This browser is supported only in Windows 10 and above.


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)

Posted by on

video player loading . . .

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.

Watch More

A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

Posted by on
GIFs via Giphy

Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.


Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

Watch More

WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

Posted by on

Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…


IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.


IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).


IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.


IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

Watch More

Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

Posted by on
GIFs via Giphy

Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.


IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.



IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on and the IFC app.

Watch More