For our fifth annual free New Year’s film program, we hosted a screening of Philippe Garrel’s 1968 film Le Révélateur at the Crowley Theater, with a live score by Philadelphia harpist Mary Lattimore and synth player Jeff Zeigler. Read our interview with Mary here, and enjoy these images from Marfalite Studios‘ Lesley Brown …

We were saddened to learn of Benjamin Curtis’ death on 29 December 2013. He was 35.

Benjamin and his band the Secret Machines played the 2002 Chinati Open House and, as Buck Johnston explains, “became the unofficial Chinati House Band playing a couple more years. Marfa is now a music destination and it is in no small part because of the Secret Machines.

Le Révélateur
with live score by Mary Lattimore & Jeff Zeigler
December 30, 2013
Crowley Theater, Marfa, Texas
Doors at 7 pm ∙ Show at 7:30 pm
Free

Listen to Marfa Public Radio’s Talk at Ten radio interview with Mary Lattimore & Jeff Zeigler, December 30, at 10 am on KRTS 93.5 FM or via their online stream.

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Celebrate the coming new year with Ballroom Marfa! For our fifth annual New Year’s film program, we’ll host a film screening of Philippe Garrel’s 1968 film Le Révélateur, with a live score by Philadelphia harpist Mary Lattimore and synth player Jeff Zeigler.

Mary Lattimore is a classically trained harpist whose collaborations have seen her working with such esteemed luminaries as Kurt Vile, Meg Baird, Thurston Moore, Ed Askew, Fursaxa, Jarvis Cocker and the Valerie Project. On her debut record, The Withdrawing Room, she found a worthy sideman in Philadelphia’s Jeff Zeigler, whose contemplative Korg echoes and holds a mood for Mary’s runs.

Zeigler has amassed quite the resume in recent years, between his space-rock outfit Arc in Round and his production work for local luminaries Kurt Vile, Purling Hiss and The War on Drugs. Zeigler’s also been expanding into the solo / collaborative experimental zone, playing solo shows with Lattimore and opening for English ambient artist Benoît Pioulard.

We talked with Lattimore about her interest in avant-garde film, her approach to improvisation and her plans for New Year’s Eve in Marfa.

How would you describe your music to new listeners?

I would describe it as sort of underwater, spacey harp through effects and delay, loops of decaying noise, droney sometimes, ethereal crushed-up diamond sounds. Jeff plays a Korg Mono/Poly synth and does cool textural stuff, plays beautiful, haunting melodica that sounds like a sad, distant train, and plays guitar, too. It’s gonna be fun. Our sets are usually all improvised, but with this one we are establishing themes and trying to be thoughtful about the changing scenes.

Why did you choose Le Révélateur for this project?

I consulted a very film-knowledgable friend. He suggested a few silent films and I checked them out and this one seemed to have some really memorable images. It’s a very strange film, very stunning, filmed in 1968.

What else can you tell us about the score you and Jeff will be performing?

It’ll be thought-out improvisation, with harp through a Line 6 looper and melodica, guitar, and synth. It’s a little over an hour long and will probably be a combination of melodic, hypnotic strings and maybe some harsh-ish noise. We want to be conscious of space, too, and also to incorporate minimal moments because the images are so affecting on their own.

Do you have any other experience doing film scores? Or with filmmaking in general?

I have done a few film projects. I was a member of this 11-person ensemble that composed an alternate score for the Czech New Wave Film Valerie and Her Week of Wonders in 2007. We traveled around with the original print of the film and performed in theaters, recorded it and Drag City put out the record. I learned a lot from the way we composed the music together. Recently, I did a soundtrack for a film that’s set in Iceland. I played on the score for the documentary Marina Abramovic – The Artist Is Present. The interaction between music and story/visuals, how they can complement each other to create a singular, memorable experience is something I really love. Jeff recently did an original live score for 2001: A Space Odyssey with our friend Dave (Nightlands) as a cool, creative project. Hopefully, our ideas will be true to the vibe of this gorgeous, weird film.

How does your background in improvisation inform this work?

Whenever I improvise or whenever Jeff and I improvise together, we’re always trying to paint a picture or to inspire a mood and often there’s a narrative structure where things get stirred up in the middle and resolve themselves by the end. But I think this one should contain a lot of in-the-minute decisions and negative space that will make it hopefully a unique performance that we can only half-predict, so that’s exciting.

What other projects are you working on?

Jeff and I are working on a Lattimore/Zeigler Duo record that we’re recording at his studio, Uniform Recording in Philly. I just played on the new Sharon Van Etten record, which will be out next year. We are going to try to repeat our Le Révélateur performance in Philadelphia, too, so that’s in the works. Got some upcoming gigs with my mom, who is also a harpist, and we’ll be playing carols to spread some holiday happiness. Lots of fun stuff ahead!

