#Vincent comparetto

[milchdelamaquina]

Milch de la Máquina, a troupe of experimental performance artists, was created nearly a decade ago in Albuquerque to travel to the first Titwrench in Denver. We've developed new works and new techniques every year since then, performing a couple of times a year. Dozens of Albuquerque women have been a part of the troupe. This year, we are unbelievably lucky and so grateful to be heading to Titwrench Stockholm Festivalen 2018 to perform. To fundraise and prepare, we are playing several sets in Albuquerque and Santa Fe. Join us at CCA this weekend. <3 See you soon, Sweden <3 [original photo by Vincent Comparetto]

[dbom]

Follow Focus Issue #2 from Vincent Comparetto on Vimeo.

I spent over 20 years documenting DIY spaces. Following the tragic events of the Ghost Ship fire I realized it was time to share my work and rally for these spaces and the humble people organizing the events. Many of the spaces and events documented were run by women and or non binary people. Many of these artists and spaces were temporary solutions to the ongoing struggle of the creative class making the book all the more important as a document as proof of the community. This book is currently for sale in many zine stores through out America and Berlin. Many of the images from this book are secured within arts and music archives.

[elephantroomgallery]

We’ve got Raw Fury #5 by Flatlands Press @flatlands_press for the #chicagoprintcrawl this Saturday, May 4th 11-5pm @elephantroomgallery E-mail us today to claim one!! kim@elephantroomgallery.com . Raw Fury #5 includes a cover by Heather Link-Bergman & Peter Miles Bergman, illustrations by CHema Skandal, features by or interviews with, Peter Miles Bergman, Ravi Zupa, bunny M, Josué Pellot, Oscar Arriola, and a gallery featuring Otto Splotch, Tanner Barkin, Izzy Jarvis, An-ism-ist, Mac Blackout, Vincent Comparetto, Heather Link-Bergman, Kayla Mahaffey, and posters by Kayla Mahaffey, Mac Blackout 🔥 🔥 @kaylamay_art @macblackout @heatherlinkbergman @chemaskandal @anismist @manny_suena . . . #chicagoprintmakers #chicagoprint #chicagogallery #elephantroomgallery #chicagoartists #chicagozine #zines #rawfury #flatlandspress #southloopchicago (at Elephant Room Gallery) https://www.instagram.com/p/Bw5mcC5HNe2/?igshid=njc00e48q2d5

[theseventhhex]

Echo Beds Interview

Tom Nelson & Keith Curts

Formed in 2010, Echo Beds is comprised of Keith Curts and Tom Nelsen. The project began as a one-off live set played in a local warehouse and quickly grew from there. Sensing immediately that they’d only scratched the surface of their potential, the duo began experimenting with hand-built instruments and manufactured sounds - such as recordings of broken glass and a metal filing cabinet - in order to explore and interpret the sounds of industry as a sonic landscape. Over the years Echo Beds has made a name for themselves with their visceral and abrasive live shows that often include a modified oil drum as percussion. Their latest album, ‘Buried Language’, should be viewed as a kind of exorcism steeped in metaphor and brimming with social commentary. The album title references widespread overnight evictions and boarded-up rehearsal spaces/ DIY venues across the country. It deals with a lack of transparency, and is the culmination of all the heartbreak, frustration, grief and rage, and the cyclical nature of DIY space closures… We talk to Keith Curts about non-musical influences, overthinking and finding a balance…

TSH: Talk us through being deprived of your usual tools with ‘Buried Language’ and how improvising using unfamiliar electronics and various devices came to be....

Keith: Ultimately, once everyone was forced out of the warehouse, we were unable to rehearse/write the way we always had, which in turn kind of forced us out of our comfort zone. We were now working with a computer as the main compositional tool through headphones. As a concept, it was an interesting departure but in context it was somewhat of a steep learning curve. Both Tom and I are more accustomed to the analog as opposed to digital processes. So we kind of decided we’d forgo the toe in the water and dive in headfirst. Now that we are a lot more familiar with digital work stations, we have kind of struck a balance with mixing digital and analog components.

TSH: Knowing that parts of this record are a direct response to overwhelming loss, was this a factor that you found to be challenging?

Keith: Grief can be a great catalyst. The DIY scene as a whole, the true underground, was dealt a devastating blow in the wake of the tragedy in Oakland. We were all still in shock and dealing with it in whatever ways we could, and then without notice the evictions began. Tom and I watched as our close friends/peers were forced out overnight, without any heads up, they were all just on the street clutching what personal items they could carry. It was sickening and that’s the most important part of this whole thing. The contents of our record, both musically and lyrically, are a direct response to the vitriol we all experienced. The challenge was more to funnel that contempt into something productive.

TSH: What’s the atmosphere and vibe commonly like in your practice space?

Keith: It’s somewhat claustrophobic with varying temperature extremes so we don’t hang out here unless we’re working. We pretty much show up and do a couple long days a week… running the current set, tweaking things within it, and then working on new stuff. We do a lot of throwing it all against the wall, and this space is a perfect petri dish for experimenting.

TSH: How much of an impact do your travels and surroundings have on your musical direction?

Keith: Through the miracle of technology we’re able to plug in the laptop and work on things while driving - tearing down the highway listening to and manipulating beats. We would both much rather be on the road working than at home burning through the days. Touring is a constant inspiration in both directions.

TSH: Talk us through the incentives that you drew on for the track ‘Small Print’...

