around had these Oberheim rigs and stuff, but I couldn’t afford that. When I was able to finagle a publishing advance from a guy who’s now the head of SABAM Belgium – he was my publisher – I got enough money from him, and Alain Goutier worked at a music store in Belgium, so I was able to get this Roland gear at a discount. It fit my budget.
The good thing about it was that it all worked together. You could sync several devices together before MIDI. It was also superior, because the DX7 came in later and emasculated everything: it whitewashed the whole deal, and everything started to sound like the soundtrack to ‘The Breakfast Club’. I am sure there are people who are nostalgic for that 80s DX7 heavy sound, but I am not one of them. It became less interesting.
Photo by Vic Vinson
Reininger was away from the United States from 1982 to 1999. We asked: How did it feel going back? Was it like going to a different place?
Absolutely. When I went in 1999, I had been away for the better part of 17 years. I had missed the 80s in America entirely, so many things were new to me.
I didn’t know what people made of me. I assumed they thought I’d been in jail, because it isn’t often that you see an old dude with grey hair who doesn’t know how to operate the microwave in the 7-11. Things like that. Some of the things that we take for granted: “What the hell is this thing?!” It was like this serious Rip Van Winkle effect. I figured they must assume I have been in the joint, which is why I don’t know anything. Then I saw the money: “Whoah! It’s all the same size and the same colour – how do they tell it apart?”
It’s a strange way to be. It’s a strange situation. It gives me this life that is in a constant state of ambivalence – of two hearts, as Goethe said. Two hearts beat in my breast. There is great longing to go home. Some of my solo work has this almost pathological nostalgia, this homesickness. I felt imprisoned. I was not able to find the means to leave Europe and go home. It was not necessarily a choice. It was that great longing to be there, and also this shock and kind of horror, and – I don’t know what – disgust – at things in America: what they did, how things had decayed under the conservatives and continue to do so.
Reininger’s presence in Athens has led to invitations to perform on stage. He has also appeared in a number of films by Nicholas Triandafyllidis. We wondered whether the roles called for performance in Greek.
Sometimes. It’s not all that easy. I did a big part in the National Theatre. I played a transvestite. That was all Greek – I did the whole thing in Greek. It was difficult – I don’t speak the language that well. A lot of times, I will do this musical actor thing – I’ll be performing and I will be doing the music as well. I’ll be on stage, incorporated into the action, but I will also be the music director or I’ll be performing the music live. A lot of times, I end up playing a foreigner. I did two movies last summer and I pretty much played a foreigner. In one of those movies, I played a banker who came to buy the prime minister. In another movie, I played a tourist. In a third movie, I played a member of the troika. So, I play these kinds of things, and I do that in English.
Should we expect to see the theatre competing for Reininger’s attention?
To be honest, not really. I enjoy doing theatre work. It is something I can do competently – I am a theatrical kind of guy – but I don’t prefer it to music, by any means. What I rarely get to do is compose a big piece of music for theatre, give it to them, collect the money and that’s the end: that’s that; I don’t have to go to rehearsal; and I don’t have to go to any performances. That doesn’t happen all that often. Most of the time, they want me to perform – my physical presence. What I enjoy most is to sit here and fool with my computer. When it becomes necessary to get up and play my violin, I will, and I enjoy it because I can.
The Electricity Club gives it warmest thanks to Blaine L. Reininger
Special thanks to Erik Stein
TUXEDOMOON & CULT WITH NO NAME ‘Blue Velvet Revisited’
is released by Crammed Discs in CD, vinyl LP and digital formats on 16th October 2015
Text and Interview by Simon Helm
24th September 2015
Other Cinema in San Francisco presents a screening of Pink Narcissus, synched to the live recording of the Tuxedomoon performance at Paris L'Etrange Festival, featuring a performance by Bruce Geduldig and Winston Tong.
