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Thursday, January 27, 2011

Jib Kidder Lives in Your Dreams


Jib Kidder - Always Now
from Jib Kidder on Vimeo.


Jib Kidder fights the information overload of the 21st Century with, well, an information overload. As a director, his videos take their cues from somewhere in between Koyaanisqatsi and Everything is Terrible!. As a musician, his songs land him somewhere in between musique concrète originator Pierre Schaeffer and cut-and-paste pioneers Double Dee & Steinski. And then we have his amazing, meticulous online collection of regional Southern hip hop, Twankle & Glisten, along with his archive of NOLA Bounce sample sources. In his spare time he makes Lindsay Lohan fast food t-shirts and weed-rap mixtapes as DJ Kid Slizzard, and turns out "So You Think You Can Dance" with club killers. Jib Kidder, a former Atlanta resident, is heading to town this Friday, January 28th, for a 9 o'clock show at the Highland Inn. He was kind enough to stop by Crib Notes for an interview...read it below.

Crib Notes: Your latest release, Lossy Angeles, is the first offering named after a geographic locale, but you've moved around a bit. Does LA, the town, have anything to do with the music on the record? And do you feel like your other work is related to other towns?

Jib Kidder: Last year I made some extra money from licensing my music to "So You Think You Can Dance", the competitive reality show. At the same time I had a repetitive strain injury from working too much OT in a hospital kitchen. I decided it was time to re-strategize. So, I took a year off, a sabbatical of sorts. During my year in LA, I made 3 records. Lossy Angeles, Music for Hypnotized Minds (out next month on Asthmatic Kitty) and Beloved Forever Calling (the basis of my current live show). None of these records would have come out the way they did if I had been anywhere else, but other than that Lossy is not a record about LA, its a record about the internet, about loss of fidelity in media and modern life generally, about the collective experience of jamais vu of the very "reality" of reality. Music for Hypnotized Minds, although not a record about LA, is a record for LA. A record to listen to while driving on its streets and highways. Beloved Forever Calling is a record about eternity.

CN: You've self-described your music as "collage" , and have released plenty of dope mixtapes as Kid Slizzard. Are your albums also "collages", mixtapes from various creative stages, or do you more often write songs intending for them to be part of a larger body of work?

JK: I do varied and contradictory work under the Jib Kidder moniker, but I've gotten the most attention for my sample records. I consider them collages because of the process of their creation, I don't jam them, they aren't made in real time. I'm very carefully pasting bits of sound onto a screen, essentially. Its time-intensive, obsessive. In a way its like computer-made folk art. Making them I feel like a laboring peasant.

CN: As a director, your music videos seem to borrow from the same ideas of collage and pastiche as your music often does. Is there some larger connection, besides the visual/audible, that you wish to point out through your work?

JK: I started making videos as soon as I got a computer powerful enough to handle them. At the beginning, I was using samples in the videos because I used samples on the record. I think the earlier videos have more of a channel changing feel because the content was more random. But I fell in love with the process and its only recently that I have begun to feel adequately expressive in it. Its only because of the internet that this growth period has been public, in the past all these vids would have been something like practice. As far as content, dreams and their logic are a huge inspiration for me, and in a sense they utilize sampling. Dreams are like a collage made by your subconscious out of the raw materials of your inner experience.

CN: Have you heard this heat? What about this sleaze?

JK: I haven't been listening to rap lately, strictly Country & Western. The project I'm currently working on ("Steal Guitars") is built largely from C&W samples. New rap has frustrated me lately, I can't listen to KMEL for more than a few minutes and when I do it seems like the music was generated from some auto-tune trance synth algorhythm.

CN: You've done an incredible job archiving New Orleans Bounce music with Twankle & Glisten. Before you came along all I had was this "Greatest Rap Hits From Down South New Orleans" tape. How did you feel about artists like Sissy Nobby enjoying a bit of success outside of NOLA, from exposure in Diplo's little doc, the Mixpak remix record, and Nobby's own youtube takeover?

JK: Twankle's on hold because I'm too skint to Ebay and am engaged more in making music than archiving it. A wish of success to all of New Orleans' talented artists, and may they find it without irony and without Diplo.

Jib Kidder plays the Highland Inn with Ricer and Bon Vivants. Friday, January 28th, 9pm. $5.

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