Keith: Lyrically, it’s full of contempt and disgust - everything from the military industrial complex to for-profit prisons; we live in an absolutely insane and unsustainable world. I’m just speaking to that I guess. Musically I would say we wanted a grinding, push/pull, blown out, in the red, disintegrating kind of sonic palette.

TSH: How did you settle on the pace and tempo for the track entitled ‘Still Body’?

Keith: Initially that track was the brainchild of Tom and our good friend Charles Ballas. Tom started with a few measures of assorted drum patterns, synths and abstract sounds, and brought them to Charles who then did the chopping and screwing to create an actual linear piece. This song had maybe 4 or 5 different iterations until we decided on the one that made it to the new record.

TSH: Do you feel that as artists it’s key to be a sponge and anything that can be considered as influences, including non-musical factors?

Keith: Everything is an influence. You can glean knowledge and inspiration from both positive and negative experiences. We are equally inspired as much by what we read, what we hear and what we see. It’s all just put through the grinder of your own vocabulary.

TSH: Moreover, do you both at times feel the need to maintain a certain type of balance being in a band?

Keith: We both do our best to maintain equilibrium, but it’s an uphill battle. We are both obsessive overthinkers. That being said, at some point you have to disconnect or it becomes overwhelming and all-consuming. Those elements are definitely represented in our output.

TSH: What do you opt to do with the little pockets of free time that you have on tour?

Keith: We spend a lot of time with the friends we have in the places we play, it’s nice to see family in another state. We both read a lot and do a fair amount of exploring roadside attractions, and sleep is always welcome.

TSH: What’s downtime like for you outside of music?

Keith: We work our day jobs and try and unplug our collective brain from obsessively conceptualising and overthinking. Again, trying to achieve some sort of balance. I’m not sure we are successful most of the time. We are kinda workaholics and this band is definitely a form of therapy.

TSH: You’ve previously stated that ‘Echo Beds is the correct reaction to our present state’ – is this very much an ethos of yours for future releases?

Keith: I think those words were actually from the mouth of Vincent Comparetto, our very close friend who wrote/shot/directed our video for Still Body. I can’t say that we are the “correct reaction”, but I can say that we feel music is the best format for our personal expression. It tends to be more of a coping mechanism for how we deal with our individual lives, and I think we see it more as an action than a reaction, but the thread of empathy is woven throughout everything we do.

Echo Beds - “Still Body”

Echo Beds - “Carved In Stone”

Buried Langauge

[hernandezbasualto]

100 Colorado Creatives 4.0: Vincent Comparetto - Westword https://t.co/ildulmBrP8 September 25, 2017 at 12:01PM

— Rodrigo Hernández (@RHBLinkreativo) September 27, 2017

from Twitter https://twitter.com/RHBLinkreativo September 27, 2017 at 12:10PM via IFTTT

[sireneatspoetry]

Available Light from Vincent Comparetto on Vimeo.

A simple film about the art of traveling through the eyes of a street photographer. Shot on location in New York, London, Budapest, and Prague. Thank you to all of our hosts, the wonderful strangers I had the opportunity to document. And special thanks to Skye for always being down to explore the serendipity of the unknown.

[pierreriveraphotography]

100 Colorado Creatives 4.0: Vincent Comparetto - Westword

Westword

100 Colorado Creatives 4.0: Vincent Comparetto Westword When he's not doing that, Comparetto teaches, makes films and music videos, does motion graphics design work, photographs sights seen in places near and far and, as an artist with an elegant modernist design sense, stencils over collaged backgrounds in ...

via http://ift.tt/2yDtsCF

[growingdenver]

100 Colorado Creatives 4.0: Vincent Comparetto

100 Colorado Creatives 4.0: Vincent Comparetto

A native New Yorker now living in Denver, Vincent Comparetto walks the planet at street level, but with a global view fired by a love for traveling. When he’s not doing that, Comparetto teaches, makes films and music videos, does motion graphics design work, photographs sights seen in places near and far and, as an artist with an elegant modernist design sense, stencils designs over collaged…

[titwrench]

[jesseforest]

DEVOTCHKA // The Man From San Sebastian

Via Vincent Comparetto

[hernandezbasualto]

100 Colorado Creatives 4.0: Vincent Comparetto - Westword https://t.co/t2uBV9c673 September 25, 2017 at 12:01PM

— Rodrigo Hernández (@RHBLinkreativo) September 25, 2017

from Twitter https://twitter.com/RHBLinkreativo September 25, 2017 at 12:04PM via IFTTT

[pierreriveraphotography]

100 Colorado Creatives 4.0: Vincent Comparetto - Westword

100 Colorado Creatives 4.0: Vincent Comparetto Westword When he's not doing that, Comparetto teaches, makes films and music videos, does motion graphics design work, photographs sights seen in places near and far and, as an artist with an elegant modernist design sense, stencils over collaged backgrounds in ...

via http://ift.tt/2xqf2I6

[titwrench]

SIN DESIRES MARIE at TITWRENCH III - Denver, CO

Photo by Vincent Comparetto

[titwrench]

SIN DESIRES MARIE at TITWRENCH III - Denver, CO

Photo by Vincent Comparetto

[titwrench]

SIN DESIRES MARIE at TITWRENCH III - Denver, CO

Photo by Vincent Comparetto

[titwrench]

SIN DESIRES MARIE at TITWRENCH III - Denver, CO

Photo by Vincent Comparetto