"Welcome to our website for our ongoing series of experimental cinema in San Francisco. We show films every Saturday at ATA Gallery, 992 Valencia (@ 21st). Showtime 8:30pm, admission* "
SAT. 10/3: TUXDEDOMOON'S PINK NARCISSUS + GEDULDIG/TONG/RUDIS +
After 7 years of incremental progress in the late 60s, the obsessively elaborated and eventually marginalized Kodachromefantasy Pink Narcissus was taken away from auteur James Bidgood by his impatient backers, who slapped on an off-the-shelf classical soundtrack. A half-century later, ex-Mission District darlings Tuxedomooncraft a dreamy hour-long alternative, performed live in Paris and also published on disc. Tonight TM’s Bruce Geduldig syncs it up, as well as joining in with Winston Tong andLx Rudis for the live debut of CELL LIFE: Urn Your Living. ALSO: Wobbly and Jason Willett in Vicki Bennett’s CCCitations, Soda_Jerk/Sun Ra’s Jungle Are Forever,Semiconductor’s Black Rain, and our definitively deft DJ Cyrus Tabar! *$9
Tuxedomoon & Cult With No Name:
Blue Velvet Revisited:
Out 16th October:
Interest in all things David Lynch is gathering apace with the Twin Peaks saga rolling on. Another of the man's most enduring works is also drifting into the spotlight soon by way of a new film dedicated to Blue Velvet and a newly-recorded Made to Measure soundtrack.
Blue Velvet Revisited focusses on behind-the-scenes footage taken during the making of the film in 1985 by German filmmaker Peter Braatz at the behest of Lynch himself. It's an intimate picture (judging by the trailer below), made all the more absorbing by the accompanying music provided by Tuxedomoon, Cult With No Name and (briefly) John Foxx.
Tuxedomoon's alignment with soundtracks is well-documented - the band and its various members have covered for numerous ballets, dance and film-works before. CWNN are no strangers to scoring either having provided pieces for the 90th anniversary of The Cabinet of Dr Caligari for a DVD release. That's when they're not crafting bruising but beautiful electro-pop, that is. As for Foxx, he contributes a short piece entitled Lincoln Street which successfully provides something of a break from the austere mood of the first portion and the denouement of the second.
From the moment the unsettling discords of The Slow Club throb into earshot, you know the journey ahead demands all ears. Lumberton demonstrates Tuxedo violinist Blaine L. Reininger's mournful but magical best, balanced precisely by evocative piano and atmospherics. I'm reminded of The The's recent Tony score during the gorgeous politely-pulsing Do It For Van Gogh - it must be the harmonica halfway through. I can't take my ears off of it.
A Candy Colored Clown comes closest to any form of breakbeat, before the hollow, hallowed menace of Frank creeps slowly into view. You remember Frank in the film. The terrifying sociopath who bears little mercy to his muse and dishes out violence and sexual terror like sweets. Dennis Hopper breathing through that mask. That's the fella. His prospects for being mistaken for an Uncle Cuddly aren't improved at all by the superbly portentous piece performed here.
There is some terrific musicianship on Don (the closing track on the vinyl) while CD bonus Sandy is worth the admission alone and, frankly, should have been on the vinyl.
Whether fans of Blue Velvet and David Lynch will 'get' Revisited's esoteric soundtrack remains to be seen but I'll just remind them of the name Angelo Badalamenti. As a standalone collaborative release, Cult With No Name and Tuxedomoon should seriously
be up for some long-overdue honours for this harmonious triumph. Organisers of next year's Meltdown Festival could do worse than book this as an event.
Here's the trailer:
Tuxedomoon & Cult With No Name Blue Velvet Revisited Crammed CD/LP
There's a number of unusual elements to Blue Velvet Revisited, volume 42 in Crammed's Made To Measure series of instrumental albums, not least the fact that it was commissioned before the completion of the film, a documentary of the same name by German film maker Peter Braatz (aka Harry Rag). In 1985, after years of correspondence with David Lynch, Braatz was invited to document the making of Blue Velvet. This culminated in 1988 with the TV documentary No Frank in Lumberton, which benefited from access to more than a thousand photos and endless hours of unrestricted, behind the scenes footage from Lynch's film. The impending 30th anniversary of the picture provided the occassion for Braatz to recompile the material material, this time in a feature-length documentary film that's due to be screened later this year.
