I started this song “Superfriends 2” for the PICNIC album which is a beat I made with vocals from over 10 friends (Lee Noble, Kid Infinity, Dusty Clouds of Halloween Swim Team, Magick Orchids, The Little Red Writer, Josh Crampton of Luna is Honey, Barrie Rose, and Drew Denny. From the beginning I knew I wanted Kyle Souza (Narwhal Party) on the song so after a few weeks of missed meetings, me moving out of my Silverlake place and in with Barrie, then me getting kicked out of Barries, me staying at The Girl House, having my belongings in different places, we finally got to together to record and of all things to happen, the tape we recorded “Superfriends 2” on is missing!! I didn’t want to waste his trip or our chance to record so we made a single “Self Help Books” at ABC Rehearsal Studio and another song as well called “Floor”. How to be a Microwave has posted the song on their blog for your listening pleasure HERE
“Self-Help Books” (lyrics)
by Michael Nhat and Kyle Souza (of Narwharl Party)
KS: we ride the backs of beasts in our dreams that take us to places that can never be seen. claws are pushing out the toenails on my feet. we grow useless wings and are told to swim or sink.
MN: The beginning of windows that turn to sand put a lot of them together would they form a beach? Fans of Thomas lennon wonder if John Lennon and he are related
KS: Imaginary people and their inbred thoughts lead them down career paths until they are caught letting go of urges they have suppressed. And we thought we would all be something as long as we tried our best.
MN: Send in the clowns like Frank Sinatra only poor people eat pasta if you ask Oscar a monster can be a kid with the ability to wish for anything he desires beyond reality
hook: Are you fulfilling your life yet? Have you stopped suppressing a smile yet? Probably not fully functioning. Self help books. Self help books.
(photo: Amy Fortunato)
L.A. LOTTERY LEAGUE DRAFT NIGHT AT PROJECT INFEST
The L.A. Lottery League, the local response to an endeavor created by a group of Columbus, Ohio, artists in 2008, takes the members of more than a dozen local bands and reshuffling them to create a dozen brand-new bands by the end of February. The first part, Draft Night, is presided over by a “council of chiefs”: The Smell’s Jim Smith, musicians Michael Nhat and Dalton Blanco, impresario Sean Carnage and booker Deseret Rodriguez. This Star Chamber of the scene chooses the combinations of musicians who will work together under a new band name to produce a dozen minutes of unpredictable, completely new music. The result might be a phenomenal blossoming of artistic potential — or it might be the musical equivalent of the Louisiana Superdome, at which occasionally some kind of barbaric sex or suicide occurs. Free; details at newmusicarchive.org. (David Cotner)
co-starring meagan boyd
director of photography steven a. soria
executive producers adora lopez and anthony trujillo (independent workforce)
CLICK HERE FOR LA WEEKLY WRITE UP
MICHAEL NHAT AT PEHRSPACE
When Silver Lake’s Michael Nhat says his main motivating forces are “loneliness, rejection and guilt,” he’s not being glib or pretentious. In a recent interview, Nhat explained that he survived a plane crash as a child, though his mother didn’t, and he subsequently ended up in foster care. Life with an abusive stepbrother and racist adoptive family followed, so it’s no wonder the man’s songs sport titles like “Falling Down a Bottomless Pit,” “All I Hear Is Silence” and “Replacing Their Owners [sic] Heads.” Nhat is releasing his third album in just over a year on Tuesday via I Had an Accident Records. Dubbed Just Plain Dying, it sports a sound that could only be described as “classic Nhat” — an inimitable mix of beats that ranges from spare and light to black and clanging, and his unusual raps, which pour forth in an urgently percussive tumble. Fans of Busdriver, Shapeshifters and early Anticon take note. (Chris Martins)
I just love it all in general. Look for his review in November’s Performer Magazine. This album plays like a cross between an avant-garde Animal Collective experimentation with soundscapes, with the pounding dark beats of a Portishead album circa Third. Then you can throw in a reference to the weirdness of Bjork in there too that he’s lifting from, in terms of his vocals being so non-conforming to any major genre right now. This album is dope and deep. It’s one of the most raw and emotionally driven albums I have ever heard. Ever. This is what Nhat excels at. He will reel you in, and make you hurt from the angst and pain heard on this album. Be forewarned however. If you’re expecting any typical themes or sounds usually found in a hip hop album, then Nhat just isn’t for you. At all. If you’re in the mood for something completely new and different, something that will make you stop and think “what the fuck was that?” then Nhat will put you on the right track for sure.