Is this your first trip to Marfa? What do you know of our town?

Yes, it’s my first visit to Marfa! I don’t know much, but I have a bunch of friends who have visited and who’ve fallen in love with it, so I’m psyched. Have read about the Marfa lights and the great art. I love that I get to spend New Year’s Eve and New Year’s Day in this far-away place – great way to start 2014. Jeff has been before while on tour with his band. Really looking forward to it!

What are your plans for Marfa and Far West Texas beyond your performance?

Hmm, I’m not sure. I guess to just relax, hang out, walk around. We are staying for a few extra days. I have a close friend Rachel who moved there recently. My pal Matt, who owns the excellent Harvest Records, is coming from Asheville, NC.

Just got in the Le Révélateur posters, hand-drawn by the multi-talented Ross Cashiola. This is our fifth (!) annual New Year’s film program, and we’re screening Philippe Garrel’s Le Révélateur (1968) with a live score by harpist Mary Lattimore and synth player Jeff Zeigler. That’s December 30 at 7 pm — more details here.

Also for your calendars: we’ll have a New Year’s Eve Open House at the gallery on December 31 from 4-6pm. Stop by for refreshments and a two-for-one poster sale (may I recommend the Le Révélateur poster, with perhaps this, this, this, this, this, or this?)

¡Feliz navidad y próspero año nuevo!

While rooting around in the archives, found this flyer from the Thunderbird Lounge, featuring photos of the old Thunderbird and Capri motels here in Marfa, Texas. Flyer circa 2004? 2005? Original photos circa the ’60s? ’70s? The motor inns have long since transformed into the Thunderbird Hotel and the Capri Lounge, used for weddings (our own Melissa McDonnell Luján had her reception there) and our concerts (Yo La Tengo, Sonic Youth, Tinariwen, At the Drive-In, among others).

Images of Julianna Barwick from her performance at the Ballroom Marfa gallery last night, December 3, 2013. All photos by Lesley Brown.

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As part of the closing celebration for Quiet Earth, we presented musicians C. Spencer Yeh and Messages on November 21, 2013 at the Rauschenberg Project Space in New York, New York. Quiet Earth closes this Saturday, November 30; more pictures here.

All photographs by Elena Rott.

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Images of the first installment of The Marfa Triptych at the Crowley Theater in Marfa, Texas from November 16. Such a pleasure to see all of these excellent musicians playing together — especially in such a small venue. All photos by Alex Marks. Video coming soon!

Musicians: Graham Reynolds (piano), Redd Volkaert (electric guitar), Ruby Jane (fiddle), Ricky Davis (pedal steel guitar), Adam Sultan (acoustic guitar), Alexis Buffum (violin), Elizabeth Warren (violin), Leah Nelson (viola), Hector Moreno (cello), John Mills (saxophone and clarinet), Shane Pitsch (trumpet), Wayne Myers (trombone), Utah Hamrick (bass) and Jeremy Bruch (drums).

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And now presenting our latest and greatest posters, designed by Ronny Hunger of Comet Substance. Coming all the way from Switzerland, the prints celebrate our upcoming Julianna Barwick show with Marfa Book Company. We could not be more excited — Barwick plays at the Ballroom Marfa gallery December 3, 8 pm, $5 at the door.

Fingers in photo, courtesy Sam Winks. Charming note, courtesy Ronny Hunger.

The Daily Texan previews Graham Reynolds’ Marfa Triptych, which premieres here in Marfa on Saturday at the Crowley Theater. Click here for tickets.

Reynolds described his first composition as a mix of “West Texas, country music and Western movie sound tracks.” The piece will feature contributions from veteran guitarist Redd Volkaert and up-and-coming fiddle player Ruby Jane.

“I was fascinated by country. It seemed so other-worldly to me,” Reynolds said. “[The musicians] are so generous in letting me pull them out of their box and letting me explore their world a little bit.”

Lead guitarist Volkaert, who has worked with the likes of Merle Haggard, Tim McGraw and Trace Adkins, has played gigs in and around Austin for more than 20 years. In regards to “The Marfa Triptych,” Volkaert urges his audience to pay attention to the way the 14-piece ensemble works together.

“It’s a challenge, but that’s why I’m in it,” Volkaert said. “Reynolds, is a wonderful talent and I really enjoy working with him.”

Keep reading “Graham Reynolds creates music inspired by Marfa, Texas” at The Daily Texan.