Exclusive video premiere: The acoustic majesty of Alexander Turnquist’s “Hallway of Mirrors”

Exclusive video premiere: The acoustic majesty of Alexander Turnquist’s “Hallway of Mirrors” (photo)

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Watching the video for “Hallway of Mirrors,” the title track from the new album by New York State guitarist Alexander Turnquist, you might get the sense that you’re watching the preamble to a love story. A woman walks into a park and begins hula hooping, her lithe, black-clad figure offering a provocative contrast to the sunny German day. Turnquist, meanwhile, sits in a grove, the studied coil of his body behind his 12-string acoustic guitar offering a provocative contrast to the open woods around him. You get the sense that these two will save one another from introversion, that they’ll pull each other from their own isolated worlds. And maybe they will. We’d hate to spoil it.

We spoke with Turnquist, whose excellent and concentrated Hallway of Mirrors is out now, during his lunch break at a bookshop in Hudson, N.Y.

Something that’s certainly different on this album, Hallway of Mirrors, is your focus on a set of sounds and a sense of momentum and movement. Previously, you’ve tinkered around a bit on albums. Was that a priority for you, in terms of minimizing distractions?

Definitely. The difference from the first two records is that I spent a lot more time with the writing and performing on this album before recording, getting it set with the other players that have been playing with me live, like the vibraphone player Matthew O’Koren. Oftentimes, I have my friend Liam Singer play piano and Christopher Tignor play violin. They were all with me when I was writing the songs. When they were ready to be played live, I could play them in full instead of as a solo guitar album.

Someone known for solo guitar adding a full-band approach is an interesting development. Why is it important to you to add these other musicians, when the music is so dependent on the guitar as a centerpiece?

In making the kind of music that I’ve been trying to get at, when there’s so much repetition and speed sometimes, without accenting it with other instruments, you don’t really hear the melody as much–at least to me, the important parts. I’ve been trying to add an element of surprise for the listener, if they hear something that comes up that’s a bit new and not just my guitar. I wanted to use the vibraphone in that way because it carries above most other instruments, especially in the lower octave. It adds an elemental flow to it. After those parts come in, it makes it easier for me to see where other counterpoints and interesting sounds can be added in that I wouldn’t have otherwise heard.

The track lengths are of note here. There is a 16-minute piece, “Waiting at the Departure Gate,” and some mid-length pieces just before it. But you begin and end with tracks that don’t break the three-minute mark. Why?

The first and the last songs are just harmonics on the guitar, and that’s been a real interest of mine lately. The next project that I’m doing, which I just started working on, is going to be entirely all harmonics, in a way–not just on guitar but also with other instruments. I wanted to use that as a bookending to the album because it’s sort of an intro and conclusion that are similar. They’re in different keys. I did want an overall start and finish, so it was very structured in that sense.

I wanted to keep that same theme with it and with the shorter pieces leading up to the lengthy “Waiting at the Departure Gate.” That was the first piece that I wrote for the record, “Waiting at the Departure Gate.” It had various evolutions by the time it finished and became what it is now. But the other two came along when I was in my down time, sitting at the vibes playing around with them, using a bow on them to get the sort of resonance. They started to take shape around that.

The meaning of the record has a little more to do with self-reflection of the listener–or of myself, really. That has to do with the whole mirrors concept.

You mention self-reflection. This record does have a ruminative quality, where you can get inside and just think. As the player, does it allow you to engage in the same way?

The record that came before this was a little more dreamy, so that you can drift away and not have to focus quite as much. But with Hallway of Mirrors, there’s definitely more energy. “Spherical Aberrations,” for me, is a running song. I like to distance-run as a hobby, so I wanted to write a song I imagined a runner listening to when they’re coming to the closing stages of a marathon and they really just want to fall over and not have the ability to finish. But the rest of that helps the runner carry themselves through.

Have you run any marathons?

I haven’t run any full marathons yet. I’m planning on doing one within the next year. That’s the goal. I’ve run half-marathons so far. I was running all throughout high school. I don’t like going to gyms and being inside. There’s a mental aspect of it for me. When I need to think and reflect and leave my general, day-to-day life, I run. I get a lot of musical ideas from doing that. When I’m working on pieces, I’ll record demos, put it on my iPod and just listen to it when I’m running.

How does the idea of “Hallway of Mirrors” and self-reflection relate to the video, or is it meant only as an accompaniment?

With the video, as a choice, I was not directly involved in the concept. I had done some stuff with [directors] Derek Van Gorder and Otto Stockmeier in the past. They used some of my music for a little short film that they did. I really like the narrative quality they get out of their videos and out of their films, though they don’t have any dialogue or speaking in them. It leaves it open to the viewer’s interpretation of the story. That’s, in a way, how my music is: There are no lyrics, and I want to leave it open for the listener’s interpretation of what it means to them. I do spend a lot of time thinking about the song titles and specifically trying to capture what it means to me in the song titles, but I don’t want that to be the literal definition for the person that is listening to it.

When they said they wanted to make the video for this, they said they wanted to be fully responsible for the writing. They came up with the idea all on their own. The woman who is hula hooping was shot in Berlin, where Otto is living. They gave me a rough idea of what they wanted to do, and I thought it was interesting. I wasn’t sure about being in it and actually playing guitar, but they were adamant about that. I was open to their vision.

I suppose hula hooping does make sense, as it’s a repetitive outlet that really allows you to think about one thing over and over again. Is it important for people to have those in their daily lives?

I definitely think so. It is for me. To have some sort of anchor, whether it be a hobby or whether it be a spiritual thing, everyone needs an outlet to lose themselves in.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar


IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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