“I Don’t Have Those Dreams Anymore”
“All I Hear Is Silence”
“Dancing With A Girl Named Satan”
“Everyone Knows Werewolves Kill”
Love this. While digging to find other works by Michael Nhat, I came across the song ‘Everyone Knows Werewolves Kill.’ I like this song because it has an 8-bit videogame sounding track with lots of space. It’s pretty minimal and melodic, which seems to be a theme for Nhat. At the beginning you hear this line “I met a lot of blacks that are open racist” and of course, me being the person that I am, had to sit and ponder on it for a while.
Maybe this is a reference to his experience in the hip hop community, because there is a fair amount of homophobia, sexism, masochism, to go along with the racism he’s probably experienced. Understandable, but are black people not supposed to be openly racist? Besides the fact that racism is just wrong across the board, is it just even more surprising when you come across a black racist? Why?
People just hold blacks to a higher standard because of our history. But then again, there are plenty of racist Asians, Jews(even though they’re still white, people consider them another race?) and Latinos. I know I, for one, kind of have a habit of assuming that anyone I come into contact with for the first time, will have a racist image of who I am in their head. Because we live in a racist country where we’ve all been trained to believe that anything other than the WASP is bad, and every single minority group has enacted this way of thinking subliminally. Black people of America are still Americans. Americans in general are pretty racist, (whether they care to admit it or not) and poorly educated. Ignorance is the crime here. Just the other day, an old black man on Ponce told me “You know you wrong. You know it. You know you wrong” as my white boyfriend and I passed by him. I of course responded by lovingly licking my boy’s face, but did it surprise me? No. Why? Because I know that there are racists of every color in America, and especially old black people who got rights well after other races that immigrated to America got thm automatically, and probably resent any other race he sees advance, and probably brings his children up with that same attitude. If someone has even breeded with the cretin…
But then again, I do realize that maybe Nhat was just trying to rhyme. Either way, this ‘Everyone Knows Werewolves Kill’ song is awesome.
Michael Nhat’s response to my thoughts on “Everyone Knows Werewolves Kill”:
“It’s about time someone recognized the lyric “met a blacks that are open racist”..
Yeah, I was deeply embedded in the black community while starting at the age of 14. My first 9 girlfriends were black. I was in the gang scene, my life has completely changed since I turned 21. During that period, it was disturbing how much prejudice and racism I experienced from the black community towards whites, asians and latinos. No one ever said anything though, and my friends constantly referred to asians as “chinese.” I would try to correct them because it was hurting my feelings, and they didn’t care. Their justification was “well that’s how we were raised”, and it made me really ashamed and embarrassed to be asian, so much i started to lie just to fit in and tell people i was part black as well. For me as an adolescent, I had a high standard of blacks because i’d figured for all they’d been through, you figured they’d be the last to be racist.”
RECORD REVIEW: Michael Nhat
Swimming To Cambodia
By: Kristin Thomas
With moments sounding like Portishead, crossed with El-P shaken in a glass full of Dada, and served on a heart shaped plate of emotions, Nhat’s Swimming To Cambodia transcends any genre you would try to put it in. It’s an album soaked in enough pain, sadness and confusion to make any suburban teenager reconsider what it means to feel a miserable existence…. READ THE REST HERE