NY's Talibam! team up with artist graphic artist Sam Kulik to tell the absurd and fantastic story of a young teen named Franklin who gets abducted by a revolutionary jazz fish into the undersea world of Atlantis.
Label: Belly Kids
Catalog ID: BK2005
Squidco Product Code: 15918
Format: CD + Comic
Country: Great Britain
Packaging: Cardstock gatefold foldover + comic book
Recorded by Talibam! & Sam Kulik at Spermerang Studios, Ze Boocherie, Issue Project Room, 14 Wall Street & Taranto, Italy.
Sam Kulik-trombone, guitar, bass, banjo, ukulele, voice, sound fx
Matt Mottel-synthesizers, vocals
Kevin Shea-drums, Roland SPDS, vocals
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1. Intro(Prelude To A Pillow) 1:13
2. The Great Preamble 1:51
3. Sticky Situation 4:39
4. Welcome To Atlantis 2:22
5. Squeeze My Nuts In The Barnyard 4:10
6. Stringe's Sting 4:09
7. Dr. Brown Goes Down/Farker's Fortune 4:31
8. Evil Queen Magoo 3:03
9. Mr. Johnson's Blowhole 4:27
10. Old Man Ocean 3:50
11. Naughty Tonight 2:53
12. Sluts On The Planet 16:02
13. Turn Your Dick Off When You're Done With It 2:40
14. The Tragedy Of Baby Seal No Rio 5:42
15. Journey To The LMcC 3:59
16. AtlantASS 2:16
17. I Am The Pillow 3:15
18. Strige The German Mermaid 2:35
19. Franklin And His Pillow 4:34
Related Categories of Interest:
NY Downtown & Jazz/Improv
Rock and Related
sample the album:
"Talibam! & Sam Kulik are proud to announce the release of their new thriller fairytale, adventure album entitled "Discover AtlantASS". The 19 track CD and accompanying 25 page comic will be made available through UK Publishers Belly Kids on the 20th February 2012. It marks Talibam!'s 25th recorded release since 2005, Talibam!'s first foray into opera, and their first record to be released alongside a comic book.
The project grew out of strange experiences the NY trio shared on a tour of Finland in 2008 and recent geopolitical events such as the 2010 BP oil spill and the controversy surrounding the so- called "Ground Zero Mosque" in lower Manhattan.
''Discover AtlantASS'' tells the story of a young teen named Franklin who gets abducted to the undersea world of Atlantis by a laid-back revolutionary jazz fish named Stinge. Together, they are ready to combat a disastrous oil spill which has nearly eradicated the vibrant community of poets, musicians, artists and fornicators who inhabit the undersea paradise.
The 80-minute opera is told in two parts and includes plenty of the wit epiphanies and genre- riddled commentary that Talibam! has become known for. Some tracks are typical of Brechtian cabaret music, while others would be more at home on a Barry White record. Ethiopian jazz and quawwali music share space with Balkan folk rhythms and forays into spoken-word no-school rap. The record is marked by a rich variety of style.
Drawn by London artist James Clapham, the full-color comic book gives "Atlantis" a psychedelic charm. His fishy denizens look like the refugees from a failed casting audition for SpongeBob SquarePants, inhabiting the oil-soaked world of Atlantis with an attitude of defiant hedonism in the face of environmental collapse. Detailing all the major events of the opera, the book brings to life the sounds and smells of Atlantan life.-Belly Kids
At The Squid's Ear!
• Show Bio for Matt Mottel
"Matthew Mottel, is an internationally recognized musician and artist, performing most notably with Talibam! for the past seven years. His visage should be familiar to anyone who's been going to shows in NYC in the past ten years. He's been hanging around NYC clubs since he was like 16, and dropping electric mind bombs with his synthesizer in those clubs nearly as long with folks like Karole Armitage, Rhys Chatham, Awesome Color, Akron/Family, Jeffrey Lewis, Chris Taylor (Grizzly Bear), Kenny Wollesen, Chris Corsano, Ras Moshe, Cooper-Moore, Sean Meehan, and many others."-Free Music Archive (http://freemusicarchive.org/music/Matt_Mottel/)
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• Show Bio for Kevin Shea
"Kevin Shea is valued as being a vital and original artist in the contemporary music scene. Shea's originality is manifested not only by his personal approach to his instrument, but also throughout his constant search for new musical horizons unifying all the bands he has been involved in despite the parameters set for musicians by genre definition, or by historical icons.
The plurality of rigorous artistic aspirations and creative engagement that distinguish the discography of Kevin Shea are not the product of chance or merely taking advantage of opportunities -- but the result of labor, strong convictions, and a strong conceptual support -- a deliberate search for transitional territories away from the dogmas of boring and unnecessary conventions.
Shea's artistic interests are rooted in reevaluating what a band/music, musician/performer, artist and audience can and should be. Splitting the difference between passion and song, Shea plays multi-dimensional utopian sound in which opposing musical forces integrate to form a new sustainable recipe for sound and social implication. Remaining devoted to his belief that the application of sonic diversity is paramount to the appreciation of human diversity, Shea's ultimate goal has been to wed disparate ideologies through proficiency, controversy, inquiry, and compassion -- an approach perpetuating audiences, listeners, and sometimes fellow band members, to face, question, define, and attempt to defend their own level of tolerance and compassion head-on, no-holds-barred.
Through this carefully planned direct method in the round, Shea's sonic investigations emphatically traverse the mobius strip highway of refurbished canticles, perpetually climaxing between Sadean semelparity and Platonic resurrection. At the heart of Shea's dialectical core, unabashed artifacts of rhythmic iconoclasm conjoin with anthemic melody gestures and modern memory loss to create a vital force that gives us bittersweet contemplation and empathy.
As a youth, Shea moved throughout the States many times, transforming any of his formal expectations into a joyous foundation of constant flux. He learned that intuition and customs had to be constantly re-evaluated and negotiated rather than held as sacred. This process of questioning is central to Shea's music. To him, sound is a result of a broader process rather than formulas tied to notions of predictable emotional response. Shea sees sound and music, not as a prize, but a simple aspect of banal daily life.
Kevin Shea has over 25 years of experience as a professional drummer, composer and performer. He has recorded on over 120 albums in a mish-mash of contexts and has performed in over 40 countries. His training started in public elementary school and continued steadily through his college years at Berklee College of Music."-Kevin Shea website (http://www.kevinshea.info/)
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