Lynch and Braatz both suffered with a desperate case of temp track love, as it's called in the industry. It broke Lynch's heart that he couldn't use This Mortal Coil's version of Tim Buckley's "Song To The Siren", but this obstacle would lead to his longstanding collaboration with Angelo Badalamenti. For Braatz, UK electronic balladeers Cult With No Name's 2012 track "As Below" captured his heart. He needed music with this exact feel, and more of it, and unlike Lynch, he got his wish.
Braatz approached Erik Stein and Jon Boux of Cult With No Name to soundtrack the project, adamant that the music would not be influenced by Badalamenti, and that the score would dictate the film and not the other way round. When he discovered that Luc Van Lieshout of San Francisco post-punk/new wave outfit Tuxedomoon had played the trumpet part on "As Below", they struck upon the idea of commissioning both groups to do the soundtrack, with both recording separately, and CWNN editing and producing the overall score.
Combining their talents was a shrewd move. The two create a hybrid sound, faithful to their own work yet unique to the project. Tracks like "Frank" and "So Fucking Suave" make a nod to the soft and seedy jazz typical of Twin Peaks. The latter takes you even further into the Lynch canon with a subtle hint of David's Bowie's "I'm Deranged" from Lost Highway. "Do It For Van Gogh" and "Now It's Dark" hint at the scores of Morricone and Herrmann. There are notable performances from Van Lieshout on trumpet and Blaine L Reininger on violin, in particular the final track "Don", where both performances feel in tune with the work of both groups yet perfectly positioned within the context of the soundtrack. Nestled among this tapestry of contextual nods is "Lincoln St", a single track by John Foxx. It feels out of place yet marks a change in tone towards darker, more dynamic territory.
The Blue Velvet Revisited soundtrack politely differentiates itself from Lynch's film, even though there's a whisper of Badalamenti's beloved synth sound that admirers will pick up on. It's evocative, dreamy, dark and dynamic, and adds another chapter to the mysteriously connected cultural and musical elements surrounding the cult of Blue Velvet. Lara C Cory
THE WIRE September 2015 Lara C Cory
Pre sales for Tuxedomoon's Box begin Tuesday, September 8. Check out the elements here on our site.http://tuxedomoon.co/tmbox.html
Posted by Tuxedomoon
on Monday, September 7, 2015
Forthcoming Made to Measure # 42 (Crammed Discs, LP + CD): "Blue Velvet Revisited" by Tuxedomoon + Cult With No Name. Release on Oct. 16th
Posted by Tuxedomoon
on Friday, August 28, 2015
Announcing the official release of the Tuxedomoon Box, November 13th. We will open the pre-orders next week, Tuesday 8 at 12:00, on the Crammed shop: https://crammed.greedbag.com/
Only the first 300 copies of The Box will be numbered!
"The Tuxedomoon Vinyl Box will be an elaborate, luxurious, bountiful artefact, containing the band's main 9 albums (see list below), an album ("Appendix") entirely consisting of previously-unreleased tracks, a 28-page 12"-sized book with notes by the band members (who reminisce about the recording of these albums) plus all the lyrics & credits, and a single code for downloading the content of the 10 albums. The first 300 copies will be numbered. Included: "Half-Mute", "Desire", "Holy Wars", "Ship of Fools", "You", "The Ghost Sonata", Cabin In The Sky", "Bardo Hotel Soundtrack", "Vapour Trails" and "Appendix"
Live in the Studio before our Roma Show, December, 2014
Tuxedomoon, Cult With No Name and John Foxx join to do the music for a new documentary about the making of Blue Velvet.
David Lynch's 'Blue Velvet Revisited'
Another interview, on the heels of the Red Bull one, via Skype with Chris Cordani on his podcast. Our 2/13 show podcast/synd edit with Blaine L. Reininger of Tuxedomoon is up
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Here is another live video from our most recent tour.
This is a memorable document, featuring us atop Plan K, including a teleplay written by Blaine for the occasion, appearances by Gilles Martin, Anne Militello and the late JJ La Rue, a real time capsule.